Robert Pack - Writers on Writing (Bread Loaf Anthology)
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MIDDLEBURY COLLEGE PRESS Published by University Press of New England, Hanover, NH 03755 1991 by the President and Fellows of Middlebury College All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for previously published material appear on p. 295
Page v
Contents
Foreword
vii
Three Propositions: Hooey, Dewey, and Loony
Marvin Bell
1
Don't Just Sit There: Writing as a Polymorphous Perverse Pleasure
Rosellen Brown
15
Judgment: An Essay
Nicholas Delbanco
29
What's in a Name?
Stanley Elkin
41
Reading
Richard Ford
55
A Diarist on Diarists
Gail Godwin
68
Taking What You Need, Giving What You Can: The Writer as Student and Teacher
David Huddle
74
Against Metaphor
T. R. Hummer
86
Getting Started
John Irving
98
My Grandmother on My Shoulder
Erica Jong
105
The Prose Sublime: Or, the Deep Sense of Things Belonging Together, Inexplicably
Donald Justice
112
Making a Case: Or, "Where Are You Coming From?"
Sydney Lea
120
Page vi
Part of the Problem
Philip Levine
132
The Soul of Brevity
William Matthews
148
Beginnings
Paul Mariani
151
Excerpts from a Journal
Joyce Carol Oates
162
The Magic Show
Tim O'Brien
175
On Wording
Robert Pack
184
On Being Prolific
Jay Parini
199
Writing about Writing
Linda Pastan
207
Learning from Chekhov
Francine Prose
221
Remembrance of Tense Past
Lynne Sharon Schwartz
232
On Tone
Ellen Bryant Voigt
248
Close Encounters of the Story Kind
Nancy Willard
263
Twenty Questions
Hilma Wolitzer
281
Contributors
293
Acknowledgments
295
Page vii
Foreword
It seems odd that so many books about writing, including books of criticism as well as "how to" books for both poets and fiction writers, are written by people who have never written a poem or a story. Nevertheless, much of the best criticism and most of the useful practical advice about writing has come from writers. It's no accident that in virtually every age the dominant poets were also the dominant critics, from Ben Jonson and Dryden, to Coleridge and T. S. Eliot. Today, of course, with the proliferation of academic criticism, writers of poetry and fiction are outnumbered by critics by a considerable margin. And a further wrinkle has been added in that the language of criticism has become so technical, even jargon-ridden, that writers of poetry and fiction often can't or, more usually, won't stoop to conquer. As a result, the domain of criticismand writing about writinghas been given over to "experts," many of whom are far more interested in the theoretical aspects of literature (in itself a good thing) than in the process and techniques of writing.
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