This letter was sent to me a week or so ago, but as I don’t teach in an MFA program, it wasn’t mine to sign or not sign (I think). So, well, as it’s becoming something of a national movement now, what do we think of the idea of ranking MFA programs? For me, the following seems fairly persuasive.
Should we rank them at all? What should the methodology be? Is the current one the ebst one? Should we take other things into consideration? (Aesthetic? Tone? Fuzzy Dice? Team Puce?)
There’s a bit more here, with a couple quotes:
AN OPEN LETTER FROM CREATIVE WRITING FACULTY REGARDING THE POETS & WRITERS PROGRAM RANKINGS
The people who have signed this letter have all taught as creative writing program faculty. Many of us are now program directors and serve as members of our admissions committees. Most of us also hold MFA and/or doctoral degrees. We hope our collective experience and expertise will provide good counsel to anyone thinking about applying to writing programs.
To put it plainly, the Poets & Writers rankings are bad: they are methodologically specious in the extreme and quite misleading. A biased opinion poll—based on a tiny, self-selecting survey of potential program applicants—provides poor information. Poets & Writers itself includes on its website a disclaimer suggesting the limitations of these rankings, recommending that potential applicants look beyond them. Regrettably, the information appears on a separate page.
What’s worse, if a program decides against encouraging a bad process by choosing not to provide information, P&W’s process insists on including that program as though the information was negative, a procedure we think is unethical, as well as statistically misleading. The P&W rankings, in their language and approach, labor to create the impression that the application process between applicants and programs is adversarial. It is not, as any proper, sensible survey of MFA students and alumni would indicate.
Instead of asking such students and alumni about quality of instruction, or anything else about actual program content, P&W’s rankings are heavily skewed toward viewing a program’s financial aid offer as the final arbiter of that program’s overall quality. We agree that financial aid must be a serious consideration, but a student’s relationship with his or her faculty—what and how one learns—is at least equally as important.
In economic times like these, there is no immediate correspondence between any degree and employment. This is particularly true of the MFA in creative writing and PhD in English with a creative dissertation. While we work hard to help our graduates find jobs, it is essential to understand that creative writing for the vast majority is not a profession. Some writers earn their living as teachers, but others are lawyers, full-time homemakers, doctors, editors, business owners, sales clerks, and mechanics. No applicant should consider pursuing a creative writing degree assuming the credential itself leads to an academic job. And no applicant should put her or himself in financial peril in order to pursue the degree.
Our best advice is to do your research through the programs you’re considering. If you are able to visit those programs, ask to sit in on classes and for the contact information of current and recent students. Talk to people you respect about different programs. Read work by the instructors.
Most programs have basic academic and financial information available on their websites. But don’t hesitate to ask questions of the program directors, admissions committee members, and students presently attending the programs. This kind of commonsensical research will help you find a program suited to your hopes and talents.
Sincerely,
Jonathan Aaron, Emerson College
Lee K. Abbott, Ohio State University
Jonis Agee, University of Nebraska – Lincoln
Marla Akin, University of Texas Michener Center for Writers
Julianna Baggott, Florida State University
Sally Ball, Arizona State University
Aliki Barnstone, University of Missouri – Columbia
Steven Barthelme, University of Southern Mississippi
Jocelyn Bartkevicius, University of Central Florida
Robin Behn, University of Alabama
Erin Belieu, Florida State University
Karen E. Bender, University of North Carolina Wilmington
April Bernard, Skidmore College
Mark Bibbins, The New School
Mary Biddinger, The University of Akron
Scott Blackwood, Roosevelt University
Robert Boswell, University of Houston
David Bosworth, University of Washington
Mark Brazaitis, West Virginia University
Lucie Brock-Broido, Columbia University
Ben Brooks, Emerson College
John Gregory Brown, Sweet Briar College
Andrea Hollander Budy, Lyon College
Janet Burroway, Florida State University
Robert Olen Butler, Florida State University
Sarah Shun-Lien Bynum, University of California, San Diego
Scott Cairns, University of Missouri – Columbia
Kara Candito, University of Wisconsin – Platteville
Kevin Canty, University of Montana at Missoula
Mary Carroll-Hackett, Longwood University
Michelle Carter, San Francisco State University
Alexander Chee, Columbia University
Alan Cheuse, George Mason University
Jeanne E. Clark, California State University Chico
Brian Clements, Western Connecticut State University
Mick Cochrane, Canisius College
Michael Collier, University of Maryland
Gillian Conoley, Sonoma State University
Bob Cowser, St. Lawrence University
Jennine Capó Crucet, Florida State University
Kelly Daniels, Augustana College
R. H. W. Dillard, Hollins University
Chitra Divakaruni, University of Houston
Jim Dodge, Humboldt State University
Timothy Donnelly, Columbia University
Michael Dumanis, Cleveland State University
Camille Dungy, San Francisco State University
Karl Elder, Lakeland College
Leslie Epstein, Boston University
Elaine Equi, New York University
David Everett, Johns Hopkins University
Kathy Fagan, Ohio State University
Andrew Feld, University of Washington
Elizabeth Stuckey-French, Florida State University
Ned Stuckey-French, Florida State University
Forrest Gander, Brown University
Eric Gansworth, Canisius College
Steve Garrison, University of Central Oklahoma
Maria Gillan, Binghamton University, State University of New York
Michele Glazer, Portland State University
Tod Goldberg, University of California, Riverside Palm Desert
Eric Goodman, Miami University of Ohio
Jaimy Gordon, Western Michigan University
Carol Guerrero-Murphy, Adams State College
Corrinne Clegg Hales, California State University, Fresno
Rachel Hall, State University of New York at Geneseo
Barbara Hamby, Florida State University
Cathryn Hankla, Hollins University
James Harms, West Virginia University
Charles Hartman, Connecticut College
Yona Harvey, Carnegie Mellon University
Ehud Havazelet, University of Oregon
Steve Heller, Antioch University Los Angeles
Robin Hemley, University of Iowa
DeWitt Henry, Emerson College
Michelle Herman, Ohio State University
Laraine Herring, Yavapai College
Sue Hertz, University of New Hampshire
Tony Hoagland, University of Houston
Janet Holmes, Boise State University
Garrett Hongo, University of Oregon
T. R. Hummer, Arizona State University
Ha Jin, Boston University
Arnold Johnston, Western Michigan University
Diana Joseph, Minnesota State University, Mankato
Laura Kasischke, University of Michigan
Catherine Kasper, University of Texas at San Antonio
J. Kastely, University of Houston
Richard Katrovas, Western Michigan University
Christopher Kennedy, Syracuse University
Richard Kenney, University of Washington
David Keplinger, American University
James Kimbrell, Florida State University
David Kirby, Florida State University
Binnie Kirshenbaum, Columbia University
Karen Kovacik, Indiana University – Purdue University Indianapolis
Stephen Kuusisto, Syracuse University
Deborah Landau, New York University
Jeanne Larsen, Hollins University
David Lehman, The New School
Dana Levin, Santa Fe University of Art and Design
Lisa Lewis, Oklahoma State University
Catherine Lewis, Purchase College, State University of New York
Samuel Ligon, Eastern Washington University
Robert Lopez, The New School
Denise Low, Haskell Indian Nations
Kirsten Lunstrum, Purchase College, State University of New York
Patrick Madden, Brigham Young University
Megan Marshall, Emerson College
Michael Martone, University of Alabama
Cate Marvin, College of Staten Island, The City University of New York
Gail Mazur, Emerson College
Janet McAdams, Kenyon College
Shara McCallum, Bucknell University
Karen Salyer McElmurray, Georgia College & State University
Heather McHugh, University of Washington
Sarah Messer, University of North Carolina Wilmington
Jennifer Militello, River Valley Community College
Wayne Miller, University of Central Missouri
Debra Monroe, Texas State University
Dinty W. Moore, Ohio University
Brian Morton, Sarah Lawrence College
Rick Mulkey, Converse College
Brighde Mullins, University of Southern California
Carol Muske-Dukes, University of Southern California
Antonya Nelson, University of Houston
Ian Blake Newhem, Rockland Community College, State University of New York
Thisbe Nissen, Western Michigan University
Daniel Orozco, University of Idaho
Pamela Painter, Emerson College
Alan Michael Parker, Davidson College
Jeff Parker, University of Tampa
Alexander Parsons, University of Houston
Oliver de la Paz, Western Washington University
Donna de la Perriere, San Francisco State University
Joyce Peseroff, University of Massachusetts Boston
Todd James Pierce, California Polytechnic State University
Robert Pinsky, Boston University
Kevin Prufer, University of Houston
Imad Rahman, Cleveland State University
Ladette Randolph, Emerson College
Marthe Reed, University of Louisiana Lafayette
Nelly Reifler, Sarah Lawrence College
Frederick Reiken, Emerson College
Paisley Rekdal, University of Utah
R. Clay Reynolds, University of Texas at Dallas
Kathryn Rhett, Gettysburg College
David Rivard, University of New Hampshire
Richard Robbins, Minnesota State University, Mankato
Mary F. Rockcastle, Hamline University
Robin Romm, New Mexico State University
Michael Ryan, University of California, Irvine
Benjamin Alíre Sáenz, University of Texas at El Paso
Martha Serpas, University of Houston
Bob Shacochis, Florida State University
Brenda Shaughnessy, New York University
Aurelie Sheehan, University of Arizona
David Shields, University of Washington
John Skoyles, Emerson College
Tom Sleigh, Hunter College
Casey Smith, Corcoran College of Art and Design
Tracy K. Smith, Princeton
Maya Sonenberg, University of Washington
Gregory Spatz, Eastern Washington University
Brent Spencer, Creighton University
Sheryl St. Germain, Chatham University
Les Standiford, Florida International University
Domenic Stansberry, Vermont College
Thom Tammaro, Minnesota State University Moorhead
Alexandra Teague, University of Idaho
Daniel Tobin, Emerson College
Mark Todd, Western State College
Ann Townsend, Denison University
Peter Turchi, Arizona State University
Paul Vangelisti, Otis College of Art & Design
Sidney Wade, University of Florida
William Wadsworth, Columbia
Jerald Walker, Emerson College
Rosanna Warren, Boston University
Laura Lee Washburn, Pittsburg State University
Joshua Weiner, University of Maryland
Lesley Wheeler, Washington and Lee University
Richard Wiley, University of Nevada, Las Vegas
Ann Joslin Williams, University of New Hampshire
David Wojahn, Virginia Commonwealth University
Gregory Wolfe, Seattle Pacific University
C.D. Wright, Brown University
Robert Wrigley, University of Idaho
Steve Yarbrough, Emerson College
Stephen Yenser, University of California, Los Angeles
C. Dale Young, Warren Wilson College
Matthew Zapruder, University of California, Riverside Palm Desert
Lisa Zeidner, Rutgers-Camden, The State University of New Jersey
Alan Ziegler, Columbia University
Leni Zumas, Portland State University
30 Comments:
That's a lot of people not liking something. Isn't the rule of thumb that if this many people don't like something, it must have some merit?
Do people who think MFA programs shouldn't be ranked think no degree programs should be ranked?
Or perhaps they just think they should be ranked differently?
I'm soft on this one. A lot of people want rankings for various reasons. I understand that.
I'd be interested in seeing if there might be a different way to go about helping people with their need to rank than this one.
I'm still thinking about Team Puce. I think it might have legs.
I'm sympathetic to suggestions on how to improve MFA program rankings, not at all sympathetic to the idea that rankings are inherently bad. Lack of rankings keeps the power on the side of the schools not the students.
I'm more cynical that you are. I'd rather see raw information available about programs (funding, sure, but reading lists, all visiting writers, future classes, hopes and reams of the faculty, etc) and have students wade through it, than to make a list, no matter how that list was created.
That should have been "dreams" but I'll leave it, just to be funny.
What I'd like to see is multiple lists -- that's how US News does the college rankings. So you can see which schools are the best value for the money, which have the smallest class sizes and so forth. Like I want a spreadsheet where I can essentially sort by different columns, depending on what's important to me. "Reputation"/selectivity can be one of them, doesn't have the be the one & only or the main one.
I got reamed by the faculty.
The more information the better, yes.
I really dis-like the ranking of something, which by it's very nature should be free from ranking, that is the act of writing poetry, creating art, creating music, and those places which try to encourage the act of creativity.
That said, there should be some kind of system to warn artists about those places which are not really interested in encouraging creativity.
On the other hand, anyone serious about creativity should be smart enough to know the difference between those places which are there to serve and those which are there to simply take people's money.
If they're so smart, can't they just ignore the rankings? Like taking the SAT without a calculator!
Columns of different kinds of info, and then you decide. That's the only way, because really the sole criterion for judging an MFA program is the quality of the poetry it engenders--or the promise of the young poets who emerge from it. And since no statistics can reliably quantify talent, what statistics could MFA rankings be based on? And the opinions of people who presumably would know are bound to be biased. So give me info about the faculty, about financial aid, about the town the college is in, etc., and let me decide according to what's important to me. If I'm broke, the generosity of the financial aid may prove the deciding factor. I don't see any other good way.
I dislike this:
"I really dis-like the ranking of something, which by it's very nature should be free from ranking, that is the act of writing poetry"--
Poetry is not exempt from any of life's banality, its throat-cutting, its rat-race. I'll hazard that thought is hard to achieve without some sort of parsing, hierarchizing mode, and that not ranking works best when the whole selection is simply superb, aka yah ranking Williams versus George Herbert versus Petrarch versus Paul Celan versus Melvin Tolson versus Marianne Moore versus Keats versus Gwendolyn Brooks versus is a bit absurd--but because all the above--in my estimation--are exceptionally talented poets.
Hmm, I think I'm not conflating rank and competition (and this may make little sense).
If you judge a program based on the P&W criteria instead of who the faculty is (i.e., which school is right for you), you deserve those rankings. I'll concede usefulness on the grounds of knowing who funds / doesn't / to what extent, but the rest is tangential at best and Seth's agenda in what he wants to get schools to do by way of the rankings is admirable but misses the forest for the trees.
Even conceding that every bit of information is unendingly useful, I raise my old banner in this argument: relist it alphabetically. That's it. Leave all the information, people can look for themselves. Track every MFA you can manage and print it as a standalone volume a la The Poet's Market.
I guess finally my reaction is somewhere off to the side. I would have signed the letter if I was teaching in an MFA program, because this ranking system needs to be tempered.
Still, I'd not burn this list. Maybe someone will find it helpful, though it's not the sort of list that would have interested me back when I was looking at grad programs.
I'm ambivalent about any sort of ranking system, really. The P&W one is atrociously inadequate, but even if we have multiple lists from multiple institutions, the situation will only be marginally better.
Really, the school you go to should be tailored to your interests. This is where reading widely is very important. If you want an education in the classics and want to work with very traditional forms, read contemporary poets who are already doing this, find out where (if) they teach. View the current and previous years' course lists. Ask that faculty for a syllabus or a recommended reading list.
It's a lot of work, but this hands-on approach will do much more for you than any list. Do this for a few different schools, apply, weigh your financial options and go.
Fuzz, yeah, I'll buy that. i'd add that there's an aspect to this that is very difficult to make a list from, and that's what those poets will be like as teachers. Some poets, from their work, seem like they're going to be great, but then you meet them and it's terrible. On the other hand, there aer poets who seem, from their work, that they're going to be terrible, but they turn out to be wonderful teachers and readers of new work.
In other news, I was listening to that new album by The War On Drugs this morning, trying to get through a headache. it's a very good album. have you heard it yet?
"Some poets, from their work, seem like they're going to be great, but then you meet them and it's terrible. "
This question might be worth another informal poll: what correlation have people found between a poet's work and the quality of his or her teaching?
This goes beyond the MFA programs. Anyone looking for an undergrad class or even a noncredit workshop needs to choose based on something.
Paul
I think I've heard the claim that there's an inverse relationship between quality of artist and quality of teaching, but I'm skeptical of that claim. Roethke, Hugo, and Justice were, by all accounts I've heard, excellent teachers as well as excellent poets. One of my teachers, Alice Fulton, was both a gifted writer and a dedicated teacher.
"Many go fishing all their lives without knowing that it is not fish they are after."
~ Henry David Thoreau
That is to say, one can train a Morning Glory vine to climb your trellis but you can never teach it to be a Honeysuckle.
Alice was hardworking, and at first she seemed like the ideal poet for me to work with. She had a reputation for imagery-laden language and sound effects, and I had a close affinity with that—maybe too close. (A poet friend said, “YOU with FULTON? Rather a coals to Newcastle proposition, eh?”) Some people even thought—inexplicably, to me—that I was an Alice imitator. But our association ceased to be productive after about a term. Alice wanted to use her dazzling language to explore such subject matter as gender issues and mass media language; I, on the other hand, grew more bric-a-bracky, more stream-of-consciousness, more interested in associations as subject matter, more Tate-like in my juxtapositions. (Though I also had a weird tendency to turn around and write a villanelle or something.) Alice didn’t care for that—though she made some appreciative remarks about langpo. Soon I was unable to see much of a resemblance between her poetry and mine.
How important is it to be sympatico with your teachers?
You don't have to write like them to respect them, and, if they're good, they shouldn't expect you to write like them (or anyone else) to appreciate your worth.
The best experience one can have in school is to learn both what is useful and what is not useful for you, as well as the faculty to determine which is which.
David, you write:
"How important is it to be sympatico with your teachers?"
I'd say there are about as many answers to that as there are people. Right? Some teachers feel uncomfortable if they feel the student is too sympatico . . . others feel hostile if they feel the student isn't sympatico enough . . . while others are encouraging of diverse styles . . . and others quite happy to work with sympatico aesthetics . . . and then you have the whole personality issue, if your personalities are sympatico . . .
Some people say Jorie Graham was a genius of a teacher and some disliked her instantly.
These things make it very difficult to create a ranking.
Quite right, Fuzz and John.
"and then you have the whole personality issue, if your personalities are sympatico"
A personality, right. Got to get me one of those. I hear they come in useful.
I've several, if you want to borrow one.
If you've got "good-natured werewolf," I'll take it. That's what I want to be.
I think that one's already on loan. How about vegan-zombie?
Night of the Living Dead wouldn't have the same impact if the zombies attacked tofu and tempeh.
I'd like to be a member of The Zombies, though. Great old band.
I've started a project of creating an alternate ranking based on output of graduates. I'm mostly collecting raw data right now, using the prize anthologies as a shorthand list of who the top short story writers are (flawed, but at least a viable project) and then using that to build rankings. I'm about 2/3 through the BASS 2011 list which has turned up a few interesting surprises. Iowa, not surprisingly, was at the top of the MFA heap, but still fell below no advanced degree in creative writing for the top basket. And if I were looking to do a full-residency MFA anywhere in the country, University of Montana would have to rank really high on my list.
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