MFA vs. NYC: The Two Cultures of American Fiction

Stemming from a similarly named essay previously published in n+1, this collection of essays and interviews edited by n+1 founder Harbach (The Art of Fielding) explores the %E2%80%9Csocial and literary consequences%E2%80%9D of a %E2%80%9Ctwo-headed system%E2%80%9D in American fiction, with M.F.A. programs %E2%80%9Cdispersed through our university towns%E2%80%9D and the Manhattan-situated trade publishing industry. Compiling the advice and experiences of multitudes of industry professionals, from agents, editors, and publicists, to practicing writers, professors and students, the collection serves as an informative discourse on the phenomenon and provides insight into oft-debated questions about the M.F.A. system and survival as a writer in New York. In %E2%80%9CA Mini-Manifesto,%E2%80%9D writer George Saunders warns that %E2%80%9Csaying %E2%80%98Creative writing programs are bad%E2%80%99 is like saying %E2%80%98college football teams are bad%E2%80%99 or %E2%80%98book clubs are bad%E2%80%99 or %E2%80%98emergency rooms are bad%E2%80%99. All it takes is one good example to disprove the generality.%E2%80%9D In %E2%80%9CThe Disappointment Business,%E2%80%9D agent Jim Rutman describes various setbacks that a writer encounters during the publication process, and how we %E2%80%9Clive in hope of being, or representing, the celebrated exception.%E2%80%9D In %E2%80%9CMoney (2006),%E2%80%9D Keith Gessen covers the urgent question of how much money does a writer need. Educational with a humor added to the sincere distress of writers nationwide, this collection is an invaluable read to aspiring writers or those interested in the future of American fiction. (Feb.)