This essay is as timely as it is unlikely. Timely, because many studies have correlated economic crises, such as the one corroding the academic job market as well as so many other career prospects, with a rise in domestic abuse. Unlikely, because I am far from the type of person whom one would expect to chronicle personal experience in this area.
None of the stereotypes apply. I am a professor at a respected university with what many people (not just my mother) would describe as an international reputation in her field. The product of a white, upper-middle-class professional household, I seldom heard my father raise his voice to my mother -- his raising his hand would have been inconceivable. Their marriage was perhaps not one made in heaven, but neither was it an instance of cruelty by any stretch of the imagination. And I did not and do not have a pattern of involvement with abusive partners; indeed, for the past 22 years I have enjoyed a very happy and stable relationship with a compassionate and supportive man.
I had thought I had every reason to anticipate a happy and stable relationship in my erstwhile marriage as well. My ex-husband and I shared many cultural interests and were anticipating careers in the same field within the humanities, with similar pedigrees and similarly strong academic records. By chance my career, however, started more smoothly than his, despite his impressive credentials and abilities, indeed gifts. I finished graduate school a year before he did in the ‘70s — shortly after the precipitous decline in the job market -- and obtained a tenure-track appointment while he was completing his dissertation. We then moved for compelling personal reasons, and I was fortunate enough to find an academic position again, but he did not do so.
My ex-husband had slapped me once early in our marriage when, because I had not understood and hence had not followed his instructions during a household repair, a small amount of water fell on him. I was shocked, but I viewed the episode as an aberration. It was not.
That event suggests that the recurrence of such abuse cannot be wholly blamed on his not having a job. And after all, many unemployed people do not descend into such behavior, while many who are guilty of it hold stable jobs. Nonetheless, the timing persuades me that my ex-husband’s not obtaining the sort of position he had hoped for contributed significantly to the recurrence of wife-beating. For shortly after we had moved and I, but not he, held an academic appointment, physical abuse started again. He pinched, shoved, and hit me with some regularity over a period of about a year. Not by any means the most violent wife-beating, but quite enough, thank you, to leave significant black-and-blue marks on one occasion and less visible scars on the others. The physical abuse was accompanied by persistent belittling remarks. Throughout all this, my ex-husband continued to appear in public as a charming and highly educated gentleman and a courteous husband. I later learned that this Jekyll-Hyde scenario is a common symptom of pathologies like his.
Why did I put up with it? Barely able to believe that this was happening between people like us, I made excuses for him, justifying his behavior as a regrettable but understandable response to his unemployment, which was clearly all the more difficult for him because I had an attractive job in the same field. The contrast between his public and private behavior made it harder to confront the events squarely, as did the ways the situation sapped my own self-confidence. Like many victims of domestic abuse, I began to blame myself, not realizing that although I had made real mistakes, such as occasional tactless remarks, they neither explained nor justified this physical and emotional maltreatment.
Moreover, like many wife-beaters, he repeatedly seemed to repent. On the several occasions when I finally resolved to leave, he admitted that situations for which he had blamed only me were in fact in large measure his responsibility, and he promised to get therapy. These apparent reversals were, I was to discover, as much a pattern as the violence itself, and the therapy never materialized.
His career not only got back on track but flourished after that year of unemployment — a good though temporary job one year, a tenure-track job the next, the publication of a well-received book by a leading press, and so on. The physical abuse stopped shortly after he gained those academic positions, though the emotional analogues to it did not, and for that and many other reasons I finally, belatedly, got a divorce.
What I learned is relevant to anyone, man or woman, suffering domestic abuse.
Realizing that stressful circumstances outside the home -- and one's own behavior -- may have contributed to tension is a very different matter from excusing the behavior or shouldering all the responsibility oneself. Distinguish compassion from submission: it's healthy to understand the financial pressures that might bring out this type of violence in some individuals, but no one should accept its continuation. Be alert to connections between the physical and verbal, recognizing that physical abuse often merely goes into remission or resurfaces as verbal wife-beating. Apologies and promises need to be backed up with concrete and reliable evidence for believing that change will occur.
But one step must precede and accompany all of these: Avoid the temptation to excuse or deny the abuse by saying, "This isn't really occurring, and it will stop any minute because things like this don't happen to a professional couple like us." They can. They do. And, sadly, in this academic job market, they will.
The author of this piece, who asked to remain anonymous, is a tenured professor.
Ball State University has hired Guillermo Gonzalez -- a prominent figure in intelligent design -- as assistant professor in the department of physics and astronomy, The Star Press reported. Gonzalez was denied tenure at Iowa State University, where he said that he was being punished for his views, but his faculty colleagues said he was rejected based on traditional tenure criteria. A broad consensus exists among scientists that evolution, not intelligent design, explains the origins of the earth. And many scientists -- while having no problem with intelligent design as a focus in philosophy or religion classes -- object to science departments teaching it. Ball State is currently investigating a complaint that another faculty member in physics and astronomy was inserting religious, creationist views into a science course.
In today’s Academic Minute, Andrew Juhl of Columbia University’s Lamont-Doherty Earth Observatory explains why, when it comes to pollution, the extremes are more important than the mean. Learn more about the Academic Minute here.
The University of Illinois at Urbana-Champaign has filed an objection to a unionization bid by faculty members at the University Laboratory High School that the campus runs, The News-Gazette reported. The union organizers say that these faculty members are entitled to collective bargaining. But the university says that these teachers are part of a larger group of non-tenure-track faculty members at Urbana-Champaign, and that any consideration of a union should involve all such instructors, not just those at the high school.
Creative writing has its share of detractors, those who believe that the study of and teaching of creative writing produces deleterious effects for students and for literature. For example, in "Poetry Vs. Ambition," Donald Hall worries that invention exercises (writing warm-ups which help writers find their subject) in writing classrooms "reduce poetry to a parlor game," producing "McPoems" on assembly lines. "Abolish the M.F.A.!" states Hall with an exclamation point, and then, in Latin, he cries, "The Iowa Writers Workshop must be destroyed."
Hall’s essay reflects a particularly unproductive strand of criticism aimed at creative writing that has arisen of late. Anis Shivani is perhaps its most recent practitioner, with a soapbox on which to stand, but certainly not the only detractor. Indeed, when Shivani’s critiques of creative writing programs emerged, preceding the publication of his book Against the Workshop: Provocations, Polemics, Controversies (2011) many of us were approached by creative writing colleagues wanting to know what we thought of this brash new critique of the workshop. What they didn’t understand was that his assertions weren’t new at all, but by boldly ignoring the scholarly conversations that had been going on about this subject for many years — a fact made plain by what is missing in the book, specifically in the works cited — Shivani was able to create a scholarly stance that acted as if they were.
In fact, what Shivani, Hall and others practice is better termed a "new old criticism" — new because it proliferates in electronic social media, old because it rehashes simplistic assertions that have been around for decades. This argument has three major problems: First, its rhetorical stance is far more appropriate for talk radio than for a serious scholarly or public debate; its practitioners refuse to engage with the actual arguments of those with whom they disagree. Second, this new old criticism is rooted in dated and limited assumptions about what creative writing is and can be.
In reading this criticism, one can see that it is aimed at the Iowa Writers’ Workshops as they are said to have existed in the 1950s; there is no admission of the diversification and complexity of creative writing that has flourished in the decades since then. Third, this new old criticism is stuck within a narcissistic worldview. It perceives an age-old challenge — the difficulty of writers finding readers in a world where print technology proliferates — as a personal affront. The new old criticism drapes itself in a narrow banner of great art, adopting the hubristic stance that a writer can actually know with certainty that he or she is producing such great art in the moment of creating it.
So should everyone associated with creative writing programs pack up and shut our doors? This isn’t going to happen. The horse is out of the barn. Creative writing classes are more popular than ever, in part because they offer not just a means of expression but an alternative to theory-laden literary analysis.
The real questions are: How can we best design our curriculums and our classes to best serve the needs of our students? What can we do to ensure that creative writing — the teachers, the students, the courses, the programs — has a positive impact on contemporary literature? Which aspects of creative writing — the writing itself as a process and as a product of our efforts — can be taught, and what are the best practices for such teaching? How does creative writing fit into English departments, into the liberal arts generally, and into the colleges and universities where it is housed? Finally, in our breathtakingly tight economy, what kinds of careers and lives are creative writing students being prepared for?
Given the scope of its critical mass, creative writing stands as a knowledge-based discipline. Rather than associate knowledge with certainty as traditional academic models often do, the knowledge in creative writing is in the discovery that takes the writer beyond the routines and in the questions that arise and that are answered through the writing process. Study of writing through reading and writing is the methodology we use; this mode of knowledge acquisition leads to new conclusions. Knowledge through practice, through doing, through thinking about and talking about what we’re doing. To wit, we have observed that the "flipped" classroom, in which students absorb lectures online outside of class and come to class to work hands-on with the material, has become the latest trend in college teaching.
By engaging students in hands-on work on their own writing and that of others, the oft-maligned "workshop," which has evolved over the years to suit varying constituents, undergraduates, graduate students, general education students and majors, has modeled a "flipped" classroom almost since its inception. This conversation about creative writing also speaks to what has become recently known as the crisis in the humanities. Helene Moglen, in the latest issue of the Modern Language Association's Profession, gives a convincing overview of a crisis that goes back to the 1980s, with the report called "A Nation at Risk." Among the few causes of the crisis in the humanities that Moglen defines are "internal disagreements about the appropriate development of our disciplines" and "prevalent social attitudes toward education that assume irrelevance of humanistic study."
David Fenza, of the Association of Writers and Writing Programs, points out, in his history of creative writing in higher education, that "creative writing classes have become among the most popular classes in the humanities." To meet demand, creative writing programs have at least tripled in number in the last 30 years, and many of us are housed in English departments. If the humanities are in crisis, creative writing is not. In fact, creative writing is not only healthy within the academy but has relevance beyond it. Contemporary literature, after all, is written by creative writers, whether or not they have earned an M.F.A. This relevance offers an example for other disciplines, a way to resist prevalent social attitudes that overlook the value and contributions of the arts and humanities to our culture and our daily lives.
Finally, many creative writing programs have recognized that while most students won’t necessarily go on to become the next Jonathan Franzen (just like most violin students won’t play with the National Symphony, or sculpture students exhibit their work at the Hirshhorn), they do want to work in creative industries. A survey of the curriculums of many of these programs, which usually offer courses not only in creativity and craft but also in new media, editing and publishing, reveals that they prepare students to do just that.
The sniping about what’s appropriate for our discipline or whether creative writing should even be an academic discipline emerges, however, from within our ranks. Hall has taught workshops and visited creative writing programs to read his work, and Shivani is a creative writer as well as a critic. Airing our internal disagreements and pitting writers against each other — outside or within the academy — does few of us any good and invites a sense of crisis in creative writing when there isn’t one. Let’s do our research. Let’s have productive conversations.
People who shoot the occasional salvo at creative writing aren’t really interested in taking part in a conversation, but we are, and we invite others in our midst to join us in this ongoing conversation about our discipline. This discussion can shape the healthy development of creative writing, position us positively within academe, and shift social attitudes toward a better future for literature and learning.
Tim Mayers is author of (Re) Writing Craft: Composition, Creative Writing and the Future of English Studies. He teaches at Millersville University of Pennsylvania.
Dianne Donnelly is the author of Establishing Creative Writing Studies as an Academic Discipline, editor of Does the Writing Workshop Still Work and co-editor of Key Issues in Creative Writing.
Tom Hunley is an associate professor at Western Kentucky university. His books include The Poetry Gymnasium, Teaching Poetry Writing and Octopus.
Anna Leahy is the author of Constituents of Matter She edited Power and Identity in the Creative Writing Classroom. She teaches at Chapman University.
Stephanie Vanderslice is professor of writing and director of the Arkansas Writer's M.F.A. Workshop, at the University of Central Arkansas.