Creative Writing Program Research Articles

Setting up a Creative Writing Program at Babeș-Bolyai University

"Setting up a Creative Writing Program at Babeș-Bolyai University. The present paper argues for the establishment of a Creative Writing program within Babeș-Bolyai University, by initially providing more courses at the BA level, with an MA in Creative Writing being the end goal. By examining the history of the field and its current status within higher education in America, the UK and beyond, I show that, wherever Creative Writing programs have appeared and gained sufficient traction, they have thrived, attracting significant numbers of students year after year. In those countries outside of Anglophone space where the implementation of Creative Writing is a much more recent endeavor, significant steps have already been taken to analyze and find solutions for the current issues that might slow down the spread of interest in this field. With this in mind, the paper concludes that it is time for Babeș-Bolyai University to embrace this growing trend. Keywords: Creative Writing, Babeș-Bolyai University, humanities, pedagogy, study program."

Teaching Creative Writing within the framework of philology: historical overview

The purpose of the present article is to consider the dialectical relationship between Creative Writing and philology. The relevance of this subject is borne out by the recent surge of interest in teaching Creative Writing among EFL practitioners, writers, as well as teachers and researchers of literature, and the lack of a well-established system of instruction in our country. The materials analyzed in the paper include the works of American theoreticians and practitioners of Creative Writing, who laid the foundation of this discipline in the late 19th – early 20th century, the works of British scholars, as well as the articles on linguodidactics of modern Russian researchers. The paper seeks to point out the issues involved in teaching Creative Writing, such as its place among other disciplines (literary criticism, English studies, English composition, linguodidactics) and its institutional status; its vision as a mere method of teaching or a separate field of investigation. It is shown that the skills and competences developed by Creative Writing programmes are in high demand, and there is a growing need for such courses in Russia. The article aims to demonstrate the features that bring together Creative Writing and philology in the Russian academic context and allow to envisage the incorporation of Creative Writing into the professional training of philologists, in particular those specializing in English studies. The article concludes by highlighting the role creative writing plays in promoting a deeper appreciation of literature, developing productive language skills and raising more competent readers.

Last Time Fuck

Research Article| May 01 2023 Last Time Fuck Haley Winans Haley Winans Haley Winans is an art-hungry gardener from Annapolis, Maryland. She has poetry in Slipstream, the Shore Poetry, Breakwater Review, Barely South Review, Folio Literary Journal, and elsewhere. She is in the University of Memphis MFA Creative Writing program. She’s a founding coeditor of Beaver Magazine. Her poems are influenced by the intrinsic connections between humans and the environment, obsessed with inhabiting toxic patriarchal voices to satirize the societal systems oppressing the Earth. But sometimes she wakes up and needs to wade in a pastoral. In her undergrad program, she studied environmental studies and creative writing, with specific focuses on environmental justice, sustainable agriculture, and poetry. Search for other works by this author on: This Site Google the minnesota review (2023) 2023 (100): 30. https://doi.org/10.1215/00265667-10320849 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Haley Winans; Last Time Fuck. the minnesota review 1 May 2023; 2023 (100): 30. doi: https://doi.org/10.1215/00265667-10320849 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. © 2023 Haley Winans2023 Article PDF first page preview Close Modal You do not currently have access to this content.

On Seeing the First Image from the James Webb Space Telescope

On Seeing the First Image from the James Webb Space Telescope Elizabeth Carls (bio) Over cocktails you show me a photo of deep space on the too small screen of your phone. The image, a sea of dark bedazzled with the nebulous shapes of what look like stars but are, in fact, entire galaxies. Edgeless astral bodies splashed like a blizzard across a screen that cannot manage the magnitude of the image or the achievement. You say something about 13 billion years and light and death and birth, but the gentle buzz of good gin has softened my edges, and I am lost in this moment. My gaze drifting over your shoulder, through the wavey plate glass window, to a distorted view of fading daylight and the sparse traffic of a formerly industrial neighborhood. My attention floating on the vibrations of hushed conversations being had by strangers who also have screens, conversations restrained in pitch and volume, hovering just below the soundtrack. After a span of time that feels inappropriately longer than a polite conversational pause, I respond, Did you say 13 billion? As if by repetition I will, in a flash, comprehend the size of that number. As if by repeating yourself, this bar full of strangers will at once look up from their phones and embrace the enormity of a universe expanding. You say, Yes, and I still don’t get it. Instead, in this moment, what I understand with an unquestionable thoroughness of my whole stardust body is how small by way of comparison this moment is, how short even a lifetime is, how vastly expansive the view outside that window. [End Page 1] In this moment, I am certain that when all the pyrrhic achievements are done, when the screens have gone dim, when these strangers and myself are void, and the Doomsday is past, even then, in the ever-expanding space of 13 billion years, the light from the birth and death of countless stars will continue to shine and shine and shine. [End Page 2] Elizabeth Carls Elizabeth is a poet and essayist living and working in St. Paul, MN. Her writing has appeared or is forthcoming in Split Rock Review, River Teeth, and Texas Gardener Magazine. She is currently working on an MFA in The Creative Writing Program at Hamline University. Copyright © 2023 River Teeth

Skeleton, and: Skeleton, and: Skeleton

Skeleton, and: Skeleton, and: Skeleton Deborah Landau (bio) SKELETON Strutting avec Cyndi Lauper, a flourish. Stuntkissing Kevin S. behind school on roller skates getting allelectric in biology class, at Dairy Queen, babysitting, Louie M.lying on top of me under layers of Michigan winter we wereexcessive. Those scenarios could get orthodontically complex.Trepidatious afterglow we'd saunter back to school. Who neededoratory? We were mad for the body in its meant-for-pleasure finery, lips a-cherry,nails glossed wine, libido an overdrive meant to keep us here a long time. [End Page 22] SKELETON Spooky! Everyone under their faces seems to bekaput know what I mean?Excessive sprawl of generations emptying onwardlabile, fleeting then that's it forever, bang.Eager to stay, I take the kale and kombuchatoting a calamitous hairdo and wrecked face asonward we sublimate (bones, bones, bones)never again veiled in skin. [End Page 23] SKELETON Sugar withdrawal symptoms turn out to be, what, exactly—keto flu, depression,killer headaches and cravings (cravings) (cravings)endorphins how I long for you— longing, that's a sugar andlove is, morning sun too, especially through French windows andearth is a sugar while it still greens around us. What else sweetens? not the internet nottweets, except maybe Alex's which are really poems in tweet's clothing, definitely notone (a tweet) from the president yet iced with the season's firstnarcissus blooms this day & somehow it's still a thrill to wake, warmbodied alive. [End Page 24] Deborah Landau deborah landau is the author of five books, including Skeletons. She is a professor and director of the NYU Creative Writing Program. Copyright © 2022 Yale University

The Effectiveness of Classroom Exercises in the Teaching and Learning of Creative Writing in Tertiary Institutions

This study investigates the effectiveness of classroom exercises in the teaching and learning of Creative Writing in tertiary institutions. The exercises presented in this study are restricted to the three basic genres of literature: drama, prose and poetry. In contemporary scholarship, Creative Writing is part of the curriculum of tertiary education. Creative Writing programmes continue to develop in different parts of the world, with emphasis on workshops which promote the acquisition of the craft through different pedagogical approaches. The thrust of such approaches is that creative writing courses can be significantly assessed to measure individualistic progress of the learners. Creative Writing exercises test and evaluate discrete skills in the course. Hinging on the Non-traditional Academic Approach which posits that evaluation is crucial in the teaching and learning of Creative Writing, this study concludes that classroom exercises are potent instruments for teaching and learning Creative Writing in tertiary institutions.

Twenty-five Years: Logos and My Catholic Life

Twenty-five YearsLogos and My Catholic Life David Paul Deavel Key Words religious conversion, Logos Journal This is the final issue of Logos for which I have served as editor. By the time you are reading this issue, I will have departed from St. Paul, Minnesota, to join the theology department at the University of St. Thomas in Houston, Texas. Leaving the University of St. Thomas for the University of St. Thomas sounds like the verbal equivalent of an M. C. Escher painting or perhaps the plot teaser for a bit of Philip K. Dick fanfiction written by a pious millennial nerd. I am long used to confusions of this sort. The editor of Logos: A Journal of Eastern Christian Studies is Adam Deville. Logos, Logos; Deavel, Deville. Confusions aside, I like to think of my move, however, as on one level just an inverted outdoor activity strategy. It’s not quite true, but some people say that everywhere you go, you spend about four months trying to stay indoors as much as possible. In Minnesota that period is the winter, while in Texas it is the summer. The truth is that I am extraordinarily excited about my new position and the possibilities inherent in it. St. Thomas in Houston is a newer (1947) and smaller (about 2,700 undergraduates and 1,300 graduate students), but very dynamic institution. As a member of the theology department, I will have as colleagues Logos contributors [End Page 5] Thomas Harmon, Randy Smith, and Sr. Albert Marie Surmanski. My teaching will be in the graduate theology program, the Archdiocese of Galveston-Houston’s St. Mary’s Seminary, and the undergraduate core curriculum. I hope to contribute something to the work of Logos contributors James Matthew Wilson and Joshua Hren, who both joined the university last year to co-found a Master of Fine Arts in Creative Writing program that is “committed expressly to a renewal of the craft of literature within the cosmic scope, long memory, and expansive vision of the Catholic literary and intellectual tradition.”1 There is a lot more to say about my new destination, but this essay is about this journal and my own life as a Catholic, both of which are celebrating their twenty-fifth anniversary this year. The saying, often attributed to Albert Einstein, is, “Coincidence is God’s way of remaining anonymous.” I cannot help but think that the coincidence of the first issue of Logos being issued in spring of 1997 and my own being received into the Catholic Church almost simultaneously has to do with the mischievously hidden workings of a God whose Providence puts things together in ways that are often not seen till much later. I will not say that my destiny was to pull the Red Pen Excalibur from a rock and preside at the Round Table of Logos editorial meetings, but one of the reasons I have loved every second of my nineteen years working on this journal (the last six as editor-in-chief) is that the vision that animates it—of seeing how the glory of Christ radiates from and illuminates both Catholic culture specifically and all human culture—is a large part of what drew me to Catholic faith specifically. My first recollection of Logos: A Journal of Catholic Thought and Culture came a little more than a year after I had been received into the Catholic Church. In the fall of 1998, I was beginning my second semester of graduate work in theology at Fordham University. That time seems another world in more ways than one. Then the internet was beginning to be useful to scholars but had not quite dominated our reading habits in the way it has now. I still had the habit of (and time for) wandering through the current periodicals section [End Page 6] of the university library and flipping through journals, magazines, and newspapers to see what there was in the wide world to know. After assembling a little stack of materials with articles I wished to read rather than skim, I would plop myself down into a chair, spread out, and feast intellectually for an hour or two...

After the First Night Alone, Somewhere New

After the First Night Alone, Somewhere New Diannely Antigua (bio) I'm up too early organizing my pillsin the drawer I'll use only for a month,and the shampoo in the shower—always label facing out.Home is where my compulsions are, home is whereI've cried the most. In Brooklynevery L train was home, those late nightsor early mornings of giving into what I thought I deserved. I deservedless than love then. I deserved the shriekof the subway, digging the cityfrom underneath my fingernails. Homewas where the water turned grey, washingmy hands caked with New York's dailygift. Once, I was taught home was whereGod's people were, and I believed it,wagged my tongue in a languageI don't speak anymore. In this language,I love you could have sounded like a trippySound of Music, like shuffling the solfège syllables—si do re mi fa la fa la sol ti re mi—over andover until the trance left you falling out,the Spirit waiting to catch you. I would've fallenfor any lord. I would've fallen for the fallenangel himself, if he promised mebelonging, the intoxicating smellof my beloved's shirt, the armpitsripe with it. [End Page 106] Diannely Antigua Diannely Antigua is a Dominican American poet and educator, born and raised in Massachusetts. Her debut collection Ugly Music (YesYes Books, 2019) was the winner of the Pamet River Prize and a 2020 Whiting Award. A graduate of nyu's Creative Writing Program, she is the recipient of fellowships from CantoMundo, Community of Writers, and the Fine Arts Work Center Summer Program. She resides in Portsmouth, New Hampshire, where she is the poet laureate. Copyright © 2022 University of Nebraska Press

The Last of Him

Reviewed by: The Last of Him Nadra Mabrouk (bio) When floods rose, the tree branches thinned,carrying nothing but menses. Barren, deficientof the most precious of metals, I walk the pathmy mother plows through, tearing at tinsel on my body.There is never a clearing; the path encircles the darkest woodlandwhere everything is either pregnant or rotting, asleep.New-age medicine says this is where to come for healing,but instead, the bark, cracking, showed my future—how to run while looking back, everything certain as blood. Click for larger view View full resolution MERIKOKEB BERHANU (ETHIOPIA/US), UNTITLED LII (2020), ACRYLIC ON CANVAS, 60 X 48 IN. / COURTESY OF ADDIS FINE ART [End Page 53] Nadra Mabrouk Nadra Mabrouk is the recipient of the Brunel International African Poetry Prize and the 2019 Amy Award from Poets & Writers magazine. She holds an MFA from the New York University Creative Writing Program, where she was a Goldwater Fellow. The author of the chapbook Measurement of Holy (Akashic, 2020), she works in publishing and teaches in New York City. Copyright © 2022 World Literature Today and the Board of Regents of the University of Oklahoma

About the Contributors

About the Contributors

Enhancing Empathy through a Creative Writing Program in Elementary School

Education is not only about the transferring of knowledge, but also about the cultivation of strong social and emotional skills, which are necessary for the strengthening of the social competence of students, their positive self-perception and their success in school. Empathy, which refers to the ability to recognize another person‟s emotional state is one of the basic skills of the 21st century, which helps all students grow up to become active and critically aware citizens. The research/intervention program "Creative Writing and Social Learning Skills", implemented by students of the 5th and 6th grade of elementary schools in Thessaloniki, Greece, explores the enhancement of empathy, through the use of creative writing as an educational tool. Activities used were based on literary texts from Balkan countries and countries of Eastern and Southeastern Europe. The research sample consisted of 573 students, who were divided into the Intervention Group, that implemented the program, and the Control Group, that attended its regular curriculum. The analysis of the level of skills in children, and especially the level of empathy, which is of concern to us in the present study, was carried out using a structured improvised questionnaire, the alpha Cronbach coefficients where of range at very high levels. Study results showed that the Intervention Group exhibited statistically greater improvement in the assessment of empathy compared to the Control Group.

Rofel Brion Recalls and Reimagines the Creative Writing Program

Perspectives in the Arts and Humanities Asia is a peer-reviewed journal that is multi-disciplinary in scope and features articles in literature, philosophy, theology, performance arts, visual arts, forms of media and other related areas, especially studies engaging Philippine and Asian experience. It is a forum of dialogue between scholars and creative artists in the Philippines and other countries in Asia that seeks to shed light on issues related to culture and identity and especially on Asian arts and humanities.

Enhancing Empathy Through a Creative Writing Program in Elementary School

Education is not only about the transferring of knowledge, but also about the cultivation of strong social and emotional skills, which are necessary for the strengthening of the social competence of students, their positive self-perception, and their success in school. Empathy, which refers to the ability to recognize another person’s emotional state is one of the basic skills of the 21st century, which helps all students grow up to become active and critically aware citizens. The research/intervention program "Creative Writing and Social Learning Skills", implemented by students of the 5th and 6th grade of elementary schools in Thessaloniki, Greece, explore the enhancement of empathy, through the use of creative writing as an educational tool. Activities used were based on literary texts from Balkan countries and countries of Eastern and Southeastern Europe. The research sample consisted of 573 students, who were divided into the Intervention Group, that implemented the program, and the Control Group, that attended its regular curriculum. The analysis of the level of skills in children, and especially the level of empathy, which is of concern to us in the present study, was carried out using a structured improvised questionnaire, the alpha Cronbach coefficients where of range at very high levels. Study results showed that the Intervention Group exhibited statistically greater improvement in the assessment of empathy compared to the Control Group.

Plumbago

Plumbago Andrew Porter (bio) When nothing else would grow, we planted plumbago along the wood retaining wall at the far end of our yard. This was the summer we moved in, when we were both still in our early thirties, our children still young. It was our first summer in San Antonio, our first summer in Texas, and we weren't quite prepared for the heat, for the stifling temperatures, the draught, the stillness and the thickness of the air. Nobody planted anything in the summer, we were told later, not unless it was a cactus or a succulent or some type of drought-resistant desert plant, but out there in the full sun of our backyard that new plumbago thrived, its blue flox-like flowers cascading over the retaining wall in a waterfall of foliage. At night, we'd often sit outside on the brick patio and stare at it, as the sun descended behind the tall fence separating our yard from our neighbor's. We'd lost a baby that winter, and the only thing that seemed to numb the pain was alcohol, large amounts of it, and so we'd drink tall pitchers of margaritas and stare out at the retaining wall, the beautiful plumbago blossoming and thriving against all odds, and we'd try to think of other things, or at least we'd try not to think about the one thing that always seemed to float between us in some unspoken way, we'd try to believe that we had made the right choice by moving to Texas, by starting over, we'd try to convince ourselves that we were blessed because we still had two children, two very healthy and beautiful children, and we'd tell ourselves that our other child, our daughter, who we had foolishly named, as if tempting fate, our daughter who had been canceled out, subtracted, stolen, we'd try to tell ourselves that she was still with us somewhere, and then we'd try not to see her everywhere, but of course she was everywhere that summer, that summer of starting over, she was in the thick still air, the windless quiet heat, she was there in the fences and the grass and the trees, and in the burgeoning plumbago, so full of life, so intensely blue, you almost couldn't believe it was real. [End Page 16] Andrew Porter Andrew Porter is the author of the short story collection The Theory of Light and Matter (Vintage/Penguin Random House), the novel In Between Days (Alfred A. Knopf), and the short story collection The Disappeared (forthcoming from Knopf in 2022). His short stories have appeared in The Pushcart Prize anthology, Ploughshares, One Story, The Southern Review, The Threepenny Review, Prairie Schooner, and on NPR's Selected Shorts. Currently, he teaches fiction writing and directs the Creative Writing Program at Trinity University in San Antonio. Copyright © 2021 Pleiades and Pleiades Press

Paul Muldoon em tradução

Paul Muldoon (1951 ”“ ) é um poeta norte-irlandês de origem católica nascido em Portdown, condado de Armagh. Integrou junto a Seamus Heaney, Michael Longley e Ciaran Carson, dentre outros, o chamado Belfast Group, organizado por Philip Hobsbaum. Publicou seu primeiro livro, New Weather, em 1973. Desde então, já publicou mais doze coletâneas de poemas, sendo a mais recente Frolic and Detour, em 2019. Além disso, já publicou literatura infantil, libretos de ópera, coletâneas de letras de música e peças de teatro. Já foi premiado com o T.S. Eliot Prize for Poetry por The Annals of Chile (1994) e o Pulitzer Prize for Poetry por Moy Sand and Gravel (2002). Mudou-se para os Estados Unidos em 1987, onde foi professor do curso de escrita criativa na Universidade de Princeton até 2017 e foi, até 2016, editor de poesia da revista The New Yorker. As traduções a seguir integram o apêndice da dissertação “Uma Camisa de Força para Houdini: Paul Muldoon, Forma Fixa e Tradução”, defendida em fevereiro de 2020 na UFPR.

Periodic: Mercury

Periodic:Mercury Jerome Ellison Murphy (bio) Mockery:mirroring arc and descent, fun-houseof one: I escape, one drop of outer space: possibility's Narcissus. Birthed againwith a slip through these fingertips' forceps, flee into a dive and ricochet to reoccur, a more tremulous maybe. Undersea:shirk identity, its tentacle-clutch. Watch intent, dark as dye, furl away. [End Page 123] Jerome Ellison Murphy Jerome Ellison Murphy earned his MFA from the Creative Writing Program at New York University, where he serves as Undergraduate Programs Manager. He currently co-curates the Bespoke readings series at Bureau of General Services Queer Division bookstore. He has also served on the board of Lambda Literary Foundation. His critical writing has appeared in LA Review of Books, The Rumpus, Poets & Writers, Publishers Weekly, The Brooklyn Rail, Lambda Literary Review, and American Poets. His poetry appears in Narrative Magazine, LitHub, The Awl, NPR's RadioLab, Spunk, Bellevue Literary Review, and on the ceiling as you lie awake at 4 a.m. See more at jemwords.com. Copyright © 2020 Pleiades and Pleiades Press

The Dudley Bus

The Dudley Bus Martha Collins (bio) cambridge 2019 Harvard Shirt Shop 1885 Tobaccowalkers cell phones tourists now the bus: a dozen preschool kidsboard we circle Harvard Yard turn and pass where I once lived samebuilding bar and into Central more people on the sidewalk here on and offthe bus MIT and over the river and up to Haviland Street where I once lived baron the corner then Dunkin' Donuts now later forgot to mention no mentioned deletedthe people in Harvard Square looked mostly white some Asian occasional Black deletedthe preschool kids looked white-Black-Asian— but maybe noticed more that day because I knewmy ride would end at the first place I'd ever been [End Page 15] where my friend and I were the onlypeople we saw who looked like us— boston 1967 Because we lived just off Mass. Ave., just overthe river, just past the bus stop, because we were youngand new to the city, because we'd had some drinks,we decided to see where Dudley Station wasand got on the bus and rode to the end of the route. And although when we got off the bus we sawno people who looked like us, we found a barand ordered drinks, and when a man politely askedto join us and asked us to come to a party, becausewe were young and new to the city, we said Yes. And because we were young and new, we lovedthe party—the soul food, music, dancing—and stayed till dawn when someone burst in and saida friend had been stabbed, and the party was over. boston 2019 up to Symphony Hall where we used to up to the Orange Line T a Pride flag donde trabajan the woman beside to the Dunkin' Donuts Dunkin' Donuts once run-down those townhouses now so Medical Center more people off and [End Page 16] soon I'm the only person who looks like Roca: Less Jail, More Future and we are there dudley 2019 got off the bus and walked a littlepast Dunkin' Donuts The SilverSlipper (could it have been here . . . ?)and found the Dudley Cafe since 2015 and ordered a bowl and looked aroundthree women Black with computersconferring two women chattingwho looked like me a dozen teenagedkids Black-white-Asian around one table Need a Printer? Use Ours Black TriviaTuesdays 8–10 and outside the windowbundles balanced on two women's headsa sheer dress an elegant hijab her goldsandals his orange sneakers and shades— boston 2019 Waiting for the return bus I'm again the onlyexcept for a pale woman disheveled uncombed— then a man not sober not young: Anyone botheryou Lady I'll take care— and I'm back on the bus and back at Haviland Street where one night a whiteman followed me home and a Black prostitute put an arm around me: Anyone bother you Honeywe'll take care— on the steps of that building [End Page 17] where Berklee College Professional Writingnow occupies the space where I lived in my young white skin— how well did Itake care how well do I take care of whom Note: In December 2019, the residents of Roxbury voted overwhelmingly to have the name of Dudley Square changed to Nubian Square. [End Page 18] Martha Collins Martha Collins's most recent book of poetry is Because What Else Could I Do (Pittsburgh). She has published nine earlier volumes of poetry, including Admit One: An American Scrapbook (Pittsburgh), White Papers (Pittsburgh), and Blue Front (Graywolf), as well as four volumes of co-translated Vietnamese poetry. Collins founded the Creative Writing Program at University of Massachusetts-Boston and taught Creative Writing at Oberlin College for ten years. Copyright © 2020 University of Nebraska Press

A Randomized Trial of the Close Reading and Creative Writing Program: An Alternative Educational Method for Adult Group Care Intervention in Type 2 Diabetes Management

ObjectivesGroup care for individuals with diabetes is a recognized educational practice, but techniques from narrative medicine using of literary works have never been incorporated in these programs. We designed a new educational model (i.e. the Close Reading and Creative Writing program) of group care for individuals with diabetes incorporating close reading and creative writing in group education. A randomized trial was designed to evaluate this intervention. MethodsA total of 49 individuals with type 2 diabetes, aged <85 years and with >6 years of school education, were randomized to 2 different group care dynamics: (a) a “control group,” with a classical structured educational approach currently used at our institution; and (b) an “intervention group,” with introduction of literary texts, narrative skills, close reading and creative writing. Evaluation included anthropometric measures, glycated hemoglobin (A1C) and questionnaires for psychological evaluation. Individual A1C levels in the 6-year period before the trial were collected from clinical records. ResultsA significant reduction of A1C was observed in the intervention group, showing noninferiority in relation to the classical approach. A significant decrease in A1C was observed in relation to the 6 previous years. A significant increase in satisfaction with the therapist and group process was observed. ConclusionsThis is the first randomized trial designed to evaluate a group care intervention to manage type 2 diabetes using narrative techniques. The results suggest that this may be a useful model for more highly schooled individuals, and may represent an alternative for the educational process.

CREATIVE WRITING PROGRAMMES AND PATRONAGE

ABSTRACTCreative Writing programmes in universities now offer both an education for and employment to literary writers. This papers asks how literary writers apprehend their relatively recently institutionalised position, as university staff and students. The concept of ‘patronage’, it is argued, offers a useful way into reflecting upon such academic institutionalisation. The argument is presented in three parts. The first outlines some of the conceptual nuances of patronage. The second examines the oft made claim that universities extend patronage to literary writers by enabling employment as Creative Writing staff. The third part engages with a question: what precisely does a student expect to gain from a Creative Writing programme and what does the degree validate? It is suggested that Creative Writing programmes are designed principally to offer supportive patronage, with a promise – but without guarantees – of entry into a financial patronage system. A brief conclusion considers the bearing of these arguments on Creative Writing as a school subject.

When it Appears

When it Appears Jerome Gagnon (bio) When it appears between the curtains,under the drawn shade,touching everything with possibility, illuminating the dim corners of your room,the keys and spare change spread across the dresserand the clothes you hung over the chair last night— know that its name is yours,that you hold it in the palm of your handlike a small, damaged bird that you release with each breath, each heartbeat,so that it may deliver its message to otherswho are waiting for something like ease, something like song. [End Page 346] Jerome Gagnon Jerome Gagnon lives in Northern California where he's worked as a teacher, tutor, and freelance journalist. A graduate of San Francisco State University's Creative Writing Program, his poetry has appeared in several journals recently, including Crab Creek Review, Archaeopteryx, and Poet Lore. A full-length collection, Rumors of Wisdom, received the Louis Poetry Book Award from Concrete Wolf Press and is forthcoming in early 2019. He's also the author of a chapbook, Spell of the Ordinary. www.jeromegagnonblog.wordpress.com. Copyright © 2019 Johns Hopkins University Press