http://www.bookforum.com/inprint/016_02/3847
June/July/Aug 2009
Shop Talk
Is the writing workshop a crucible for an aesthetic based on shame?
Mark Greif

Some of the big questions about US fiction since World War II are 
obvious. Why did the enormous novel of technical, scientific, or 
historical knowledge become the highest credential for male writers 
(Pynchon, Gaddis, DeLillo, Wallace)—and why have its authors been mostly 
elite and white? Did fiction truly split up after the ’60s on lines of 
identity, as many think, so that female authors had to decide whether 
they were creating “women’s writing,” and the minimalists of the ’80s 
(Carver, Jayne Anne Phillips) became representatives of marginalized 
whiteness?

And there’s perhaps the most complex question of all: What has the 
movement of postwar writing into the university done to our literature? 
Few professional writers in the second half of the twentieth century 
escaped attending college. Many wound up in MFA programs. Still more 
acquired university patronage as teachers or paid visitors. And the most 
esteemed, “high literary” books have sustained their sales and prestige 
in large part through assignments to undergraduates.

The obvious nature of this last question only places the decades-long 
lack of a proper answer in higher relief. It is proportionately 
exhilarating to find, in Mark McGurl’s The Program Era, a brilliant and 
comprehensive mind developing one at last. McGurl trains his gaze on the 
university writing programs and some of the masterful novelists they 
have incubated. But he makes his most compelling arguments at the level 
of the writer’s practical place in the academy, examining the distorting 
(and enabling) effects of university discipline on individual artists, 
and considering the wider role of “creative writing” within a chain of 
notions of creativity (lasting from high school to the service-economy 
workplace) that inculcate skills for late-capitalist life.

(CLIP)

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