{"title":"Fields of departing dreams","authors":"Jeffrey B. Javier","doi":"10.1080/14790726.2022.2057545","DOIUrl":"https://doi.org/10.1080/14790726.2022.2057545","url":null,"abstract":"","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"201 - 203"},"PeriodicalIF":0.2,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47930940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A stolen bird","authors":"G. Harper","doi":"10.1080/14790726.2022.2056998","DOIUrl":"https://doi.org/10.1080/14790726.2022.2056998","url":null,"abstract":"Last night, a thief broke into our house and stole our bird. They jimmied the lock on our back door, which admittedly was inadequate, cracked the doorjamb, entered in the dark and, heading across the kitchen to the small cabinet near the living room, unlocked the cage on top of it, clasped the bird, somehow doing it quietly, and disappeared back out the door. Following our call, the police arrived at 8.47 this morning and ‘dusted the place’, as the expression goes. We haven’t done that for a while ourselves, so there’s a novel thing in itself, that virtuous dusting. Soon after, they asked to interview my wife, Giddy, and then me (I prefer to call it a ‘consultation’, because they sure seemed unsure of what to ask me). Then they took some phone photos of the open cage. Clearly, ‘examining evidence’ doesn’t mean what it used to mean. They gave me a name of a good builder who they said was ‘not the cheapest but probably the best’, (frankly, I figured a few short nails and some caulking cement and we’d be done), and they suggested I update the deadlock. The real problem started when one of the officers – a tallish guy with a pronounced blond cowlick, looking much like a cartoon quarterback from somewhere back in time – asked, casually as they were packing up, taking their mugs to the sink and the like:","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"19 1","pages":"127 - 128"},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48281343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The motivations that improve the creative writing process: what they might be and why we should study them","authors":"C. C. Syrewicz","doi":"10.1080/14790726.2022.2051563","DOIUrl":"https://doi.org/10.1080/14790726.2022.2051563","url":null,"abstract":"ABSTRACT Which knowledge and skills would help creative writing students to improve their writing? Writing is a complicated activity that involves the mingling of a great number of social, cognitive, behavioural, environmental, and bodily factors, and an incredible number of these factors have been shown to affect the writing process. One cognitive factor which has significant effects upon the writing process is the writer’s motivation to write. In this paper, I review research from motivational and educational psychology in order to set the stage for future research in this area. I review research on nine (or so) motivational constructs which could have positive effects on the creative writing processes of some groups of writers, and I develop some hypotheses that researchers could use to test the veracity of this research. Finally, I discuss some of the ways in which future researchers in the field of creative writing studies could study the effects that these motivations have on the creative writing processes of different writers.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"178 - 200"},"PeriodicalIF":0.2,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47891785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Amelia Walker, D. Wain, Alissa Black, Elena Spasovska
{"title":"Re-membering oceans, bodies, rhythms and breath: a collective reflection on life/work as we walk-write from different shorelines","authors":"Amelia Walker, D. Wain, Alissa Black, Elena Spasovska","doi":"10.1080/14790726.2022.2050265","DOIUrl":"https://doi.org/10.1080/14790726.2022.2050265","url":null,"abstract":"ABSTRACT This paper is a collaborative reflection by four academic women using our creative writings about oceans and shorelines to think and reflect. We write from discrete locations along the Southern and Eastern coastlines of the invaded continent contemporarily known as Australia. Our methodology incorporates walking and creative writing. This walking-writing methodology has connected us to entangled feelings and lived experiences, including our embodied relationships with the ocean, our work in academia, and our rising levels of anxiety as climate change and related environmental crises coincide with our re-membering of oceans, bodies, rhythms and breath. To illustrate our re-membering, we intersperse fragments from our creative writing with reflective discussion. The social, environmental and political chaos surrounding us seeps into our processes, highlighting how neoliberal ideologies influence our inability to dis/connect, harming both human and beyond-human life. Through walking-writing, we seek to remember what we are losing and to imagine alternative futures.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"167 - 177"},"PeriodicalIF":0.2,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49517702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dandelion futures: creative anxiety and making art in the digital age","authors":"Cailean Alexander McBride","doi":"10.1080/14790726.2022.2036763","DOIUrl":"https://doi.org/10.1080/14790726.2022.2036763","url":null,"abstract":"ABSTRACT The Internet and other rapidly changing digital technologies have had a revolutionary effect on how we make and consume art. In this essay, I map how these changes have been translated into an increased level of creative anxiety in creative artists as they are forced to engage with the prospect of dwindling revenues and income streams, how it has led to debates around ‘dandelion futures’ for artists and how we can employ Bourdieusian concepts of consecration and hysteresis to conceptualise these profound changes for our culture.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"135 - 146"},"PeriodicalIF":0.2,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49310563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The breathing story: fiction as a tool for living","authors":"Jacob White","doi":"10.1080/14790726.2022.2033793","DOIUrl":"https://doi.org/10.1080/14790726.2022.2033793","url":null,"abstract":"ABSTRACT Fiction writers are always scanning for stimuli – laughter from an open window, the crime section, a paraglider over skyscrapers. What’s the story there? we ask, rarely stopping to ask what’s the story here. What’s with me? Sometimes the story’s not up there with the paraglider but down here in our trying to make sense of it within our own confusing pockets of existence. For at the bottom of every story is this story: we don’t know who we are. So what if the fiction writer lets go of the intention to write about ‘dramatic stuff happening’ and instead leans into their daily confusion, uncertainty, discomfort? What might they discover there? This article lays out a process of fiction writing driven not by intention but by active attention. By setting aside commitments to narrative craft and instead placing ourselves within a richer field of interference, we might get beyond the limits of our imaginations. Furthermore, we might improvise from our anti-narrative experience a new kind of narrative. It's only when writers challenge themselves to renegotiate where ‘interest’ might lie in a work of fiction that their fiction becomes a more vital activity – a tool for living.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"3 - 20"},"PeriodicalIF":0.2,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48095954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Utilising K-culture for Korean college students writing identity essays: online class cases","authors":"Hyun-jung Woo","doi":"10.1080/14790726.2022.2025847","DOIUrl":"https://doi.org/10.1080/14790726.2022.2025847","url":null,"abstract":"ABSTRACT This research, conducted in the particular space–time of university classes transitioning online due to a global pandemic, describes a kairotic moment particularly concerned with the accessibility of learning resources, pedagogical interaction, and students’ mental health. Our research was conducted with a focus on online general education electives delivered across all undergraduate years at a university in South Korea, to formulate online facilitation methods for identity formation writing using the universal cultural framework of K-culture. We asked students to read K-webtoons, to understand the relation between self-esteem and self-doubt, and to diagnose their current situations. Then, we asked them to write a self-examination essay using the media literacy of K-pop to induce empathy. In their rough drafts, we observed their will to overcome their obstacles, even though their writing described negative experiences from the past and the limitations they currently faced. During virtual office hours, we instructed students to think critically about the structure of Korean society, beyond their personal self-examination, and in their second, edited drafts, we found a heightened sense of civic awareness. This research is significant, therefore, because it provides a detailed account of the abstract process of writing identity essays utilising K-culture media literacy, and the process of seeking a method of communication for critical awareness of social structures and action in a community through virtual office hours.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"48 - 60"},"PeriodicalIF":0.2,"publicationDate":"2022-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46888252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Walking through: nostalgia, Mythogeography and the Rural Dérive in Peter Riley’s Alstonefield","authors":"Sam Kemp","doi":"10.1080/14790726.2022.2025851","DOIUrl":"https://doi.org/10.1080/14790726.2022.2025851","url":null,"abstract":"ABSTRACT Landscape poet Peter Riley uses the Situationist dérive in order to negotiate the cultural landscape of the British countryside, his collection Alstonefield (2002) forming a psychogeographic investigation into spaces of nostalgia, contradiction and pastoralism in British ruralism. This essay will argue that Riley adapts the urban dérive for a contemporary rural landscape, exploring the radicalisms of pastoral tropes and exposing the spectacle in British rural perceptions. Using the framework of Phil Smith Mythogeography, a contemporary theatrical adaption of the Situationist dérive, my aim is to explore the role of walking as a negotiation of rural spectacle within the wider Radical Landscape Poetry movement.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"99 - 110"},"PeriodicalIF":0.2,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42289888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ekphrastic spaces: the tug, pull, collision and merging of the in-between","authors":"C. Atherton, P. Hetherington","doi":"10.1080/14790726.2022.2025850","DOIUrl":"https://doi.org/10.1080/14790726.2022.2025850","url":null,"abstract":"ABSTRACT Although James A.W. Heffernan influentially defines contemporary ekphrasis as ‘the verbal representation of visual representation’ (1993, 3), we argue for a more dynamic and fluid understanding of ekphrasis. In particular, we focus on the multiple and indeterminate perspectives created by ekphrastic poetry, emphasising the way ekphrastic poetry develops complex and interart relationships that cause a fracturing and/or stretching in the perspectives of both the poem and the artwork(s) it invokes. A powerful in-between or liminal ekphrastic space is created in which meanings tug, pull, swirl and merge. As new meanings are created ‘betwixt and between’ (Turner, Victor W. 1979. “Betwixt and between: The Liminal Period in Rites de Passage.” In Reader in Comparative Religion: An Anthropological Approach, edited by W. A. Lessa and E. Z. Vogt, 234–243. New York: Harper and Row, 234), an ekphrastic point of view emerges, problematising and questioning both-artworks-at-once and highlighting the provisional as it probes what can possibly be said in language about modes of artistic representation in artworks. Additionally, because poetic ekphrasis cannot fully represent, and always reinterprets, another artwork, it is engaged in processes of substitution through which poetic tropes stand in for some of the content of the original artwork. In applying these ideas to the relationships of ekphrastic prose poems to works of visual art, we explicate works by David Grubbs and Lorette C. Luzajic, as well as our own ekphrastic prose poetry.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"83 - 98"},"PeriodicalIF":0.2,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41624124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Identity and community of practice in the incident of Samuel Orellana at the Neruda Foundation poetry workshop","authors":"Magdalena Palacios Bianchi","doi":"10.1080/14790726.2022.2025849","DOIUrl":"https://doi.org/10.1080/14790726.2022.2025849","url":null,"abstract":"ABSTRACT This study employed the narrative interview method to examine the incident of Samuel Orellana, a heteronym created in 2003 by two Literature students who invented Orellana to call into question the policies of the Pablo Neruda Foundation poetry workshop, the most prestigious workshop in Chile. More specifically, data were obtained from three sources, including the creators of Orellana (via narrative interviews), publications that mentioned the incident on Twitter in reference to the account name @Estereoscopio_ (profile of one of the creators), and poems written under the Orellana heteronym on Cyber Humanitatis (a Universidad de Chile website). After collecting data following these procedures, we conducted a qualitative case analysis using the ATLAS.ti software, where one code was used as a reference for analysis (i.e. identity): interviews, publications and poems were segmented, codes were assigned to each segment, including comments and annotations (memos). By using this method, we were able to build a relational database from which the programme generated semantic networks, which we then interpreted. This study shows an example of what happens when not all creative identities involved in a creative writing community are allowed to learn and exchange knowledge.","PeriodicalId":43222,"journal":{"name":"New Writing-The International Journal for the Practice and Theory of Creative Writing","volume":"20 1","pages":"72 - 82"},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48509041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}