We are a reading group composed of graduate students in the Masters of Fine Arts program at The University of Texas Pan American and are discussing "(Re)writing Craft" by Tim Mayers for our Composition Techniques 6325 course with Dr. Jonikka Charlton. We hope to find a connection between RhetComp Studies and Creative Writing.
Monday, November 1, 2010
Chapter 2. "Craft Criticism" and the Possibility of Theoretical Scholarship in Creative Writing
I am really liking what the author has come up with when he talks about his term 'craft criticism' It wasn't something that I had thought that closely about before, but there really is a distinction between that and literary criticism. The examples he chose to show the difference were pretty illustratavie of his point. As a creative writer, I myself am more interested in 'craft criticism' than I am in literary criticism, although at times, but only rarely, I find lit crit interesting. I guess at this point I have to confess myself as a poser. I'm not like the 'real' grad students/scholars. I am quite simple-minded when it comes to analyzing texts.... I know what I like and don't like once I have read something, but sometimes I couldn't tell you why. But getting into the craft criticism I something I think I could do much more easily.
As far as what it means to the discipline of English studies, I do not know yet,(because I have not finished the book yet.) but I find his mention that creative writing and comtemporary literature criticism showed up in academia about the same time an interesting idea. Especially the theory that it was because the creative writer/professor was looking to broaden his audience. (this idea was actually Gerald Graff's, and not Mayers).
I think the statement Mayers makes on page 46 is a good definition of 'craft criticism' "Craft criticism is engaged theorizing about creative production-- theorizing that arises from and is responsive to the social, political, economic, and institutional contexts for creative writing." To me it is the discussion of what 'creative writing' should be. Its the battles being fought over what constitutes poetry, fiction, or genre... and all that emcompasses that. It's an ongoing dialouge within the field exploring the boundaries of the field. Well, anyway, that is my 2 cents worth on that chapter of the book.
I have to admit that I am in both camps. I want to write, obviously, or I wouldn't be an MFA student... but I am very much a theory head/analytic type (I just laughed when I typed that out because it makes me think of why people call certain folks 'anal'), as you all have probably noticed in classes you've taken with me.
That said, I am finding this guy echoing some similar ideas to McGurl's book. I don't know if I can say anything more specific as of yet, since the ideas may still be rather nascent, but I am feeling some affinity between them. And considering that McGurl spent about 5 years doing research in order to write *The Program Era*, it's entirely possible he read this particular text in that time frame.
Craft criticism, I think, is about thinking about creative writing. I say this in a different way than merely being reflective about what you want to achieve in your writing and how to go about achieving.
The connection between theory and creative writing is where craft criticism comes in. Whereas literary criticism attempts to interpretatively understand a work of fiction, for example, craft criticism wants to know how that piece of writing came into being.
What motivated the author to write it? How did he or she choose to write it? What techniques were used and were they drawn from previous works?
In reviewing this chapter, I really got a sense that when we write a critical introduction for our theses, we are attempting craft criticism, though we turn the lens upon ourselves.
Lori, I feel the same way that you do- out of my depth when discussing certain aspects of analysis. I've had to learn it in order to teach high school English, but I have to admit that even after graduating with an English degree, I still was unsure of my analytical skills. Some aspects come natural to me now just from talking about it with my students everyday, but I feel that it is more what other people have to say about literature and not what I have thought out on my own. As I'm reading Mayers I'm also noticing how he is thoroughly elaborating each of his arguments, and I need to remember when I am writing something that is not part of my creative work.
I wonder why he spent more time talking about craft criticism from a poetry standpoint. Is it because the production of poetry is more elusive than fiction?
I agree with Josh that craft criticism is what we are doing with the intros of our theses. When I began this program, I had no idea what it was all about or why getting a degree to become a writer was important. I know that anyone can be a writer without going to school for it, but taking classes has certainly helped me.
This book is clearing up some things for me in the area of creative writing and how to define it etc. It's important to be able to define things and label them because them you can dialogue with others in the field and be able to benefit from such discussions.
So far so good with Mayers.Still don't know if his book will help with teaching FYC, but it's helping me situate myself within the academic world of creative writing :)
I think I'm always going to be unsure of my analytical skills, basically because I have convinced myself that perhaps my mind just does not work that way. Craft criticism is an interesting concept, and in terms of teaching Composition, perhaps that is what we are trying to accomplish. I'm a creative writer by nature, but if I were to teach an FYC, I know that would not be the focus of the course, so I've been trying to figure out what would be the exact "craft" I am trying to give input on.
I might be getting just a tad off subject, but as I read through all we are typing and reading, I'm beginning to wonder if all these thoughts were handed down, or simply just in my nature. The only conclusion I can concretely make is that this book certainly has us thinking about this stuff rather intensely, which would seem that it might be one to recommend.
I am really liking what the author has come up with when he talks about his term 'craft criticism' It wasn't something that I had thought that closely about before, but there really is a distinction between that and literary criticism. The examples he chose to show the difference were pretty illustratavie of his point. As a creative writer, I myself am more interested in 'craft criticism' than I am in literary criticism, although at times, but only rarely, I find lit crit interesting. I guess at this point I have to confess myself as a poser. I'm not like the 'real' grad students/scholars. I am quite simple-minded when it comes to analyzing texts.... I know what I like and don't like once I have read something, but sometimes I couldn't tell you why. But getting into the craft criticism I something I think I could do much more easily.
ReplyDeleteAs far as what it means to the discipline of English studies, I do not know yet,(because I have not finished the book yet.) but I find his mention that creative writing and comtemporary literature criticism showed up in academia about the same time an interesting idea. Especially the theory that it was because the creative writer/professor was looking to broaden his audience. (this idea was actually Gerald Graff's, and not Mayers).
I think the statement Mayers makes on page 46 is a good definition of 'craft criticism'
"Craft criticism is engaged theorizing about creative production-- theorizing that arises from and is responsive to the social, political, economic, and institutional contexts for creative writing." To me it is the discussion of what 'creative writing' should be. Its the battles being fought over what constitutes poetry, fiction, or genre... and all that emcompasses that. It's an ongoing dialouge within the field exploring the boundaries of the field. Well, anyway, that is my 2 cents worth on that chapter of the book.
I have to admit that I am in both camps. I want to write, obviously, or I wouldn't be an MFA student... but I am very much a theory head/analytic type (I just laughed when I typed that out because it makes me think of why people call certain folks 'anal'), as you all have probably noticed in classes you've taken with me.
ReplyDeleteThat said, I am finding this guy echoing some similar ideas to McGurl's book. I don't know if I can say anything more specific as of yet, since the ideas may still be rather nascent, but I am feeling some affinity between them. And considering that McGurl spent about 5 years doing research in order to write *The Program Era*, it's entirely possible he read this particular text in that time frame.
More when I have more to say.
Craft criticism, I think, is about thinking about creative writing. I say this in a different way than merely being reflective about what you want to achieve in your writing and how to go about achieving.
ReplyDeleteThe connection between theory and creative writing is where craft criticism comes in. Whereas literary criticism attempts to interpretatively understand a work of fiction, for example, craft criticism wants to know how that piece of writing came into being.
What motivated the author to write it? How did he or she choose to write it? What techniques were used and were they drawn from previous works?
In reviewing this chapter, I really got a sense that when we write a critical introduction for our theses, we are attempting craft criticism, though we turn the lens upon ourselves.
Lori, I feel the same way that you do- out of my depth when discussing certain aspects of analysis. I've had to learn it in order to teach high school English, but I have to admit that even after graduating with an English degree, I still was unsure of my analytical skills. Some aspects come natural to me now just from talking about it with my students everyday, but I feel that it is more what other people have to say about literature and not what I have thought out on my own. As I'm reading Mayers I'm also noticing how he is thoroughly elaborating each of his arguments, and I need to remember when I am writing something that is not part of my creative work.
ReplyDeleteI wonder why he spent more time talking about craft criticism from a poetry standpoint. Is it because the production of poetry is more elusive than fiction?
I agree with Josh that craft criticism is what we are doing with the intros of our theses. When I began this program, I had no idea what it was all about or why getting a degree to become a writer was important. I know that anyone can be a writer without going to school for it, but taking classes has certainly helped me.
This book is clearing up some things for me in the area of creative writing and how to define it etc. It's important to be able to define things and label them because them you can dialogue with others in the field and be able to benefit from such discussions.
So far so good with Mayers.Still don't know if his book will help with teaching FYC, but it's helping me situate myself within the academic world of creative writing :)
I think I'm always going to be unsure of my analytical skills, basically because I have convinced myself that perhaps my mind just does not work that way. Craft criticism is an interesting concept, and in terms of teaching Composition, perhaps that is what we are trying to accomplish. I'm a creative writer by nature, but if I were to teach an FYC, I know that would not be the focus of the course, so I've been trying to figure out what would be the exact "craft" I am trying to give input on.
ReplyDeleteI might be getting just a tad off subject, but as I read through all we are typing and reading, I'm beginning to wonder if all these thoughts were handed down, or simply just in my nature. The only conclusion I can concretely make is that this book certainly has us thinking about this stuff rather intensely, which would seem that it might be one to recommend.