Includes bibliographical references (p. 185-196) and indexes.

Preliminary Material -- Introduction -- Art and Evolution: A Partnership in Excess -- Peculiarities and Monstrosities: Consciousness, Neuroscience and Creative Writing -- Workshopping the Workshop and Teaching the Unteachable -- The Shadow that is Light: Influence, Imagination and Imitation in Poetry -- “Man-Moth” and the Flame of Influence: A Poet Reading Poetry -- The Politics of Style: Staying Alive -- Repulsion and Day-Dreaming: Freud Writing Freud -- Integrational Linguistics and a New Poetics for Thinking -- Original Thinking: what does poetry have to do with it? -- State of Play: a Tale of Two Manuscripts -- References -- Name Index -- Subject Index.

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Patterns of Creativity reflects on the implications of recent neuro-science findings, evolutionary theory and linguistics for ideas about creativity and the practice of creativity. Kevin Brophy approaches questions of art and creation from-the-inside, that is as a poet himself. The conclusions about what it might mean to be a creative writer are counter-intuitive. What might it mean to understand the production of art as an evolutionary process with no endpoint and no goal? If consciousness is a minor player in decision-making and problem-solving as recent neuro-science findings suggest, how best might an artist manage conscious intentions while seeking to make original art? Brophy argues that consciousness must be managed in new ways if creativity is to be sourced, that much of what we learn in education is learned without consciousness being involved, that a writer must read with a particular agenda, that writing is itself a particular kind of communication beyond speech, requiring specific skills. He argues that the metaphor is not merely a poetic device but is central to the way human thought proceeds and the way communication happens. It is the strange and surprising view-from-within informed by those views science offers to art that preoccupy these investigations.