Book News: Creative writing programs, rebels in the academy

Literary Rebels: A History of Creative Writers in Anglo-American Universities

BY LISE JAILLANT

Oxford UP, 2023

ISBN: 9780192855305

https://global.oup.com/academic/product/literary-rebels-9780192855305

How many times have you heard that creative writing programs are factories that produce the same kind of writers, isolated from real life? Only by escaping academia can writers be completely free. Universities are profoundly conservative places, designed to favor a certain way of writing--preferably informed by literary theory. Those who reject the creative/ critical discourse of academia are the true rebels, condemned to live (or survive) in a tough literary marketplace. Conformity is on the side of academia, the story goes, and rebellion is on the other side.

BOOK NEWS is an online-only feature announcing new publications in modernist and contemporary literary studies. These announcements do NOT constitute an endorsement by the Journal of Modern Literature.

This book argues against the notion that creative writing programs are driven by conformity. Instead, it shows that these programs in the United States and Britain were founded and developed by literary outsiders, who left an enduring mark on their discipline. To this day, creative writing occupies a marginal position in Anglo-American universities. The multiplication of new programs, accompanied by rising student enrolments, has done nothing to change that positioning. 

As a discipline, creative writing strives on opposition to the mainstream university, while benefiting from what the university has to offer. Historically, this opposition to scholars was so virulent that it often led to the separation of creative writing and literature departments. The Iowa Writers' Workshop, founded in the 1930s, separated from the English department three decades later--and it still occupies a different building on campus, with little communication between writers and scholars. This model of institutional division is less common in Britain, where the discipline formally emerged in the late 1960s and early 1970s. But even when creative writing is located within literature departments, relationships with scholars remain uneasy. Creative writers and scholars are not, and have never been, natural bedfellows.

• The first history of creative writing programs in Britain and America
• Sheds new light on the relationship between writers and scholars from the 1930s to the present day
• Draws on extensive work in neglected archives and oral history interviews with distinguished creative writers
• Offers a new model of scholarship in hybrid archives, comprising paper and born-digital documents

Lise Jaillant is senior lecturer (associate professor) in the School of Social Sciences and Humanities at Loughborough University. She specializes in twentieth-century literary institutions, with a special interest in publishers and creative writing programs. She is author of Modernism, Middlebrow and the Literary Canon: The Modern Library Series, 1917-1955 (Routledge, 2014) and Cheap Modernism: Expanding Markets, Publishers' Series and the Avant-Garde (EUP, 2017) and editor of Publishing Modernist Fiction and Poetry (EUP, 2019). Taken together, these three books offer a broad overview of Anglo-American publishers in the early-twentieth-century, and their influence on the diffusion of modern literature.

Book News: The "craft labor" metaphor and literary production

Craft Class: The Writing Workshop in American Culture

BY CHRISTOPHER KEMPF

Johns Hopkins UP, 2022

ISBN: 978-1421443560

https://www.press.jhu.edu/books/title/12763/craft-class

The hidden history of the creative writing workshop and the socioeconomic consequences of the craft labor metaphor.

In a letter dated September 1, 1912, drama professor George Pierce Baker recommended the term "workshop" for an experimental course in playwriting he had been planning with former students at Harvard and Radcliffe. This was the first time that term, now ubiquitous, was used in the context of creative writing pedagogy. Today, the MFA (master of fine arts) industry is a booming one, with more than 200 programs and thousands of residencies and conferences for aspiring writers nationwide. Almost all of these offerings operate on the workshop model.

BOOK NEWS is an online-only feature announcing new publications in modernist and contemporary literary studies. These announcements do NOT constitute an endorsement by the Journal of Modern Literature.

In Craft Class, Christopher Kempf argues that the primary institutional form of creative writing studies, the workshop, has remained invisible before our scholarly eyes. While Baker and others marshaled craft toward economic critique, craft pedagogies consolidated the authority of elite educational institutions as the MFA industry grew. Transcoding professional-managerial soft skills—linguistic facility, social and emotional discernment, symbolic fluency—in the language of manual labor, the workshop nostalgically invokes practices that the university itself has rendered obsolete. The workshop poem or short story thus shares discursive space with the craft IPA or hand-loomed Pottery Barn rug—a space in which one economic practice rewrites itself in the language of another, just as right-wing corporatism continuously rewrites itself in the language of populism.

Delineating an arc that extends from Boston's fin de siècle Society of Arts and Crafts through 1930s proletarian workshops to the pedagogies of Black Mountain College and the postwar MFA, Craft Class reveals how present-day creative writing restructures transhistorical questions of labor, education, and aesthetic and economic production. With the rise of the workshop in American culture, Kempf shows, manual and mental labor have been welded together like steel plates. What fissures does that weld seal shut? And on whose behalf does the poet punch in?

Challenging conventional histories of arts and crafts ideology, Craft Class offers a provocative genealogy of the creative writing workshop. Creative writers, in addition to scholars of contemporary American literature, will find this well-written book appealing.   -- John Marsh, Pennsylvania State University, author of Hog Butchers, Beggars, and Busboys: Poverty, Labor, and the Making of Modern American Poetry

Kempf performs a wonderful excavation of the meaning of the 'workshop' for the discipline of creative writing, demonstrating how it arose as a deeply human response to the problem of alienated labor in an industrial capitalist society. In a series of brilliantly chosen and illuminating case studies, he discloses the true historical significance of the craft ideal nurtured in such spaces, reawakening us to the utopian energies that circulate in the writing classroom even now.   -- Mark McGurl, Stanford University, author of The Program Era: Postwar Fiction and the Rise of Creative Writing

Christopher Kempf is a visiting assistant professor in creative writing at the University of Illinois. Recipient of a Wallace Stegner Fellowship from Stanford University, an MFA in poetry from Cornell University, and a PhD in English literature from the University of Chicago, he is the author of the poetry collections What Though the Field Be Lost and Late in the Empire of Men.