By Lynn Bloom
Twenty essays addressing the severe concerns taken with educating writing. This paintings makes a speciality of the artistic dynamics that come up from the interrelation of writing, instructing writing, and methods of reading--and the scholarship and administrative matters engendered by means of it.
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Additional resources for Composition Studies As A Creative Art - Teaching, Writing, Scholarship, Administration
But the literature is so well-known that I expected readers would be familiar with it, and if not, that their own experience would argue the merits of my case. I must confess that I also wanted to see whether a major journal would take it, unshod by footnotes, and that I chortled when CCC said "Yes"! Nor does personal-sounding writing mean that the work at hand is particularly personal, any more than impersonal-sounding writing means that the author is not invested in the subject, as addressed in chapters four, five, and twelve.
So I proffer this Introduction to Composition Studies as a Creative Art as an apologia, not an apology, full of delight at the opportunity to share with colleagues across Page 10 the countryteachers, students, administratorsthis labor of a lifetime, a labor of love. Make no mistake. Just because the writing throughout this book sounds personal does not mean that it is therefore by definition sloppy, sentimental, self-indulgent, or stupidobjections too often fired broadside against the living body of such work.
Thus this chapter offers a microcosmic study of one researcher's methodology in Page 7 an emerging field. It also presents a way to re-examine a great deal of other work in composition studies done before the language emerged in which to talk about it. Chapters eleven, "Coming of Age in the Field That Had No Name," and thirteen, "'I Write for Myself and Strangers': Private Diaries as Public Documents," are included to promote an understanding of how the texts they discuss are written, reinforcing the commentary in chapters seven and nine.