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EVERY WRITER HAS A THOUSAND FACES

TENTH ANNIVERSARY EDITION, REVISED AND UPDATED

A provocative and anti-intuitive manual for making fresh art.

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An award-winning poet, memoirist, and critic offers unorthodox advice in this update to his guide for aspiring writers.

Writing teachers generally advise their students to write every day, often in the morning, sometimes for a set period of time or number of words. Biespiel (Poet-in-residence/Oregon State Univ.; Republic Café, 2019, etc.), whose honors have included a Lannan Foundation fellowship, urges young writers to resist that level of regularity. In fact, he advises them to resist writing itself. “Put off the first draft for as long as possible…because as soon as you make the first draft, a certain end is in sight and it may not be the end you want.” Eschew the draft-and-revise method taught in most writing workshops. Replace it with blur-and-get-lost. Confused? That’s part of Biespiel’s point. The author hopes to shake readers out of their entrenched habits and into new and uncomfortable ones—for comfort, like routine, is the way to stagnation. His book is not just about how to write, but how to keep writing: not just for as long as it takes to compose a poem or a novel but for an entire career. The process is the same for all arts, Biespiel says, which should make his book as helpful to painters and musicians as to poets. His prose rattles along in a buoyant patter that seems almost improvised: “To write, to make art, to dance, to make music, is to figure and refigure. You’re after not just the freedom to play, but a path to explore your interests, to probe and burrow, to alter and shuffle, to tack, to waffle, to recalibrate, to turn the corner.” His concept of the “word-palette” (a kind of brainstorming technique that makes connections between disparate elements) is particularly intriguing. Biespiel’s methods won’t feel right for everyone—they might suit woolgathering poets better than page-counting novelists—but his approach differs markedly from that of most writing guides. In a spirited foreword, Fight Club author Palahniuk, describes his own approach: “God bless interruptions. Any time my dog or my accountant takes me away from the task of writing, I feel irked, but I know I’ll return to work with a renewed passion for what might too easily become just a job.”

A provocative and anti-intuitive manual for making fresh art.

Pub Date: N/A

ISBN: 978-0-9827838-4-9

Page Count: 88

Publisher: Kelson Books

Review Posted Online: June 6, 2020

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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