«Irlanda, Paul, Poesia, Amici, Gabbiani: questi gli artefici del primo incontro tra me e Anne, intorno al caro, comune amico Paul Cahill. Sia Anne che io eravamo amiche di lui, di questo irlandese innamorato della musica e del linguaggio che portava in sé l'orgoglio della sua terra e l'attaccamento alla nostra, e sua, Umbria; e che purtroppo ci ha prematuramente lasciati. In qualche modo, attraverso la poesia, riunendoci in vista del suo amato Trasimeno, volevamo sentirlo ancora vicino. Irlandese come lui, Anne era tra noi. Conoscerla fu una rivelazione: raffinata, colta, sensibile, aperta al dialogo. Avvenne molti anni fa, e la condivisione fu immediata. Quei gabbiani in volo che erano stati scelti per raffigurare questi incontri, mi presero al punto da voler conoscerne altri e così andai a trovare Anne nella sua Tivoli, nella sua casa tra gli olivi alle porte della Villa di Adriano, a scoprire le sue luci, le sue trasparenze, le sue atmosfere serene quanto intense. I gabbiani in particolare, mio primo amore, poi ripetuto, mi portarono a sorvolare mondi e mari, osservarli dall'alto, su quelle ali da lei dipinte. Nel qui e nell'altrove, non importa. Una sensazione che non dimentico e che mi ha portato subito a 'sentire' Anne. Un'affinità elettiva.»

This book explores the effectiveness of the workshop in the Creative Writing Classroom, and looks beyond the question of whether or not the Workshop works a address the issues of what an altered pedagogical model might look like. In visualising what else is possible in the workshop sapace, the sixteen chapters collected in Does the Writing Workshop Still Work? cover a range of theoretical and pedagogical topics and explore the inner workings and conflicts of the workship model. The needs of a growing and diverse student population are central to the chapter authors' consideration of non-normative pedagogies. The book is a must-read for all teachers of Creative Writing as well as for researchers in Creative Writing studies.

`A remarkable new coilection of essays about the theroy, practice, design, and reinvention of peer-revieww components in writing-courses. The expertise and range of esperience represented by the contributors is astonishing. This is a bountiful offering indeed.' Hans Ostrom, editor with the late Wendy Bishop, of Colors of a Different Horse Re-Thinking Creative Writing Theory and Pedagogy

'By exploring the workshop from within as well as without, and by challenging the notion that such a staid enterprise as the workshop cannot be reified for emerging writers and teachers, this collection bravely takes its place among its clear predecessors - namely Moxley's Creative Writing in America and Bishop and Ostrom's colors of a Different Horse - in refusing to quietly accept the simple notions that writing instruction is an organic onterprise, and that writers are (or should be) meekly acculturated to the practices and values of the writing workshop as `fine , I [guess]', to paraphrase one of the many astute contributors here.' Kelly Ritter, University of North Carolina-Greensboro

'This collection offers writing practitioners new and course development, teaching and evaluation.' Catherine Cole, RMIT University, Melbourne Australia

'Does the Writing Workshop Still Wprk? is alert to the newest media in the creative arts, while offering a defense and investigation of the best practices of the creative writing workshop. A valuble resouce to all teachers who view creative writing pedagogy as an academic discipline and humanisitic exploration.' Shirley Geok-lin lim, Unversityk of california, Santa Barbara author of Among the white Moon Faces.