Herbert is a highly entertaining poet who writes both in English and Scots. In 'Bad Shaman Blues' he explores the English and Scottish Borders, and goes on an absurd shamanic flight to Siberia.

"IN PERSON presents contemporary poetry to readers in a totally new way, with short films of 30 living poets reading their work on two DVDs. [...] an anthology/DVD combination with all the poems from the films includes in the book.

‘The Apothecary’s Chest: Magic, Art and Medication’ was a one-day symposium held at the University of Glasgow on November 24, 2007. The symposium called for a discussion on the evolution of the notions of mysticism, knowledge and superstition in the way they are intertwined in both science and the literary imagination in the figure of healers such as the apothecary, the alchemist, the shaman. There were three main areas of interest. The first involved traditional perceptions of physicians, who combined knowledge and superstition and thus bordered, in their practices, on the sphere of the occult. The second theme, evolving from the first, proposed an inquiry of the overlapping interests and processes of science, magic and prophesy, as well as of the implications and consequences of a privileged access to medical knowledge, while the third subject of discussion concentrated on the development of the symbolism of the healer in literature, history, philosophy of science, anthropology, theology, film and art. The twelve papers included in this volume, papers presented by doctoral candidates and young scholars from across a range of geographical regions and disciplines, result in a collection of approaches to an investigative field with topics ranging from mystical traits of mundane materials to the origins of the occult and gender struggles. The thirteenth and final essay included in the volume, Professor Bill Herbert’s ‘From Mere Bellies to the Bad Shaman’, is an exploration of the modern role of the contemporary poet in the form of an extended conversation initiated at the closing of the conference, when Professor Herbert was asked to combine a poetry reading with a few observations on the relationship between the poet and the shaman.

This stimulating workbook is aimed at committed writers and students of creative writing who want to engage with ideas about writing and develop their craft and practice. Drawing on the expertise of a range of professional and award-winning contributors, the focus is on writing as 'process', moving from practical guidance on 'form and style' through to using themes such as 'body' or 'house' as a creative springboard. Including specially designed writing exercises and illustrative extracts, this innovative guide will inspire and challenge. It is an essential resource for anyone who wishes to master the art and practice of creative writing and galvanise their talent to professional and publication level. Contributions by: Linda Anderson, Theodore Deppe, George Green, Graeme Harper (aka Brooke Biaz), William Herbert, Lee Martin, Jenny Newman, Jayne Steel and a Foreword by Patricia Duncker.

Creative Writing is a complete writing course that will jump-start your writing and guide you through your first steps towards publication. Suitable for use by students, tutors, writers’ groups or writers working alone, this book offers: a practical and inspiring section on the creative process, showing you how to stimulate your creativity and use your memory and experience in inventive ways in-depth coverage of the most popular forms of writing, in extended sections on fiction, poetry and life writing, including biography and autobiography, giving you practice in all three forms so that you might discover and develop your particular strengths a sensible, up-to-date guide to going public, to help you to edit your work to a professional standard and to identify and approach suitable publishers a distinctive collection of exciting exercises, spread throughout the workbook to spark your imagination and increase your technical flexibility and control a substantial array of illuminating readings, bringing together extracts from contemporary and classic writings in order to demonstrate a range of techniques that you can use or adapt in your own work. Creative Writing: A Workbook with Readings presents a unique opportunity to benefit from the advice and experience of a team of published authors who have also taught successful writing courses at a wide range of institutions, helping large numbers of new writers to develop their talents as well as their abilities to evaluate and polish their work to professional standards. These institutions include Lancaster University and the University of East Anglia, renowned as consistent producers of published writers.

In this new edition 54 chapters cover the central pillars of writing creatively: the theories behind the creativity, the techniques and writing as a commercial enterprise. With contributions from over 50 poets, novelists, dramatists, publishers, editors, tutors, critics and scholars, this is the essential guide to writing and getting published. DT A 3-in-1 text with outstanding breadth of coverage on the theories, the craft & the business of creative writing DT Includes practical advice on getting published & making money from your writing New for this edition: DT Chapters on popular topics such as 'self-publishing and the rise of the indie author', 'social media', 'flash fiction', 'song lyrics', 'creative-critical hybrids' and 'collaboration in the theatre' DT New and updated exercises to help you practice your writing DT Up-to-date information on teaching, copyright, writing for the web & earning a living as a writer DT Updated Glossary of Terms

Jim Morrison and the Doors wield an unquestionable influence on popular music and the mainstream, but behind the rock'n'roll myths and the monstrous creation the band called Jimbo, there were four young men in search of something mightier. Led by Jim Morrison's intellectual capacity and thirst for discovery, the band explored its dark themes from a distinctly prophetic and Western perspective: spirituality, drugs, political, environmental and social concerns all played a role - it was the '60s after all. But while Beat poetry, William Blake and Arthur Rimbaud swirled in Morrison's mind, and the band laid down tracks that followed jazz, classical and Far East patterns, they more often than not landed at the center of the blues. Lured by its nighttime rhythm, its cinematic storytelling abilities and inescapable American history, the band resisted, but Jim's connections to its rhyme schemes and emotional depths won out in the end: The blues is at once The Doors' known and secret influence - among others explored here - and Morrison was haunted by them. Chased by the stealthy demon alcohol until the end, and horrified by a past and future all too real to him, this telling of the Doors often-told story makes new connections with the subconscious tidal wave that carried Morrison from Gulf Coast Florida to California gold.