Boston University MFA Program Receives $2 Million Gift
The graduate creative writing program at Boston University (BU) recently received two million dollars from Robert Hildreth, chair of the university’s board of overseers.
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From the Magazine
Teaching Assistantship 101: What You Need to Know
One way MFA programs provide funding to students is by hiring them as teaching assistants to teach writing classes in exchange for a stipend and, often, tuition remission and health insurance. While each program defines its teaching assistantships differently, in general there are a few things you should know before applying and preparing for one.
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Q&A: Phillips Leads Newark’s New MFA
Jayne Anne Phillips, who is in her second year as program director of the new MFA program in creative writing at Rutgers University's Newark, New Jersey, speaks about the program's genesis, its connection to Newark's literary and cultural community, and finding the time to complete her new novel.
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Workshop: A Rant Against Creative Writing Classes
“Can you really teach creative writing?” Professor and novelist Dan Barden answers this while offering his own unorthodox approaches to teaching a workshop.
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Q&A: Nicole Cooley and the New MFA
Program director Nicole Cooley discusses the Queens College take on the creative writing degree.
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Q&A: Chang Signals New Era in Iowa
On the eve of her departure from Somerville, Massachusetts, for Iowa City, Lan Samantha Chang spoke about her new role as the leader of the country's oldest creative writing program.
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An Interview With Poet August Kleinzahler
In November, Farrar, Straus and Giroux will publish August Kleinzahler's eleventh book of poetry, The Strange Hours Travelers Keep. A loner and a traveler himself, Kleinzahler has avoided the cloistered life of academia for stints as a logger in British Columbia, a political commentator in Germany and, most recently, a music columnist for the San Diego Weekly Reader.
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Traducción, Traduzione, Traduction: Postcard From East Anglia
In the last decade programs in Translation Studies, designed to train students in the theory and practice of literary translation, have flourished in American and European universities. Still, translators remain concerned about the future of their profession, fearing it will be undermined by a number of serious threats: English as a global language, computer translation, and the reluctance of publishers, at least in the English-speaking world, to take on the costs of publishing translations.
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