a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_PddQ8xLinAc/SjiMDWH68gI/AAAAAAAAG2M/M-hakNO_j-Y/s1600-h/how.jpg"img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 132px; height: 200px;" src="http://2.bp.blogspot.com/_PddQ8xLinAc/SjiMDWH68gI/AAAAAAAAG2M/M-hakNO_j-Y/s200/how.jpg" alt="" id="BLOGGER_PHOTO_ID_5348178546608763394" border="0" //aFor those interested in the debate about whether creative writing can be taught or not, and the effectiveness of such courses, there is a href="http://www.newyorker.com/arts/critics/atlarge/2009/06/08/090608crat_atlarge_menand"a fascinating (but very lengthy) overview of the impact of such courses/a on the American writing landscape at span style="font-style: italic;"The New Yorker/span. Lois Menand, himself the product of a creative writing course (an experience he says he would not trade for anything) draws on Mark McGurl's a href="http://www.amazon.com/Program-Era-Postwar-Fiction-Creative/dp/0674033191"span style="font-style: italic;"The Program Era : Postwar Writing and the Rise of Creative Fiction/span/a . This book is also a href="http://www.conversationalreading.com/2009/06/the-program-era-by-mark-mcgurl.html"reviewed at span style="font-style: italic;"Conversational Reading/span/a where Andrew Seal finds it :br /span style="font-style: italic;"/spanblockquotespan style="font-style: italic;"... a book that is very likely to matter, and a book that is very likely to lead to some very exciting and productive conversations about how American literature should be mapped and how it should be read—and written. /span/blockquotediv class="blogger-post-footer"img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7912730-912058004202735379?l=thebookaholic.blogspot.com'//div
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