Creative Writing Prompts | Creative Writing Prompts for Sci-Fi &Fantasy... Posted by Melissa Donovan on April 5, 2013 · Fantastical creative writing prompts. In the world of creative writing, we’ve only begun tapping the possibilities in speculative fiction, a genre that includes science fiction, fantasy, paranormal, supernatural, horror, and superhero stories, as well as anything that ventures beyond known reality. Speculative fiction is an under-recognized genre: Academia and literary elitists traditionally haven’t given it much credence, although it has been gaining acclaim in recent years. But the genre’s fans are rabid. In fact, you won’t find a more dedicated group of readers anywhere else, which makes reading and writing speculative fiction a delight. Plus, it’s a lot of fun to step outside of reality and see just what your imagination can do. You can write about knights and dragons, spaceships and far-off planets, the apocalypse, ghosts, or strange islands with magical properties. The creative writing prompts below can be used in any way you want.
Henry Miller: Biography A perspective by Valentine Miller Henry V. Miller was born December 26, 1891 in Yorkville, NYC. His parents were from Germany, his mother from the north, his father from Bavaria. He lived in Brooklyn during his school years. Tried working in his father’s tailor shop, here he developed his love of fine clothes. A young Henry Millerwith his parents andhis sister Lauretta. Dad lived in France, Greece, NYC, Beverly Glen, Big Sur & Pacific Palisades. Dad balanced the cerebral with the physical. I only knew my Dad for 35 years, the last third of his life. Dinner conversations were always lively. Your daughter,Valentine 28, Henry Miller In 1934, Henry Miller, then aged forty-two and living in Paris, published his first book. In 1961 the book was finally published in his native land, where it promptly became a best-seller and a cause célèbre. By now the waters have been so muddied by controversy about censorship, pornography, and obscenity that one is likely to talk about anything but the book itself. But this is nothing new. Like D. His life is all written out in a series of picaresque narratives in the first-person historical present: his early Brooklyn years in Black Spring, his struggles to find himself during the twenties in Tropic of Capricorn and the three volumes of the Rosy Crucifixion, his adventures in Paris during the thirties in Tropic of Cancer. In 1939 he went to Greece to visit Lawrence Durrell; his sojourn there provides the narrative basis of The Colossus of Maroussi. At seventy Henry Miller looks rather like a Buddhist monk who has swallowed a canary. No, not generally, no, nothing of that sort. I do.
concepts This page offers brief definitions of some of the key concepts in Foucault's work. For a more complete list which also includes extensive details of where these concepts can be found in Foucault's work please see my book Michel Foucault (London: Sage, 2005). The list here places more emphasis on definitions, whereas the list in the book provides a detailed structure of references for users of Foucault's work. © Clare O'Farrell 2007 apparatus (dispositif) Foucault generally uses this term to indicate the various institutional, physical and administrative mechanisms and knowledge structures, which enhance and maintain the exercise of power within the social body. archaeology 'Archaeology' is the term Foucault used during the 1960s to describe his approach to writing history. archaeology versus genealogy Foucault's remarks on the difference between archaeology and genealogy are generally rather vague and confusing. archive This is a technical term Foucault uses in The Archaeology of Knowledge.
38, Blaise Cendrars Blaise Cendrars (real name Frédéric Sauser) was born in La Chaux-de-Fonds, Switzerland, in 1887. His father, an inventor-businessman, was Swiss, his mother Scottish. He spent his childhood in Alexandria, Naples, Brindisi, Neuchâtel, and numerous other places, while accompanying his father, who endlessly pursued business schemes, none successfully. At the age of fifteen, Cendrars left home to travel in Russia, Persia, China--and everywhere in between—while in the employ of a jewel merchant; he wrote about this apprenticeship several years later in his long poem, Transiberien. He was in Paris before 1910, where he met Guillaume Apollinaire, leader of the tumultuous avant-garde world of arts and letters at that time. Cendrars lost his right arm in the First World War, while serving as a corporal in the Foreign Legion. La Belle Epoque was the great age of discovery in arts and letters. All writers complain of the constraint under which they work and of the difficulty of writing. Not at all.