People will tell you that creative writing at Harvard is an exclusive sphere. They say that the Advanced Fiction Workshop with Amy Hempel can be the literary equivalent of Math 55, that The Advocate is the final club for the Moleskine-wielding variety of Harvard student. And maybe there is some truth in these statements. You must comp The Advocate, The Lampoon, and The Crimson; introductory creative writing courses require an application. Even the two-week writers’ program to be conducted by Princeton Professor Evan W. Thomas ’73 and Harvard Overseer Walter S. Isaacson ’74 during Optional Winter Activities Week, which selected students via a lottery system, had fewer places than interested students. Meanwhile, the veneers of literary organizations are sometimes considered off-putting to younger students and newer writers. Rumors circulate about the creative writing community’s exclusivity, competitiveness, and pretentiousness. But to what extent are the rumors true?
A SELECT GROUP
Harvard’s Creative Writing Program is hardly unique in its selectivity. Many courses given by the Department of Visual and Environmental Studies (VES), for example, also require an application for admission. And while the Creative Writing website features words of encouragement for unsuccessful applicants—“Reapply the following semester ... you may fare better the next time”—VES’ chicly minimalist site offers no such consolation.
“I think the communities are probably perceived similarly in that it’s hard to get into a VES class—a painting or drawing class—just like it’s hard to get into a creative writing class,” says Molly E. Dektar ’12, an English concentrator, member of The Advocate, and creative writing thesis candidate with a secondary field in VES.
Whether or not students agree, Bret A. Johnston, the director of Harvard’s Creative Writing Program, finds the current number of classes offered sufficient. “In terms of creative writing courses,” he says, “the numbers are very much on the students’ side.”
Independent of creative writing courses, extracurricular writing communities defend their need to keep a certain standard in order to maintain their reputation and stimulate their members.
“An advanced poetry workshop should have a certain level of expectation because you want the people who do have more experience to be challenged,” says English concentrator Stephanie L. Newman ’13.
A demanding application or comp process also ensures self-selection.
“The Lampoon can’t just accept everybody [because] at heart it’s publishing a humor magazine,” says Christopher Frugé ’13, a Lampoon member.
To an outsider, it may seem like the prerequisites for membership of Harvard’s creative writing community are tortoiseshell-rimmed glasses and a habit of rolling cigarettes, or, at the very least, the ability to discuss Derrida at length. Newman, who is planning to apply to write a creative thesis, says that despite her love for poetry, she initially thought Harvard’s literary community was somewhere she couldn’t belong. “Frankly, I was pretty intimidated and didn’t think I would fit in with people who smoked cigarettes inside and drank lots of wine and talked about literature,” she admits.
After becoming more involved with creative writing on campus, she found her initial impression was distorted. “I think it’s more a matter of people being open-minded and less critical of the aura of an organization than it is a matter of the organization trying to change itself and change its traditions,” says Newman.
The image is complicated by the perception that members of Harvard’s extracuricular literary scene dominate the workshops offered by the English department.
Johnston asserts that “an applicant’s publications have never and will never be a consideration” during the process of evaluating applications.
Frugé, a veteran of fiction and creative non-fiction workshops, says that he has found little overlap between his classes and the extracurricular writing scene. “For my basic [fiction class] I don’t think anyone did any kind of writing extracurricularly. For advanced, there was one person in The Advocate, and there was a journalist,” he says with a laugh.
15 Questions with Gary Shteyngart
Posthumously Collected Works Display Baldwin’s Virtuousity
LETTER: Clarifying Accommodations for Students with DisabilitiesMany students with disabilities or other issues that affect their work communicate this information to their preceptors and as a result we are able to adjust deadlines in a way that lets those students complete their work in an appropriate timeframe.
College Evaluates Expos 10Unlike its less popular counterpart Expos 20, which has garnered mixed reviews, students praise Expos 10 for offering a course structure that allows them to think critically and write with sophistication.
In Praise of Billy ShakespeareAttempts to establish common ground and teach basic writing skills by forcing students to read about hopelessly contrived topics in courses like “Cross-Cultural Contact Zones” are bound to fail. It would make far more sense to make all students read a canonical author or text and use that as a basis for instruction in discursive writing. Aside from leveling the playing field by providing common material for all students, this might actually lend the course a feeling of purpose.
Many Dissatisfied with Creative Writing