A review by leighkaisen
MFA vs. NYC: The Two Cultures of American Fiction by Chad Harbach
Expanded from an essay of the same title, MFA vs. NYC, edited by Chad Harbach, is non-fiction on fiction, observing the two major cultures in which it lands: the university creative writing program, and the New York publishing industry. Both offer their flaws and their perks, their layers and connections and revelations. Contributing authors take a look at the underpinnings of both. They talk everything from time and cost to hard work and the pursuit of art. It was interesting to read insights into both sides of American fiction, how the university and publishing worlds intersect, how they affect each other, and where fiction is headed.
The essays that stood out to me were mostly towards the beginning; in addition to Harbach’s original essay on the topic, George Saunders’ “Mini-Manifesto” is a short but succinct take on the MFA program as “a pretty freaky but short-term immersion” with a reminder that it’s not forever, but rather “a little baptism by fire” (35). Saunders concludes with the ideal that when it comes to creative writing programs, “if they suck when we do it wrong, let’s try to not do it wrong” (38). Next, Maria Adelmann discusses the fear instilled in budding writing students when the big wigs tell them why they won’t be successful, “because no one reads short stories, because Jonathan Franzen already wrote that novel, because no one cares about your road trip.” Adelmann recalls, “We looked back at her in shock, like children who had just been told that Santa is dead” (44). However, during her time in an MFA program, she accidentally discovered a talent for art on the side, with the reminder to leave room for such discoveries. Her time spent in the MFA world didn’t produce guaranteed success or money, but, she says, “it did teach me what my time is worth” (49).
I will admit that some of the later essays reminded me I was reading non-fiction: I felt like I was reading non-fiction, with a slowly moving bookmark to prove it. However, I was amused by Carla Blumenkranz’ essay, “Seduce the Whole World” in which she likens writing to sex (you don’t say you’re going to lean over and kiss or caress someone, you just do it). This writing/seduction parallel is reinforced by a professor Lish, with rather infamous teaching methods in the university world. According to Lish, “Writing is not about telling; it is about showing, and not showing everything” (217). The essay closes with the concept that the art of seduction, while powerful, is still best when kept within its role: “A teacher, an editor, even a lover isn’t supposed to become the world, but rather to point the writer toward it” (221).
The essays that stood out to me were mostly towards the beginning; in addition to Harbach’s original essay on the topic, George Saunders’ “Mini-Manifesto” is a short but succinct take on the MFA program as “a pretty freaky but short-term immersion” with a reminder that it’s not forever, but rather “a little baptism by fire” (35). Saunders concludes with the ideal that when it comes to creative writing programs, “if they suck when we do it wrong, let’s try to not do it wrong” (38). Next, Maria Adelmann discusses the fear instilled in budding writing students when the big wigs tell them why they won’t be successful, “because no one reads short stories, because Jonathan Franzen already wrote that novel, because no one cares about your road trip.” Adelmann recalls, “We looked back at her in shock, like children who had just been told that Santa is dead” (44). However, during her time in an MFA program, she accidentally discovered a talent for art on the side, with the reminder to leave room for such discoveries. Her time spent in the MFA world didn’t produce guaranteed success or money, but, she says, “it did teach me what my time is worth” (49).
I will admit that some of the later essays reminded me I was reading non-fiction: I felt like I was reading non-fiction, with a slowly moving bookmark to prove it. However, I was amused by Carla Blumenkranz’ essay, “Seduce the Whole World” in which she likens writing to sex (you don’t say you’re going to lean over and kiss or caress someone, you just do it). This writing/seduction parallel is reinforced by a professor Lish, with rather infamous teaching methods in the university world. According to Lish, “Writing is not about telling; it is about showing, and not showing everything” (217). The essay closes with the concept that the art of seduction, while powerful, is still best when kept within its role: “A teacher, an editor, even a lover isn’t supposed to become the world, but rather to point the writer toward it” (221).