Creative Writing courses – those ostensible hothouses of creative ferment whose methods and very existence have been so heatedly debated in these pages and elsewhere – often appear to those of us on the outside as the breeding ground for several subspecies of writer. On the one hand, there are the determinedly postmodernist, whose highly ironic and heavily footnoted metafiction is, on average, about fifty per cent less clever than they like to think it is. On the other, there are the magic realists and wannabe lyricists, whose lilting, pastel-coloured prose seems more at home in the pages of a teenager’s personal diary than it does in those of a serious anthology. Then there are the plain-speaking reporter types, who should probably be doing journalism but, for one reason or another, have chosen Creative Writing instead.
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