creative writing faculty oberlin

The Oberlin Review

Oberlin Should Better Support Creative Writing Department

When I began looking for colleges to apply to about two years ago, there was one criteria at the top of my list: the school needed to have a creative writing program, preferably a major. Creative writing majors are uncommon at best, and finding a program that seemed well-planned and comprehensive was even more difficult. Out of the colleges I was accepted to, Oberlin was the only one to have a creative writing major that required an application, but it also had the best program. I was well aware upon deciding to come here that I would need to apply to my desired major, but I was unaware of the culture surrounding this application (because, really, how could I have known before committing?).

The first Creative Writing class I took here was Introduction to Fiction Writing. One of the first lectures our professor gave us was a little flowchart on where to go after the course. The professor’s most emphasized conclusion was that none of us needed to major in Creative Writing to continue being writers. Of course, the professor was completely right, but I could immediately see new students, who had previously been eager to become CRWR majors, biting their nails. Many of the members of my PAL group were eager to be Creative Writing majors, and by the end of our first semester on campus, most of them had changed their minds. In my opinion, this is largely because the Creative Writing faculty and other professors on campus perpetuate the idea that the Creative Writing major is not worth pursuing because of the application process.  

As far as I can tell, the application process exists for this major because the major itself concludes in a capstone project. Each student is required to complete a capstone project with an advisor in a hands-on, months-long process. Because each advising professor needs to give their students personalized attention, there can only be as many Creative Writing majors as the faculty can handle in the capstone process. However, it feels like the amount of professors is actively declining instead of increasing to meet this demand, and countless students who came specifically to Oberlin to major in Creative Writing are met with disappointment.  

Many, if not most, of us are paying thousands of dollars a year to attend this school. With that level of financial commitment, I feel that we should be able to study what we want. Upon being accepted to Oberlin, I was personally encouraged by my admissions counselor to come to Oberlin because I would be a “great fit for the writing program.” But at every turn, I’ve seen professors discourage students from pursuing their major of choice because of its selectivity. The school continues to admit large first-year classes every year, but seems unable to solve the burgeoning problem of the department. It is unable to keep up with the demand for classes or prospective majors and is leaving many students to find other avenues to pursue.  

I personally believe that this is wrong. While it may seem cool and even a bit elite to be personally accepted into your major of choice, there is an undeniable sting of rejection waiting for countless others. Literature and storytelling are a cornerstone of society, and we should be continuously encouraging its expansion. But here, only a select few will even have the chance to participate in writing workshops because of the small number of class spaces. I completely understand that it is a major that requires more attention to its students and more personalized assistance. But I don’t think that the solution is encouraging students to pursue different avenues of study. Everyone should feel like they have a chance to get in and participate rather than feeling like they’ve been shut out.  

The school knows that a major draw to coming here comes from its stellar Creative Writing program, and I just wish that there was more effort toward its expansion. I’m sure the professors are trying their best to develop the Creative Writing department, but the eagerness I see in my peers seems to be decreasing as we come closer to applying. There isn’t a single other major in the College that requires an application, which only seems to increase the judgemental energy surrounding the desire to major in Creative Writing and the application process.  

Our school has a near-constant emphasis on inclusivity in all aspects of life, yet one specific major is encouraged to be as exclusive as possible. Doesn’t that feel off?

• Anna Wenzel
• Creative Writing
• Creative Writing Majors

Established 1874.

The major consists of a minimum of 10 full courses (or the equivalent).

Note: Students must earn minimum grades of C- or P for all courses that apply toward the major.

Summary of Requirements

• Two Full 200-Level Creative Writing Courses
• Three Full 300-Level Creative Writing Workshops
• Four Full Textual Studies Courses
• CRWR 490 - Creative Writing Capstone Seminar    

Note(s) on Requirements

• Only one cross-listed 300-level workshop course may apply to the major.
• Only one practical studies course (e.g., CRWR 450) may apply to the major.
• Students must complete creative writing courses in at least two genres.
• Students must take courses at the 200- and 300-level with at least three different instructors.

Declaring the Major

Students may apply to the major in their second or third year once they have, at minimum:

• satisfactorily completed two 200-level courses, preferably in different genres, or
• satisfactorily completed one 100-level course and one 200-level course, and are in the process of completing a second 200-level course in good standing, or
• (for transfer students only) satisfactorily completed one 200-level course and have demonstrated that they have satisfactorily completed the equivalent of another 200-level creative writing course at another institution.

The program accepts applications to the major in the middle of each semester. The application is both rigorous and holistic, assessing students’ development over three main areas: professionalism, workshop citizenship, and artistic commitment. Typically, the application requires a reflection on the student’s experiences in creative writing thus far, a proposed course of study in the major, an example of a workshop feedback letter written to a peer, and a portfolio. Applications are reviewed by the entire creative writing teaching faculty.

Students not accepted into the major may often still complete the creative writing minor.

Transfer of Credit Toward the Major

Credit for creative writing courses taken elsewhere may normally be applied toward the 200-level course requirement, to the textual studies requirement, or to both; however, equivalent credit is seldom given for any of the 300-level workshops. No more than two full courses of transfer credit may be applied toward the creative writing major.

Upon acceptance to the college, transfer students with an interest in creative writing should contact the program chair to discuss approval of previous coursework. Third-year transfer students will find it almost impossible to complete the major in four semesters and might consider the minor.

Course of Study

Students accepted to the major undertake a series of three intensive upper-level workshops: exacting, low-enrollment courses designed to test and refine the core skills and practices of maturing writers who are committed not only to their own development but also to that of their peers and to nurturing a vibrant, open-minded community of fellow craftspeople.

Acknowledging that there is no good writing without good reading, students also consult with their advisors to select textual studies courses to cultivate the careful reading and interpretation of literature that is central to any vital studio practice.

The major culminates in a substantial, closely-mentored capstone project, undertaken in a seminar setting with other capstone students. Capstone seminars include discussions of how to bring the skills and disciplines honed in the creative writing major out into the world after college.  

Detailed Major Requirements

Creative writing major course lists, 200-level creative writing courses.

Return to the summary of requirements.

• CRWR 206 - Digital Storytelling
• CRWR 207 - Literary Journalism
• CRWR 208 - Queer Futures
• CRWR 210 - Fiction Workshop
• CRWR 211 - Black to the Future: Speculative Young Adult Fiction
• CRWR 212 - Word and Image: Poetry in Dialogue with Visual Art
• CRWR 213 - The Prose Poem
• CRWR 214 - The Poetry of Place
• CRWR 215 - Race and Poetic Innovation
• CRWR 216 - 4x4: Studies in the Contemporary Short Story
• CRWR 217 - Climate Fiction
• CRWR 218 - The Art of the Monologue: One-Person Plays and Other Solo (Non)Fictions
• CRWR    /   ENGL 219 - Person and Impersonation
• CRWR 222 - Speculative Worlds
• CRWR 224 - The Posthuman: Monsters and Beyond
• CRWR 226 - The Fairy Tale
• CRWR 229 - Dialogue and Dialect
• CRWR 230 - Form and Flexibility
• CRWR 232 - Fiction: Writing About Work
• CRWR 233 - Character and Craft
• CRWR 235 - Story and Screen
• CRWR 238 - Topics and Forms: Plot and Structure
• CRWR 241 - Queer Poetry
• CRWR 245 - Urgent Nature: Ecopoetics and Nature Poetry
• CRWR 248 - Climate Nonfiction
• CRWR 250 - Introduction to Literary Translation: Theory, History, Practice
• CRWR 251 - The Sonnet
• CRWR 252 - Poetry: Travel, Mobility, and Movement
• CRWR 256 - Historic(al) Fictions
• CRWR 268 - Ethnic American Story Cycle
• CRWR 273 - False Documents: Fiction, Fakery, and Other Falsehoods
• CRWR 280 - Small Prose Forms
• CRWR 284 - Subject and Object: Poetry as Fact and Feeling
• CRWR 285 - Strangeness and Surprise
• CRWR 286 - Borderlands: Literary Fiction and its Subgenres
• CRWR 287 - Voice, Mood, and Tone
• CRWR 291 - Topics & Forms: The OuLiPo & Constraint

300-Level Creative Writing Workshops

• CRWR 310 - Poetry Workshop
• CRWR 311 - Advanced Poetry Workshop 2: Special Topics in Poetry
• CRWR 317 - Between Lyric and Narrative: Transitional Prose Forms
• CRWR 320 - Fiction Workshop
• CRWR 321 - Special Topics in Fiction: The Sentence
• CRWR 322 - Speculative Fiction
• CRWR 323 - Experiments in Narrative Fiction
• CRWR 324 - Young Adult Fiction Workshop
• CRWR 325 - Creating the Novel
• CRWR 332 - Song and Book
• CRWR 340 - Nonfiction Workshop
• CRWR 341 - Lyric Essay

Cross-listed Workshops

• CRWR 350    /   CMPL 350 - Advanced Translation Workshop: Poetry
• CRWR 351    /   CMPL 351 - Advanced Translation Workshop: Prose and Drama
• CRWR 365    /   CINE 295 - Cinematic Storytelling Workshop

Textual Studies Requirement

Students should consult with their advisors when selecting textual studies courses.

Growing as a writer depends upon growing as a reader. The textual studies requirement asks students to deepen their knowledge of the traditions and current practices that shape the genres in which they write. The requirement may be met by courses in literature, narrative, or poetics (generally at the 200-level and above) offered by the departments of Africana studies, cinema studies, comparative literature, English, theater, and language departments such as French and Italian and East Asian studies. Textual studies credit may, in some cases, be considered for courses outside of these departments but within the Arts and Humanities (ARHU) division of the college. All such considerations and decisions are at the discretion of the program chair.

Students in their fourth (and sometimes their third) year may choose to substitute one of the textual studies courses for a practical studies course such as  CRWR 450    or various other practica.

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Oberlin College

Ohio, united states.

Oberlin offers undergraduates the rare opportunity to major in creative writing—not as a concentration in another department, but as an independent discipline in its own right. Creative Writing provides an intense and rigorous course of study with instruction, studio training, and coursework in a variety of genres, including poetry, fiction, nonfiction, drama, translation, screenwriting, and hybrid forms. Our program encourages work across disciplines and prepares students for a range of careers both within and beyond the literary world.

Creative Writing at Oberlin emphasizes an inclusive workshop climate where creative expression, experimentation, and collaboration thrive. Our faculty are practicing poets, novelists, screenwriters, and essayists who value the art of teaching and supportive mentorship. Advanced creative writing students pursue large-scale independent projects with the support of a faculty mentor and a dedicated small group of peers. Because we are more than just a studio program, our students employ the skills of open inquiry and intellectual curiosity: their liberal arts education enriches their creative work, and their creativity inspires rigorous cross-disciplinary thinking both in the classroom and beyond. The program has designed its curriculum so that students will have opportunities throughout to engage with other arts at Oberlin, as well as with the broader community, for example, in practica in the local schools.

Application to the Creative Writing Major takes place after a student has completed two 200-level Creative Writing courses of their choosing (or, if they have also taken a 100-level Creative Writing course, while they are finishing their second 200). The program accepts applications every semester, with the deadline falling around midterms. Any student who is not accepted on their first application is welcome either to apply again or to consider pursuing the Creative Writing Minor.

Requirements for the major are: the two 200-level courses; three 300-level workshops; four Textual Studies courses (classes in any other department, such as English, Comp Lit, Africana Studies, or Theater, that focus on the reading and analysis of literary works); and CRWR 490: Capstone Seminar, a small-group course in which graduating seniors work on their capstone projects with support from their peers and a professor.

The Creative Writing minor does not require an application. The courses required are: two 200-level workshops; one 300-level workshop; one Creative Writing elective; and one Textual Studies course.

Oberlin Creative Writing bring a wide range of writers to campus, both for in-person readings and class visits and for Zoom visits to individual classrooms studying their work. Recent visitors have included novelist Maaza Mengiste, whose recent book "The Shadow King" was nominated for the Booker Prize; novelist Rumaan Alam '99, whose book "Leave the World Behind" was a finalist for the National Book Award; Mira Jacob '96, whose graphic memoir was shortlisted for the National Book Critics Circle Award; story writer Molly Antopol, whose story collection "The UnAmericans" earned her a National Book Foundation's "5 Under 35" award; French experimental novelist Anne Garréta, who came to discuss her new novel, "In Concrete"; and Dionne Irving, who came to discuss "The Islands," her new short story collection.

Oberlin's campus supports students interested in writing in various ways. In addition to Creative Writing's offerings, there are writing courses in Journalism, Playwriting, Screenwriting, and Translation. Students run and publish a number of campus literary journals. Oberlin Community of Writers (OCow) is a club that welcomes students from any field of interest to come write together and workshop work in a supportive environment.

Contact Information

50 N. Professor St, Room 205 Oberlin Ohio, United States 44074-1081 Phone: 4407756567 Email: [email protected] https://www.oberlin.edu/arts-and-sciences/departments/creative-writing

Bachelor of Arts in Creative Writing +

Undergraduate program director.

Combining the breadth of a liberal arts education with rigorous studio training, the creative writing major emphasizes individual mentoring at the advanced level through small, juried workshops (with a maximum enrollment of 12) and independent projects directed by program faculty. While primarily focused on five genres: fiction, poetry, nonfiction, playwriting, and screenwriting, the major also provides opportunities for cross-disciplinary work with the other arts. Through a variety of practica, both on campus and off, students can acquire practical, hands-on experience in writing-related internships.

The Creative Writing major requires 37 hours of coursework, distributed as follows: the 201 gateway (4 credit hours), three 300-level workshops (12 credit hours), 5 hours of electives, the capstone, and an additional 12 hours in textual studies. Students who declare the major will usually have completed 201 and been admitted to their first 300-level workshop. No more than one 100-level course will count as a major elective. Students must earn a minimum of a C-, P, or CR in courses to be counted toward the major. Admittance to all workshops and projects, required by the major, is by application only. At the end of each term, applications are due on the final day of classes.

A minimum of 4 hours committed to a project, incorporating a substantial amount of independent work and designed in consultation with a faculty advisor, is required for completion of this requirement. Most majors will fill this requirement by completing a semester-long, four-credit independent project (CRWR 470). It is strongly recommended that majors complete two 300-level workshops, including at least one in a related genre, before signing up for 470.

Playwriting Concentration

For concentrators in playwriting, the 37 credits of the major would be reconfigured as follows:

* In Creative Writing, 20 hours (thirteen at the 300- or 400-level), to include CrWr 201, 330, two advanced projects in playwriting and four elective credits.

* In English, Theater and other departments, at least 14 hours, including nine in literature (six of which must focus on drama); and five in acting, design, or technical theater.

* The remaining 3 hours may be in any of the above areas.

The minor consists of five courses offered by Creative Writing, totaling at least 15 hours. One of these courses must be at the 300-level (or above). A minimum grade of C-, P, or CR is required in courses to be counted toward the minor.

Several student publications, run by various groups on campus, provide creative writing majors the opportunity to see their work in print. The Oberlin College Press is run by professors who are creative writers, and includes among its publications FIELD, an internationally recognized journal of poetry, and an ongoing series in poetry and translation. Winter term also offers students a chance to work independently with individual instructors, or collectively under the sponsorship of advanced students.

For more information, contact Suzanne Overstreet, Program Coordinator, [email protected]

Emily Barton

Associate Professor & Program Chair; fiction

https://www.oberlin.edu/emily-barton

Chanda Feldman

Associate Professor; poetry

https://www.oberlin.edu/chanda-feldman

Allegra Hyde

Assistant Professor; fiction

https://www.oberlin.edu/allegra-hyde

Tom Hopkins

Senior Lecturer; fiction

https://www.oberlin.edu/tom-hopkins

Visiting Assistant Professor; fiction

https://www.oberlin.edu/sam-cohen

Elizabeth Lindsey Rogers '07

Visiting Assistant Professor; poetry

https://www.oberlin.edu/elizabeth-rogers

Pallavi Wakharkar

Lecturer of Creative Writing;fiction

https://www.oberlin.edu/pallavi-wakharkar

Dennis Tang

Lecturer of Creative Writing;prose

https://www.oberlin.edu/dennis-tang

Ghassan Abou Zeineddine

Visiting Assistant Professor;fiction

https://www.oberlin.edu/ghassan-abou-zeineddine

Amanda Hodes

Lecturer of Creative Writing;poetry

https://www.oberlin.edu/amanda-hodes

Juliana Goodman

https://www.oberlin.edu/juliana-goodman

Kyle McCarthy

https://www.oberlin.edu/kyle-mccarthy

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Creative Writing at Oberlin College

Go directly to any of the following sections:

• Available Degrees
• Student Demographics

Creative Writing Degrees Available at Oberlin

• Bachelor’s Degree in Creative Writing

Oberlin Creative Writing Rankings

The bachelor's program at Oberlin was ranked #46 on College Factual's Best Schools for creative writing list . It is also ranked #4 in Ohio .

During the 2020-2021 academic year, Oberlin College handed out 24 bachelor's degrees in creative writing. This is a decrease of 14% over the previous year when 28 degrees were handed out.

Creative Writing Student Diversity at Oberlin

Take a look at the following statistics related to the make-up of the creative writing majors at Oberlin College.

Oberlin Creative Writing Bachelor’s Program

Of the 24 students who earned a bachelor's degree in Creative Writing from Oberlin in 2020-2021, 42% were men and 58% were women.

The majority of the students with this major are white. About 63% of 2021 graduates were in this category.

The following table and chart show the ethnic background for students who recently graduated from Oberlin College with a bachelor's in creative writing.

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• Image Credit: By Matthew Trump under License

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Creative Writing

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Arts & Humanities

USU Creative Writing Faculty Win Prestigious Literary Awards

By Andrea DeHaan | April 24, 2024

USU Creative Writing faculty Amber Caron and Jennifer Sinor.

LOGAN — Two Utah State University faculty are among this year’s authors selected for inclusion in 2024 “best of” collections, placing them alongside some of America’s most notable storytellers and essayists.

Assistant Professor of English Amber Caron is the recipient of a 2024 O. Henry Prize for Short Fiction , an honor previously shared by the likes of Jhumpa Lahiri and Stephen King. Caron joined USU’s Department of English in 2022 and teaches fiction writing and contemporary literature.

Caron earned the O. Henry Prize for “Didi,” which first appeared in the literary magazine Electric Literature as part of its Recommended Reading series. The story also provides the conclusion — and anchor — of Caron’s debut short story collection “ Call Up the Waters ,” published in 2023. The story will be included in “ The Best Short Stories 2024: The O. Henry Prize Winners ” collection.

Considered the oldest major award for American short fiction, the prize has been awarded every year since 1919 (except in 2020).

In the announcement of this year’s winners, series editor Jenny Minton Quigley wrote about the important role these stories play in current society: “We are living in a moment when it is crucial to be able to imagine the souls of our fellow human beings, to see past their curated social media personas, their filtered self-portraits, and their polarized allegiances — to part the curtains on the fleeting, momentary, miraculous sight of their secret selves that is essential for empathy and human connection.”

Professor Jennifer Sinor’s essay “The Lives of Bryan” will appear in “ The Best American Essays 2024 ,” a collection edited by The New York Times critic Wesley Morris and award-winning essayist Kim Dana Kupperman. Sinor is a memoirist and essayist who has taught at USU for nearly 24 years.

Sinor’s piece about the death of her brother was first published in The American Scholar . When it appears this fall in “The Best American Essays,” it will become part of a collection that dates back to 1986 and is largely credited for reinvigorating the form of the essay as well as the emergence of creative nonfiction in the academy.

“Best of” collections are more than just a who’s who of contemporary writing. As Jenny Spinner suggests, they are “both recording and writing a chapter” of literary history. Read together, the stories and essays reflect where we are and where we are going.

Inclusion in these kinds of collections is highly competitive. The pieces are chosen from among thousands of submissions made by editors around the country. According to Sinor, to be one of the 20 is akin to winning the lottery.

“Given the odds, it would have been remarkable to have a faculty member receive the award in any given year, but to have two chosen in the same year is unbelievable,” Sinor said.

Both Caron and Sinor’s works focus on a similar theme, asking readers to think about loss. The title character of Caron’s story whose disappearance brings both fear and familiarity for the woman assigned to watch her. The loss of Sinor’s brother who left the world on a full moon with no one to stand witness. Both selections stand as meditations on what can be saved, what can be lost, and how little control we have over either — ideas that are mirrored in national conversations.

Department Head of English Brian McCuskey called the awards a testament to “our amazingly accomplished faculty and USU’s thriving creative-writing program.”

“As well as being brilliant writers, Jennifer and Amber are inspiring teachers, fully dedicated to their craft and deeply committed to their students,” he said.

A cornerstone of Utah State University, the College of Humanities and Social Sciences brings together faculty members engaged in original research and creative activities to teach and mentor students who aspire to be leaders in their professions and communities. Degrees in humanities and social sciences cultivate highly adaptable professional skills in students through teaching effective communication, research, data analysis and creative problem-solving.

Andrea DeHaan Communications Editor College of Humanities and Social Sciences 435-797-2985 [email protected]

Brian McCuskey Professor and Department Head Department of English (435)797-2733 [email protected]

Comments and questions regarding this article may be directed to the contact person listed on this page.

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2024 duke english creative writing scholarship awards, april 23, 2024.

Quantá Holden | Duke English | Digital Communication Specialist

Duke English is delighted to share the 2024 Creative Writing Scholarships honorees. Each year, Duke English faculty members nominate undergraduate students for one of the Creative Writing Scholarships based on the exceptional work they submitted in one or more of their creative writing courses. The Creative Writing Committee selects the winners of the prestigious William M. Blackburn, Francis Pemberton, and Margaret Rose Knight Sanford Scholarships. Students nominated must be eligible for financial aid to receive these scholarships.

2024 Creative Writing Scholarship Recipients:

Frances Pemberton Scholarship Awarded to a junior or senior pursuing the study of creative writing.  This scholarship was created by the Trustees of The Mary Duke Biddle Foundation in memory and in honor of Francis Pemberton's service to the Biddle Foundation.

Ryan Copeland , ‘25

Margaret Rose Knight Sanford Scholarship Awarded to a female student who demonstrates particular promise in creative writing.  This scholarship was established in recognition of the untiring efforts of Margaret Rose Knight Sanford on behalf of Duke University.

Ali Thursland , ‘24

William Blackburn Scholarship Recognizes outstanding achievement in the field of creative writing.  Established in 1962 by students and friends of Professor William Blackburn (1899-1969) who first began teaching creative writing at Duke.

Jocelyn Chin , ‘24 Sage Cooley , ‘25 Joshua Lee , ‘26 Rani Teddy , ‘26

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Apr. 22, 2024

Empowering voices: the future of creative writing at rice university.

Creative writing transcends conventional academic boundaries, serving as both a discipline and a practice that invites diverse perspectives and influences. According to Ian Schimmel, associate teaching professor of English at Rice University, creative writing is characterized by its openness to exploration and expression.

“It does not define the scope of what a thought project should be,” Schimmel said, adding that creative writing encompasses a wide range of forms and styles, from traditional genres like fiction, poetry, nonfiction and drama to emerging mediums that shape contemporary discourse. “It’s very permeable to other parts of the university that want to participate in it.”

Extending beyond mere poetic imagery or storytelling, creative writing delves into the depths of human experience, capturing the rhythm, themes and pauses that define individual narratives.

“We’re all an amalgamation of stories,” said Kiese Laymon, the Libbie Shearn Moody Professor of English. “The rigor of having to explore your imagination and memory with these tools we have is hard work. We try to make it enjoyable work, but it’s definitely hard work.”

Creative writing plays a pivotal role in understanding and interpreting societal narratives, Schimmel pointed out, highlighting the significance of studying hybrid forms that blend elements of journalism, memoir and personal reflection, reflecting the multifaceted nature of contemporary storytelling.

“I prefer the term ‘imaginative writing’ or ‘public writing,’” said Justin Cronin, writer-in-residence in English. “‘Creative writing’ pays less attention to the idea that this is a discipline. It really is a very particular kind of discipline that you need to learn to do.”

At its core, creative writing is about having something to say — a point of view or an urgency that compels expression.

“We are equipping students with the tools to say what they feel is most important and urgent,” Schimmel said. “That’s where the fulfillment comes from.”

For Cronin, teaching creative writing is a dynamic process of self-discovery and exploration.

“Anyone who teaches creative writing is teaching themselves, full stop,” Cronin said. “We are doing both all the time.”

He emphasized the interdisciplinary nature of the discipline, drawing connections between literature, film and societal trends. Cronin’s spring 2024 course titled “The End of the World as We Know It: Writing (and Reading) Apocalypse” exemplifies this interdisciplinary approach, blending literary analysis with creative expression to explore existential themes.

“There is a lot to learn about craft, about how to make a good sentence, how essays really work, how stories or novels work,” Cronin said. “But then there are also the broader questions: Why do we do this? Where does it come from, and where does it go?”

‘It feels like home’

It’s worth reflecting on the latter question in relation to Rice’s creative writing program. Of the current faculty, Cronin has the longest institutional knowledge. He came to Rice in 2003, effectively doubling the program’s full-time faculty.

“It was just me teaching fiction and one poetry professor,” Cronin said. “That was creative writing in 2003.”

A couple of years later when he sold a partial manuscript of what evolved into his trilogy “The Passage,” Cronin stepped down from his full-time teaching role to focus on the series.

Schimmel later joined Rice during a two-year fellowship starting in 2011. After his first year, the two other creative writing faculty members retired.

“I was one of only one or two other people teaching creative writing at Rice in 2012,” Schimmel said.

Associate professor Amber Dermont joined the faculty followed by assistant professor Paul Otremba then Lacy Johnson in 2016, which is when Cronin returned to teach at Rice.

“We made a strategic plan that involved investing in creative writing, trying to make Rice the best undergraduate creative writing program in the country,” said Lacy Johnson, associate professor of creative writing and director of undergraduate studies in English. “We proposed hiring a few more writers so that we could continue to grow.”

And they did, adding Laymon, professor in the practice Andrea Bajani, assistant professor Bryan Washington and associate professor Tomás Q. Morín.

“When I saw the job posting at Rice, every writer I knew was applying for the job,” Morín said. “Every writer I knew wanted to work at Rice because it was a dream job.”

Morin said his desire to join the faculty only grew after visiting the campus during the interview process when he got to meet the people he’d be working with and the students he’d be teaching.

“I felt like this job could be my last stop in terms of my academic career,” Morín said. “This is a place where I could retire. Once I actually did start teaching here, all of that was affirmed. I don’t want to ever teach anywhere else again. This doesn’t feel like a job. It feels like home.”

“With Lacy Johnson, Ian Schimmel, Kiese Laymon, Bryan Washington, Tomás Morín, Amber Dermont, Andrea Bajani and Justin Cronin, Rice boasts some of the most significant writers in the United States,” said Kathleen Canning, dean of the School of Humanities, in sharing her assessment of the creative writing faculty she calls “amazing.”

“Spectacular” is the word Cronin choses to describe his colleagues.

“The amount of raw achievement in so many areas is unparalleled,” Cronin said, pointing to Laymon’s selection as a MacArthur Fellow and Johnson’s creation of the Houston Flood Museum. “We have short story writers, essayists, novelists, poets, screenwriters. We have it all.”

Laymon, who started teaching at Rice in January 2022, expressed that he’s been impressed by how dynamic and thoughtful his colleagues are.

“Our ability to work together is one of the reasons why the creative writing program is growing at such an incredible rate,” Laymon said.

"The learning and the doing"

The program’s not growing just in terms of faculty; the academic powerhouse has captured the imagination and enthusiasm of students, sparking a surge of interest that far exceeds available capacity. Most creative writing classes have waitlists at least 20 students deep, while the waitlists for intro workshops are closer to 75.

“I’ve never worked anywhere where there was such a tremendous curiosity, passion and interest in creative writing at the undergraduate level,” Morín said.

“The desire on the part of these students to use creativity to explore critically and intellectually, I’ve never seen anything like this in my life,” Laymon said, adding that he believes the interest is connected to the strength of the faculty. “You don’t find creative writing programs with any sort of growth unless the students are being taught well.”

Laymon suggested the program’s success also lies in its ability to attract students from diverse disciplines, including computer science, biology and engineering.

“There is such a hunger on our campus to make things and to take what you learned in the classroom and apply it,” Schimmel said. “There’s often a gulf between the theoretical and the practical in an education setting. What’s powerful about creative writing, and the arts in general, is the connectivity between the learning and the doing.”

Faculty members say they appreciate the diverse perspectives and interdisciplinary collaborations that emerge from such a dynamic student body.

“There are so many different kinds of expertise for students to use Rice and Houston as a laboratory to think about the issues that are facing us today,” Johnson said. “Thinking about climate, about science, about community, about culture, where better than Houston to come to learn to write about those things?”

"Experimenting with words"

The creative writing program is a catalyst for that exploration and discovery, empowering students to engage with a myriad of topics and formats while honing their skills as storytellers.

For example, on the nonfiction side, Laymon’s spring 2024 course titled "Verses/Versus: Miseducation of Lauryn Hill v. good kid m.A.A.d. city (or 1998 vs. 2012)” allows students to reflect on how music influences their lives, whether through personal experiences or the albums discussed in class. “Nonfiction Nature Writing,” taught by Johnson, merges writing and environmental philosophy.

“We’re giving consideration to the ways that we think about and talk about the environment as well as practicing writing about our relationship to the environment,” Johnson said. “Students often come to that class from the sciences. I have a lot of students from environmental sciences, geology, physics, ecology and evolutionary biology.”

The class is a different application of science, Johnson added, explaining that it provides students an opportunity to apply and translate what they’ve learned in their other classes in creative ways.

Schimmel, meanwhile, teaches podcasting courses, challenging students to report on stories beyond the hedges of Rice. By interviewing real-life characters and crafting compelling narratives, students gain valuable storytelling skills while exploring the power of audio storytelling.

“We deconstruct the narrative structures of radio storytelling to understand how a large amount of material can be condensed into something that is manageable, enjoyable and informative for an audience,” Schimmel said.

Central to the creative writing experience at Rice is the workshop. Through peer critique and experimentation, students refine their writing and gain insights into audience engagement and narrative structure.

“A workshop environment helps you compare your intentions with the realities of your audience,” Schimmel said. “It pulls you out of yourself. It makes you conscious of how form and technique affect your reader’s desire to interact with your work.”

Laymon underscored the importance of experimentation in creative writing. By encouraging students to explore literary traditions and experiment with language, the program fosters a culture of innovation and self-expression.

“We all have these 26 letters. How do we create a story with them?” Laymon said. “We need young people out there experimenting with words and to be encouraged to do that.”

"A unique opportunity"

As Rice’s creative writing program has evolved, its faculty have remained dedicated to fostering a culture of creativity, expression and intellectual inquiry, shaping the next generation of writers and thinkers.

“One of our goals is to broaden the public’s understanding of what creative writing is and how it can serve as a public utility for all,” Schimmel said.

The next step for the program, according to Cronin, is to elevate from a strong program to a national leader in undergraduate creative writing education.

“We want to be the best undergraduate creative writing program in the country, which means students come to Rice specifically for that,” Cronin said. “We want to build the kind of program that people deliberately seek out. Students apply to a university for a thing, and we want to be that thing.”

Faculty members are exploring the possibility of establishing a Master of Fine Arts (MFA) in creative writing, which reflects the program’s commitment to furthering its impact and engaging with a broader community of writers.

“There’s a lot of interest,” Johnson said. “We have a really unique opportunity at Rice to build something from scratch.”

“That feels incredibly exciting to me,” Morín said, explaining that the goal is to create a program that addresses the shortcomings of the traditional MFA model while offering a fresh and dynamic approach. “It gives me a lot of energy, because as a group, we can offer the kind of experience that a graduate student in creative writing can’t find anywhere else.”

For more information about Rice’s creative writing program, click here .

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School - April 25, 2024

Science Storyteller Lucy Cooke Uses Humor to Share Insights on Sex, Sloths, and Sustainability

• Sustainability Management
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A conversation with acclaimed science storyteller Lucy Cooke on April 3 at Columbia’s Pulitzer Hall promised a lively and engaging discussion on the topics of science, satire, sloths, and sex.

And it did not disappoint.

Hosted by the Columbia University School of Professional Studies (SPS)  M.S. in Sustainability Management ,  M.S. in Sustainability Science programs along with  Columbia Journalism School’s Science Journalism Program , and CJS Women in Media, “The Surprising Truth about Storytelling” provided insights into the complexities of science writing, morality, and the diversity of behavior observed in nature. The event was moderated by Louise A. Rosen, Senior Associate Dean of Administration & Communications, School of Professional Studies, Lecturer, School of International and Public Affairs, Columbia University.

It was all filtered through Cooke’s distinctive approach to storytelling, which blends science and humor to illuminate important issues entertainingly.

Cooke's latest book,  Bitch: On the Female of the Species , exemplifies her ability to challenge societal norms and provoke conversation through her unique narrative lens. As Cooke put it, “I particularly like telling stories that make people look at the world in a different way and also make people laugh.”

Sloths: Nature’s Unsung Sustainability Heroes

Cooke studied Zoology at New College, Oxford University with renowned scholar Richard Dawkins, before embarking on her career as a storyteller. Taking a break from working as a television producer, Cooke was driven by a mission to save endangered amphibians and shared how an encounter with a sloth inspired a new passion. When an Instagram video she posted featuring sloths went viral, her career took an unexpected turn, and Cooke found herself inadvertently advocating for the furry, tree-dwelling mammals.

Cooke shared that despite their notoriously sedentary lifestyle, sloths are a positive for sustainability. “They are sustainability icons. To me, they are like the perfect story.”

Unlike sloths, Cooke explained, “humans are obsessed with going faster than nature intended, and it’s killing the planet.” This observation underscores her belief in the value of embracing nature’s slower pace, a sentiment echoed in her admiration for the enduring adaptability of sloths.

Science storyteller Lucy Cooke (left) in conversation with moderator Louise A. Rosen at Columbia's Pulitzer Hall. Cultural Reflections and Animal Behavior

Throughout the conversation, Cooke delved into the intricacies of human-animal parallels, noting how society often superimposes its values onto animals. This dynamic serves as fertile ground for storytelling, allowing Cooke to dissect human behavior through the lens of the animal kingdom.

“We sort of impose our culture and our ideas on animals, and then use that to reflect back on ourselves,” said Cooke. This introspective approach adds depth to her storytelling, prompting audiences to reconsider their preconceived notions.

She succinctly summarized her views on the diversity of behavior and complexities of morality observed in nature: “The animal kingdom is the worst place to go for model moral guidance.”

Breaking Boundaries through Humor in Science

Cooke’s approach to storytelling transcends conventional norms, infusing humor into personal narratives to inspire, engage, and educate audiences that traditionally may not gravitate toward science storytelling. 

Addressing concerns about maintaining scientific integrity while using humor, she emphasized the importance of crafting narratives that challenge perceptions. “I particularly like telling stories that make people look at the world in a different way and also make people laugh,” Cooke said.

Cooke navigates complex topics with finesse by employing humor as a tool for change. “I'd love to try to dress it up as something really clever and intentional,” she shared. “But basically, I just really like telling jokes. I just like making people laugh.”

Lessons Learned from Nature’s Misfits

As the event drew to a close, Cooke’s eclectic blend of science, satire, and storytelling left attendees inspired and entertained. Through her humor-infused narratives about sloths, amphibians, and other animals, and insightful reflections on human-animal dynamics, Cooke demonstrated the transformative power of storytelling to spark curiosity and embrace new ideas.

As attendees left the talk, they carried with them not only newfound insights but also a deeper appreciation for the art of storytelling in science.

About the Sustainability Management Program

The Columbia University M.S. in Sustainability Management program offered by the School of Professional Studies in partnership with the Climate School provides students cutting-edge policy and management tools they can use to help public and private organizations and governments address environmental impacts and risks, pollution control, and remediation to achieve sustainability. The program is customized for working professionals and is offered as both a full- and part-time course of study.

About the Sustainability Science Program

The  Master of Science in Sustainability Science prepares students for management and leadership positions in which they help organizations address environmental impacts. Students learn strategies to respond to the ever-changing environment and predict future environmental changes—and the impact on the public.

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Victor Mukhin

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Title : Active carbons as nanoporous materials for solving of environmental problems

However, up to now, the main carriers of catalytic additives have been mineral sorbents: silica gels, alumogels. This is obviously due to the fact that they consist of pure homogeneous components SiO2 and Al2O3, respectively. It is generally known that impurities, especially the ash elements, are catalytic poisons that reduce the effectiveness of the catalyst. Therefore, carbon sorbents with 5-15% by weight of ash elements in their composition are not used in the above mentioned technologies. However, in such an important field as a gas-mask technique, carbon sorbents (active carbons) are carriers of catalytic additives, providing effective protection of a person against any types of potent poisonous substances (PPS). In ESPE “JSC "Neorganika" there has been developed the technology of unique ashless spherical carbon carrier-catalysts by the method of liquid forming of furfural copolymers with subsequent gas-vapor activation, brand PAC. Active carbons PAC have 100% qualitative characteristics of the three main properties of carbon sorbents: strength - 100%, the proportion of sorbing pores in the pore space – 100%, purity - 100% (ash content is close to zero). A particularly outstanding feature of active PAC carbons is their uniquely high mechanical compressive strength of 740 ± 40 MPa, which is 3-7 times larger than that of  such materials as granite, quartzite, electric coal, and is comparable to the value for cast iron - 400-1000 MPa. This allows the PAC to operate under severe conditions in moving and fluidized beds.  Obviously, it is time to actively develop catalysts based on PAC sorbents for oil refining, petrochemicals, gas processing and various technologies of organic synthesis.

Victor M. Mukhin was born in 1946 in the town of Orsk, Russia. In 1970 he graduated the Technological Institute in Leningrad. Victor M. Mukhin was directed to work to the scientific-industrial organization "Neorganika" (Elektrostal, Moscow region) where he is working during 47 years, at present as the head of the laboratory of carbon sorbents.     Victor M. Mukhin defended a Ph. D. thesis and a doctoral thesis at the Mendeleev University of Chemical Technology of Russia (in 1979 and 1997 accordingly). Professor of Mendeleev University of Chemical Technology of Russia. Scientific interests: production, investigation and application of active carbons, technological and ecological carbon-adsorptive processes, environmental protection, production of ecologically clean food.   

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