This week’s question continues the MFA series (#1, #2, #3) and is inspired by a response by JinJin to the my first writing class thread on Twitter from a few weeks again.
How do you negotiate the workshop gaze?
This question speaks specifically to the ways that we read each other’s work based on cultural and social assumptions. You can see how things can get crossed and primed for misreadings if the writer being critiqued is an international student or has a historically excluded identity.
Answer below and here for the next 45 minutes!
[Image: Lover’s Eyes, unknown, ca. 1840. Watercolor on ivory. Painted into the middle of an oval pendant is the portrait of a person’s eyes and forehead taking up most of the frame. The portrait is at 3/4ths view. The person is white and has amber eyes and red hair.]
The Writing: How do you negotiate the workshop gaze?
Hi everyone,
This week’s question continues the MFA series (#1, #2, #3) and is inspired by a response by JinJin to the my first writing class thread on Twitter from a few weeks again.
How do you negotiate the workshop gaze?
This question speaks specifically to the ways that we read each other’s work based on cultural and social assumptions. You can see how things can get crossed and primed for misreadings if the writer being critiqued is an international student or has a historically excluded identity.
Answer below and here for the next 45 minutes!
[Image: Lover’s Eyes, unknown, ca. 1840. Watercolor on ivory. Painted into the middle of an oval pendant is the portrait of a person’s eyes and forehead taking up most of the frame. The portrait is at 3/4ths view. The person is white and has amber eyes and red hair.]
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