Workshops Of Empire
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| Author | : Eric Bennett |
| Publisher | : University of Iowa Press |
| Total Pages | : 247 |
| Release | : 2015-10-15 |
| Genre | : Literary Criticism |
| ISBN | : 1609383729 |
During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century.
| Author | : Mark McGurl |
| Publisher | : Harvard University Press |
| Total Pages | : 481 |
| Release | : 2011-11-30 |
| Genre | : Literary Criticism |
| ISBN | : 0674266021 |
In The Program Era, Mark McGurl offers a fundamental reinterpretation of postwar American fiction, asserting that it can be properly understood only in relation to the rise of mass higher education and the creative writing program. McGurl asks both how the patronage of the university has reorganized American literature and—even more important—how the increasing intimacy of writing and schooling can be brought to bear on a reading of this literature. McGurl argues that far from occasioning a decline in the quality or interest of American writing, the rise of the creative writing program has instead generated a complex and evolving constellation of aesthetic problems that have been explored with energy and at times brilliance by authors ranging from Flannery O’Connor to Vladimir Nabokov, Philip Roth, Raymond Carver, Joyce Carol Oates, and Toni Morrison. Through transformative readings of these and many other writers, The Program Era becomes a meditation on systematic creativity—an idea that until recently would have seemed a contradiction in terms, but which in our time has become central to cultural production both within and beyond the university. An engaging and stylishly written examination of an era we thought we knew, The Program Era will be at the center of debates about postwar literature and culture for years to come.
| Author | : Greg Grandin |
| Publisher | : Metropolitan Books |
| Total Pages | : 318 |
| Release | : 2006-05-02 |
| Genre | : History |
| ISBN | : 1429959150 |
An eye-opening examination of Latin America's role as proving ground for U.S. imperial strategies and tactics In recent years, one book after another has sought to take the measure of the Bush administration's aggressive foreign policy. In their search for precedents, they invoke the Roman and British empires as well as postwar reconstructions of Germany and Japan. Yet they consistently ignore the one place where the United States had its most formative imperial experience: Latin America. A brilliant excavation of a long-obscured history, Empire's Workshop is the first book to show how Latin America has functioned as a laboratory for American extraterritorial rule. Historian Greg Grandin follows the United States' imperial operations, from Thomas Jefferson's aspirations for an "empire of liberty" in Cuba and Spanish Florida, to Ronald Reagan's support for brutally oppressive but U.S.-friendly regimes in Central America. He traces the origins of Bush's policies to Latin America, where many of the administration's leading lights—John Negroponte, Elliott Abrams, Otto Reich—first embraced the deployment of military power to advance free-market economics and first enlisted the evangelical movement in support of their ventures. With much of Latin America now in open rebellion against U.S. domination, Grandin concludes with a vital question: If Washington has failed to bring prosperity and democracy to Latin America—its own backyard "workshop"—what are the chances it will do so for the world?
| Author | : David O. Dowling |
| Publisher | : Yale University Press |
| Total Pages | : 440 |
| Release | : 2019-03-26 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 0300245009 |
A vibrant history of the renowned and often controversial Iowa Writers’ Workshop and its celebrated alumni and faculty As the world’s preeminent creative writing program, the Iowa Writers’ Workshop has produced an astonishing number of distinguished writers and poets since its establishment in 1936. Its alumni and faculty include twenty-eight Pulitzer Prize winners, six U.S. poet laureates, and numerous National Book Award winners. This volume follows the program from its rise to prominence in the early 1940s under director Paul Engle, who promoted the “workshop” method of classroom peer criticism. Meant to simulate the rigors of editorial and critical scrutiny in the publishing industry, this educational style created an environment of both competition and community, cooperation and rivalry. Focusing on some of the exceptional authors who have participated in the program—such as Flannery O’Connor, Dylan Thomas, Kurt Vonnegut, Jane Smiley, Sandra Cisneros, T. C. Boyle, and Marilynne Robinson—David Dowling examines how the Iowa Writers’ Workshop has shaped professional authorship, publishing industries, and the course of American literature.
| Author | : Loren Glass |
| Publisher | : University of Iowa Press |
| Total Pages | : 288 |
| Release | : 2016 |
| Genre | : Education |
| ISBN | : 1609384393 |
Chapter 12. "My Ghost Life": Russell Banks and the Limits of Aesthetic Democracy - Sean McCann -- Chapter 13. Getting Real: From Mass Modernism to Peripheral Realism - Donal Harris -- Chapter 14. From Modernism to Metamodernism: Quantifying and Theorizing the Stages of the Program Era - Seth Abramson -- Afterword. And Then What? - Mark McGurl -- Contributors -- Index
| Author | : Joel Whitney |
| Publisher | : OR Books |
| Total Pages | : 427 |
| Release | : 2017-01-03 |
| Genre | : Political Science |
| ISBN | : 1682190250 |
When news broke that the CIA had colluded with literary magazines to produce cultural propaganda throughout the Cold War, a debate began that has never been resolved. The story continues to unfold, with the reputations of some of America’s best-loved literary figures—including Peter Matthiessen, George Plimpton, and Richard Wright—tarnished as their work for the intelligence agency has come to light. Finks is a tale of two CIAs, and how they blurred the line between propaganda and literature. One CIA created literary magazines that promoted American and European writers and cultural freedom, while the other toppled governments, using assassination and censorship as political tools. Defenders of the “cultural” CIA argue that it should have been lauded for boosting interest in the arts and freedom of thought, but the two CIAs had the same undercover goals, and shared many of the same methods: deception, subterfuge and intimidation. Finks demonstrates how the good-versus-bad CIA is a false divide, and that the cultural Cold Warriors again and again used anti-Communism as a lever to spy relentlessly on leftists, and indeed writers of all political inclinations, and thereby pushed U.S. democracy a little closer to the Soviet model of the surveillance state. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #323333; -webkit-text-stroke: #323333} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #323333; -webkit-text-stroke: #323333; min-height: 16.0px} span.s1 {font-kerning: none}
| Author | : Eric Bennett |
| Publisher | : University of Iowa Press |
| Total Pages | : 247 |
| Release | : 2015-10-15 |
| Genre | : Biography & Autobiography |
| ISBN | : 1609383710 |
During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. Workshops of Empire explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university Book jacket.
| Author | : Fred Rosen |
| Publisher | : Duke University Press |
| Total Pages | : 285 |
| Release | : 2008-09-29 |
| Genre | : History |
| ISBN | : 0822381443 |
Since the early nineteenth century, the United States has repeatedly intervened in the affairs of Latin American nations to pursue its own interests and to “protect” those countries from other imperial powers or from internal “threats.” The resentment and opposition generated by the encroachment of U.S. power has been evident in the recurrent attempts of Latin American nations to pull away from U.S. dominance and in the frequent appearance of popular discontent and unrest directed against imperialist U.S. policies. In Empire and Dissent, senior Latin Americanists explore the interplay between various dimensions of imperial power and the resulting dissent and resistance. Several essays provide historical perspective on contemporary U.S.–hemispheric relations. These include an analysis of the nature and dynamics of imperial domination, an assessment of financial relations between the United States and Latin America since the end of World War II, an account of Native American resistance to colonialism, and a consideration of the British government’s decision to abolish slavery in its colonies. Other essays focus on present-day conflicts in the Americas, highlighting various modes of domination and dissent, resistance and accommodation. Examining southern Mexico’s Zapatista movement, one contributor discusses dissent in the era of globalization. Other contributors investigate the surprisingly conventional economic policies of Brazil’s president, Luiz Inácio Lula da Silva; Argentina’s recovery from its massive 2001 debt default; the role of coca markets in the election of Bolivia’s first indigenous president, Evo Morales; and the possibilities for extensive social change in Venezuela. A readers’ guide offers a timeline of key events from 1823 through 2007, along with a list of important individuals, institutions, and places. Contributors: Daniel A. Cieza, Gregory Evans Dowd, Steve Ellner, Neil Harvey, Alan Knight, Carlos Marichal, John Richard Oldfield, Silvia Rivera, Fred Rosen, Jeffrey W. Rubin
| Author | : Sandra Halperin |
| Publisher | : Cambridge University Press |
| Total Pages | : 269 |
| Release | : 2015-11-26 |
| Genre | : Political Science |
| ISBN | : 1107109469 |
This book reveals how the structures and practices of past empires interact with and shape contemporary 'national' ones.
| Author | : Christopher Kempf |
| Publisher | : JHU Press |
| Total Pages | : 292 |
| Release | : 2022-03-15 |
| Genre | : Literary Criticism |
| ISBN | : 1421443570 |
The hidden history of the creative writing workshop and the socioeconomic consequences of the craft labor metaphor. In a letter dated September 1, 1912, drama professor George Pierce Baker recommended the term "workshop" for an experimental course in playwriting he had been planning with former students at Harvard and Radcliffe. This was the first time that term, now ubiquitous, was used in the context of creative writing pedagogy. Today, the MFA (master of fine arts) industry is a booming one, with more than 200 programs and thousands of residencies and conferences for aspiring writers nationwide. Almost all of these offerings operate on the workshop model. In Craft Class, Christopher Kempf argues that the primary institutional form of creative writing studies, the workshop, has remained invisible before our scholarly eyes. While Baker and others marshaled craft toward economic critique, craft pedagogies consolidated the authority of elite educational institutions as the MFA industry grew. Transcoding professional-managerial soft skills—linguistic facility, social and emotional discernment, symbolic fluency—in the language of manual labor, the workshop nostalgically invokes practices that the university itself has rendered obsolete. The workshop poem or short story thus shares discursive space with the craft IPA or hand-loomed Pottery Barn rug—a space in which one economic practice rewrites itself in the language of another, just as right-wing corporatism continuously rewrites itself in the language of populism. Delineating an arc that extends from Boston's fin de siècle Society of Arts and Crafts through 1930s proletarian workshops to the pedagogies of Black Mountain College and the postwar MFA, Craft Class reveals how present-day creative writing restructures transhistorical questions of labor, education, and aesthetic and economic production. With the rise of the workshop in American culture, Kempf shows, manual and mental labor have been welded together like steel plates. What fissures does that weld seal shut? And on whose behalf does the poet punch in?
