Rishma Dunlop, Daniel Tysdal, Priscila Uppal, Rishma Dunlop, Daniel Tysdal, Priscila Uppal
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Writing Creative Writing
Essays from the Field
Rishma Dunlop, Daniel Tysdal, Priscila Uppal, Rishma Dunlop, Daniel Tysdal, Priscila Uppal
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Essential and engaging essays about the joys and challenges of creative writing and teaching creative writing by a host of Canada's leading writers. Writing Creative Writing is filled with thoughtful and entertaining essays on the joys and challenges of creative writing, the complexities of the creative writing classroom, the place of writing programs in the twenty-first century, and exciting strategies and exercises for writing and teaching different genres. Written by a host of Canada's leading writers, including Christian Bök, Catherine Bush, Suzette Mayr, Yvette Nolan, Judith Thompson, and thom vernon, this book is the first of its kind and destined to be a milestone for every creative writing student, teacher, aspirant, and professional.
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Canadaâs art historians and musicologists donât design and manage the education of our visual artists and composers, but English profs (who have rarely published books of poetry or fiction themselves) routinely control the educations of our writers, and with obvious costs to national and personal truth-telling. As indicated in the table below, the number of graduate writing programs in Canada doubled within the 2000s, yet various factors within the Canadian academy (not the internationally popular discipline of creative writing), find most Canadian writing programs more devoted to the head than the heart and managed, not coincidentally, by English departments. Our writing grads are much more likely to be versed in Elizabethan celibacy or Victorian diarists than what William Faulkner so rightly describes as âthe human heart in conflict with itself.â Iâve taught writing for a decade now at four Canadian universities and am worried that â with English professors predominantly calling the shots â few Canadian creative writing programs teach or even entertain core writerly skills like social-emotional intelligence, revealing, engaged and accurate dialogue, dramatic tension, comedy, and, most notably, plot.
English-Language Masterâs Writing Programs in Canada
Pre-2000
Post-2000
MA in English and Creative Writing
University of Calgary
University of Toronto
Concordia University
University of Regina
University of Manitoba
University of New Brunswick
University of Windsor
MFA in Creative Writing
University of British Columbia
University of Victoria
University of Guelph
University of Saskatchewan
Kingâs University (creative non-fiction only)
In his Lectures on Literature, Vladimir Nabokov writes, âLet us worship the spine and its tingle.⊠The study of the sociological or political impact of literature [is] for those who are by temperament or education immune to the aesthetic vibrancy of authentic literature, for those who do not experience the telltale tingle between the shoulder bladesâ (64). Canadian creative writing programs rarely share Nabokovâs devotion to a spinal âtingle.â The current practices of our writing programs and funding agencies generally ask writers to be scholars who simply drop the footnotes, while graduate creative writing education in all major anglophone countries of comparison values the unique fusion of personal and cultural truth available to the creative writer and her reader.
(Why Donât We) âFollow the Moneyâ(?)
Canadaâs globally unique lack of interest in the exponentially growing market for a creative writing education hurts Canada intellectually, culturally, and economically. Canadaâs English departments ignore what Mark McGurlâs The Program Era: Postwar Fiction and the Rise of Creative Writing rightly describes as creative writingâs âinsatiable student demand â that simultaneously progressive and consumerist valueâ (94). McGurlâs bar graph about the growth of creative writing education in the United States shows a supplierâs dream: an exponentially growing market (25). The Victorianists and Miltonists who run the majority of Canadaâs writing programs disregard not just the Canadian and global demand for a creative writing education in particular, but also creative education in general. Daniel Pinkâs A Whole New Mind: Why Right-Brainers Will Rule the Future observes, âIn the US, the number of graphic designers has increased tenfold in a decade; graphic designers outnumber chemical engineers by four to one. Since 1970, the US has 30% more people earning a living as writersâŠ. Some 240 US universities have established creative writing MFA programs, up from fewer than twenty two decades agoâ (55). The well-documented efficacy of arts funding should find Canadian creative writing grads who are creative problem solvers and polyvocal Âcommunicators with varied employment opportunities. The Canadian Conference of the Arts (CCA) observes that approximately $9 billion of (tri-level) government spending in culture yields, according to the Conference Board of Canada, roughly $85 billion or â7.4% of Canadaâs total real GDPâ (4). Analyzing figures from Statistics Canada and the Canadian Auto Workers union, the CCA counts more full-time Canadian artists (140,000) than autoworkers (135,000) (Useful 3). It also observes that âthe percentage of artists who are self-employed is six times the self-employment rate in the overall labour forceâ (Useful 4).** More specifically, Statistics Canada counts, âTotal Âoperating Ârevenues for the [Canadian] book publishing Âindustry amounted to $2.0 billion in 2010â (Book Publishing 4).
Canadaâs creative writing graduates may in fact be more employable than those Canadian English majors conscripted into professionalized anglophilia, yet they are continually given short shrift by the Moby Dick experts and other scholars of non-Canadian literature who manage their educations. The University of Windsor has one of Canadaâs older masterâs programs in creative writing. Its creative writing undergrads (and/or undergraduate English majors) are required to take one credit of either American or Canadian literature (compared to several of English literature). Can any reader imagine a Portuguese university allowing its literature majors to substitute a Spanish literature course for the national literature? In February of 2012, I did a Canada Councilâsponsored reading at Nipissing University. Chatting with a student, I asked which of her literature courses were most stimulating for the novel she was sketching now and hoped to work on significantly following graduation (âA Conversation withâ). She replied that her two remaining English courses, Restoration Drama and Prairie Realism, did not really pertain to her novel about a contemporary Canadian woman coming of age in a city. This studentâs education is not good value for her or her country.
âOnly in Canada, eh? Pityâ***
The uninformed or hostile managers of Canadaâs creative writing programs who ignore student demand, the cost-effectiveness of arts spending, and the enormity of Canadaâs book industry do so at national cost (despite their Âgovernment funding). As demonstrated in Figure 1, Canada lags behind almost all Western countries in the number of PhD graduates aged twenty-five to twenty-nine per 100,000 people (Public Education 16). Canadaâs low per capita completion of PhDs is shameful considering our global record for the highest per capita undergraduate enrollment (Grossman). The institutional disregard for creative writing and/or the study of Canadian literature (including that produced by creative writing grads) is illustrated by the national lack of interest in capitalizing on our high interest in undergraduate education in general and our ballooning interest in creative writing mastersâ degrees in particular. Notably, the doubling of masterâs creative writing programs in Canada has not been met here â as it has in other anglophone countries â with attendant changes in the number of Canadian doctoral programs in creative writing. A database at the Australian Association of Writing Programs lists 10 PhD programmes in CW (Australian). Despite Canadaâs ballooning number of creative writing masterâs programs and, as noted below, federal scholarship funding for creative writing PhD students, Canada has just three creative writing doctoral programs (and only two in English). Why does Australia â with 85 percent of our anglophone population and a highly comparable post-colonial history â have five times the number of anglophone creative writing PhD programs?
The United States also shames our doctoral creative writing offerings. AWP Executive Director David Fenza counts thirty-six creative writing PhD programs (âA Brief Historyâ). In round numbers, the United States has ten times Canadaâs population yet twenty times the number of creative writing PhD programs. Americaâs commitment to what Fenza calls âthe art of writing as essential to a good educationâ has resulted, he claims, in âthe largest system of literary patronage the world has ever seenâ (âA Brief Historyâ). Notably, this American patronage has evolved in an educational marketplace of both state-funded and privately funded universities. Unlike Canadian universities, American, Australian, and United Kingdom universities do not ignore the staggering student demand for graduate creative writing educations.
Unchecked discipline hostility appears to be one reason Canadian universities have not responded to the frankly insistent market for more Canadian creative writing PhD programs. In Harperâs, American author and semi-reluctant writing professor Lynn Freed refers to graduate creative writing programs as âthe cash cow of the humanitiesâ (69). Fenza, too, knows that âcreative writing classes have become among the most popular classes in the humanities.â Amazingly (and at national cost), Canadian Humanities programs are uninterested in this cash cow. If the Canadian English professors who ignore the student demand for creative writing PhDs (to say nothing of the intellectual and cultural opportunities they afford) were wasting their own money, Iâd be more forgiving. However, their cart-before-the-horse sales strategy insists on marketing a product students donât want to buy. McGurl contrasts the rapid growth of graduate creative writing with the minimal growth of graduate English degrees: âIn 2003â04 there was a total of 591 US institutions offering either an MA (428) or a PhD (143) in English literature. In 1991â92 that number had been 549. This represents an increase of 7 percent, as compared to a 39 percent increase in the number of creative writing programs over the same periodâ (414). Countries with an abundance of creative writing PhD programs (such as the United States, the United Kingdom, and Australia) have much higher general completion rates for PhDs per capita (Public Education 16). As noted below, the Social Sciences and Humanities Research Council of Canada (SSHRC) is theoretically just as willing to fund a PhD thesis that is a Canadian novel instead of a disquisition about a Canadian novel. In the single most popular TED Talk ever, on the lack of creativity in schools, Sir Ken Robinson claims that âevery education system on Earth has the same hierarchy of subjects.⊠And in pretty much every system too, thereâs a hierarchy within the arts. Art and music are normally given a higher status in schools than drama and danceâ (Robinson). Canadaâs English professors perpetually hierarchize English literature over Canadian literature and all literature over creative writing.
Dick and Jane vs. the Palimpsest
Others who have taught in one of Canadaâs hybrid Englishâcreative writing programs**** have surely experienced that moment when a student, usually in third year and drunk on theory, discovers the word palimpsest and then writes a palimpsestic poem or sc...