Marcelle Freiman, Macquarie University, Australia:
The essays in Does the Writing Workshop Still Work? demonstrate a range of approaches, questions, experiences, contexts, analyses, frustrations and enthusiasm, from teachers of university creative writing who are clearly passionate about their teaching and committed to their students. Many variations of the workshop are presented here: the inclusion of literary readings; hands-on writing exercises in class; informing one’s teaching with various theoretical perspectives; taking into account students’ diversity and cultural and gender differences; ethics; issues of power and autonomy.
KATE KOSTELNIK:
Does the Writing Workshop Still Work? (Multilingual Matters, 2010), edited by Dianne Donnelly, provides a foundation into creative writing studies in addition to new conceptions of what the workshop is and what it could be with revisions…Does the Writing Workshop Still Work? offers an important and timely contribution to the discipline because—in addition to reiterating the censure of instructors who do not turn a critical eye onto their pedagogies, professionalization, and workshop methodologies—the collection complicates issues by asking readers to consider the workshop as an event, an artistic act, and a human activity.
Shirley Geok-lin Lim, University of California, Santa Barbara; author of Among the White Moon Faces.:
Does the Writing Workshop Still Work? is alert to the newest media in the creative arts, while offering a defense and investigation of the best practices of the creative writing workshop. A valuable resource to all teachers who view creative writing pedagogy as an academic discipline and humanistic exploration.
Catherine Cole, RMIT University, Melbourne, Australia:
This collection offers writing practitioners new and insightful approaches to their teaching and is an important and timely resource with which to reflect on course development, teaching and evaluation.
Kelly Ritter, University of North Carolina-Greensboro:
By exploring the workshop from within as well as without, and by challenging the notion that such a staid enterprise as the workshop cannot be reified for emerging writers and teachers, this collection bravely takes its place among its clear predecessors - namely Moxley’s Creative Writing in America and Bishop and Ostrom’s Colors of a Different Horse - in refusing to quietly accept the simple notions that writing instruction is an organic enterprise, and that writers are (or should be) meekly acculturated to the practices and values of the writing workshop as ‘fine, I [guess],’ to paraphrase one of the many astute contributors here.
Hans Ostrom, Editor, Colors of a Different Horse: Re-Thinking Creative Writing Theory and Pedagogy:
A remarkable new collection of essays about the theory, practice, design, and reinvention of peer-review components in writing-courses. The expertise and range of experience represented by the contributors is astonishing. This is a bountiful offering indeed.
