In "Colors of a Different Horse", creative writers who are teachers consider the political, historical, theoretical, and pedagogical states of their art by responding to Bishop and Ostrom's defining questions about their What takes place in creative writing classrooms? Why do certain practices and contexts prevail? Most important, what steps might teachers take to reexamine their profession? In a foreword, afterword, and twenty-two essays, thirty contributors reconsider the workshop; address the theoretical and technological contexts of creative writing and pedagogy; and re-envision evaluation, collaboration, and connections between types of writing instruction. In doing so, these writers envision creative writing theory and pedagogy in the 21st century.
“Colors of a Different Horse” to have very interesting arguments about the role of theory in creative writing. Perhaps writers are a bit arrogant when it comes to their work and that is why they have so much resistance to theory. On the other hand, writers also don’t want academics criticizing their work when they’ve never picked up a pen and created anything original. Writers are competitive by nature and the creative writing field reinforces the belief that few will move on to become successful and published. But writers are not gods. They are not perfect, and like any other artistic expression, they can improve upon their craft by dabbling in theory. I love how Bishop phrases this animosity between writer and scholar; she wants to “defang theory” and “make it more playful.” I agree with her stance, that the MFA should evoke “raucous, maddening, [and] pleasurable” conversations.
Ignore the name, this collection of essays is brilliant. Full of subversive pedagogical methods, strategies for creating an inclusive classroom, and biting critiques, this has resources for new teachers and tenured professors with five books out of print. Fabulous.