Literature Collection Review, "The College Handbook of Creative Writing" by Robert DeMaria

Literature Collection Review, "The College Handbook of Creative Writing" by Robert DeMaria

First of all, read some literature by DeMaria before you even think about reading this handbook because, let’s face it, you have to look at the master’s art before you get into his work. I guess it can be said that I’ve detracted from college and university very much. There’s even quality of work here as DeMaria is confined in formal text to present literature in variety so as to display excellence and horror with condemnation or pleasure of paying attention. My syntax is kind of funny here because I like considering his ideas while putting in my own efforts, since that’s why literature is experimental but provocative for any craftiest writer who takes those moments in hashing out great results. Poetry most certainly is an art form that benefits from mathematical analysis as well as feelings, for, if syllables are numbers in your head and you count them to satisfaction, you may actually find that different points of literary conversation end with seven syllables instead of eleven and so on. Of course, DeMaria shows various traditional forms of poetry but doesn’t mention that new language often occurs in poetry and thus we can’t assume things about the normal grammar rules for such fresh communication. Originality is very much a mystery and a writer has to decide how much of it to put in literary art. We most certainly can’t stand it when some author puts in so much work only to exhibit poor information in spite of the fact that pleasure is seldom existing in his or her show of performance; at best, while students may pass information to each other without criticism, life without criticism is not philosophy but fashion, which is what DeMaria appeals to partially while also pinpointing differential concepts in order to demonstrate authorized mastery. At most times DeMaria shows work by other artists, yet he also exhibits professionalism through his own given poems. (His “Hello Bones” is daunting with its small narrator’s talk about the possibility of being nothing but scrap in a house somewhere.) So a person might ask me why I approve of this handbook if I’m not in school anymore. I can answer this person by saying that, first of all, we never really leave education. Instead we just find specific resources like I do here with this green handbook on creative writing. Second of all to this first justification is that DeMaria exhibits wild character in these personal lessons while also giving notion to writing in a kind of literature fan’s imaginary conversation, even if he’s not actually reciting the whole book for every place he goes to. In fact, it’s recommendable by me to take short peeks at this book fairly often to get the artificial ideas about creative writing and how best to determine your own written work. My secret about writing is in the last five words of the sentence prior to this one- “determine your own written work.” You’ll likely make some mistakes here and there, but with input from people and input from yourself- since you need imaginary feedback from both sides- DeMaria’s handbook is more than helpful and is an absorptive collection of great literary refinements… although, you might need a hint or two in life.

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