Welcome to Creative Critical
The twenty-first century has seen the erosion of any sharp distinction between the ‘creative’ and the ‘critical’. Can criticism itself aspire to be creative? Does creative writing have a critical force? Or should we dispense with these terms altogether?
Such questions come to the fore as creative writing embeds itself in the academy, demanding fresh thought about the forms and languages of criticism, and new kinds of literature more attentive to their own critical force. This website aims to be a forum for all such forms of writing, thinking, and teaching.
Welcome to Creative Critical
The twenty-first century has seen the erosion of any sharp distinction between the ‘creative’ and the ‘critical’. Can criticism itself aspire to be creative? Does creative writing have a critical force? Or should we dispense with these terms altogether?
Such questions come to the fore as creative writing embeds itself in the academy, demanding fresh thought about the forms and languages of criticism, and new kinds of literature more attentive to their own critical force. This website aims to be a forum for all such forms of writing, thinking, and teaching.
A Conversation with the Past: From Sappho to Bashõ
Materials from Tim Dooley's course at the Poetry School. "There is still a remarkable split between courses and programmes designed to teach the practice of poetry and those designed to teach its history; that is, between ‘lit-crit’ modules taught to ‘straight’ literature students...
Place Writing
Here you’ll find two separate but related resources from Jos Smith, who teaches on the literature of place at the University of East Anglia (UEA). In Speculative Nature Writing, you’ll find a creative-critical exercise designed by Jos, exploring how historical and...
Reimagining Dostoevsky
Edited by Nicolas Padamsee. These three texts came out of Dr Thomas Karshan's 'Ludic Literature' MA course at UEA. The texts engage with Dostoevsky through parody and imitation. A Notes from the Underground-inspired piece by Peter Bloxham; rewritings of Dostoevsky in the styles of Nabokov and O’Brien by Caitlin Ingham; and a reimagining of The Double in the age of social media by Nicolas Padamsee