Research in Creative Writing – serie

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.

The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.

The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.

The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice.Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice.Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.

The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice.Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice.Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.

The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice.Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice.Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.

The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice.Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice.Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.

The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.

Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction—especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities.Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials.

Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction-especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities.Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials.

Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction-especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities.Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials.

Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction—especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities.Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials.

As the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of "Many Voices classrooms" and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the technical aspects of creating narrative fiction, poetry and nonfiction podcasts; how instructors might best curate podcasts for their classes; guidance on using podcasts to create scaffolding for teaching creative writing craft elements in different modes; and the ways of using author podcasts to demystify the writerly mystique.With each chapter featuring a section on practical application in the classroom, hints and tips from teacher-podcasters, and suggested student assignments, Digital Voices is an accessible primer, offering both a critical examination of the medium and a practical guide to putting the concepts discussed into practice.

As the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of "Many Voices classrooms" and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the technical aspects of creating narrative fiction, poetry and nonfiction podcasts; how instructors might best curate podcasts for their classes; guidance on using podcasts to create scaffolding for teaching creative writing craft elements in different modes; and the ways of using author podcasts to demystify the writerly mystique.With each chapter featuring a section on practical application in the classroom, hints and tips from teacher-podcasters, and suggested student assignments, Digital Voices is an accessible primer, offering both a critical examination of the medium and a practical guide to putting the concepts discussed into practice.

As the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of "Many Voices classrooms" and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the technical aspects of creating narrative fiction, poetry and nonfiction podcasts; how instructors might best curate podcasts for their classes; guidance on using podcasts to create scaffolding for teaching creative writing craft elements in different modes; and the ways of using author podcasts to demystify the writerly mystique.With each chapter featuring a section on practical application in the classroom, hints and tips from teacher-podcasters, and suggested student assignments, Digital Voices is an accessible primer, offering both a critical examination of the medium and a practical guide to putting the concepts discussed into practice.

As the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of "Many Voices classrooms" and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the technical aspects of creating narrative fiction, poetry and nonfiction podcasts; how instructors might best curate podcasts for their classes; guidance on using podcasts to create scaffolding for teaching creative writing craft elements in different modes; and the ways of using author podcasts to demystify the writerly mystique.With each chapter featuring a section on practical application in the classroom, hints and tips from teacher-podcasters, and suggested student assignments, Digital Voices is an accessible primer, offering both a critical examination of the medium and a practical guide to putting the concepts discussed into practice.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

Shortlisted for the international 2026 Max Nänny Word and Image Prize.An investigation into the powerful effects occurring at the threshold between articulation and inarticulation in original and translated works, this book models how creative writing research, practice, processes, products and theories can further academic thought. At the threshold of in/articulacy, language can be said to ‘thicken’ and obscure the usual conditions of legibility or lexical meaning, becoming unfamiliar, flexible, incomplete, even absent. These ‘thickening’ moments alter and enrich literary processes and texts to initiate a paradigm shift in composition, translation and reading experiences. Interrogating this shift from the viewpoints of writers, translators and readers, Judy Kendall draws on translation studies, literary theory, anthropology, philosophy and physics and more to examine the practices of Semantic Poetry Translation, code-switching, made-up English, visual text, vital materiality and the material-discursive. Breaking new ground with her enactment of the ways in which creative writing can take an active and productive lead in research enquiries, Kendall looks at works including Old English riddles, Nigerian novels, J R. R. Tolkien’s and Ursula K. Le Guin’s narratives, Caroline Bergvall’s hybrid works, Caryl Churchill’s The Skriker, Patrick Chamoiseau’s novels, Zong! and several other visual texts.

An investigation into the powerful effects occurring at the threshold between articulation and inarticulation in original and translated works, this book models how creative writing research, practice, processes, products and theories can further academic thought. At the threshold of in/articulacy, language can be said to ''thicken'' and obscure the usual conditions of legibility or lexical meaning, becoming unfamiliar, flexible, incomplete, even absent. These ''thickening'' moments alter and enrich literary processes and texts to initiate a paradigm shift in composition, translation and reading experiences. Interrogating this shift from the viewpoints of writers, translators and readers, Judy Kendall draws on translation studies, literary theory, anthropology, philosophy and physics and more to examine the practices of Semantic Poetry Translation, code-switching, made-up English, visual text, vital materiality and the material-discursive. Breaking new ground with her enactment of the ways in which creative writing can take an active and productive lead in research enquiries, Kendall looks at works including Old English riddles, Nigerian novels, J R. R. Tolkien''s and Ursula K. Le Guin''s narratives, Caroline Bergvall''s hybrid works, Caryl Churchill''s The Skriker, Patrick Chamoiseau''s novels, Zong! and several other visual texts.

An investigation into the powerful effects occurring at the threshold between articulation and inarticulation in original and translated works, this book models how creative writing research, practice, processes, products and theories can further academic thought. At the threshold of in/articulacy, language can be said to ''thicken'' and obscure the usual conditions of legibility or lexical meaning, becoming unfamiliar, flexible, incomplete, even absent. These ''thickening'' moments alter and enrich literary processes and texts to initiate a paradigm shift in composition, translation and reading experiences. Interrogating this shift from the viewpoints of writers, translators and readers, Judy Kendall draws on translation studies, literary theory, anthropology, philosophy and physics and more to examine the practices of Semantic Poetry Translation, code-switching, made-up English, visual text, vital materiality and the material-discursive. Breaking new ground with her enactment of the ways in which creative writing can take an active and productive lead in research enquiries, Kendall looks at works including Old English riddles, Nigerian novels, J R. R. Tolkien''s and Ursula K. Le Guin''s narratives, Caroline Bergvall''s hybrid works, Caryl Churchill''s The Skriker, Patrick Chamoiseau''s novels, Zong! and several other visual texts.

In a challenge to monolingual, Anglophone dominated creative writing workshops, this book explores why and how students’ multilingual backgrounds and lack of fluency with the English language can emerge as assets rather than impediments to artistry and creativity. Grounded in the Chinese tradition of Daoism as an ongoing discourse, this exploration uses rigorous academic readings of the philosophical text, the Zhuangzi, as an analytical framework and takes a translingual approach to writing where translation and composition intersect, inscribing one language upon another within a single text. With concepts that resist expression such as inspiration, uncertainty, non-knowing, spontaneity, unity, forgetting the self, and the perfection behind the imperfection of language, Jennifer Quist demonstrates how Daoism’s theories and metalanguage can re-imagine creative writing education whilst de-naturalizing the authority of English and Euro-American literary traditions. With analytical lenses derived from East Asia given context through translations of Chinese educators’ primary accounts of the history and theory of postsecondary creative writing education in 21st-century China, Quist develops a method for examining the practices of exemplary translingual writers from China, Japan, and their diasporas.Featuring translingual writing prompts and practices for individual or classroom use by students at all levels of multilingualism, Translingual Creative Writing Theory, Practice, and Pedagogy opens up the current workshop model and discloses the possibilities of linguistic transcendence for instructors and students. With writing strategies based in cross-cultural collaboration and balanced with de-Anglicization of creative writing pedagogy, this book calls to rework the structures, methods, and metaphors of the workshop and presents ideas for more collaborative, collective, equitable, diverse, and inclusive programs.

In a challenge to monolingual, Anglophone dominated creative writing workshops, this book explores why and how students'' multilingual backgrounds and lack of fluency with the English language can emerge as assets rather than impediments to artistry and creativity. Grounded in the Chinese tradition of Daoism as an ongoing discourse, this exploration uses rigorous academic readings of the philosophical text, the Zhuangzi, as an analytical framework and takes a translingual approach to writing where translation and composition intersect, inscribing one language upon another within a single text. With concepts that resist expression such as inspiration, uncertainty, non-knowing, spontaneity, unity, forgetting the self, and the perfection behind the imperfection of language, Jennifer Quist demonstrates how Daoism''s theories and metalanguage can re-imagine creative writing education whilst de-naturalizing the authority of English and Euro-American literary traditions. With analytical lenses derived from East Asia given context through translations of Chinese educators'' primary accounts of the history and theory of postsecondary creative writing education in 21st-century China, Quist develops a method for examining the practices of exemplary translingual writers from China, Japan, and their diasporas. Featuring translingual writing prompts and practices for individual or classroom use by students at all levels of multilingualism, Translingual Creative Writing Theory, Practice, and Pedagogy opens up the current workshop model and discloses the possibilities of linguistic transcendence for instructors and students. With writing strategies based in cross-cultural collaboration and balanced with de-Anglicization of creative writing pedagogy, this book calls to rework the structures, methods, and metaphors of the workshop and presents ideas for more collaborative, collective, equitable, diverse, and inclusive programs.

In a challenge to monolingual, Anglophone dominated creative writing workshops, this book explores why and how students'' multilingual backgrounds and lack of fluency with the English language can emerge as assets rather than impediments to artistry and creativity. Grounded in the Chinese tradition of Daoism as an ongoing discourse, this exploration uses rigorous academic readings of the philosophical text, the Zhuangzi, as an analytical framework and takes a translingual approach to writing where translation and composition intersect, inscribing one language upon another within a single text. With concepts that resist expression such as inspiration, uncertainty, non-knowing, spontaneity, unity, forgetting the self, and the perfection behind the imperfection of language, Jennifer Quist demonstrates how Daoism''s theories and metalanguage can re-imagine creative writing education whilst de-naturalizing the authority of English and Euro-American literary traditions. With analytical lenses derived from East Asia given context through translations of Chinese educators'' primary accounts of the history and theory of postsecondary creative writing education in 21st-century China, Quist develops a method for examining the practices of exemplary translingual writers from China, Japan, and their diasporas. Featuring translingual writing prompts and practices for individual or classroom use by students at all levels of multilingualism, Translingual Creative Writing Theory, Practice, and Pedagogy opens up the current workshop model and discloses the possibilities of linguistic transcendence for instructors and students. With writing strategies based in cross-cultural collaboration and balanced with de-Anglicization of creative writing pedagogy, this book calls to rework the structures, methods, and metaphors of the workshop and presents ideas for more collaborative, collective, equitable, diverse, and inclusive programs.

An investigation at the intersection of the writer and artificial intelligence, this book makes a case for the centrality and validity of the uniquely human ‘writing self’ against a backdrop of ubiquitous AI-generated material. With Pandora’s Box irreversibly open, The Writing Self in the Age of Artificial Intelligence decodes how creative writers encounter AI, comparing AI and human-generated texts, digging into the theories and philosophies underpinning this paradigm shift towards the posthuman, and ultimately putting forward a radical manifesto for navigating creative endeavor in the future.Looking at how AI performs complex creative writing tasks, how creative writing has become commodified, and how through posthumanist, transhumanist and new materialist theories humans have become ‘hackable’, Paul Williams and Shelley Davidow reassert the humanness of creative endeavor by rejecting a disembodied ‘subject’. Instead, they posit the need for a creative, performative, author-centered/process-writing 'self' that is changed by its own journey. Blending memoir with essay and poetry to perform the writing self they outline, the authors highlight what is unique about human creativity: serendipity, failure, synchronicity, experiential phenomenology, and what they term ‘supra consciousness’, a transcendent, non-hackable, innately human connected community with a shared story.Hopeful, engaging and addressing important concerns in the field, The Writing Self in the Age of Artificial Intelligence illuminates the value of writing for the writer, as a process of thinking, feeling and self-discovery.