The cost of prestige

A 2004 article in The Daily Princetonian

A board of faculty members assesses a sample of each applicant’s written work in the respective genre of the class and reviews his or her course history within the program before accepting or denying an application to a creative writing class. In order to write a creative thesis, one must complete four classes within the program, in any genre (fiction, poetry, non-fiction, screen writing, etc). Furthermore, one must complete two introductory level classes before applying for an advanced-level class. Of these advanced classes, two must also be completed before applying for the certificate. The program states that exceptions can be made for the four-class requirement as some applicants only complete three classes before applying for the thesis, especially those, like me, who spent a semester abroad.

As an applicant myself, I was told that writing my primary thesis as a creative one in any department other than English was difficult, though not impossible. I therefore made it clear upon applying that I was willing to write the creative thesis as my second thesis. Nevertheless, I was turned down, which I understood; such exclusion is necessary as spots are limited and in order to weed out those not seriously dedicated to writing. I did object, nevertheless, as others have, that it was a bit of a blow to be rejected after having already taken multiple semesters of creative writing classes. Speaking to students who had been in my advanced poetry class that past semester (all but one applied for a creative thesis, all of whom were rejected), few if any had been rejected from a class leading up to the thesis. What the creative writing program needs, it appears, is a more stringent and incremental filtering process. Dozens of students applied for the poetry thesis, most of whom were highly qualified, and yet only a small handful were accepted this year. Granted, cuts were made in the poetry staff that necessitated this unusually limited number, yet it seems somewhat insensitive to string along and then cut loose students who have considered themselves potential creative writing certificates for a number of years and have worked hard toward that goal.

This, however, does not seem to be the only insensitivity on the part of the program. As rejected applicants for the creative thesis cannot sign up for creative classes in their senior fall due to the timing of the application process and decision, I decided that, even though doing so would not earn me a certificate, I would complete the creative writing requirements by taking a second advanced poetry class in my senior spring. Upon applying, however, I was informed that a spot had been granted to me in the introductory-level poetry class instead. Thinking this a mistake, I sent multiple e-mails to the program without receiving any real answers until I was put in touch with Paul Muldoon, the new director of the program.

After receiving another dismissive answer, I finally pressed him, explaining that being asked to take a third introductory class was insulting. If spots for potential creative thesis writers were so highly prized, then why offer me a spot at all? The only answer I received was that my poems were not “up to snuff” this time. While some may consider me merely bitter toward the program in these regards, I believe these facts are evidence of a seriously flawed attitude within the program: a pretentious and exclusionary attitude. Presumably, a student who has taken an advanced poetry class has at least some merit in his writings. To so quickly dismiss what students have learned and written while in the program is demeaning to all those involved. Why not make classes smaller and more selective throughout, or increase spots for creative thesis writers by lightening the burden on the creative writing faculty? This could be achieved by decreasing the number of introductory classes they have to teach, for instance. The mechanism does not have to be perfect. However, something is seriously amiss in the creative writing program. A new, more inclusive and transparent attitude would create a more constructive atmosphere for aspiring creative writers.

David Shea is a history major from Owings Mills, Md. He can be reached at shea@princeton.edu.