This collection of essays, all especially written for this volume, explore the many facets of Armstrong's work, concentrating on his interests.

In Mentor and Muse, a collection of twenty-nine insightful essays by some of today’s leading poetic minds, editors Blas Falconer, Beth Martinelli, and Helena Mesa have brought together an illuminating anthology that draws upon both established and emerging poets to create a one-of-a-kind resource and unlock the secrets of writing and revising poetry. Gathered here are numerous experts eager to share their wisdom with other writers. Each author examines in detail a particular poetic element, shedding new light on the endless possibilities of poetic forms. Addressed within are such topics as the fluid possibilities of imagery in poetry; the duality of myth and the personal, and the power of one to unlock the other; the surprising versatility of traditional poetic forms; and the pleasure of collaboration with other poets. Also explored in depth are the formative roles of cultural identity and expectations, and their effect on composition; advice on how to develop one’s personal poetic style and approach; the importance of setting in reading and meaning; and the value of indirection in the lyric poem. Challenges to conventional concepts of beauty are examined through Shakespeare’s sonnets, and the ghost of Longfellow is called upon to guide students through the rewards and roadblocks of writing popular poetry. Poetic persona is demystified through Newton’s law of gravity, while the countless permutations of punctuation are revealed with analysis of e. e. cummings and W. S. Merwin. !--?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /-- The essays include the full text of the poems discussed, and detailed, relevant writing exercises that allow students the opportunity to directly implement the strategies they have learned. While many advanced topics such as authenticity, discordant music, and prosody are covered, this highly readable volume is as user-friendly as it is informative. Offering a variety of aesthetics and approaches to tackling the issues of composition, Mentor and Muse takes poets beyond the simple stages of poetic terms and strategies. These authorsinvite students to explore more advanced concepts, enabling them to draw on the traditions of the past while at the same time forging their own creative paths into the future. Chosen as one of the "Best Books for Writers" by Poets & Writers magazine

The following inquiry is (to use a distinction familiar to readers of Mr. Shadworth Hodgson) not an inquiry into the 'how it comes,' but into the 'what it is' of cognition. What we call acts of cognition are evidently realized through what we call brains and their events, whether there be 'souls' dynamically connected with the brains or not. But with neither brains nor souls has this essay any business to transact. In it we shall simply assume that cognition IS produced, somehow, and limit ourselves to asking what elements it contains, what factors it implies. Cognition is a function of consciousness. The first factor it implies is therefore a state of consciousness wherein the cognition shall take place. Having elsewhere used the word 'feeling' to designate generically all states of consciousness considered subjectively, or without respect to their possible function, I shall then say that, whatever elements an act of cognition may imply besides, it at least implies the existence of a FEELING. [If the reader share the current antipathy to the word 'feeling,' he may substitute for it, wherever I use it, the word 'idea,' taken in the old broad Lockian sense, or he may use the clumsy phrase 'state of consciousness,' or finally he may say 'thought' instead.]