Shows that the task of the poet-teacher is to teach students not only how to write poetry but also how to read and appreciate poetry. Notes that the poetry workshop should stimulate critical capacity and taste by reconnecting study and thought to the personal. (RL)

Discusses the use of the term "creativity" in television and how it functions within the technical, economic, and organizational framework of the industry. Three common uses are identified: the creative writer of a script; the originator or producer; the director or middle-level personnel who may exercise "creative freedom."…

Members of an elders writing workshop reveal what the workshop meant to them. (FL)

Defends personal writing in the college classroom against charges that it is informal, exclusively narrative, nonutilitarian, uncritical, and solipsistic. (DD)

The author of five best-selling novels, including "Carrie,""Salem's Lot,""The Shining,""The Stand," and "The Dead Zone," discusses the teaching of creative writing at high school and college levels. (DF)

Illustrates a technique for eliciting student epigrammatic poetry. (DD)

Suggests an exercise to be used in a creative writing class to help students learn the various techniques available for characterization. (TJ)

Describes a technique for eliciting poetry from children through the process of word association. (DD)

Observation from British classrooms in the use of written language as a creative learning device with six- and seven-year-olds. (BF)

Describes a literature unit in which students write stories about imaginary characters after they have heard and discussed several narratives. (DD)

Discusses the ways in which children's writing benefits when children read good books. (DD)

Discusses poems written by the author, an analyst, as a study of her own journey through the labyrinth of countertransference during treatment of a woman who belonged to an alcoholic family. Notes that the poems served several functions: as a means to study countertransferential feelings; as holding environments; as diagnostic tools; and as…

Focuses upon the movement of the creative spirit and the impact of listening in the collaborative oral composition process for elderly residents. Draws some conclusions about the relationship between poetry, innocence, and healing. (SR)

Describes a workshop on "slam poetry" and details how this form of performance poetry can lead students back to the written poem with a renewed sense of connection and understanding. Suggests a class exercise that can be adapted to either a creative writing or a literature unit. (SG)