The
central emphasis of our program is the act of writing, undertaken
here in the context of a community of committed practitioners.
Established
in the 1960s by James B. Hall, the University of Oregon's M.F.A. Program
in Creative Writing is one of the longest standing in the country. Originally,
Hall designed the program so that the writing workshop would be complemented
with graduate courses in literature and other artistic disciplines.
Under subsequent directors Ralph Salisbury and John Haislip, the program
grew to emphasize more individual attention in conference hours and
moved away from the complementary classes in other fields. On his arrival
in 1989, former director Garrett Hongo examined the curriculum and graduate
requirements, then redesigned the program along studio lines, emphasizing
workshop hours and writing time. At present, the curriculum continues
to stress the writing workshop, integrating it with seminars and individualized
research on craft, theory, and related topics.
The program
structure privileges the writing workshop itself, recognizing the need
for students to spend a majority of their time writing. The structure
emphasizes performance and productivity as the student's primary responsibilities:
Half the required 72 credit hours accrued in this two-year M.F.A.
program are in the writing workshop. Conference and thesis work accounts
for another quarter of total credit hours, and the remainder consists
of seminars. Program faculty have developed a group of literary craft
seminars in fiction and poetry that focus on style, form, and literary
tradition. Together, the workshops and craft seminars make for a program
that combines a strong and exciting component of literary study with
a primary focus on the act of writing poetry and fiction. Students take
six graduate workshops (in a single genre) in six consecutive academic
quarters of residence.
We've
managed to keep our workshops small, and they have achieved a history
of accomplishment, innovation, and quality. In addition, many applicants
are attracted to the Pacific Northwest because of the great natural
beauties of the region (the Oregon coast, the Cascades, and wild rivers
are all close at hand) and because of Eugene's reputation for social
tolerance and support of the arts.
Our list
of graduates includes PEN-Hemingway Award winner Chang-rae Lee, Yale
Younger Poet winner Brigit Pegeen Kelly, National Poetry Prize winner
Eugene Gloria, screenwriter Kenny Moore, and Bilingual Review Poetry
Prize winner Andrés Montoya. Recent guests of the program include
Barry Lopez , C.K. Williams, Edward Hirsch, Charles Wright, Carolyn
Kizer, Philip Levine, Sharon Olds, Frederick Busch, Eavan Boland, B.H.
Fairchild, and Tobias Wolff. Writers such as Robert Wrigley, Elizabeth
McCracken, Reetika Vazirani, David Mura, Li-young Lee, James Houston,
Lynn Freed, Cai Emmons, and Joseph Millar have served as visiting faculty.
For 2007-08, poetry workshops will be led Garrett Hongo and Geri Doran;
our fiction workshops will be led by Ehud Havazelet, David Bradley,
and Laurie Lynn Drummond.
We recognize
that English has become an international language and that its literature
is written by American minorities, Africans, Caribbeans, Hispanics,
European refugees, Asians, and Pacific Islanders, as well as by the
British and Anglo-Americans. Some of the most exciting writing in English
could be described as postmodern, postcolonial, and, though it may be
grounded in geographic and cultural regions, it is nevertheless strenuously
global in its perspectives. Therefore, we are developing literary craft
courses that reflect this situation. In addition to courses in the traditional
narrative and lyric styles in poetry, we also offer seminars in the
literature of diaspora, problems in postcolonial literature, and the
literary memoir.
Essentially,
we offer the opportunity for developing writers to spend two years writing
in a stimulating intellectual environment, a supportive community, and
a beautiful natural setting.