Abstract
In her essay The Essential Gesture, Nadine Gordimer (1988, 288) asks a question that I believe should be at the forefront of creative writing pro grams' curricula: What right has soci ety to impose responsibility upon writers, and what right has the writer to resist? But perhaps it will seem radical to suggest that this question be predomi nant. Our tendency is to assume that the concerns of American writing pro grams are local because the programs themselves are an American phenome non. In Paris, we find Milan Kundera (1987, 33) teaching not a course on writing the short story but, rather, con ducting a seminar entitled The Great Central European Novel.
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