This chapter uses creative, narrative nonfiction writing to portray a deathbed conversation or confession of sorts between a dying person and their healthcare providers. While literary in style, it is based on seven years of the author’s immersive field research in post-Apartheid South Africa in long-term and frail care homes. After providing background on long-term care and the history of racial segregation in that country, the chapter depicts a scene where white and Black nursing staff provide palliative care for and converse with a dying white woman whose character is composed from life history interviews with multiple residents of the home. As a contribution to the anthropology of death, the chapter shows how humanistic and literary approaches can be used to represent voices of dying people, as well as the ways histories of racial violence and inequality can be highlighted in research on long-term and palliative care.

This chapter traces the history and legacy of Furious Flower, conceived as a conference on Black poetry and poetics in 1994 and continuing to this day as an academic and cultural center housed at James Madison University. While such institutionality may find itself, at times, at odds with the most radical parts of the African American poetic tradition, it is nevertheless a fundamental way to establish historically marginalized writing in the literary consciousness of a nation. This chapter examines the shape and the substance of Furious Flower’s dedication to archival recording while also looking at the organization’s attempt to chart a poetic landscape for African American poetry after the Black Arts Movement, in an era that has seen explosive growth in the production of poetic work but, precisely due to that growth, is increasingly hard to describe as a unified “tradition.” The chapter identifies how, through its dedication to audiovisual material, Furious Flower has turned scores of deeply ephemeral events into something that can be experienced across time and space, repeatedly, for the sake of research, teaching, community-building, and history-telling.

Far from being cut-down versions of the adult form, children’s dictionaries constitute a distinct genre with their own history and methodology. The chapter charts the development of children’s dictionaries, from Renaissance bilingual dictionaries to the present day, showing how they have evolved to reflect changing perceptions of childhood. It discusses the bewildering range of dictionaries now available for children as they progress from ABCs and picture dictionaries to those for school use and creative writing, including innovative subgenres based on fictional worlds and dictionaries supporting language revitalisation. Drawing on historical and contemporary examples, the chapter explores content and page design adapted to engage young readers. It considers how lexicographers aim to reflect the world as experienced by children, from the selection of headwords to the framing of definitions, using dedicated corpora and reading programmes. The tension between descriptive and prescriptive approaches is often acute in children’s dictionaries, for example over the inclusion of slang and taboo words, and lexicographers aim to balance young dictionary users’ needs against adult perceptions of what a children’s dictionary is for.

This essay considers Sebald as an academic. Arguably, the acdemy as an institution shaped his entire life. Originating from a non-academic background, studying in Freiburg was his escape ticket from the Allgäu province. His transfers to the universities of Fribourg and Manchester in turn determined his life as an expat and his profile as a Germanist abroad. By remaining at the university, his academic profession provided the basis for his intellectual career and secured his livelihood. His literary work emerged as a frustrated reaction to the neoliberal reforms of UK HE; Sebald conquered his own free space through the writing of literature. In the second part of the essay, Sebald’s teaching style and didactics are examined, not least on the basis of the author’s personal experiences. Sebald was an unorthodox university teacher who aimed to encourage his students in their own talents and abilities.

This chapter examines the literary institutions that helped American short fiction to flourish in the twentieth century and maintain its visibility today. These institutions, from the Best American Short Stories and the New Yorker, to the Pushcart Prize and the National Book Award, form a kind of patchwork canon of American short fiction, a record of the writers most celebrated in their moment and most remembered since. Despite the persistent notion, espoused by artists and scholars alike, that the short story is “the art form best suited for the description” of a diverse and “heterogeneous culture,” these institutions also testify to the fact that the genre has, until very recently, underrepresented women and overlooked racialized writers. This chapter documents the writers that these organizations have consecrated, examining how that patchwork canon has often failed to live up to the ideals of cultural pluralism at the heart of the American short story tradition.

This chapter considers the popularity of the genre of the short story in the late nineteenth and early twentieth centuries. It explores, in particular, a class of magazine stories for which the terms of approval followed the lines of reading for amusement and entertainment. Surveying critical accounts of the short story, and the burgeoning interest in anthologies and handbooks for aspiring writers, the chapter considers what follows if we not only accept but accentuate the notion of the genre as an artistic commodity in a gendered marketplace defined by overabundance. Special consideration is given to the subgenre of “storiettes” published alongside a column covering “the latest fads” in Munsey’s magazine. The essay argues that the style of the period’s short story developed in tandem with ideas about it as a fashionable and consumable commodity, and even as something of a fad.

This chapter looks at the work of the contemporary Noongar writer Kim Scott, focusing both on its portrayal of his family history and the history of Indigenous settler contact in Western Australia. It emphasizes the importance of the university as a context for Scott’s historical fiction, focusing on creative-writing programs and practice-led research. It demonstrates how the rise of “the doctoral novel” plays a vital role in a more plural and more just model of literary engagement.

Frederic Taveau makes a strong argument for reconceptualising modern languages – in this case French – as a subject discipline, with knowledge domains and pathways that explore alternative ways of learning and using language with beginner or near-beginner students. By foregrounding textual fluency, he challenges more traditional approaches to language learning that emphasise linguistic systems. Instead, he focuses on the use of multimodal literary texts to promote meaning-making and language learning through deepening learners’ critical and cultural awareness of relevant, motivating real-world phenomena. Taveau outlines the processes involved in enabling novice learners of French to become more self-confident and self-directed creative literary writers using language in unprecedented ways. Through a series of scaffolded text-centred learning episodes, learners are guided through pluriliteracies-based steps, increasingly using cognitive discourse functions creatively and confidently (explaining, describing, classifying, arguing and evaluating) to construct their own descriptive literary texts on a Gothic theme. These texts are ‘owned’ by students, demonstrating language learning as a creative, motivating means to understanding their world and that of others.

This chapter traces multiple genealogies for the contemporary “lyric essay,” from the American memoir boom of the 1990s to the experimental writings of language poets, practitioners of postcolonial and Black diasporic thought such as Édouard Glissant and M. NourbeSe Philip, and writers who combine lyric and essayistic writing such as Claudia Rankine and Bhanu Khapil.

English as a university subject covers a very wide range of topics, with variation around the world both in scope and in how programmes are organized. Work in English is often more or less formally divided into sub-disciplines. In the UK, language, literature, and creative writing are the three most common subdivisions. In Europe, different divisions are made and students on English programmes often look at two or more of these areas. In the USA, divisions are stronger, with very little work in universities that combines or connects linguistic and literary perspectives. This chapter focuses on undergraduate research on language, literature and creative writing, without presupposing that this encompasses all that can be covered by English or that these areas should be sharply distinguished. It highlights higher education in the UK, partly because there is little data on international practice and anecdotal evidence often relates to particular institutions.