At fist glance, right now there appears to be anything drastically incongruous about imaginative writing and computers. Nevertheless many of us compose on word-processors and have been for many years, creative composing instructors and professional freelance writers alike reveal a ongoing wariness in terms of technological innovations. Fictional works writer Richard Ford's recent lament over the loss of "the now" within our technology-driven modern life captured what, for many creative authors at the close of the centuries, remains a poignant sense (sec. 4: 9). Our "palpable dread, " Honda writes, "is that in this high speed atmosphere we'll suffer essential qualities of our character to become obsolete: the capacity to planned, to be individual, to reduce, to remain, to see, to empathize, to determine cause and effect, to ignore loss of life in respect for lifetime; in amount, to recognize good at all the complicated, unexpected forms" (sec. 4: 9). Ford determined the editorial with the confession of a technical heretic: "I don't include E-mail. I'm not for the Internet. My spouse and i don't possess cell-phone or call waiting or maybe a beeper" (sec. 4: 9). While most imaginative writer instructorsindeed, many good authorscannot afford the luxury of Ford's ultra-Ludditism, many of us may identify with his disdain intended for the technology's mounting intrusions into our lives.
If teachers of innovative writing have been slow to embrace the pedagogical function of computers, their reluctance conforms into a long-standing craze among teachers in the humanities. The tendency to resist the development of computers in the classroom, however , grows out of the antiquated conception of the relationship between academia and culture at large. "Teachers in the humanities, " Fred Kemp keeps, "have often times blithely presumed that the actual have to teach is safeguarded from social pressures, depending perhaps around the medieval understanding of grant as strictly defensive, some thing to protect at the rear of monastery walls" (147-48). While LeBlanc yet others have argued, electronic illiteracy is no longer a permissible indulgence in the humanities (5).
In the face of the prevailing anxiety between instructors in the humanities, I would like to suggest that the utilization of computers in the creative writing classroom is not only unavoidable, but theoretically and practically beneficial to creative publishing students and teachers as well.