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The Art of Writing Fiction
The Art of Writing Fiction guides the reader through the processes of creative writing from journal-keeping to editing, offering techniques for stimulating creativity and making language vivid. Readers will master key aspects of fiction such as structure, character, voice and setting. Andrew Cowan provides an insightful introduction that brings his own well-crafted prose style to bear on the processes and pleasures of writing fiction, offering practical and personal advice culled from his own experience and that of other published writers. He lays open to the reader his own notes, his writing, and the experiences from his own life that he has drawn on in his fiction allowing the reader to develop their own writing project alongside the author as they go through the book.
Worthless Men
It's market day in an English city two years into the Great War. The farmers are coming in from the country, the cattle are being driven through the streets and that evening a trainload of wounded soldiers is due to arrive. At the local mansion, its new hospital tents to the ready, waits Montague Beckwith, himself a psychological casualty of the war. In the town's poorest quarter, Winnie Barley prays that Walter, her missing son, will be on the train (but that her violent husband is not). In the pharmacy, Gertie Dobson dreams of romance while her father keeps unsuitable men at bay. And everywhere is Walter, a ghostly presence who watches as the girl he loved from a distance is drawn into Mon...
Against Creative Writing
The rise of Creative Writing has been accompanied from the start by two questions: can it be taught, and should it be taught? This scepticism is sometimes shared even by those who teach it, who often find themselves split between two contradictory identities: the artistic and the academic. Against Creative Writing explores the difference between ‘writing’, which is what writers do, and Creative Writing, which is the instrumentalisation of what writers do. Beginning with the question of whether writing can or ought to be taught, it looks in turn at the justifications for BA, MA, and PhD courses, and concludes with the divided role of the writer who teaches. It argues in favour of Creative...
Pig
When his grandmother dies, and his grandfather is removed to a home, fifteen-year-old Danny determines to look after their elderly pig and ramshackle garden. Here, on the ragged edge of a blighted new town, Danny and his Indian girlfriend Surinder create a fragile haven from the enclosing world of racist neighbours and stifling families, a summer's refuge from the precariousness of their future.
What I Know
On the morning of his fortieth birthday, Mike Hannah wakes from a dream about the girl he loved twenty years earlier. Once an aspiring writer, he is now a private detective whose work and marriage have become routine, and he begins to wonder what might have been. Which leads him to wondering where his ex-girlfriend is now, and whether other people's lives are more exciting than his. Which leads him to spying on his own family, friends and neighbours. Which leads to some very unwelcome surprises...
Common Ground
Ashley, a disaffected geography teacher and Jay, a printer in a local arts project, are about to start a family, though both have mixed feelings about becoming parents, especially when their house is crumbling around them and their neighbourhood seems increasingly anarchic. As Jay becomes deeply involved in the fight to save the ancient woodland of Hogslea Common from a planned motorway, Ashley corresponds with his carefree brother, who is backpacking round the world. With the gap between the couple widening as steadily as the cracks in their walls, Ashley has to choose between his parents' values and abandoning a society he finds increasingly precarious and menacing. By the author of the award-winning PIG, this is a sharply observed, often funny and thought-provoking tale of modern life and of the choices we all have to make - as parents, children and members of society. Â
Crustaceans
It is December 22nd, a foot of snow has fallen, and Paul is heading out for a small coastal resort on his son Euan's sixth birthday. Shall I tell you a story? he says and recalls the boy's birth, his first words and steps, all the stuff of forgetting, of any boy's life... But nothing, Paul has decided, should ever be lost or discarded or buried, as it was in his own childhood. And so he confides the history of his relationship with Ruth, Euan's mother; the death of his own mother when he himself was a boy; and his father's refusal ever to explain what occurred. It soon becomes evident, however, that Euan is not in the car. Evident, too, that Paul is living alone, and that in the cliffs and dunes of the seaside resort lies the key to his story's conclusion.
The Writings of Luke and the Jewish Roots of the Christian Way
J. Andrew Cowan challenges the popular theory that Luke sought to boost the cultural status of the early Christian movement by emphasising its Jewish roots – associating the new church with an ancient and therefore respected heritage. Cowan instead argues that Luke draws upon the traditions of the Old Testament and its supporting texts as a reassurance to Christians, promising that Jesus' life, his works and the church that follow legitimately provide fulfilment of God's salvific plan. Cowan's argument compares Luke's writings to two near-contemporaries, Dionysius of Halicarnassus and T. Flavius Josephus, both of whom emphasized the ancient heritage of a people with cultural or political a...
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