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.
This final chapter presents Mayers' view on the future of English studies if composition and creative writing can come together. He presents some interesting situations, such as the poetry workshop in which the rape survivor writes a poem about her experience, a poem that silences the class. When the teacher tries to critique the poem based on craft issues, the students become rather disheartened, because the teacher doesn't attend to the emotional qualities of the writer's experience.
There's some insights here that can be used both in composition and creative writing classes, drawing upon the point at which they converge and then allowing them to diverge.
The fact that there are 3 main organizations for the 3 threads of English studies is important too, and I think Mayers' comment that the CCC and AWP ought to work together if they hope to equalize the power relationships between themselves and the MLA is something to think about also.
I've read so much this semester that I forget where I read certain things (or did I dream them?) Mayers joins the ongoing discussion of the theory and structure of English Studies.
After reading the book, I realize how little I knew about English Studies and how beneficial introductory courses can be to clueless students such as myself.
I'm not sure if this is true for other universities, but here at UTPA advisement is either nonexistent or not effective. It's rather sad that I'm finding all this out in the last week of the last semester of coursework I have in graduate school. Nevertheless, it's still good I'm finding out at all.
I like a lot of what Mayers has to say and he has enlightened me quite a bit, but I close the book wanting a more specific or satisfying resolution to the divisions in English Studies. He basically concludes saying that although a Writing Studies branch which includes composition and creative writing will probably not exist across all universities. (Isn't it sad that although composition studies finances most English departments, literary studies is still placed above? Or, that a professor will be hired based on the expertise he will offer to one class he will teach in one semester out of an academic year?)
Mayers proposes some alternatives to somewhat approaching a more unified and equal English Studies. Because it is an weaker alternative, I feel like the book ends weakly as well. However, I guess that Mayers is practicing what he preaches in that he is joining an ongoing discussion on the subject and not necessarily giving final answers. It is up to the reader to continue the discourse in their own writing and teaching. In this way, I think the book is effective.
On a more practical note, as the semester progressed, I am extracting from each reading things I can actually use in my classroom, or things that change the way I think about teaching and writing. I like what Mayers says" "I would like to suggest here that writing teachers need not face an either/or choice between teaching writing-as-discovery and writing-as-instrument, since writing is never simply one or the other..." I agree both are important and I plan to explore the differences and similarities further of each approach.
Like Josh, I also found the example of the "rape narrative poem" workshop to be worthy of mention. I've seen how students can write about sensitive subjects and how this can affect the dynamics of the class. What I really like is how Mayers offers rhetoric as a suggestion for discussing a piece of creative work. Often times during workshops I've wanted to make suggestions to the writer but I can't find the words to pinpoint what needs work. Now I realize it was because I was viewing creative work in isolation of rhetoric and composition aspects. I was asking/answering the wrong questions. This realization will also help my own revision process as it will not longer just be about editing, but rather a rethinking of my purpose, audience, genre and everything else that affect writing really.
Other than what Josh and Myra have both said regarding the final chapter, I do not have much else to add. Myra echos the main feeling I got from it. Disheartening. I really don't see the change Mayers is talking about actually happening. I may seem too pessimistic, and maybe it is just the end of the semester stress getting to me, but while I think the ongoing discorse is good and necessary, it probably won't amount to any large scale change. That is not to say that those affected by any of the smaller scale changes don't make it all worth it, because they do. Here's to being involved in at least a local institutional change......
This final chapter presents Mayers' view on the future of English studies if composition and creative writing can come together. He presents some interesting situations, such as the poetry workshop in which the rape survivor writes a poem about her experience, a poem that silences the class. When the teacher tries to critique the poem based on craft issues, the students become rather disheartened, because the teacher doesn't attend to the emotional qualities of the writer's experience.
ReplyDeleteThere's some insights here that can be used both in composition and creative writing classes, drawing upon the point at which they converge and then allowing them to diverge.
The fact that there are 3 main organizations for the 3 threads of English studies is important too, and I think Mayers' comment that the CCC and AWP ought to work together if they hope to equalize the power relationships between themselves and the MLA is something to think about also.
I've read so much this semester that I forget where I read certain things (or did I dream them?) Mayers joins the ongoing discussion of the theory and structure of English Studies.
ReplyDeleteAfter reading the book, I realize how little I knew about English Studies and how beneficial introductory courses can be to clueless students such as myself.
I'm not sure if this is true for other universities, but here at UTPA advisement is either nonexistent or not effective. It's rather sad that I'm finding all this out in the last week of the last semester of coursework I have in graduate school. Nevertheless, it's still good I'm finding out at all.
I like a lot of what Mayers has to say and he has enlightened me quite a bit, but I close the book wanting a more specific or satisfying resolution to the divisions in English Studies. He basically concludes saying that although a Writing Studies branch which includes composition and creative writing will probably not exist across all universities. (Isn't it sad that although composition studies finances most English departments, literary studies is still placed above? Or, that a professor will be hired based on the expertise he will offer to one class he will teach in one semester out of an academic year?)
Mayers proposes some alternatives to somewhat approaching a more unified and equal English Studies. Because it is an weaker alternative, I feel like the book ends weakly as well. However, I guess that Mayers is practicing what he preaches in that he is joining an ongoing discussion on the subject and not necessarily giving final answers. It is up to the reader to continue the discourse in their own writing and teaching. In this way, I think the book is effective.
On a more practical note, as the semester progressed, I am extracting from each reading things I can actually use in my classroom, or things that change the way I think about teaching and writing. I like what Mayers says" "I would like to suggest here that writing teachers need not face an either/or choice between teaching writing-as-discovery and writing-as-instrument, since writing is never simply one or the other..." I agree both are important and I plan to explore the differences and similarities further of each approach.
Like Josh, I also found the example of the "rape narrative poem" workshop to be worthy of mention. I've seen how students can write about sensitive subjects and how this can affect the dynamics of the class. What I really like is how Mayers offers rhetoric as a suggestion for discussing a piece of creative work. Often times during workshops I've wanted to make suggestions to the writer but I can't find the words to pinpoint what needs work. Now I realize it was because I was viewing creative work in isolation of rhetoric and composition aspects. I was asking/answering the wrong questions. This realization will also help my own revision process as it will not longer just be about editing, but rather a rethinking of my purpose, audience, genre and everything else that affect writing really.
Other than what Josh and Myra have both said regarding the final chapter, I do not have much else to add. Myra echos the main feeling I got from it. Disheartening. I really don't see the change Mayers is talking about actually happening. I may seem too pessimistic, and maybe it is just the end of the semester stress getting to me, but while I think the ongoing discorse is good and necessary, it probably won't amount to any large scale change. That is not to say that those affected by any of the smaller scale changes don't make it all worth it, because they do. Here's to being involved in at least a local institutional change......
ReplyDelete