Graeme Harper is a Professor of Creative Writing at Oakland University, Michigan, USA. He is Series Editor of New Writing Viewpoints, as well as Editor of New Writing: the International Journal for the Practice and Theory of Creative Writing. Graeme was the inaugural chair of the Higher Education Committee at the UK's National Association of Writers in Education (NAWE). He is an award-winning fiction writer and a former Commonwealth Scholar in Creative Writing.

• Foreword: Philip GrossCreative Writing and Education: An Introduction: Graeme HarperChapter 1. Randall Albers and Steve May: Revelation, Transgression, Disclosure, and the Tyranny of TruthChapter 2. Liz Cashdan and Moy McCrory: Dragging the Corpse: Landscape & MemoryCommentary: Marcela SulakChapter 3. Dianne Donnelly: Embracing the Learning Paradigm:  How Assessment Drives Creative Writing PedagogyChapter 4. Toby Emert and Maureen Hall: Greater Satisfaction from the Labor:  Creative Writing as a Text Response Strategy in the Teacher Education ClassroomCommentary: Paul MundenChapter 5. Fan Dai: Creative Writing as Education in the Chinese ContextCommentary: Asma MansoorChapter 6. Craig Batty, Simon Holloway and Gill James (with Graeme Harper): Questions and Answers: Responding to Creative Writing Teaching and LearningCommentary: Katharine ColesChapter 7. Nigel McLoughlin: Interpretation, Affordance and Realised Intention: the transaction(s) between reader and writer.Chapter 8. Gail Pittaway: Movement, maps, mnemonics and music: teaching fiction and poetry writing using sight and soundCommentary: Sieneke de RooijChapter 9.  Jeri Kroll: Originality and Research: Knowledge Production in Creative Writing Doctoral DegreesChapter 10. Kevin Brophy and Elizabeth MacFarlane: Re-designing the lecture in a cyber-world: a creative writing case studyCommentary:  Maggie ButtChapter 11. Michael Theune and Bob Broad: The Poetry of EvaluationChapter 12. Nigel Krauth: The Radical Future of Teaching Creative WritingCommentary – Brooke Biaz

Creative Writing and Education recognises the complexities involved when imaginative activity is captured and framed by the educational establishment, and by prevailing ‘myths’ around such an awkward convergence. This book’s varied and provocative international insights broaden and deepen the possibilities for creativity in writing and teaching, fusing experience, method and inspiration.