Multiple award-winner Roger Rosenblatt has received glowing critical acclaim for his exceptional literary works—from the hilarious novels Lapham Rising and Beet to his poignant, heartbreaking, ultimately inspiring memoir Making Toast. With Unless It Moves the Human Heart, the revered novelist, essayist, playwright, and respected writing teacher offers a guidebook for aspiring authors, a memoir, and an impassioned argument for the necessity of writing in our world. In the tradition of Anne Lamott’s Bird by Bird, Rosenblatt’s Unless It Moves the Human Heart provides practical insights and advice on the craft, exquisitely presented by one of contemporary literature’s living treasures.
Unless It Moves the Human Heart
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Book Description
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Editorial Reviews
From Publishers Weekly
Culled from his experiences teaching writing workshops, novelist, essayist, and longtime professor Rosenblatt (Making Toast) tackles the "why"--not the "how"--of writing by chronicling his winter/spring 2008 semester of "Writing Everything," wherein students discuss and write short stories, essays, and poetry. Chapters include these students' work; Rosenblatt's humor, wit, and wisdom; and classroom discussions of questions both obvious (how does a story differ from an essay?) and remarkably precise (how does James Joyce convey so much in the first sentence of "Clay" and what does it all mean?). The author repeatedly points out that he cannot teach his students to be professional writers, but rather to simply write better than they did before. Less a how-to book than a measured reflection on teaching, the work nonetheless offers aspiring writers many concrete suggestions (let your nouns do the work; go for imagination over invention; write with "restraint, precision, and generosity"). And the oft-invoked words of other authors should resonate with readers and writers alike. (Jan.)
(c) Copyright PWxyz, LLC. All rights reserved.
(c) Copyright PWxyz, LLC. All rights reserved.
Review
“Less a how-to book than a measured reflection on teaching, [Unless It Moves the Human Heart] nonetheless offers aspiring writers many concrete suggestions...And the oft-invoked words of other authors should resonate with readers and writers alike.” (Publishers Weekly )
“With this slim volume, Rosenblatt offers his take on the challenges and responsibilities facing would-be writers...The informal and succinct format makes [Unless It Moves the Human Heart] a fast read but not a simple one...an artful take on the writing life.” (Library Journal )
“Roger Rosenblatt is the teacher you always wished you had... Adept and inventive, Rosenblatt encourages his students to write with moderation but think with grandiosity…Having skillfully addressed matters of style, he ends by eloquently approaching the spirit.” (Boston Globe )
“Unless It Moves the Human Heart is right up there with Natalie Goldberg’s “Writing Down the Bones,” although less Zen, and Anne Lamott’s “Bird by Bird,” although less confessional... The book is filled with humor and practical advice…” (Washington Post )
“There is much to love and ponder within these passionate pages.” (People )
“With this slim volume, Rosenblatt offers his take on the challenges and responsibilities facing would-be writers...The informal and succinct format makes [Unless It Moves the Human Heart] a fast read but not a simple one...an artful take on the writing life.” (Library Journal )
“Roger Rosenblatt is the teacher you always wished you had... Adept and inventive, Rosenblatt encourages his students to write with moderation but think with grandiosity…Having skillfully addressed matters of style, he ends by eloquently approaching the spirit.” (Boston Globe )
“Unless It Moves the Human Heart is right up there with Natalie Goldberg’s “Writing Down the Bones,” although less Zen, and Anne Lamott’s “Bird by Bird,” although less confessional... The book is filled with humor and practical advice…” (Washington Post )
“There is much to love and ponder within these passionate pages.” (People )
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Customer Reviews
Most Helpful Customer Reviews
53 of 56 people found the following review helpful
By M. Pieper
Format:Paperback
I've reached the point in my writing career where I sometimes have the opportunity to mentor newer writers. I don't teach in a university or any formal setting beyond writers' conferences. Still, I write, and I teach about it. Those factors combined with my admiration for Rosenblatt's work made me want to read this book.
Award- winning essayist, novelist, and playwright Rosenblatt has effectively lived the antithesis to an old saying. In his case, Those who can, teach. He writes, and writes well. And he also teaches writing --as he has for more than forty years.
In UNLESS IT MOVES THE HUMAN HEART, Rosenblatt takes a fresh approach to writing about writing: He presents his advice in story form. He tells the story of an imaginary (or, more accurately, composite) university writing class and allows readers to experience his students' interaction with their professor and his material.
This presentation adds layers of meaning and allows the author to present both good and bad examples without hitting readers over the head. The misunderstandings, trials, and triumphs that class members endure will most likely happen to readers who write. And the character flaws that mark and measure their writing will--at least by the end of the book--seem more familiar than otherwise.
Trite device? Thinly veiled vehicle for the communication of truth? Perhaps. But I found myself turning the pages in search of both students' questions and professor's wisdom. I read. I learned. And lines like "There's no purpose to writing unless you believe in significant things--right over wrong, good over evil" and "Voice is the knowledge of what you want to say" made me think--and moved me to improve my craft.
Read the book and inhale the sweet fragrance of story. Reread as you savor each morsel of truth.
Award- winning essayist, novelist, and playwright Rosenblatt has effectively lived the antithesis to an old saying. In his case, Those who can, teach. He writes, and writes well. And he also teaches writing --as he has for more than forty years.
In UNLESS IT MOVES THE HUMAN HEART, Rosenblatt takes a fresh approach to writing about writing: He presents his advice in story form. He tells the story of an imaginary (or, more accurately, composite) university writing class and allows readers to experience his students' interaction with their professor and his material.
This presentation adds layers of meaning and allows the author to present both good and bad examples without hitting readers over the head. The misunderstandings, trials, and triumphs that class members endure will most likely happen to readers who write. And the character flaws that mark and measure their writing will--at least by the end of the book--seem more familiar than otherwise.
Trite device? Thinly veiled vehicle for the communication of truth? Perhaps. But I found myself turning the pages in search of both students' questions and professor's wisdom. I read. I learned. And lines like "There's no purpose to writing unless you believe in significant things--right over wrong, good over evil" and "Voice is the knowledge of what you want to say" made me think--and moved me to improve my craft.
Read the book and inhale the sweet fragrance of story. Reread as you savor each morsel of truth.
47 of 52 people found the following review helpful
Format:Paperback
TIME essayist Roger Rosenblatt, who also teaches writing at Stony Brook University on eastern Long Island, uses his experiences in the classroom of that school to shed light on writing and how it is taught. A teacher who writes myself (though not as well or as successfully as Rosenblatt), I picked the book up figuring I would be the perfect audience. In fact, I was. So what about you?
Right out of the gate, Rosenblatt admits that the reconstruction of conversations in his writing class cannot be considered verbatim or even totally accurate. Instead he says it is "fiction, top to bottom." Thus we have an idealized class with a wide array of "characters" from various backgrounds and with various strengths. This allows the teacher, Mr. Rosenblatt, to assume most every role a writing teacher might expect to play: cheerleader, adviser, questioner, philosopher, critic, and so forth. It also allows for much humor. That is, the would-be writers in class are a witty bunch as written by Rosenblatt. In that sense, the book is exciting, somewhat like the heady experiences of your own undergraduate years when fellow students might earnestly debate the fiction of Steinbeck, the essays of Bacon, or the poetry of Eliot.
The arc of the book follows the structure of Rosenblatt's course, called "Writing Everything": short stories first, followed by personal essays, with poetry last. As a teacher, I noted such fine advice as this: "If you find things you like in a student's work and you celebrate them, then the things you don't like -- the really awful parts -- will seem anomalous mistakes uncharacteristic of the writer, ones they can correct. The students will side with you against their own weaknesses. If, on the other hand, they begin to think they can't do anything right, they will get worse and worse." In another flourish, he states "...voice is merely the latest cliché to signify good writing. Its predecessor was 'authority.'"
I think teachers and writers alike can find something to glean from this short outing (155 pp.). The story and essay parts were stronger because the focus seemed more on Rosenblatt's thoughts and words, as given through the conceit of "actual dialogue" between his students and himself. For instance, he wisely advises his students to use the strategy of anticipation, not surprise, in story writing. Even O.Henry, who made surprise endings his bread and butter, only truly succeeded artistically with a few stories, such as "The Gift of the Magi."
The poetry section, alas, was a bit weaker. Clearly Rosenblatt is not the voice of experience here (he even admits that modern poetry is not to his liking), and so he is forced to overwrite the student dialogue in this chapter. The same thing happens in a chapter about writers' first reading experiences -- it simply retells stories of the students' earliest reading experiences (brace yourself for titles like MY FRIEND FLICKA and LASSIE) and tends to go on and on with little bang for the buck. I would have preferred more of Roger Rosenblatt the master teacher, more of his ideas for the classroom, and less of the students' badinage. Rosenblatt does share a few practical ideas, however, such as making students write about prompts he can recreate in the classroom like slamming a door (write about your associations with that act and sound) and singing "Happy Birthday" (write about your associations with that ubiquitous and ever-recurring song).
So do not be overly distracted by the star rating. Taking my cue from Rosenblatt himself, I prefer to stress all the good things this book HAS rather than all the wonderful things it COULD HAVE HAD. So what if I hoped for more of the master and less of his disciples? It's Rosenblatt's book, not mine, and the fact that I've spent this much time writing about it shows how important I think it is for readers to get it and judge for themselves. The hidden "professional student" and yearning "ultimate teacher" in you might just eat it up!
Right out of the gate, Rosenblatt admits that the reconstruction of conversations in his writing class cannot be considered verbatim or even totally accurate. Instead he says it is "fiction, top to bottom." Thus we have an idealized class with a wide array of "characters" from various backgrounds and with various strengths. This allows the teacher, Mr. Rosenblatt, to assume most every role a writing teacher might expect to play: cheerleader, adviser, questioner, philosopher, critic, and so forth. It also allows for much humor. That is, the would-be writers in class are a witty bunch as written by Rosenblatt. In that sense, the book is exciting, somewhat like the heady experiences of your own undergraduate years when fellow students might earnestly debate the fiction of Steinbeck, the essays of Bacon, or the poetry of Eliot.
The arc of the book follows the structure of Rosenblatt's course, called "Writing Everything": short stories first, followed by personal essays, with poetry last. As a teacher, I noted such fine advice as this: "If you find things you like in a student's work and you celebrate them, then the things you don't like -- the really awful parts -- will seem anomalous mistakes uncharacteristic of the writer, ones they can correct. The students will side with you against their own weaknesses. If, on the other hand, they begin to think they can't do anything right, they will get worse and worse." In another flourish, he states "...voice is merely the latest cliché to signify good writing. Its predecessor was 'authority.'"
I think teachers and writers alike can find something to glean from this short outing (155 pp.). The story and essay parts were stronger because the focus seemed more on Rosenblatt's thoughts and words, as given through the conceit of "actual dialogue" between his students and himself. For instance, he wisely advises his students to use the strategy of anticipation, not surprise, in story writing. Even O.Henry, who made surprise endings his bread and butter, only truly succeeded artistically with a few stories, such as "The Gift of the Magi."
The poetry section, alas, was a bit weaker. Clearly Rosenblatt is not the voice of experience here (he even admits that modern poetry is not to his liking), and so he is forced to overwrite the student dialogue in this chapter. The same thing happens in a chapter about writers' first reading experiences -- it simply retells stories of the students' earliest reading experiences (brace yourself for titles like MY FRIEND FLICKA and LASSIE) and tends to go on and on with little bang for the buck. I would have preferred more of Roger Rosenblatt the master teacher, more of his ideas for the classroom, and less of the students' badinage. Rosenblatt does share a few practical ideas, however, such as making students write about prompts he can recreate in the classroom like slamming a door (write about your associations with that act and sound) and singing "Happy Birthday" (write about your associations with that ubiquitous and ever-recurring song).
So do not be overly distracted by the star rating. Taking my cue from Rosenblatt himself, I prefer to stress all the good things this book HAS rather than all the wonderful things it COULD HAVE HAD. So what if I hoped for more of the master and less of his disciples? It's Rosenblatt's book, not mine, and the fact that I've spent this much time writing about it shows how important I think it is for readers to get it and judge for themselves. The hidden "professional student" and yearning "ultimate teacher" in you might just eat it up!
31 of 36 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
I took a class with Roger as an undergrad. I consider myself to be one of a very fortunate few who were able to do this. I look forward to continuing to work with Roger. He didn't talk about what he was writing often, but when he did, we always approached it like we were being given a very special treat that required a great reverence. He didn't talk about this book, though. I found out about it when he published the last part: a letter to his ungrateful students in the New Yorker. This book does something which is absolutely incredible: it takes you behind the person who wrote for TIME magazine and into the classroom to learn from him. I immediately pre-ordered this book and once it arrived, I found myself stealing moments to read more and more of his incredible insights and solutions. If you are looking for a book about the craft of writing, this book will not disappoint. If you are looking for a touching story about the behind the scenes aspect of the writing life, this book is also for you. The book is short and accessible, which is not to say that it does not say much. This book is a combination of a compelling narrative and a crash course in what Roger has learned as a writing professor and writer. This book would make a great substitute for those who cannot go to Southampton's writing conferences, as well as a great book for those who are considering pursuing the writer's life or who are considering Southampton's MFA in writing.
Most Recent Customer Reviews
5.0 out of 5 stars
Such a great read!
Am still digesting the book, but really enjoy being a fly on the wall and watching this writing class by Roger Rosenblatt. Read more
Published 1 month ago by Marianne Panetta
3.0 out of 5 stars
Misquotation
The words that form the title of this book are misquoted and misattributed. It is symptomatic that the author can't be bothered to get his words right. Read more
Published 3 months ago by Constant Reader
4.0 out of 5 stars
Conversation on the Sofa
Several reviewers have written about this book already, so I won't go into summary details, but I do want to make several comments. Read more
Published 19 months ago by Janice Hall Heck
1.0 out of 5 stars
came off as smug and, for me, unreadable
I gave this book a good 30-page try but just can't stomach it. Most of the book is put forth as fictionalized conversations in a writing workshop, but all the participants sound... Read more
Published 21 months ago by grrlpup
5.0 out of 5 stars
A Writing--and Teaching--Parable
One thing that Unless It Moves the Human Heart is not, a book of formulas guaranteeing writing success. Instead, Rosenblatt sneaks up on the reader! Read more
Published 22 months ago by Loren C. Gruber
5.0 out of 5 stars
Moved this Human Heart
Unless It Moves the Human Heart: The Craft and Art of Writing
Roger Rosenblatt's memoir about his Writing Everything class moved and encouraged me through the dialogue... Read more
Roger Rosenblatt's memoir about his Writing Everything class moved and encouraged me through the dialogue... Read more
Published 22 months ago by Heather Marsten
5.0 out of 5 stars
In a Word, Superb!
Author makes the case for emotional content. Well conceived and delivered sraight from the heart of an obviously passionate writer at the top of his craft. Read more
Published 23 months ago by Rachael Writer
1.0 out of 5 stars
Far far below expectations
I was very hopeful as I started this book: the beautiful title, the prize-winning author whose books and articles have always grabbed me, the challenging topic of defining good... Read more
Published on May 19, 2011 by BuzS
2.0 out of 5 stars
uninspiring
Roger Rosenblatt is a huge name in the world of writing. He's written magazine columns, plays, essays, and books and is a master of language. Read more
Published on May 4, 2011 by Amy Henry
4.0 out of 5 stars
Writing craft book
Had seen the author on TV and wanted to read his book. Informative and entertaining at the same time. Read more
Published on March 7, 2011 by Louise Judson
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