DOCSLIB.ORG

The Rise of Creative Writing and the New Value of Creativity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Rise of Creative Writing and the New Value of Creativity THE RISE OF CREATIVE WRITING AND THE NEW VALUE OF CREATIVITY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY STEPHEN PETER HEALEY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY THOMAS AUGST, CO-ADVISER; MARIA DAMON, CO-ADVISER JUNE 2009 Copyright, Stephen Peter Healey, June 2009 Acknowledgements “Movement 1.0 Thinking Outside Creative Writing” published as “The Rise of Creative Writing and the New Value of Creativity” in The Writer’s Chronicle , February 2009 (Volume 41, Number 4). i Table of Contents Prelude 0.0 The Most Beautiful Box of Cereal……………………………………………1 Movement 1.0 Thinking Outside Creative Writing…………………………………2 Interlude 1.1 Minus Sign……………………………………………………………………26 Movement 1.1 What Is Creative Literacy?..............................................................28 Interlude 2.0 A Genealogy of My Desire as a Creative Writing Student……………..44 Movement 2.0 A Genealogy of the Workshop……………………………………..58 Interlude 2.1 Among the Most Well-Educated Motherfuckers………………………….82 Movement 2.1 Workshop War Stories……………………………………………..83 Interlude 3.0 The Laws of Raining ………………………………………………….133 Movement 3.0 Creativity on the Inside: A Prison Pedagogy…………………….134 Interlude 4.0 The Corrected Text…………………………………………………………186 Movement 4.0 From Workshop to Collaborative Practice……………………….188 Interlude 5.0 Creative Consultant………………………………………………………..213 Movement 5.0 Advertising, Poetry, and American Contradiction……………….223 Interlude 5.1 The Ghost of My Candy……………………………………………………233 Movement 5.1 Towards a New Politics of Poetics………………………………..234 Interlude 5.2 Against Violence……………………………………………………………252 Movement 5.2 A Spectral Poetics………………………………………………....254 Postlude 6.0 Superfluous Hands…………………………………………………………..297 Bibliography…………………………………………………………………………298 ii Prelude 0.0 The Most Beautiful Box of Cereal Someone should write a dissertation about how one face is more attractive than another, because it’s hard to explain how one face represents a more attractive idea, more desirable or useful, the way its eyes, the way its mouth just lies there like a small pretty sleeping animal. It’s like how after a movie the first thing I have to talk about is whether or not I liked it. Because it was really sad and funny at the same time. Did you like it less than the other movie, the one that was sexy and funny? Have you noticed that you can see the movie playing on the faces in the audience if you turn around in the movie theater? Something funny happens on the screen—everyone is running after an animal—and you can see it on all the faces. Someone should write a dissertation about that. From the Latin dissertare , “continue to discuss,” as if a discussion wanted to go on forever, words leading only to…more words. I notice that some discussions are about something and some are not. For example, there’s a discussion about the physical and spiritual benefits of ginger in my cereal. For example, there’s Peace Cereal Raspberry Ginger Crisp and there’s Nature’s Path Organic Optimum Zen Cranberry & Ginger (For Inner Harmony). I’m holding both boxes and I have to choose one. Both have ginger coupled with a tasty red berry, but only one has Peace and only one has Zen. Have you noticed that cereal comes in a bag that is itself inside a box? When you think of a cereal, you think of the box, and when you finish eating the cereal, the box is still there. It’s like the face of the cereal, and it’s so attractive that even when you put the box in the bin to be recycled, it’s still there. It’s even in your sleep, like a face that you sleep with. 1 Movement 1.0 Thinking Outside Creative Writing 2 The Trouble with Institutional Success Why so much anxiety about Creative Writing? Those who position themselves outside this academic field often attack it with polemical venom; those willing to admit they're insiders often seem defensive or embarrassed. Perhaps the anxiety would be less noticeable if the field weren't growing so robustly. Particularly in the last several decades, it has flourished into a stable institutional entity. Like pioneer towns that have filled up a once-empty map with dots, Creative Writing programs have been established at most reputable colleges and universities across the U.S. Academia is not only willing to give Creative Writing a prominent place in the humanities, it's expected by now to have already done so. According to the Association of Writers & Writing Programs (AWP), the total number of degree programs in Creative Writing, at both the undergraduate and graduate level, has increased from 80 in 1975, to 790 in 2008 (Fenza, “A Brief History”). The rate of growth is fairly evenly distributed across this three decade span, so there's no sign of the growth subsiding. The only limit on this field’s expansion, it appears, is the finite number of existing institutions where Creative Writing programs can set up shop. Anxiety about the field often focuses on one perplexing, contentious question: why has this boom been occurring? If it's true that students want to take classes and earn degrees in Creative Writing, and that administrators are giving the students what they want, what produces this popularity and legitimacy? Why has the experience of writing creatively acquired such a high value in the academic world? It's now commonplace to bash the field’s success, in particular to 3 accuse it of killing literature by building an ivy-covered wall between literature and a public who no longer reads it, or just by producing too much bad writing. My purpose here is not to join this chorus of naysayers; in fact, I applaud AWP executive director David Fenza, the field’s most notable defender, for responding to these critiques and demonstrating how flimsy they can be. I think Creative Writing classes and degree programs should not only exist, they should thrive. They provide excellent educational and professional opportunities, and I myself have benefited enormously from them as both student and teacher. I also think there's plenty of compelling literary writing being made these days, even if it does have a tiny audience. What has been missing from the impressive success story of Creative Writing is an equally strong attention to its pedagogy and theory; in other words, the field has tended to avoid thinking about how it teaches and what assumptions it has about language and literature. This lack, I argue, is tied to a larger confusion about Creative Writing’s situation in American society—particularly about why this academic field is growing while literary reading, according to a 2004 National Endowment for the Arts study, is in "dramatic decline” (United States). The answer, simply put, is that the kind of creative skills practiced in Creative Writing are valued because they're increasingly used as a productive force in the post-industrial knowledge economy. Books of poetry and fiction may not sell well, but creativity and "thinking outside the box" have become primary tools for production in the American theater of the global economy. This doesn't mean that the field is an insidious agent of capitalism and that its students and teachers are controlled by this system. It means that Creative Writing has much more social and economic relevance than is commonly perceived, and that the field has remarkable opportunities to shape the conditions not only of literary production, but more broadly, the production of everyday language. 4 Thinking Outside Creative Writing Those who have an opinion about this academic field often talk about it as if it were a kind of inexplicable enclave, separate from the major social dynamics of recent decades. The defenders often argue that it thrives as a humanistic alternative to a cliché-saturated consumer culture and to a specialized jargon-ridden liberal arts curriculum. Those who critique it often argue that Creative Writing diminishes the power and public relevance of literature: while traditionalists accuse the field of failing to encourage public appreciation of a selective literary canon, critics associated with the avant-garde accuse Creative Writing of failing to fight against oppressive institutional or corporate forces. Both kinds of censure suggest that higher education prevents average people from accessing the real benefits of literary activity. These critiques also tend to condemn Creative Writing for fostering an opportunistic careerism, a bloated bureaucracy throwing scraps of meat to wanna-be writers who've built the most impressive CVs. But even these arguments about the field's frenzied professionalization frame it as a subsidized industry artificially protected by the academy. John Barr, president of the enormously well-endowed Poetry Foundation, for example, recently bemoaned the expansion of MFA programs, arguing that the awful effect is too much poetry with too little variety, "a poetry that is neither robust, resonant, nor—and I stress this quality—entertaining; a poetry that both starves and flourishes on academic subsidies.” There's a pervasive assumption, I think, that the growth of this field is a kind of paradox, an institutional anomaly whereby higher education mysteriously provides a safe haven to literary writers seeking refuge from the decline of literature's value in the marketplace, as if these institutions were devoted to conserving endangered disciplines rather than rewarding those disciplines that are popular among students. It's true, of course, that readership for traditional categories of literature, especially poetry, is remarkably small despite the growth of Creative Writing programs. But this becomes a less perplexing enigma if we consider that being skilled at using language creatively has become 5 a valuable asset for a wide range of jobs. In fact, a number of recent books that analyze the global economy—some of them bestsellers—provide abundant evidence that creativity is becoming a crucial means of production as well as a product for consumption.
Load more

Recommended publications
  • BTC Catalog 172.Pdf
    Between the Covers Rare Books, Inc. ~ Catalog 172 ~ First Books & Before 112 Nicholson Rd., Gloucester City NJ 08030 ~ (856) 456-8008 ~ [email protected] Terms of Sale: Images are not to scale. All books are returnable within ten days if returned in the same condition as sent. Books may be reserved by telephone, fax, or email. All items subject to prior sale. Payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their requirements. We accept checks, VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PayPal. Gift certificates available. Domestic orders from this catalog will be shipped gratis via UPS Ground or USPS Priority Mail; expedited and overseas orders will be sent at cost. All items insured. NJ residents please add 7% sales tax. Member ABAA, ILAB. Artwork by Tom Bloom. © 2011 Between the Covers Rare Books, Inc. www.betweenthecovers.com After 171 catalogs, we’ve finally gotten around to a staple of the same). This is not one of them, nor does it pretend to be. bookselling industry, the “First Books” catalog. But we decided to give Rather, it is an assemblage of current inventory with an eye toward it a new twist... examining the question, “Where does an author’s career begin?” In the The collecting sub-genre of authors’ first books, a time-honored following pages we have tried to juxtapose first books with more obscure tradition, is complicated by taxonomic problems – what constitutes an (and usually very inexpensive), pre-first book material.
    [Show full text]
  • A Dictionary of Literary and Thematic Terms, Second Edition
    A DICTIONARY OF Literary and Thematic Terms Second Edition EDWARD QUINN A Dictionary of Literary and Thematic Terms, Second Edition Copyright © 2006 by Edward Quinn All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Quinn, Edward, 1932– A dictionary of literary and thematic terms / Edward Quinn—2nd ed. p. cm. Includes index. ISBN 0-8160-6243-9 (hc : alk. paper) 1. Criticism—Terminology. 2. Literature— Terminology. 3. Literature, Comparative—Themes, motives, etc.—Terminology. 4. English language—Terms and phrases. 5. Literary form—Terminology. I. Title. PN44.5.Q56 2006 803—dc22 2005029826 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can fi nd Facts On File on the World Wide Web at http://www.factsonfi le.com Text design by Sandra Watanabe Cover design by Cathy Rincon Printed in the United States of America MP FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. Contents Preface v Literary and Thematic Terms 1 Index 453 Preface This book offers the student or general reader a guide through the thicket of liter- ary terms.
    [Show full text]
  • © Copyrighted by Charles Ernest Davis
    SELECTED WORKS OF LITERATURE AND READABILITY Item Type text; Dissertation-Reproduction (electronic) Authors Davis, Charles Ernest, 1933- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 00:54:12 Link to Item http://hdl.handle.net/10150/288393 This dissertation has been microfilmed exactly as received 70-5237 DAVIS, Charles Ernest, 1933- SELECTED WORKS OF LITERATURE AND READABILITY. University of Arizona, Ph.D., 1969 Education, theory and practice University Microfilms, Inc., Ann Arbor, Michigan © COPYRIGHTED BY CHARLES ERNEST DAVIS 1970 iii SELECTED WORKS OF LITERATURE AND READABILITY by Charles Ernest Davis A Dissertation Submitted to the Faculty of the DEPARTMENT OF SECONDARY EDUCATION In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY .In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Charles Ernest Davis entitled Selected Works of Literature and Readability be accepted as fulfilling the dissertation requirement of the degree of Doctor of Philosophy PqulA 1- So- 6G Dissertation Director Date After inspection of the final copy of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:" *7-Mtf - 6 7-So IdL 7/3a This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination; The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination.
    [Show full text]
  • Revolution on Campus
    1 Revolution on Campus The young girl who sidled into my office looked as if she had fought her way through a riot of enemies. Her brown hair was beaten into disorder, with here and there a desperate bobby pin hanging on by the tips of its fingers. Her slip hung well below her skirt as if deliberately yanked there. Straps snarled into sight at her shoulder. When she said, "I have brought some poems," her voice had the remote hush of someone speaking from an echo chamber. But the poems were wonderful meditations of whales and fleas and angels startled from telephone wires in small-town alleys. It was then I noticed that her eyes completely possessed her body and gave a central shape of living brown to a face whose features otherwise had hardly any relation to each other. Behind those eyes, I later discovered, was the true, glittering imagination of the artist. Physically and temperamentally, she would have seemed to many the embodiment of Greenwich Village. What had brought her to a university? A new thing is happening in America, something which gives such a talented girl encouragement and direction, something which may affect the whole course of our literature. For now the young writer has the middle ground of the college, with its other young writers and its teachers of writing, who are usually writers themselves. No longer does such a beginning poet have to choose between the fiery but often destroying incandescence of New York and the lonely spark of his own isolation in any of ten thousand towns across the continent.
    [Show full text]
  • A Power Stronger Than Itself
    A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY
    [Show full text]
  • The Sigma Tau Delta Rectangle
    The Sigma Tau Delta Rectangle Journal of Creative Writing Sigma Tau Delta International English Honor Society Volume 89, 2014 Editor of Publications: Karlyn Crowley Associate Editors: Rachel Gintner Kacie Grossmeier Anna Miller Production Editor: Rachel Gintner St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Katja Esson Erin McGraw Kim Addonizio Mari Evans Marion Montgomery Edward Albee Anne Fadiman Kyoko Mori Julia Alvarez Philip José Farmer Scott Morris Rudolfo A. Anaya Robert Flynn Azar Nafisi Saul Bellow Shelby Foote Howard Nemerov John Berendt H.E. Francis Naomi Shihab Nye Robert Bly Alexandra Fuller Sharon Olds Vance Bourjaily Neil Gaiman Walter J. Ong, S.J. Cleanth Brooks Charles Ghigna Suzan-Lori Parks Gwendolyn Brooks Nikki Giovanni Laurence Perrine Lorene Cary Donald Hall Michael Perry Judith Ortiz Cofer Robert Hass David Rakoff Henri Cole Frank Herbert Henry Regnery Billy Collins Peter Hessler Richard Rodriguez Pat Conroy Andrew Hudgins Kay Ryan Bernard Cooper William Bradford Huie Mark Salzman Judith Crist E. Nelson James Sir Stephen Spender Jim Daniels X.J. Kennedy William Stafford James Dickey Jamaica Kincaid Lucien Stryk Mark Doty Ted Kooser Amy Tan Ellen Douglas Ursula K. Le Guin Sarah Vowell Richard Eberhart Li-Young Lee Eudora Welty Timothy Egan Valerie Martin Jessamyn West Dave Eggers David McCullough Jacqueline Woodson Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Sue Yost Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Kevin Stemmler Copyright © 2014 by Sigma Tau Delta All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Sigma Tau Delta, Inc., the International English Honor Society, William C.
    [Show full text]
  • University of Arizona Poetry Center Records Collection Number: UAPC.01
    University of Arizona Poetry Center Records Collection Number: UAPC.01 Descriptive Summary Creator: University of Arizona Poetry Center Collection Name: University of Arizona Poetry Center Records Dates: 1960- Physical Description: 105 linear feet Abstract: This collection contains correspondence, administrative records, board meeting minutes, printed materials, audiovisual recordings, and scrapbooks related to the unique history of the Poetry Center and its prominent role in Southern Arizona’s literary arts landscape. “Author files” contain records and correspondence pertaining to poets such as Robert Frost, Kenneth Koch, and Allen Ginsberg. Collection Number: UAPC.01 Repository: University of Arizona Poetry Center 1508 E. Helen St. Tucson, AZ 85721 Phone: 520-626-3765 Fax: 520-621-5566 URL: http://poetry.arizona.edu Historical Note The University of Arizona Poetry Center began in 1960 as a small house and a collection of some 500 volumes of poetry, donated to the University of Arizona by poet and novelist Ruth Stephan. It has grown to house one of the most extensive collections of contemporary poetry in the United States. Since 1962, the Poetry Center has sponsored one of the nation’s earliest, longest-running, and most prestigious reading series, the Visiting Poets and Writers Reading Series, which continues to the present day. The Poetry Center also has a long history of community programming including classes and workshops, lectures, contests, youth programming, writers in residence, and poetry workshops in Arizona penitentiaries. Its leadership has included noted authors such as Richard Shelton, Alison Hawthorne Deming, and LaVerne Harrell Clark. University of Arizona Poetry Center Records UAPC.01 Page 1 of 72 Scope and Content Note This collection contains correspondence, administrative records, board meeting minutes, printed materials, audiovisual recordings, and scrapbooks related to the unique history of the Poetry Center and its prominent role in Southern Arizona’s literary arts landscape.
    [Show full text]
  • 52 Literary Journalism Studies, Vol. 8, No. 1, Spring 2016
    52 Literary Journalism Studies, Vol. 8, No. 1, Spring 2016 Above: Author Tracy Kidder. Photograph by Gabriel Amadeus Cooney. Right: Author John D’Agata. 53 Beyond the Program Era: Tracy Kidder, John D’Agata, and the Rise of Literary Journalism at the Iowa Writers’ Workshop David Dowling University of Iowa, United States Abstract: The Iowa Writers’ Workshop’s influence on literary journalism -ex tends beyond instructional method to its production of two writers who al- ternately sustained the traditions of the genre and boldly defied them: Tracy Kidder, who forged his career during the heyday of the New Journalism in the early 1970s, and John D’Agata, today’s most controversial author chal- lenging the boundaries of literary nonfiction. This essay examines the key works of Kidder and D’Agata as expressions of and reactions to Tom Wolfe’s exhortation for a new social realism and literary renaissance fusing novelis- tic narrative with journalistic reporting and writing. Whereas a great deal of attention has been paid to Iowa’s impact on the formation of the postwar literary canon in poetry and fiction, its profound influence on literary jour- nalism within the broader world of creative writing has received little no- tice. Through archival research, original interviews, and textual explication, I argue that Kidder’s narrative nonfiction reinforces Wolfe’s conception of social realism, as theorized in “Stalking the Billion-Footed Beast,” in sharp contrast to D’Agata’s self-reflexive experimentation, toward a more liber- ally defined category of creative writing. Norman Sims defended literary journalists’ immersion in “complex, difficult subjects” and narration “with a voice that allows complexity and contradiction,” countering critics who claimed their work “was not always accurate.” D’Agata has reopened the de- bate by exposing the narrative craft’s fraught and turbulent relation to fact.
    [Show full text]
  • The Sigma Tau Delta Review
    The Sigma Tau Delta Review Journal of Critical Writing Sigma Tau Delta National English Honor Society Volume 14, 2017 Managing Editor: Dan Colson Editorial Interns: Lizzy Polishan Carolina VonKampen Emporia State University Emporia, KS ISSN 2471-318X (print) ISSN 2471-3201 (online) Honor Members of Sigma Tau Delta Chris Abani Katja Esson Marion Montgomery Kim Addonizio Mari Evans Kyoko Mori Edward Albee Anne Fadiman Scott Morris Julia Alvarez Philip José Farmer Azar Nafisi Rudolfo A. Anaya Robert Flynn Howard Nemerov Alison Bechdel Shelby Foote Naomi Shihab Nye Saul Bellow H.E. Francis Sharon Olds John Berendt Alexandra Fuller Walter J. Ong, S.J. Robert Bly Neil Gaiman Suzan-Lori Parks Vance Bourjaily Charles Ghigna Laurence Perrine Cleanth Brooks Nikki Giovanni Michael Perry Gwendolyn Brooks Donald Hall Gin Phillips Lorene Cary Robert Hass David Rakoff Judith Ortiz Cofer Frank Herbert Henry Regnery Henri Cole Peter Hessler Richard Rodriguez Billy Collins Andrew Hudgins Kay Ryan Pat Conroy William Bradford Huie Mark Salzman Sir Bernard Cooper E. Nelson James Stephen Spender Judith Crist X.J. Kennedy William Stafford Jim Daniels Jamaica Kincaid Lucien Stryk James Dickey Ted Kooser Amy Tan Anthony Doerr Li-Young Lee Natasha Trethewey Mark Doty Ursula K. Le Guin Justin Torres Ellen Douglas Valerie Martin Sarah Vowell Richard Eberhart David McCullough Eudora Welty Timothy Egan Erin McGraw Jessamyn West Dave Eggers Daniel Mendelsohn Jacqueline Woodson Delta Award Recipients Richard Cloyed 1998-1999 Bob Halli Jr. 2008-2009 E. Nelson James 1998-1999 Beth DeMeo 2009-2010 Elva Bell McLin 1998-1999 Elizabeth Holtze 2010-2011 Isabel Sparks 1998-1999 Kevin Stemmler 2011-2012 Sue Yost 2001-2002 Lillian Schanfield 2015-2016 Elaine W.
    [Show full text]
  • The Sigma Tau Delta Review
    The Sigma Tau Delta Review Journal of Critical Writing Sigma Tau Delta International English Honor Society Volume 10, 2013 Editor of Publications: Karlyn Crowley Associate Editors: Rachel Gintner Colin Herzog Grace Schmitt Production Editor: Grace Schmitt St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Katja Esson Marion Montgomery Kim Addonizio Mari Evans Kyoko Mori Edward Albee Philip José Farmer Scott Morris Julia Alvarez Robert Flynn Azar Nafisi Rudolfo A. Anaya Shelby Foote Howard Nemerov Saul Bellow H.E. Francis Naomi Shihab Nye John Berendt Alexandra Fuller Sharon Olds Robert Bly Neil Gaiman Walter J. Ong, S.J. Vance Bourjaily Charles Ghigna Suzan-Lori Parks Cleanth Brooks Nikki Giovanni Laurence Perrine Gwendolyn Brooks Donald Hall Michael Perry Lorene Cary Robert Hass David Rakoff Judith Ortiz Cofer Frank Herbert Henry Regnery Henri Cole Peter Hessler Richard Rodriguez Billy Collins Andrew Hudgins Kay Ryan Pat Conroy William Bradford Huie Mark Salzman Bernard Cooper E. Nelson James Sir Stephen Spender Judith Crist X.J. Kennedy William Stafford Jim Daniels Jamaica Kincaid Lucien Stryk James Dickey Ted Kooser Amy Tan Mark Doty Li-Young Lee Sarah Vowell Ellen Douglas Valerie Martin Eudora Welty Richard Eberhart David McCullough Jessamyn West Dave Eggers Erin McGraw Jacqueline Woodson Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Kevin Stemmler Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Sue Yost Copyright © 2013 by Sigma Tau Delta All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Sigma Tau Delta, Inc., the International English Honor Society, William C.
    [Show full text]
  • Application for Iowa City, Iowa, Usa to the Unesco Creative Cities Network
    APPLICATION FOR IOWA CITY, IOWA, USA TO THE UNESCO CREATIVE CITIES NETWORK submitted on december 19, 2007 by the literary community of iowa city The Iowa Writers’ Workshop developed out of an idea, originally implemented in 896 at the University of Iowa, to teach “Verse Making.” By the 90s, the university had taken the radical step of granting graduate student credit for creative work. In 94, the first Master of Fine Arts degree in Creative Writing was awarded. By the end of that decade, Flannery O’Connor was a member of the Workshop, which was fast becoming a national institution… . The Workshop jettisoned genius and ignored literary theory because, like the centuries-old tradition of rhetoric, it believed in the words of Paul Engle, that writing was a “form of activity inseparable from the wider social relations between writers and readers,” and that the nurture and love of literature could “materially affect American culture.” Tom Grimes, The Workshop creative theme: Literature point person: Christopher Merrill Director International Writing Program Shambaugh House 430 N. Clinton Iowa City, Iowa 52242 management team: Christopher Merrill, Director, International Writing Program Russell Valentino, Director, Autumn Hill Books Amy Margolis, Director, Iowa Summer Writing Festival Steering Committee: Ethan Canin, Novelist and Professor, Writers Workshop, UI Jim Harris, Owner, Prairie Lights Bookstore Susan Shullaw, Vice President, UI Foundation Jonathan Wilcox, Chair, English Department, UI James Elmborg, Chair, School of Library Science Alan MacVey, Director, Theater Department, UI Robin Hemley, Director, Nonfiction Writing Program, UI Ross Wilburn, Mayor, Iowa City Dale Helling, Interim City Manager, Iowa City Joshua Schamberger, President, Iowa City/Coralville Convention and Visitors Bureau Contents i.
    [Show full text]
  • Bowdoin College Catalogues
    Bowdoin College Bowdoin Digital Commons Bowdoin College Catalogues 1-1-1967 Bowdoin College Catalogue (1966-1967) Bowdoin College Follow this and additional works at: https://digitalcommons.bowdoin.edu/course-catalogues Recommended Citation Bowdoin College, "Bowdoin College Catalogue (1966-1967)" (1967). Bowdoin College Catalogues. 248. https://digitalcommons.bowdoin.edu/course-catalogues/248 This Book is brought to you for free and open access by Bowdoin Digital Commons. It has been accepted for inclusion in Bowdoin College Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Bowdoin College Bulletin Sessions 9 66 - 9 6 of 1 1 7 Number 362 This Bulletin is published by Bowdoin College four times during the College Year: September, December, March, and June. Second- class postage paid at Brunswick, Maine. Printed by The Anthoensen Press, Portland, Maine CONTENTS COLLEGE CALENDAR VI BOWDOIN COLLEGE: A HISTORICAL SKETCH 1 BOWDOIN: A LIBERAL COLLEGE 5 OFFICERS OF GOVERNMENT 8 OFFICERS OF INSTRUCTION 13 OFFICERS OF ADMINISTRATION 24 COLLEGE CAMPUS AND BUILDINGS 28 GENERAL INFORMATION 43 ADMISSION TO THE COLLEGE 46 SCHOLARSHIPS, LOANS, AND FINANCIAL AID 54 THE CURRICULUM 80 COURSES OF INSTRUCTION 95 RESERVE OFFICERS' TRAINING CORPS *59 THE LIBRARY 162 THE FINE ARTS 169 MUSEUM OF ART 169 DRAMA AND STAGECRAFT 170 MUSIC 171 PRINTING AND TYPOGRAPHY 172 THE BUREAU FOR RESEARCH IN MUNICIPAL GOVERNMENT 174 BOWDOIN CENTER FOR EDUCATION IN POLITICS 175 THE BOWDOIN SCIENTIFIC STATION
    [Show full text]