duke creative writing major

Creative Writing

About the minor.

Creative Writing at Duke is guided by the belief that the experience of writing and reading creatively is a gift to a student for life. It is a source of imaginative enrichment, aesthetic discipline, heightened awareness and a vital means of re-integrating thoughts, feeling and practice that are too often disconnected in our contemporary world.

The creative writing program offers numerous courses in all genres of writing at every level and a Creative Writing Minor, as well as a Distinction Project in Creative Writing. Courses cover a spectrum of poetry, fiction, creative non-fiction, essay, memoir, travel writing, documentary writing, theater and more. The program is embedded in the curriculum of the Duke English Department, which has long occupied a vital and distinctive place both in the discipline and in the university, where it has served as one of the defining spaces of thought, conversation, teaching, and inquiry. Courses based in  Documentary Studies ,  Arts of the Moving Image , and  Theater Studies  greatly expand and enrich the options for creative writing studies.

A regular series of writers-in-residence, visiting speakers, readings and on-campus conferences, as well as opportunities to work on a variety of campus publications supplement courses and support a vibrant creative community. Two outstanding journals publish student work:  The Archive  and  Cantos .

Majors, Minors, and More

Academic Possibilities

Curriculum for the Curious

Academic pillars, the duke way of thinking.

Thinking creatively to solve problems is both a gift and a learned skill. Duke’s academic philosophy helps develop innovation by encouraging you to shape your own experience, to think way outside the box, to practice what you’re learning outside the classroom, all over the world.

Academic Opportunities

Trinity college of arts & sciences, pratt school of engineering.

Focus Program

Global Education

Duke Kunshan

Undergraduate Research

Bass Connections

AN EDUCATION DESIGNED FOR EXPLORATION

Every Duke undergraduate student takes classes in Trinity College—it serves as Duke’s liberal arts core. Trinity College classes span the arts, humanities, natural sciences, and social sciences to encourage you to think deeply within disciplines and broadly across them, with a healthy balance of tradition and innovation.

ENGINEERS WHO MAKE A DIFFERENCE

As an engineer at Duke, you will learn to solve problems by combining all the best knowledge of every academic discipline. Most importantly, you will be inspired and equipped to make a difference in the world by generating creative solutions to complex problems.

Academic Paths

Majors, minors & certificates.

Duke University offers 53 majors, 52 minors and 23 certificates . With the ability to create combinations of the three, you have 437,989 unique academic combinations available.

African & African American Studies Ancient Religion & Society Art History Art History & Visual Arts Asian and Middle Eastern Studies Biology Biomedical Engineering* Biophysics Brazilian and Global Portuguese Studies Chemistry Civil Engineering* Classical Civilization Classical Languages Computational Media Computer Science Cultural Anthropology Dance Earth and Climate Sciences Economics Electrical and Computer Engineering* English Environmental Engineering* Environmental Sciences Environmental Sciences and Policy Evolutionary Anthropology French Studies Gender, Sexuality, and Feminist Studies German Global Cultural Studies Global Health** History Interdisciplinary Engineering & Applied Science (IDEAS)* International Comparative Studies Italian & European Studies Linguistics Linguistics & Computer Science Marine Science & Conservation Mathematics Mechanical Engineering* Medieval and Renaissance Studies Music Neuroscience Philosophy Physics Political Science Program II (self-designed degree, BA or BS) Psychology Public Policy Studies Religious Studies Romance Studies Russian Slavic and Eurasian Studies Sociology Spanish, Latin American, and Latino/a Studies Statistical Science Theater Studies Visual Arts Visual and Media Studies

**Only available as a second major.

African & African American Studies Art History Asian American & Diaspora Studies Asian and Middle Eastern Studies Biology Brazilian and Global Portuguese Studies Chemistry Cinematic Arts Classical Archaeology Classical Civilization Computational Biology and Bioinformatics Computational Media Computer Science Creative Writing Cultural Anthropology Dance Earth and Climate Sciences Economics Education Electrical and Computer Engineering Energy Engineering* English Environmental Sciences and Policy Evolutionary Anthropology Finance French Studies Gender, Sexuality, and Feminist Studies German Global Cultural Studies Global Health Greek History Inequality Studies Italian Studies Latin Linguistics Machine Learning & Artificial Intelligence Marine Science & Conservation Mathematics Medical Sociology Medieval and Renaissance Studies Music Musical Theater Neuroscience Philosophy Photography Physics Polish Culture and Language Political Science Psychology Religious Studies Russian and East European Literatures in Translation Russian Culture and Language Sexuality Studies Sociology Spanish Studies Statistical Science Theater Studies Visual Arts Visual and Media Studies

Certificates

A certificate is an interdisciplinary program of study similar in its requirements to a minor.

Aerospace Engineering* Architectural Engineering* Child Policy Research Decision Sciences Digital Intelligence Documentary Studies East Asian Studies Energy and the Environment Ethics & Society Global Development Engineering* Health Policy Human Rights Information Science + Information Studies Innovation & Entrepreneurship Islamic Studies Jewish Studies Latin American Studies Latino / Latina Studies in the Global South Markets & Management Materials Science & Engineering Philosophy, Politics and Economics Policy Journalism and Media Studies Robotics & Automation* Science & the Public Sustainability Engagement

*Only offered to students pursuing an engineering degree from the Pratt School of Engineering.

Create Your Own Degree Program

A COMMUNITY THAT NEVER STOPS QUESTIONING

As one of the country’s premier research institutions, Duke encourages original inquiry and independent thought. In fact, our undergraduate students have made major research discoveries and pioneered new directions of thought across disciplines—from art history to economics to biology. As an undergraduate, research can complement your coursework, help you explore career options, and allow you to establish meaningful relationships with faculty and peers.

Research Opportunities

Research Funding

International Opportunities

Duke in the world.

With 200+ programs to choose from across every subject area, more than half of Duke students study away before they graduate. Others go global for service, research, and interdisciplinary investigation through programs like DukeEngage, Duke Immerse, Bass Connections, and Duke Engineers for International Development. Our Global Education Office advisors are here to help you plan and prepare for an international experiential education.

Global Learning

IMMERSIVE OPPORTUNITIES

Duke-In Programs

Duke Immerse

Duke Marine Lab

Duke Engineers for International Development

What are your chances of acceptance?

Calculate for all schools, your chance of acceptance.

Your chancing factors

Extracurriculars.

List of All U.S. Colleges with a Creative Writing Major

Writing has been my passion practically since I learned to read in kindergarten. I would write stories about princesses and my family dog, Gansett. When it came time to look at colleges, I was set on attending one with a strong creative writing program. Ultimately, I graduated from Johns Hopkins University with a B.A. in Writing Seminars.

Today, colleges across the country offer creative writing as a major. Because writing skills are essential for a wide range of careers, and because most curricula emphasize broad liberal arts competencies, a degree in creative writing can set you up for success in numerous fields, whether you want to be an editor or a lawyer.

Interested in majoring in creative writing? Learn which schools offer the major and what to look for in a program.

Overview of the Creative Writing Major

Creative writing is about more than spinning tales. For your major, you’ll generally need to pursue a curriculum grounded in literature, history, foreign language, and other humanities courses, along with distribution courses, if the college requires them.

Most creative writing majors must participate in workshops, in which students present their work and listen to peer critiques, usually with a certain number of advanced courses in the mix. In some cases, colleges will ask you to specialize in a particular genre, such as fiction, poetry, or playwriting. 

To succeed in creative writing, you’ll need to have a tough spine, in order to open yourself up to feedback from your classmates and instructors. You may need to give readings in public — if not as an undergraduate, certainly during your career. Of course, a passion for creating is essential, too, as is a willingness to revise your work and learn from the greats and your peers.

A creative writing major opens up doors to many careers, including journalism, content marketing, copywriting, teaching, and others. Even careers that don’t center around writing often have a strong writing component: you’ll need to write reports, deliver presentations, and so on.

Some writers go on to earn an MFA, which will help you hone your craft. It’s also often a prerequisite for teaching creative writing at the college level.

What to Look for in a College as a Creative Writing Major

Published authors on faculty.

Many world-renowned authors have another claim to fame: professorships. Writers who have taught their craft include (among many others):

• Maya Angelou (Wake Forest University)
• Colson Whitehead (many colleges, including Vassar College and Columbia University)
• Stephen Dixon (Johns Hopkins University)
• Viet Thanh Nguyen (University of Southern California)
• Eula Biss (Northwestern University)
• Toni Morrison (Princeton University)

Be aware that as an undergraduate, you may not be able to learn from the greats. That’s why it’s important to look into which courses these faculty teach before you have dreams of being mentored by Salman Rushdie — who is a Distinguished Writer in Residence at NYU.

Genres Offered

While many schools that have creative writing majors offer fiction and poetry courses and tracks, there are some niche genres that could be more difficult to find. If you’re interested in playwriting, for example, you won’t find that at every school. Before you decide on a program, be sure it includes the genres you’d like to explore further, whether that’s flash fiction, creative nonfiction, or something else.

Workshopping Opportunities

The core of most quality creative writing curriculum is workshopping. This means sharing your work in your classes and listening to your peers discuss and critique it. While this may sound intimidating, it can do a lot to help you hone your work and become a better writer. Look for colleges that make this the bedrock of their curriculum.

Showcasing Opportunities

Are there opportunities to present your work, such as college-sponsored readings where undergraduates can participate? Or, perhaps the school has a great literary journal. At my school, students could submit their plays and have them performed by fellow students. 

List of All U.S. Colleges With a Creative Writing Major

What Are Your Chances of Acceptance?

No matter what major you’re considering, the first step is ensuring you’re academically comparable to students who were previously accepted to the college or university. Most selective schools use the Academic Index to filter out applicants who aren’t up to their standards.

You’ll also want to demonstrate your fit with the school and specific major with the qualitative components of your application, like your extracurriculars and essays. For a prospective creative writing major, the essay is particularly important because this is a way to demonstrate your writing prowess. Activities might include editing your school’s newspaper or literary journal, publishing your work, and participating in pre-college writing workshops.

Want to know your chances of being accepted to top creative writing schools? Try our Chancing Engine (it’s free). Unlike other calculators, it takes your individual profile into account, including academic stats and qualitative components like your activities. Give it a try and get a jumpstart on your journey as a creative writing major!

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• PHILANTHROPY

Duke Creative Writing Is on the Rise

For undergraduates interested in creative writing, the halls of the English department in the Allen Building come with a few history lessons. Award-winning writers such as William Styron ’47, Hon.’68; Anne Tyler ’61 ; James Applewhite ’58, A.M.’60, Ph.D.’69; Fred Chappell ’61, A.M.’64; and Reynolds Price ’55 first developed their penchant for the page as Duke students.

One lesser known detail about all of these supreme wielders of language is that they studied under the tutelage (or with the disciples) of William Blackburn, legendary Duke English professor emeritus. His legacy at Duke still burns brightly today.

The Blackburn Legacy  

Blackburn came to Duke by way of Oxford University on a Rhodes Scholarship in Duke’s earliest days, which alumnae Elizabeth Schoenfeld ’84 covered in a Duke Magazine piece on writing , Blackburn’s contributions to the discipline and home as a place for creative inspiration.

In this case, Blackburn’s home was located just a stone’s throw from West Campus. He even taught classes and held writerly gatherings there. As a teacher of writing, he gave students a home to hang their creative hats. His classrooms were a sanctuary where students could play out their fictional worlds in real-time in workshops among peers.

“There had been an editorial in the London Times Literary Supplement on the difficulty of teaching creative writing,” Schoenfeld says. “It singled Blackburn out as one of the rare individuals who could.”

Blackburn expected his student writers to read. He shepherded them through the trial of the workshop, an unforgiving landscape for young writers, but also a vital, rewarding experience. As a custodian to their art, Blackburn read with the writer in mind: What were they trying to accomplish? What was working well? What could be improved upon? What was unique about this writer’s talents?

Students read and edited these early stories of their peers through a lens of empathy, with literature and critical theory sharing space on the bookshelf. As a result, their collective craft improved, as did their artistic bravery.

Bringing Together Writers From Around the World  

Today, Blackburn’s name can be found attached to the annual Blackburn Literary Festival (some years known as the Archive Literary Festival ). It’s an event which draws some of the finest writers in the world to Duke and Durham to celebrate the craft of writing. Literary voices such as Joyce Carol Oates, Toni Morrison, Eudora Welty, Margaret Atwood, Don DeLillo — a pantheon of great storytellers, novelists and poets — come to share their work with the writing community in readings, conversations, and workshops that have inspired generations of Duke students and young writers.

In 2018, the festival saw treasured poet Nathaniel Mackey , Reynolds Price Professor of Creative Writing at Duke, as the headliner in “The Mackey Sessions,” a three-day fusion of poetry and jazz that concluded at the Rubenstein Arts Center. Promotional posters for the event paid homage to classic Blue Note jazz album covers — and the event came as advertised. Mackey’s reading from his epic poem, “Song of the Andoumboulou,” whose title comes from a funeral song in West Africa, featured musical accompaniment. “The Mackey Sessions” engaged the greater arts community in song and spoken word.

In Mackey’s introduction before the keynote reading, he talked about the influence jazz has had on poetry and John Coltrane, born just a few hours south of Durham, in Hamlet, North Carolina. By the time Mackey finished reading, it felt as though time had stopped. Members of the audience were transported through his visions to somewhere altogether new, and back again.

The performance was magical and intentionally deliberate. This slowing effect created by reading longform poetry like “Song of Andoumboulou” creates what Mackey calls “fugitive time” by forcing us away from time observed in our active, everyday lives, into time outside of ourselves. This evening honoring Mackey laid bare the trial of the human experience in a way that few will forget.

Carrying on the Tradition of Creative Writing  

Home is an important concept for artists and writers. Longing for home, or defining home, is a quintessential question of literature today. Much as the journey away from home was centuries before.

This year’s Blackburn Festival featured readings from new and cherished members of Duke’s Department of English, including faculty members Faulkner Fox , JP Gritton , Melissa Malouf and Mesha Maren , and staff member Michelle Dove . A second evening included readings from visiting writers Amit Chaudhuri and Caryl Phillips , both of whom are revered across the globe for their fiction. The festival was sponsored by the English department, Franklin Humanities Institute (FHI), Duke Arts and the Rubenstein Arts Center.

Each writer approached place differently, making keen observations on the value of narrative in a world with shifting conversations on the arts and humanities.

The opening night was held downtown at the Durham Hotel. The six writers presented fictional worlds that were vastly different from one another, yet the importance of “place” was something all of the stories shared. Each writer approached place differently, making keen observations on the value of narrative in a world with shifting conversations on the arts and humanities.

For Gritton and Maren, it was an introduction to the larger creative writing community here. Both were recently appointed assistant professors of the practice at Duke, and they each read from their acclaimed recently published novels: “Wyoming” and “Sugar Run,” respectively.

“Events like the Blackburn Festival send a powerful message,” Gritton says. “Not just to English majors or their teachers, but to that student who may be pre-med or pre-law with a passion for writing. Such students might eventually move on to Silicon Valley or med school, but in the meantime they have this amazing novel or story idea they want to pursue.”

The event was funded in part by support from the Arthur G. Raynes Endowment. The late Arthur G. Raynes ’56 earned a liberal arts education at Duke before becoming an accomplished lawyer. He also has an endowment at the libraries, the Arthur G. Raynes Endowment in Imaginative Writing, which was established in 1986 to support a collection of contemporary letters.

“It’s amazing knowing that there are people who feel committed to financially back an event that directly supports writers at Duke,” Maren says. “In general, the willingness to put funding behind something like this is hard to sum into words. It’s important for my students to see that writing is valued. And it makes me glad to be in this community.”

In the second evening in the Ruby Lounge at the Rubenstein Arts Center, the Blackburn festival brought visiting writers Amit Chaudhuri and Caryl Phillips together for the first time. They had been following one another’s work for some time — even communicating via email for many months — but had never met before. Duke, and in particular this event, made it possible.

At the podium, each explored “home” as a concept by reading from their latest works. Phillips shared an excerpt from his novel “A View of the Empire at Sunset,” which explores the life of Caribbean novelist and migrant Jean Rhys. Chaudhuri read from “Friend of My Youth,” a work of ultrafiction about a writer who shares the same name as him and encounters an at-times unrecognizable Bombay, India. The complexities of home in a world of ratcheting climate change and other political, socioeconomic and cultural realities provided the audience with much food for thought.

After reading, the audience engaged with both writers in an intimate Q&A, getting a rare glimpse into their creative processes. Phillips will return in spring 2020 for a short-term residency at Duke. Chaudhuri spent a full week at Duke as he participated in FHI’s World Arts Series and Ruby Fridays .

On Chaudhuri and his work, FHI Director Ranjana Khanna adds this: “Professor Chaudhuri has gained recognition in many fields — whether composing, writing journalism, fiction, poetry or criticism. He consistently experiments with form and provides an astute critical lens on academic writing, contemporary issues, and the possibilities and impossibilities of cultural fusion.”

Impacting Young Writers at Duke  

Caroline Waring , a senior and an A.B. Duke Scholar, is majoring in global cultural studies and minoring in English and creative writing. She came to Duke from a small city in eastern Washington. Living in Durham has given her an appreciation for writing about places and settings that are relatively intimate while offering endless realms of possibilities.

“The thing about literary criticism is that you’re trying to draw out a theory or conclusion from a text or a way of reading,” Waring says. “Whereas with creative writing, you can implicitly broach questions, but you never have to state your intentions out loud. You can give yourself more freedom.”

Studying creative writing at Duke has opened her eyes to pursuing both an M.F.A. in creative writing and a Ph.D. in English after graduation. She’s also had the opportunity to work with The Archive, the student-run journal that publishes the best writing by Duke undergraduates .

“Working at The Archive has been helpful in thinking and speaking about other people’s writing. You also gain experience editorializing other peoples’ works. It’s different than a workshop because the author is not in the room,” says Waring.

The opportunities found at Duke between literature, critical theory, and creative writing courses and co-curricular programming offer a unique cross-blend of pathways for prospective writers and for those passing through the discipline.

In speaking with Waring, one thing is clear. The opportunities found at Duke between literature, critical theory, and creative writing courses and co-curricular programming offer a unique cross-blend of pathways for prospective writers and for those passing through the discipline. There’s tremendous value for those seeking to enhance their communication skills, dig into Duke’s broader arts community and strengthen their emotional intelligence.

Blackburn and the writers at Duke who have come after him have built a unique program for writing. Whether creating imagined places as real as our own — or drawing home in new light that reflects our changing world — where we live and learn will continue to define not only our lives but the words we leave behind.

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35 Best Colleges for Creative Writing – 2024

April 12, 2024

Bookworms and aspiring writers can pursue an undergraduate degree in creative writing where they will tackle coursework covering the reading and writing fiction, nonfiction, and poetry as well as the theory and history of the craft. While becoming the next J.K Rowling, Stephen King, or Margaret Atwood may be the goal, holders of creative writing degrees end up on a variety of career paths. This can include: publishing, editing, journalism, web content management, advertising, or for those who “make it” as writers—the next generation of literary superstars. Our list of Best Colleges for Creative Writing goes beyond the most famous writer factories like the University of Iowa and Columbia University, providing you with 35 institutions known for their stellar programs in this field.

Finally, note that although some of the colleges featured below do not offer a formal major in creative writing, their undergraduate offerings in this subject area are so strong that they warrant inclusion on our list.

Methodology 

Click here to read our methodology for the Best Colleges for creative writing.

Best Creative Writing Colleges

Here’s a quick preview of the first ten creative writing institutions that made our list. Detailed profiles and stats can be found when you scroll below.

1) Columbia University

2) Brown University

3) Johns Hopkins University

4) University of Chicago

5) Washington University in St Louis

6) Emory University

7) Stanford University

8) Northwestern University

9) Duke University

10) Yale University

All of the schools profiled below have stellar reputations in the field of creative writing and commit substantial resources to undergraduate education. For each of the best colleges for creative writing, College Transitions will provide you with—when available—each school’s:

• Cost of Attendance
• Acceptance Rate
• Median  SAT
• Median  ACT
• Retention Rate
• Graduation Rate

We will also include a longer write-up of each college’s:

• Academic Highlights – Includes facts like student-to-faculty ratio, average class size, number of majors offered, and most popular majors.
• Professional Outcomes – Includes info on the rate of positive outcomes, companies employing alumni, and graduate school acceptances.

Columbia University

• New York, NY

Academic Highlights: Columbia offers 100+ unique areas of undergraduate study as well as a number of pre-professional and accelerated graduate programs.  Class sizes at Columbia are reasonably small and the student-to-faculty ratio is favorable; however, in 2022, it was revealed that the university had been submitting faulty data in this area. It is presently believed that 58% of undergraduate courses enroll 19 or fewer students. The greatest number of degrees are conferred in the social sciences (22%), computer science (15%), engineering (14%), and biology (7%).

Professional Outcomes: Examining the most recent graduates from Columbia College and the Fu Foundation School of Engineering & Applied Science, 73% had found employment within six months, and 20% had entered graduate school. The median starting salary for graduates of Columbia College/Columbia Engineering is above $80,000. Many graduates get hired by the likes of Amazon, Goldman Sachs, Morgan Stanley, Google, Citi, McKinsey, and Microsoft.

• Enrollment: 8,832
• Cost of Attendance: $89,587
• Median SAT: 1540
• Median ACT: 35
• Acceptance Rate: 4%
• Retention Rate: 98%
• Graduation Rate: 95%

Brown University

• Providence, RI

Academic Highlights: Students must choose one of 80+ “concentration programs,” but there are no required courses. Class sizes tend to be small—68% have fewer than twenty students—and 35% are comprised of nine or fewer students. Biology, economics, computer science, mathematics, and engineering are among the most popular areas of concentration at Brown; however, it is hard to distinguish any one program, because Brown possesses outstanding offerings across so many disciplines.

Professional Outcomes: Soon after receiving their Brown diplomas, 69% of graduates enter the world of employment. Companies employing the greatest number of Brown alums include Google, Microsoft, Goldman Sachs, Amazon, Morgan Stanley, Apple, McKinsey & Company, and Bain & Company. The Class of 2022 saw 27% of graduates go directly into graduate/professional school. Right out of undergrad, Brown students boasted an exceptional 81% admission rate to med school and an 81% admission rate to law school.

• Enrollment: 7,639
• Cost of Attendance: $84,828
• Median SAT: 1530
• Acceptance Rate: 5%
• Retention Rate: 99%
• Graduation Rate: 96%

Johns Hopkins University

• Baltimore, MD

Academic Highlights: With 53 majors as well as 51 minors, JHU excels in everything from its bread-and-butter medical-related majors to international relations and dance. Boasting an enviable 6:1 student-to-faculty ratio and with 78% of course sections possessing an enrollment under 20, face time with professors is a reality. Many departments carry a high level of clout, including biomedical engineering, chemistry, English, and international studies. Biology, neuroscience, and computer science, which happen to be the three most popular majors, can also be found at the top of the national rankings.

Professional Outcomes: The Class of 2022 saw 94% of graduates successfully land at their next destination within six months of exiting the university; 66% of graduates entered the world of employment and a robust 19% went directly to graduate/professional school. The median starting salary across all majors was $80,000 for the Class of 2022. JHU itself is the most popular choice for graduate school. The next most frequently attended institutions included Columbia, Harvard, Yale, and MIT.

• Enrollment: 6,044
• Cost of Attendance: $86,065
• Acceptance Rate: 7%
• Retention Rate: 97%

University of Chicago

• Chicago, IL

Academic Highlights: There are 53 majors at UChicago, but close to half of all degrees conferred are in four majors: economics, biology, mathematics, and political science, all of which have particularly sterling reputations. Economics alone is the selection of roughly one-fifth of the undergraduate population. Over 75% of undergrad sections have an enrollment of nineteen or fewer students, and undergraduate research opportunities are ubiquitous as 80% of students end up working in a research capacity alongside a faculty member.

Professional Outcomes: On commencement day, 99% of the Class of 2023 were employed or continuing their education. Business and financial services (30%) and STEM (12%) were the two sectors that scooped up the most graduates, but public policy and consulting were also well-represented. The most popular employers of recent grads include Google, JPMorgan, Goldman Sachs, McKinsey & Company, Bank of America, Citi, and Accenture. For those heading to grad school, the top seven destinations are Yale, Columbia, Penn, MIT, Stanford, UCLA, and Johns Hopkins.

• Enrollment: 7,653 (undergraduate); 10,870 (graduate)
• Cost of Attendance: $89,040

Washington University in St. Louis

• St. Louis, MO

Academic Highlights : WashU admits students into five schools, many of which offer nationally recognized programs: Arts & Sciences, the Olin School of Business, the School of Engineering & Applied Sciences, and the Art of Architecture programs housed within the Sam Fox School of Design and Visual Arts. The most commonly conferred degrees are in engineering (13%), social sciences (13%), business (13%), biology (11%), and psychology (10%). 66% of classes have fewer than 20 students, and over one-quarter have single-digit enrollments. 65% double major or pursue a minor.

Professional Outcomes: The Class of 2022 sent 52% of grads into the workforce and 28% into graduate and professional schools. Companies employing the highest number of WashU grads feature sought-after employers such as Amazon, Bain, Boeing, Deloitte, Google, IBM, Goldman Sachs, and Microsoft. Of the employed members of the Class of 2022 who reported their starting salaries, 79% made more than $60k. The universities welcoming the largest number of Bears included the prestigious institutions of Caltech, Columbia, Harvard, Penn, Princeton, and Stanford.

• Enrollment: 8,132 (undergraduate); 8,880 (graduate)
• Cost of Attendance: $83,760
• Median ACT: 34
• Acceptance Rate: 11%
• Retention Rate: 96%
• Graduation Rate: 93%

Emory University

• Atlanta, GA

Academic Highlights: This midsize university offers a diverse array of majors (80+) and minors (60+), and 30% of Emory students pursue more than one area of study. Over half of Emory’s student body works directly with a faculty member on academic research and 58% of courses have class sizes of under twenty students. Ultimately, the greatest number of students go on to earn degrees in the social sciences (15%), biology (14%), business (14%), health professions (12%), and mathematics (9%).

Professional Outcomes: Shortly after graduation, 66% of 2022 grads were already employed, and 96% had arrived at their next destination. The top employers of recent Emory grads include Deloitte, Epic, ScribeAmerica, Meta, Morgan Stanley, and Cloudmed. Graduates of the Goizueta Business School found strong starting salaries with an average of $81k.  In the last few years, multiple Emory grads/alums received acceptance letters from the following top law schools like Columbia, Berkeley, and Georgetown. Med school acceptances included Duke, Johns Hopkins, and Vanderbilt.

• Enrollment: 7,101
• Cost of Attendance: $83,702
• Median SAT: 1500
• Median ACT: 33
• Retention Rate: 95%
• Graduation Rate: 90%

Stanford University

• Palo Alto, CA

Academic Highlights: Stanford has three undergraduate schools: the School of Humanities & Sciences, the School of Engineering, and the School of Earth, Energy, and Environmental Sciences. 69% of classes have fewer than twenty students, and 34% have a single-digit enrollment. Programs in engineering, computer science, physics, mathematics, international relations, and economics are arguably the best anywhere. In terms of sheer volume, the greatest number of degrees are conferred in the social sciences (17%), computer science (16%), engineering (15%), and interdisciplinary studies (13%).

Professional Outcomes: Stanford grads entering the working world flock to three major industries in equal distribution: business/finance/consulting/retail (19%); computer, IT (19%); and public policy and service, international affairs (19%). Among the companies employing the largest number of recent grads are Accenture, Apple, Bain, Cisco, Meta, Goldman Sachs, Google, McKinsey, Microsoft, and SpaceX. Other companies that employ hundreds of Cardinal alums include LinkedIn, Salesforce, and Airbnb. Starting salaries for Stanford grads are among the highest in the country.

• Enrollment: 8,049 (undergraduate); 10,236 (graduate)
• Cost of Attendance: $87,833

Northwestern University

• Evanston, IL

Academic Highlights : Northwestern is home to six undergraduate schools, including Medill, which is widely regarded as one of the country’s best journalism schools. The McCormick School of Engineering also achieves top rankings, along with programs in economics, social policy, and theatre. The social sciences account for the greatest number of degrees conferred (19%), followed by communications/journalism (13%), and engineering (11%). 45% of classes have nine or fewer students enrolled; 78% have fewer than twenty enrollees. 57% of recent grads had the chance to conduct undergraduate research.

Professional Outcomes: Six months after graduating, 69% of the Class of 2022 had found employment and 27% were in graduate school. The four most popular professional fields were consulting (18%), engineering (18%), business/finance (16%), and communications/marketing/media (13%). Employers included the BBC, NBC News, The Washington Post , NPR, Boeing, Google, IBM, Deloitte, PepsiCo, Northrop Grumman, and Goldman Sachs. Across all majors, the average starting salary was $73k. Of those headed straight to graduate school, engineering, medicine, and business were the three most popular areas of concentration.

• Enrollment: 8,659 (undergraduate); 14,073 (graduate)
• Cost of Attendance: $91,290
• Graduation Rate: 97%

Duke University

Academic Highlights: The academic offerings at Duke include 53 majors, 52 minors, and 23 interdisciplinary certificates. Class sizes are on the small side—71% are nineteen or fewer, and almost one-quarter are less than ten. A stellar 5:1 student-to-faculty ratio helps keep classes so reasonable even while catering to five figures worth of graduate students. Computer Science is the most popular area of concentration (11%), followed by economics (10%), public policy (9%), biology (8%), and computer engineering (7%).

Professional Outcomes: At graduation, approximately 70% of Duke diploma-earners enter the world of work, 20% continue into graduate schools, and 2% start their own businesses. The industries that attract the largest percentage of Blue Devils are tech (21%), finance (15%), business (15%), healthcare (9%), and science/research (6%). Of the 20% headed into graduate school, a hefty 22% are attending medical school, 18% are in PhD programs, and 12% are entering law school. The med school acceptance rate is 85%, more than twice the national average.

• Enrollment: 6,640
• Cost of Attendance: $85,238
• SAT Range: 1490-1570
• ACT Range: 34-35
• Acceptance Rate: 6%

Yale University

• New Haven, CT

Academic Highlights: Yale offers 80 majors, most of which require a one- to two-semester senior capstone experience. Undergraduate research is a staple, and over 70% of classes—of which there are over 2,000 to choose from—have an enrollment of fewer than 20 students, making Yale a perfect environment for teaching and learning. Among the top departments are biology, economics, global affairs, engineering, history, and computer science. The social sciences (26%), biology (11%), mathematics (8%), and computer science (8%) are the most popular areas of concentration.

Professional Outcomes: Shortly after graduating, 73% of the Yale Class of 2022 had entered the world of employment and 18% matriculated into graduate programs. Hundreds of Yale alums can be found at each of the world’s top companies including Google, Goldman Sachs, McKinsey & Company, Morgan Stanley, and Microsoft. The most common industries entered by the newly hired were finance (20%), research/education (16%), technology (14%), and consulting (12%). The mean starting salary for last year’s grads was $81,769 ($120k for CS majors). Nearly one-fifth of students immediately pursue graduate school.

• Enrollment: 6,590 (undergraduate); 5,344 (graduate)
• Cost of Attendance: $87,705
• Graduation Rate: 98%

Hamilton College

• Clinton, NY

Academic Highlights: The student-to-faculty ratio is 9:1, and without any pesky graduate students to get in the way, face time with professors is a regular occurrence. In fact, 28% of all classes have nine or fewer students; 72% have nineteen or fewer. Economics, government, and biology are among the strongest and most popular majors; other standout programs include public policy, mathematics, and environmental studies. Thirty percent of students earn social science degrees, with biology (13%), visual and performing arts (9%), physical science (7%), and foreign languages (7%) next in line.

Professional Outcomes: Examining the 491 graduates in Hamilton’s Class of 2022, an enviable 97% wasted no time landing jobs, graduate school acceptances, or fellowships. The most commonly entered industries were finance (17%), education (13%), business (12%), and science/tech (11%). Only 17% of 2022 graduates went directly into an advanced degree program. In one recent year, 33% of Hamilton grads were studying a STEM field, 22% were in the social sciences, 17% pursued a health care degree, and 5% went to law school.

• Enrollment: 2,075
• Cost of Attendance: $82,430
• Median SAT: 1490
• Acceptance Rate: 12%
• Graduation Rate: 92%

Princeton University

• Princeton, NJ

Academic Highlights: 39 majors are available at Princeton. Just under three-quarters of class sections have an enrollment of 19 or fewer students, and 31% have fewer than ten students. Princeton is known for its commitment to undergraduate teaching, and students consistently rate professors as accessible and helpful. The Engineering Department is widely recognized as one of the country’s best, as is the School of Public and International Affairs.

Professional Highlights: Over 95% of a typical Tiger class finds their next destination within six months of graduating. Large numbers of recent grads flock to the fields of business and engineering, health/science, & tech. Companies presently employing hundreds of Tiger alumni include Google, Goldman Sachs, Microsoft, McKinsey & Company, Morgan Stanley, IBM, and Meta. The average salary ranges from $40k (education, health care, or social services) to $100k (computer/mathematical positions). Between 15-20% of graduating Tigers head directly to graduate/professional school.

• Enrollment: 5,604 (undergraduate); 3,238 (graduate)
• Cost of Attendance: $86,700

Carnegie Mellon University

• Pittsburgh, PA

Academic Highlights: There are a combined 80+ undergraduate majors and 90 minors available across the six schools. Impressively, particularly for a school with more graduate students than undergrads, CMU boasts a 6:1 student-to-faculty ratio and small class sizes, with 36% containing single digits. In a given school year, 800+ undergraduates conduct research through the University Research Office. The most commonly conferred degrees are in engineering (21%), computer science (16%), mathematics (12%), business (10%), and visual and performing arts (9%).

Professional Outcomes: By the end of the calendar year in which they received their diplomas, 66% of 2022 grads were employed, and 28% were continuing to graduate school. The companies that have routinely scooped up CMU grads include Google, Meta, Microsoft, Apple, Accenture, McKinsey, and Deloitte. With an average starting salary of $105,194, CMU grads outpace the average starting salary for a college grad nationally. Of those pursuing graduate education, around 20% typically enroll immediately in PhD programs.

• Enrollment: 7,509
• Cost of Attendance: $84,412

University of Iowa

• Iowa City, IA

Academic Highlights: 200+ undergraduate majors, minors, and certificate programs are available across eight colleges, including the Tippie College of Business, which has a very strong reputation. The most commonly conferred degree is business (24%), with parks and recreation (10%), social sciences (8%), health professions (8%), engineering (7%), and communication & journalism (5%) next in popularity. Over half of its undergraduate sections enroll 19 or fewer students, and 30% of undergrads conduct or assist research.

Professional Outcomes: 96% of Class of 2022 grads found their first job or advanced degree program within six months of receiving their diploma. The most commonly entered industries were healthcare (23%), entertainment/the arts (14%), finance and insurance (11%), and marketing/PR (10%). Companies that employ hundreds of alumni include Wells Fargo, Collins Aerospace, Principal Financial Group, Amazon, Accenture, and Microsoft. The median salary for 2022 grads was $50,000. 28% of recent graduates went directly into graduate school; 76% remained at the University of Iowa.

• Enrollment: 22,130 (undergraduate); 7,912 (graduate)
• Cost of Attendance: $28,846-$32,259 (in-state); $50,809-$54,822 (out-of-state)
• Median SAT: 1240
• Median ACT: 25
• Acceptance Rate: 85%
• Retention Rate: 89%
• Graduation Rate: 73%

Emerson College

Academic Highlights: All 26 majors offered by the school have some element of performance or artistry and include highly unique academic concentrations such as comedic arts, sports communication, and musical theater. Emerson has a 15:1 student-to-faculty ratio and 69% of courses seat fewer than 20 students. The Journalism and Communications Studies programs rank among the top in the country. By sheer popularity, the top majors are film/video production, journalism, marketing, theater arts, and creative writing.

Professional Outcomes: Within six months of leaving Emerson, 61% of recent grads were employed, 4% were enrolled in graduate school, and 35% were still seeking their next landing spot. Top employers include the Walt Disney Company, Warner Media, Sinclair Broadcast Group, and CNN. The average full-time salary for employed grads is $40,255. Of those entering a master’s program, the bulk stay put, pursuing a master’s at Emerson in an area like writing for film and television, creative writing, or journalism.

• Enrollment: 4,149
• Cost of Attendance: $73,000
• Median SAT: 1360
• Median ACT: 31
• Acceptance Rate: 43%
• Retention Rate: 86%
• Graduation Rate: 77%

University of Southern California

• Los Angeles, CA

Academic Highlights : There are 140 undergraduate majors and minors within the Dornsife College of Arts & Sciences alone, the university’s oldest and largest school. The Marshall School of Business, Viterbi School of Engineering, and programs in communication, the cinematic arts, and the performing arts are highly acclaimed. Popular areas of study are business (22%), social sciences (11%), visual and performing arts (11%), communications/journalism (9%), and engineering (8%). Most courses enroll 10-19 students, and USC does an excellent job facilitating undergraduate research opportunities.

Professional Outcomes: 96% of undergrads experience positive postgraduation outcomes within six months of earning their degree. The top five industries entered were finance, consulting, advertising, software development, and engineering; the median salary across all majors is an astounding $79k. Presently, between 300 and 1,500 alumni are employed at each of Google, Amazon, Apple, Microsoft, KPMG, Goldman Sachs, and Meta. Graduate/professional schools enrolling the greatest number of 2022 USC grads include NYU, Georgetown, Harvard, Stanford, Pepperdine, and UCLA.

• Enrollment: 20,699 (undergraduate); 28,246 (graduate)
• Cost of Attendance: $90,921
• Median SAT: 1510

Cornell University

Academic Highlights: A diverse array of academic programs includes 80 majors and 120 minors spread across the university’s seven schools/colleges. Classes are a bit larger at Cornell than at many other elite institutions. Still, 55% of sections have fewer than 20 students. Most degrees conferred in 2022 were in computer science (17%), engineering (13%), business (13%), and biology (13%). The SC Johnson College of Business houses two undergraduate schools, both of which have phenomenal reputations.

Professional Outcomes: Breaking down the graduates of the College of Arts and Sciences, the largest school at Cornell, 68% entered the workforce, 28% entered graduate school, 1% pursued other endeavors such as travel or volunteer work, and the remaining 3% were still seeking employment six months after receiving their diplomas. The top sectors attracting campus-wide graduateswere financial services (18%), technology (17%), consulting (15%), and education (10%). Of the students from A&S going on to graduate school, 15% were pursuing JDs, 5% MDs, and 22% PhDs.

• Enrollment: 15,735
• Cost of Attendance: $88,150
• Median SAT: 1520

Oberlin College

• Oberlin, OH

Academic Highlights: Over 40 majors are available at Oberlin, which is an extremely strong provider of a liberal arts education. 79% of classes had 19 or fewer students enrolled. The greatest number of degrees conferred are typically in music, political science, biology, psychology, and history. The Conservatory of Music has a worldwide reputation, and programs in the natural sciences are similarly strong, leading to remarkable medical school acceptance rates and a high number of future PhD scientists and researchers.

Professional Outcomes: Within six months, 74% of recent grads found employment, 17% enrolled in graduate school, and just 5% were still seeking employment. Multiple recent grads were hired by Google, Netflix, and Sony Pictures. Over the last few years, multiple students have gone on to pursue advanced degrees at Harvard, Stanford, MIT, Brown, Columbia, Princeton, and the University of Michigan. Oberlin also has a reputation for churning out future PhDs and, is among the top 20 schools (per capita) across all disciplines in producing graduates who go on to earn their doctoral degrees.

• Enrollment: 2,986
• Cost of Attendance: $85,496
• Median SAT: 1400-1540
• Median ACT: 32-34
• Acceptance Rate: 33%
• Retention Rate: 87%
• Graduation Rate: 83%

University of Pittsburgh

Academic Highlights: Pitt admits freshmen to the Dietrich School of Arts & Sciences, the College of Business Administration, the Swanson School of Engineering, and the School of Nursing. Pitt’s engineering and business schools are top-rated and among the most commonly chosen fields of study. Premed offerings are also top-notch, with majors in the health professions (12%), biology (11%), psychology (9%), and computer science (9%) rounding out the list of most popular majors. Pitt has a strong 13:1 student-to-faculty ratio; 42% of sections have an enrollment of under twenty students.

Professional Outcomes: Within a few months of graduating, 94% of 2022 grads entered full-time employment or full-time graduate or professional school. Engineering, nursing, business, and information sciences majors had 73-86% employment rates while other majors tended to flock to graduate school in large numbers. Employers scooping up the highest number of grads in one recent year included the University of Pittsburgh Medical Center (170), PNC (57), BNY Mellon (36), and Deloitte (19). Median starting salaries fluctuated between $37k-65k depending on major.

• Enrollment: 20,220 (undergraduate); 9,268 (graduate)
• Cost of Attendance: $38,034-$43,254 (in-state); $56,400-$66,840 (out-of-state)
• Acceptance Rate: 50%
• Retention Rate: 92%
• Graduation Rate: 84%

Swarthmore College

• Swarthmore, PA

Academic Highlights: Swarthmore offers forty undergraduate programs and runs 600+ courses each academic year. Small, seminar-style courses are the norm—an outstanding 33% of sections enroll fewer than ten students, and 70% contain a maximum of nineteen students. Social science degrees are the most commonly conferred, accounting for 24% of all 2022 graduates. Future businessmen/women, engineers, and techies are also well-positioned, given Swat’s incredibly strong offerings in economics, engineering, and computer science.

Professional Outcomes: 68% of Class of 2022 grads entered the workforce shortly after graduation. Popular industries included education (17%), consulting (16%), and financial services (13%); the median starting salary was $60,000. Google is a leading employer of Swarthmore grads followed by Amazon, Goldman Sachs, IBM, and a number of the top universities.  18% of 2022 grads pursued advanced degrees, with 35% pursuing a PhD, 35% entering master’s programs, 10% heading to law school, and 7% matriculating into medical school.

• Enrollment: 1,625
• Cost of Attendance: $81,376
• Graduation Rate: 94%

Bryn Mawr College

• Bryn Mawr, PA

Academic Highlights: On the home campus, undergraduates can choose from 35 majors and 50 minors. Roughly 35% of the student body earns degrees in the natural sciences or mathematics, a figure four times the national average for women. By volume, the most popular majors are mathematics, psychology, biology, English, and computer science. An 8:1 student-to-faculty ratio leads to small class sizes with 74% of sections having fewer than twenty students, and 24% of sections enrolling nine students or fewer.

Professional Outcomes: One year after receiving their diplomas, 57% of Bryn Mawr graduates had found employment and a robust 28% had already entered graduate school. Most of the organizations employing the greatest number of alumni are universities and hospital systems, although Google, Accenture, JPMorgan Chase, and Vanguard do employ a fair number of Bryn Mawr graduates. Among recent grads pursuing further education, 63% were in master’s programs, 13% were already working on their PhD, and 10% were in medical school.

• Enrollment: 1,409
• Cost of Attendance: $79,880
• Median SAT: 1400
• Acceptance Rate: 31%
• Retention Rate: 90%

Wellesley College

• Wellesley, MA

Academic Highlights: There are 50+ departmental and interdisciplinary majors. Thirty-six percent of course sections have single-digit enrollments while 77% have 19 or fewer students. In addition, opportunities for participation in research with faculty members abound. Most programs possess sterling reputations, including chemistry, computer science, neuroscience, and political science, but the Department of Economics shines most brightly, leading many into PhD programs and high-profile careers. Economics, biology, and computer science are the most frequently conferred degrees.

Professional Outcomes : Six months after graduating, 97% of the Class of 2022 had achieved positive outcomes. Of the 76% of grads who were employed, 24% were working in the finance/consulting/business fields, 17% in education, 17% in internet and technology & engineering, and 15% in healthcare/life sciences. Top employers included JPMorgan Chase, Google, Boston Children’s Hospital, and Goldman Sachs. The average starting salary for one recent cohort was a solid $63k. Of the 20% of 2022 grads who directly entered an advanced degree program, common schools attended included Harvard, Columbia, Brown, Stanford, MIT, and Emory.

• Enrollment: 2,447
• Cost of Attendance: $84,240
• Acceptance Rate: 14%

Colby College

• Waterville, ME

Academic Highlights: Offering 56 majors and 35 minors, Colby provides a classic liberal arts education with a high degree of flexibility and room for independent intellectual pursuits. A 10:1 student-to-faculty ratio is put to good instructional use as roughly two-thirds of courses have fewer than 19 students. Being a true liberal arts school, Colby has strengths across many disciplines, but biology, economics, and global studies draw especially high praise. These programs along with government and environmental science attract the highest number of students.

Professional Outcomes: Within six months of graduation, 93% of the Class of 2022 had either obtained jobs or were enrolled full-time in a graduate program. Eighteen percent of graduates enter the financial industry and large numbers also start careers in education, with government/nonprofit, STEM, and healthcare next in popularity. The Medical school acceptance rate over the past five years is 68%, nearly double the national average.

• Enrollment: 2,299
• Cost of Attendance: $86,720
• Average SAT: 1485
• Average ACT: 33
• Acceptance Rate: 8%
• Retention Rate: 93%
• Graduation Rate: 87%

University of Michigan

• Ann Arbor, MI

Academic Highlights: There are 280+ undergraduate degree programs across fourteen schools and colleges, and the College of Literature, Science, and the Arts (LSA) enrolls the majority of students. The Ross School of Business offers highly rated programs in entrepreneurship, management, accounting, and finance. The College of Engineering is also one of the best in the country. By degrees conferred, engineering (15%), computer science (14%), and the social sciences (11%) are most popular. A solid 56% of classes have fewer than 20 students.

Professional Outcomes: Within three months of graduating, 89% of LSA grads are employed full-time or in graduate school, with healthcare, education, law, banking, research, nonprofit work, and consulting being the most popular sectors. Within three months, 99% of Ross grads are employed with a median salary of $90k. Top employers include Goldman Sachs, Deutsche Bank, EY, Morgan Stanley, PwC, Deloitte, and Amazon.  Within six months, 96% of engineering grads are employed (average salary of $84k) or in grad school. General Motors, Ford, Google, Microsoft, Apple, and Meta employ the greatest number of alumni.

• Enrollment: 32,695 (undergraduate); 18,530 (graduate)
• Cost of Attendance: $35,450 (in-state); $76,294 (out-of-state)
• Median SAT: 1470
• Acceptance Rate: 18%

Bucknell University

• Lewisburg, PA

Academic Highlights: Over 60 majors and 70 minors are on tap across three undergraduate schools: the College of Arts & Sciences, Freeman College of Management, and the College of Engineering. Getting well-acquainted with your professors is easy with a 9:1 student-faculty ratio, and class sizes are reasonably small. The greatest number of degrees are conferred in the areas of the social sciences (26%), engineering (14%), business (14%), biology (11%), and psychology (9%).

Professional Outcomes: Nine months after graduation, 94% of the Class of 2022 had launched their careers or entered graduate school. Financial services is the most common sector for Bucknell grads to enter, attracting 24% of alumni. Across all disciplines, the average salary for a Class of 2022 grad was $69,540. Bucknell saw 18% of 2022 grads go directly into an advanced degree program. Bison alumni heading to graduate school predominantly pursue degrees in the medical field, social sciences, business, or engineering.

• Enrollment: 3,747
• Cost of Attendance: $80,890
• Median SAT: 1380
• Median ACT: 32
• Retention Rate: 91%

Haverford College

• Haverford, PA

Academic Highlights: Haverford offers 31 majors, 32 minors, 12 concentrations, and eleven consortium programs—areas of study that can be pursued at partner campuses. The school’s 9:1 student-to-faculty ratio and exclusive emphasis on undergraduate education lead to exceptionally intimate classes, 33% of which have fewer than 10 students, and 72% have fewer than 20. The most popular areas of study at Haverford include the social sciences (24%), biology (14%), psychology (11%), physical sciences (10%), computer science (9%), and mathematics (7%).

Professional Outcomes: Six months after leaving Haverford, 63% of the Class of 2022 had found employment, 19% had enrolled in graduate school, and 9% were still job hunting. Employers hiring multiple recent Haverford grads include Epic, JP Morgan Chase Bank, Boston Consulting Group, Goldman Sachs, the National Institutes of Health, and the Children’s Hospital of Philadelphia. Of the 19% of 2022 grads who elected to continue their education, the most commonly entered fields of study were STEM (51%) and medicine/health (15%).

• Enrollment: 1,421
• Cost of Attendance: $87,180
• Graduation Rate: 91%

Colorado College

• Colorado Springs, CO

Academic Highlights: Rather than the typical semester schedule, Colorado College operates on the “block plan,” a series of eight three-and-half-week periods during which students take only one course. You won’t find a more intimate liberal arts college than CC. Classes have a cap of 25 students, and no more than a handful of courses exceed that figure. The average class consists of 16 students. In terms of sheer volume, most degrees are conferred in the social sciences (28%), biology (17%), natural resources and conservation (8%), and physical science (6%).

Professional Outcomes: Among the Class of 2022, an impressive 99% arrived successfully at their next destination within six months of earning their diploma. The largest number of graduates who pursue employment end up in the fields of education, technology, health care, the arts, and government.  The bachelor’s degree earned at Colorado College is unlikely to be the last degree a graduate will earn. Five years after graduation, the typical cohort sees 70-90% of its members having either completed or finishing an advanced degree.

• Enrollment: 2,180
• Cost of Attendance: $87,128
• Acceptance Rate: 16%
• Graduation Rate: 86%

Brandeis University

• Waltham, MA

Academic Highlights: Brandeis offers 43 majors, the most popular of which are in the social sciences (18%), biology (17%), business (10%), psychology (8%), public administration (8%), and computer science (7%). The student-faculty ratio is 11:1, and 60% of courses contain nineteen or fewer students. Departments with a particularly strong national reputation include economics, international studies, and sociology as well as all of the traditional premed pathways including biology, and chemistry.

Professional Outcomes: Within six months of graduation, 98% of the Class of 2022 had found their way to employment (59%), graduate school (35%), or another full-time activity like travel or volunteer work (4%). Members of the Class of 2022 were hired by Red Hat, Deloitte, Nasdaq, NPR, and McKinsey & Company. The average starting salary for recent grads is $61k. A large contingent of grads elects to continue at Brandeis for graduate school. Many others go to BU, Columbia, Duke, Harvard, and Yale.

• Enrollment: 3,687
• Cost of Attendance: $86,242
• Median SAT: 1440
• Acceptance Rate: 39%

Macalester College

• St. Paul, MN

Academic Highlights: Students can choose from roughly 40 majors and over 800 courses that are offered each academic year . Being an undergraduate-only institution, Macalester students enjoy the full benefits of the school’s 10:1 student-to-faculty ratio. The average class size is only 17 students, and 14% of class sections have single-digit enrollments. Macalester possesses strong offerings across many different disciplines. Programs in economics, international studies, and mathematics are among the best anywhere.

Professional Outcomes: Six months after graduating, 95% of the Macalester Class of 2022 had found employment, graduate school, or a fellowship. Employers of recent grads include ABC News, Google, Goldman Sachs, Dow Chemical Company, McKinsey & Company, the ACLU, the National Cancer Institute, and National Geographic . Across all sectors, the average starting salary for recent grads was above $62k. Sixty percent of Mac grads pursue an advanced degree within six years of earning their bachelor’s.

• Enrollment: 2,175
• Cost of Attendance: $79,890
• Median SAT: 1430
• Acceptance Rate: 28%
• Retention Rate: 88%

Barnard College

Academic Highlights: Barnard has a 10:1 student-faculty ratio, and a sensational 71% of courses are capped at nineteen or fewer students; 18% have fewer than ten. Many get the chance to engage in research alongside a professor as 240+ undergraduates are granted such an opportunity through the Summer Research Institute each year. Barnard’s most popular majors, by number of degrees conferred, include economics, English, political science, history, psychology, neuroscience, computer science, and art history.

Professional Outcomes: Six months after graduation, 91% of 2022 Barnard grads had found employment or were enrolled in a graduate program. JP Morgan, Goldman Sachs, Blackrock, Citibank, and Morgan Stanley all appear on the list of the top fifteen employers of Barnard alumni. Within ten years of graduation, over 80% of Barnard alums eventually enroll in graduate school. Those entering graduate school flock in large numbers to Columbia, with 112 heading there over the last three years.

• Enrollment: 3,442
• Cost of Attendance: $90,928
• Acceptance Rate: 9%

Georgetown University

• Washington, D.C.

Academic Highlights: The student-faculty ratio is 11:1, and 60% of classes enroll fewer than 20 students. While some classes are a bit larger, only 7% cross the 50-student threshold. Those desiring to join the world of politics or diplomacy are in the right place. The Government and International Affairs programs are among the best in the country. The greatest number of degrees are conferred in the social sciences (38%) followed by business (20%), interdisciplinary studies (8%), and biology (7%).

Professional Outcomes: Within six months of graduating, 75% of members of the Class of 2022 entered the workforce, 19% went directly into a graduate or professional program of study, and 3% were still seeking employment. The Class of 2022 sent massive numbers of graduates to a number of major corporations including JPMorgan Chase (22), Citi (21), BOA (18), Morgan Stanley (16), and EY (10). Those attending grad school stay at Georgetown or flock to other elite schools like Columbia and Harvard.

• Enrollment: 7,900
• Cost of Attendance: $85,000

Elon University

Academic Highlights: Students choose from 70 majors and can add a number of interesting minors like adventure-based learning, coaching, and multimedia authoring. Elon’s 11:1 student-to-faculty ratio leads to an average class size of 20 students; 51% of sections contain fewer than 20 students. The areas in which the greatest number of degrees are conferred are business (29%), journalism/communication (20%), social sciences (8%), the visual and performing arts (6%), and psychology (6%).

Professional Outcomes: Results of a survey administered nine months after graduation found that 96% of the Class of 2022 had found employment, a graduate school, or an internship. Top employers of recent Elon graduates include Bloomberg, Deloitte, EY, Google, Goldman Sachs, Red Ventures, and Wells Fargo. Recent business grads enjoyed a median salary of $61k while communications majors earned $47k. Just under one-quarter of recent grads gained acceptance into graduate/professional school and many remain at Elon.

• Enrollment: 6,337
• Cost of Attendance: $66,657
• Median SAT: 1260
• Median ACT: 28
• Acceptance Rate: 78%

DePauw University

• Greencastle, IN

Academic Highlights: No matter which of the 40+ majors you pursue at DePauw, you will enjoy the benefits of small class sizes and face time with faculty. A 9:1 student-to-faculty ratio and the fact that only four class sections in the whole university enroll more than 29 students assures that. The greatest number of DePauw undergrads earn degrees in the social sciences (17%), biology (10%), the visual/performing arts (9%), communication/journalism (8%), and computer science (6%).

Professional Outcomes: The university’s “Gold Commitment” guarantees that all grads will land at their next destination within six months, or they will be provided with an entry-level professional opportunity or an additional tuition-free semester. Top employers of DePauw grads include Eli Lilly and Company, IBM, Northern Trust Corporation, AT&T, and Procter & Gamble. Tigers applying to graduate and professional schools experience high levels of success. Of medical school applicants who earned a 3.6 GPA and scored in the 80th percentile on the MCAT, 90% are accepted to at least one institution.

• Enrollment: 1,752
• Cost of Attendance: $74,400
• Acceptance Rate: 66%
• Graduation Rate: 79%

University of Washington – Seattle

• Seattle, WA

Academic Highlights: 180+ undergraduate majors are offered across thirteen colleges/schools. Personal connections with professors abound as 55% of grads complete a faculty-mentored research project. The College of Engineering, which includes the College of Computer Science & Engineering, is one of the best in the nation; UW also boasts strong programs in everything from business to social work to environmental science. The most popular degrees are the social sciences (13%), biology (12%), computer science (11%), and business (8%).

Professional Outcomes: Within months of graduation, 73% of Class of 2022 grads were employed and 17% were continuing their education. The most popular employers of the Class of 2022 included Google, Amazon, Microsoft, Boeing, and KPMG. Across all living alumni, 6,000+ work for Microsoft, and 4000+ work for each of Boeing and Amazon. Of those headed to graduate/professional school, just over half remain in state, mostly at UW itself. Large numbers of 2022 grads also headed to Columbia, Johns Hopkins, and USC.

• Enrollment: 36,872 (undergraduate); 16,211 (graduate)
• Cost of Attendance: $34,554 (in-state); $63,906 (out-of-state)
• Median SAT: 1420
• Acceptance Rate: 48%
• Retention Rate: 94%

We hope you have found our list of the Best Colleges for Creative Writing to be useful and informative as you continue your college search process. We also invite you to check out some of our other resources and tools including:

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Andrew Belasco

A licensed counselor and published researcher, Andrew's experience in the field of college admissions and transition spans two decades. He has previously served as a high school counselor, consultant and author for Kaplan Test Prep, and advisor to U.S. Congress, reporting on issues related to college admissions and financial aid.

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• Writing Tips

The 13 Best Colleges for Creative Writing Degrees

• 16-minute read
• 23rd February 2023

So, you want to pursue a creative writing degree program in the United States. Wonderful! If you are passionate about writing and you’re an avid reader, a career in fiction writing would be the way to go! When it comes to choosing the right MFA (Master of Fine Arts) program – in this case, creative writing – you might be wondering which schools have the best program. What career opportunities are there after graduation? What courses will I take in the program? What’s the admission process like?

A creative writing program will immerse you in your craft, help you develop writing discipline, and provide critical feedback on your writing. The program should also be highly reputable and produce top-quality writers.

You must decide whether you want to attend a public or a private college . This choice can be important because of student population size, tuition fees, and reputation. Private colleges will be considerably more expensive than public ones. Do you want to attend college in a small town or a big city? Is the school located somewhere that can provide ample writing inspiration? It’s important to know that some schools provide more student opportunities in their program, yet others have stronger networking connections. This distinction can be crucial once you’ve graduated from the program.

This post will highlight the benefits of a creative writing degree, including career opportunities after graduation. We’ll also discuss what you’ll need to apply. Finally, we’ll highlight our top list of creative writing schools in the United S tates. After you’ve read this post, you’ll better understand the opportunities these schools provide.

What Is a Creative Writing Degree?

A creative writing degree prepares you for a career as a writer of fiction, creative nonfiction, poetry, or drama. It’s also suitable for those wishing to enter the field of editing or publishing. The program immerses students in writing and provides valuable writing opportunities and feedback.

Career Opportunities After Graduation

Graduates usually find jobs as authors, copywriters, journalists, editors, columnists, or screenwriters. Additionally, graduates find opportunities to become editors for big publishing agencies, which work with some of the most famous best-selling fiction authors.

What Subjects Are Typically Covered?

You can expect to take plenty of fiction, nonfiction, and poetry workshops. Almost all programs provide compulsory introduction to fiction and poetry classes. In addition, you’ll likely take courses in screenwriting, medieval literature, and traditions in fiction. Finally, some courses focus on writing prompts (a daddy for writing inspiration).

Factors to Consider in Choosing a College for a Creative Writing Degree

Although the following factors will vary from college to college, you should consider them carefully:

●  Location and campus culture

●  Faculty and resources available

●  Alumni network and professional connections

●  Internships and work opportunities (internships will provide valuable work experience)

Admission Process

You should know that many creative writing degree programs are very selective. For this reason, you’ll need to prove your passion for writing and reading. First, you’ll need to apply to the college of your choice. This will mean submitting an admission essay as well as the application form. Creative writing degree programs will also want a writing sample, such as a poem or a short story. However, these don’t have to be works you’ve published.

Additionally, you’ll need to submit the following to your chosen college:

●  Referee information (must not be a friend or a relative)

●  Official transcripts

●  TOEFL or IELTS test results (if English is not your native language)

●  GRE scores

Gathering all required documentation for admission will be time-consuming, so you’ll want to get started early. Ideally, you should start applying nine months before your program begins. For example, if the program starts in August, you should begin applying in November of the previous year.

1. Northwestern University

Established in 1851, Northwestern University is located in Evanston, Illinois (just outside Chicago). With approximately 22,000 students, it’s a private institution with a six-to-one student-to-faculty ratio. Professors in the creative writing program are award-winning authors. Northwestern is known for producing successful authors such as Karen Russell and Veronica Roth . It also features a top journalism program. Students in the creative writing program can get involved with the student-run literary journal, intern at a Chicago publication, or submit an entry to the yearly writing competition of the English Department.

Additionally, students can learn from talented writers at the Annual Writers’ Festival . Students can even submit their work to the school’s annual writing competition. So, if gaining professional writing experience is important, Northwestern might just be what you’re looking for! Plus, Chicago’s iconic landmarks and lakeside beaches provide robust inspiration for writers!

“My Northwestern creative workshops, where I honed my editorial skills, were instrumental in setting me down a career path in publishing.”

–  Laura Biagi, Class of 2009

2. Columbia University

Located in New York City (known colloquially as the Big Apple), Columbia was established in 1754. It’s the fifth-oldest American institution of higher learning. It has around 36,000 students, and people consider it one of the great elite private colleges in America. Like Northwestern, Columbia has a world-class creative writing program and a top journalism school. Great writers have attended Columbia, including J.D. Salinger and Federico Garcia Lorca. The creative writing curriculum includes rigorous writing workshops at all levels and seminars exclusively for creative writing students. In these workshops, students produce original works of writing and submit them to classmates and professors for critical analysis. To study at Columbia is to be part of a distinguished group of like-minded writers.

If that isn’t enough to convince you, many consider New York City America’s literary capital. It’s home to major publishing houses, literary journals, picturesque parks, iconic landmarks, and talented authors from around the globe. The Big Apple has no shortage of inspiration for prospective writers!

“Before being accepted into the program, I didn’t have the confidence to critique my work seriously.”

–  Mary Mann, Class of 2015

3. University of Iowa

If you prefer to study in a location away from the hustle and bustle of a big city, the University of Iowa might be your answer! Founded in 1847, this public institution has about 31,000 students. It’s located in Iowa City, and the nearest major city is Chicago. However, studying in Iowa can provide an opportunity to go off the beaten path.

Here are some highlights of the university and Iowa City:

●  Iowa City is a designated UNESCO City of Literature.

●  The city’s annual Book Festival attracts people from across the American Midwest.

●  The MFA of the university’s nonfiction writing program has been voted number one in creative nonfiction in the United States.

●  Students have access to the university’s literary community, which offers frequent readings, writing prizes and scholarships, and The Iowa Review , an acclaimed literary journal.

●  Tennessee Williams is an alumnus of the program.

●  Like Columbia, the University of Iowa strongly values the workshop method.

We recommend checking out this video for a deeper dive into the world of creative writing at Iowa.

4. Emory University

Emory, founded in 1836, is a private research university in Atlanta, Georgia. If you prefer a university in a warm climate, Atlanta is a good choice. Compared with cities in the northern states, Atlanta experiences mild winters, though you might get cold snaps and the odd snowfall. Emory has around 15,000 students and has an affiliation with the United Methodist Church.

Emory’s dedicated undergraduate creative writing program draws distinguished visiting scholars and writers. Other notable program highlights include:

●  Opportunities to attend intimate question-and-answer sessions with award-winning authors

●  Faculty who are professional practitioners in the writing field

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●  Studies in a range of genres, such as fiction, poetry, screenwriting, and playwriting

●  Annual writing contests

●  Writing awards and scholarships

●  The opportunity to work closely with an adviser to complete an honors project

Students will also find writing opportunities outside the classroom in the Atlanta area. The city has several writing organizations and clubs, such as the Atlanta Writers Club , the Georgia Writers Association , and Village Writers Group.

5. Oberlin College

Founded in 1833, Oberlin is a small liberal arts college in Oberlin, Ohio, 31 miles south of Cleveland. It has just under 3,000 students. If you’re seeking a really small school, Oberlin is worth pursuing! It’s known for the robust quality of teachers and the variety of courses in the creative writing program. Two of the courses are Plot and Structure and Race and Poetic Innovation. In addition, you’ll find a robust workshop culture at Oberlin. The downside is that the city lacks opportunities to pursue writing. However, great opportunities exist in other Ohio cities, such as Cleveland, Columbus, and Cincinnati. Moreover, Ohio is the home of the late American novelist Toni Morrison.

It’s worth mentioning that Oberlin’s creative writing program has notable alumni, such as Lena Dunham , an actress and writer.

“I feel so consistently lucky to have such dedicated professors. Everyone I’ve worked with in the Creative Writing Program deeply cares about their students both as writers and as people. Classes are small, so you’re able to actually know and trust each other, which is important for productive workshopping.”

–  Fiona Warnick, Class of 2022

6. Hamilton College

Chartered as a college in 1812, Hamilton is in the upstate New York village of Clinton, between Syracuse and Albany. It has 2,000 students and 1,350 acres of campus space. Hamilton strongly believes in giving students the freedom to pursue their own interests, an ethos that explains why the college’s motto is “Know Thyself.”

Hamilton’s creative writing program is known for its small classes and plentiful opportunities to intern and publish. Hamilton also has one of the best writing centers in the nation. Students take courses that balance literary study with poetry and prose workshops. The program emphasizes learning to write with attentiveness to form and genre. Students write a creative project that demonstrates originality and attention to language.

If you like a creative writing school that’s “current with the times,” Hamilton has recently renovated List Hall, which houses the program. The hall features collaborative spaces for students and a new landscaped entrance.

7. Brown University

Founded in 1764, Brown is a leading research university in Providence, Rhode Island. Brown’s student-centered learning and deep sense of purpose make it distinct. In fact, many American high schoolers dream of studying at Brown! It has just under 10,000 students, and its literary arts program is one of the top MFAs in the United States. Students can choose one of three tracks: fiction, poetry, or digital/cross-disciplinary writing – a plus if your aim is fiction writing, for example! Although students must take certain classes, they can design much of their curriculum. Brown also provides financial aid to students in the program through a first-year fellowship. Additionally, students can teach undergraduate workshops during their second year. Brown is a special place for writers who envision new paths in fiction, poetry, and digital language arts.

8.  Washington University in St. Louis

It might surprise you that Washington University is in St. Louis, Missouri, rather than Washington, DC. Since 1853, Washington University has dared to challenge the unknown and taken great pride in its teaching, research, and service to society. The university has a renowned creative writing program with several scholarships. The undergraduate English program also offers a concentration, which allows students to specialize in a specific writing genre: fiction, poetry, or creative nonfiction. The program even has a special concentration in publishing! Students often find internships with companies such as Atlantic Media, Business Insider, and Cincinnati Children’s Hospital Medical Center.

Washington University should be on your list if you already have a specific writing genre in mind!

9.  Massachusetts Institute of Technology (MIT)

You might not associate writing with an institute of technology. However, MIT has a wonderful program that features courses in digital media, science writing, and creative writing. Since its incorporation in 1861, MIT has been educating future leaders with a three-to-one student-to-faculty ratio in Cambridge, Massachusetts. Apologies if you were expecting MIT to be in Boston. However, don’t let Cambridge put you off. The city is a haven for book lovers and writers from all walks of life, so you’ll find plenty of writing pursuits outside of class! And when it comes to finding work after graduation, the program provides lots of guidance for navigating the tricky job market.

10.  University of Michigan

If you’ve ever watched NCAA football, you’re probably familiar with the University of Michigan. Founded in Detroit in 1817, Michigan is ranked the third-best national undergraduate public university. The university’s main campus is in the small city of Ann Arbor, ranked the number one best small college town in America.

The University of Michigan has a top-notch MFA program. The undergrad creative writing sub-concentration requires students to submit applications for admittance to advanced creative writing courses. These applications provide crucial practice in building a writing portfolio and articulating an interest in creative writing. In addition, the university has two student-run literary journals: Xylem Magazine and Fortnight Literary Press . Both publish students’ best works – an excellent way to get your writing noticed!

Screenwriter Jennifer Freides graduated from the program. “I learned to read fast, manage my time, think critically, organize my thoughts, and speak with clarity at U-M.”

With nearly 50,000 students, the University of Michigan is a top choice for those looking for a big school with a great MFA program!

11.  Johns Hopkins University

This private research university was founded in 1876 in Baltimore, Maryland, and it takes its name from nineteenth-century Maryland philanthropist Johns Hopkins. With 24,000 students, Johns Hopkins (or JHU, its more common name) ranks consistently among the most prestigious universities in the United States. Novelists John Barth and Chimamanda Ngozi Adichie graduated from here, as did the famous horror film director Wes Craven.

Although people know JHU more for its engineering program, it does have a reputable writing program. Students in the program take courses in philosophy and history in addition to classes in prose, poetry, and literature. The creative writing program has journalism, the arts, and publishing internship opportunities. Additionally, short story writers might be interested in the program’s Danielle Alyse Basford Writing Prize .

Baltimore is no stranger to the literary world, as the American writer Edgar Allan Poe spent several years here. His poem The Raven is the namesake of the NFL’s Baltimore Ravens. You can visit the Poe House and Museum to see the writing desk and chair where Poe created some of his famous work!

12.  Colorado College

Colorado College was founded in 1874 and is in Colorado Springs, Colorado. It’s a small liberal arts college with over 2,000 students. People know the college mainly for its Block Plan , which allows students to focus on one class per three-and-a-half-week block. Students will find that the creative writing track interweaves craft, imagination, and a lively literary framework. It includes a sequence of four writing workshops and mandatory attendance at the Visiting Writers Series. Attending readings at the Visiting Writers Series will deeply immerse students in the written word at Colorado College. In addition, students will find plenty of opportunities within the program, from AMC college writing contests to the student-led spoken word group, SpeakEasy. If you’re an outdoorsy writer, you’ll love Colorado Springs! It’s surrounded by picturesque hiking opportunities, including Garden of the Gods ! If you envision taking one class at a time at a small liberal arts school, you should consider Colorado College!

13.  New York University

New York University (NYU) is another prestigious university in New York City. It was established in 1831 and is currently the largest private university in the United States, with more than 11,000 students. It even has campuses in Abu Dhabi and Shanghai. As mentioned, New York is the American literary epicenter. Although NYU doesn’t offer a creative writing major, it’s an excellent school for aspiring writers. You’ll still find workshops in fiction, poetry, and creative nonfiction. Classes are small, with a maximum of 15 students, and the school has a student-edited literary journal called West 10 th . The school also offers intensive summer writing programs in Florence and Paris, so students can develop their craft while living the writer’s life in Italy or France. The faculty consists of award-winning poets, short story writers, and novelists, and many of them have received Pulitzer Prizes and NEA Fellowships. So, although NYU lacks a creative writing major, it has a fine reputation, small classes, and ample opportunities to develop your writing craft!

So, there you have our list of top creative writing schools. Let’s recap key points from our post:

●  Creative writing programs are pretty selective, so you should be genuinely passionate about reading and writing.

●  Private schools have the best reputation and small classes. However, they can be really expensive.

●  You will need to submit at least one writing sample as part of your application.

●  Creative writing programs are heavy in workshop culture.

●  New York City is America’s literary capital.

●  Most programs have literary journals where you can submit your work.

●  A faculty of professional writers will be your teachers.

●  Graduates often go on to become authors, editors, and copywriters. Getting into publishing is also a possibility.

Whichever school you choose, it must be the right fit for you! While one might be great for some people, it might not resonate with you. Therefore, we strongly encourage you to visit the school if possible. Even a virtual tour will suffice. We also suggest reaching out to current professors for more information. You can even reach out to current or past students through LinkedIn. Finally, take your time when researching schools. Got more questions about creative writing? We recommend this video !

Thanks for reading!

1. How important is location when you are considering a creative writing program?

You’ll want to prioritize a location with a vibrant literary scene rather than one with a warm climate. There should be plenty of opportunities to engage with writing in the community outside the classroom. There should also be various career opportunities within the community after graduation.

2. What is the cost of attending a creative writing program in the United States?

The cost will depend on whether the school is public or private. Public school tuition will be roughly $17,000 to $20,000 US. On the other hand, private schools will be considerably more expensive, especially Columbia and Hamilton. You can expect tuition to be between $50,000 and $69,000 US.

 3. Where can I get feedback on my college application?

Great question! We recommend leaving this to our team of proofreading experts at Proofed! They can check for grammar and punctuation errors and ensure perfect spelling. They will also ensure that the application uses appropriate academic language. Consider submitting a 500-word document for free today!

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0144 - Duke Creative Writers' Workshop

Course description.

Join an intensive writing community where getting words on the page is at the heart of every day. The Creative Writers’ Workshop program will take your craft to the next level. Each day you’ll dive into lessons addressing technique and process, such as Avoiding Sentimentality, Persona Poems, and Scalpel, Please: Aspects of Revision. You’ll offer and receive critiques in roundtable workshops modeled after college-level writing courses, and by program’s end, you’ll have completed a collection of poems, a short story, a one-act play, or another creative project of your choosing. If you’ve been craving time, space, and gentle pressure to put words on the page, Creative Writers’ Workshop will provide them in abundance. Step out of your “real life,” open your notebook, and be amazed at how quickly you can grow as a writer.

Program Highlights

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To check availability in the program for the appropriate category of student, click on the exclamation point next to the appropriate course fee (example: Day - Fee).

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Learn more about faculty writing groups & retreats, choose your writing 101 section, coming in fall 2024... minor in writing and rhetoric.

The minor in Writing and Rhetoric provides in-depth inquiry and practice in the ethics, habits of mind, promises, and complexities of writing and speaking. The minor invites students to explore the nuances of communication across rhetorical contexts and media. This minor also allows students to tailor pathways to complement a variety of different academic interests.  

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The TWP Writing Studio – dedicated to working with writers both within Duke and the broader Durham community – facilitates writers' critical and creative thought through collaborative, non-evaluative consultations, workshops, writing groups, and events. In all of our work, we actively seek to support diverse, inclusive writing communities. 

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The Duke Reader Project pairs students in participating courses with a Duke alum or employee who has professional expertise and interest in their writing project. This partnership provides students with a fresh perspective on their writing – beyond a classroom setting – and enables them to write more effectively for their intended audiences.

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ENGLISH 110S - Introduction to Creative Writing

The Rudolph William Rosati Creative Writing Award

• Deadline for submissions is June 15, 2024
• A faculty signature of support must be sent
• Email your work as a PDF or Word Document and the cover sheet to Arianne Hartsell-Gundy

Jumbled letters (photo by Laineys Repetoire - CC-BY)

What is the Rudolph William Rosati Creative Writing Award?

The Rosati Creative Writing Prize is awarded each spring in recognition of an outstanding work of creative writing. All Duke first year or sophomore students are eligible to submit work for consideration. Projects may be any genre and take any form (audio/video, digital media, etc.), but must include a substantial creative writing component. The Rosati Prize was established in 1978 by Walter McGowan Upchurch in honor of Rudolph William Rosati “to encourage, advance and reward creative writing among students at the University and particularly among undergraduate students.”

Prize: $1500

Is my paper eligible?

• You must be a Duke first year or sophomore student (or just finished that year). Duke juniors and seniors may apply for the William Styron Creative Writing Award .
• You may submit multiple, different projects in a given year but each project should be submitted individually with an accompanying application cover sheet
• Submitted projects must have been written during the current academic year
• At this time submissions must be written in English
• No minimum or maximum length required

How do I apply?

To be eligible for the Rudolph William Rosati Creative Writing Award, email the following to Arianne Hartsell-Gundy by June 15, 2024:

• Application cover sheet
• The creative work; send written projects as either a Word document or pdf (please follow the guidelines from Duke University's Web Accessibility office when preparing your Word document or pdf). If it's a multimedia project, please send URL of the project or email Arianne Hartsell-Gundy for alternative means of delivery.
• The faculty signature of support form
• The faculty member should e-mail the signature of support in a separate file to Arianne Hartsell-Gundy

How is a winner chosen?

• The selection committee, consisting of two Libraries staff members and two faculty members, judges the papers
• Projects are judged based on quality and originality of writing
• The committee reserves the right to split the award among more than one author, or to award no prize

For more information

Contact Arianne Hartsell-Gundy, Librarian for Literature ( [email protected] ), for more information.

Previous winners

Before posting a document on the library website, content creators for winning entries should follow Duke University's Web Accessibility Content Creation Guidelines when preparing the version of their document to be shared publicly.

• 2023 — Camden Chin for The Value of a Dollar , Erin Lee for Chuncheon , Kulsoom Rizavi for Sound of Otherness.
• 2022 — Jocelyn Chin for Waiting at the Well: Essays , Thang Lian for Kan i ton than lai (We will meet again): A Lai Mi Family Oral History , and Tina Xia for Waiting to be seen .
• 2021 — Arlene Arevalo for ¿Quien Eres? (Who Are You?) , Sarah Kwartler for Natural Products , and Sophie Zhu for Ex-Californica . Honorable Mention: Mina Jang for Twenty .
• 2020 — Thalia Halloran for Blonde , Marium Khan for Othered , Valerie Muensterman for The Roadkill Club , Daniela Stephanou for her Poetry Portfolio , and Caroline Waring for St. Vitus' Dance . Honorable Mention: Christopher Kuo for Home World and Jabari Kwesi for Harlem's Own .
• 2019 — Valerie Muensterman for Did You Forget Your Name? , Caroline Waring for The Roof , and Blaire Zhang for Sapiens .
• 2018 — Alex Sanchez Bressler for Reports from South Texas, 1995-1999 , Vivian Lu for Triptych , Samantha Meyers for BLUE , and Valerie Muensterman for Ditch: A Collection of Plays . Honorable Mention: Kelsey Graywill for Signals and Emery Jenson for Anti-Positivist Manifesto .
• 2017 — Valerie Muensterman for Earth Once Removed Poems, Rajiv Golla for "From Graves to Gardens," and Sabrina Hao for My Name is Elizabeth
• 2016 — Jamie McGhee for the " black boi " poems and Catherine Faye Goodwin for the play The Braveness of Jane
• 2015 — Antonio Lopez, Jr. for his poem “Return to my Nativist Land”. Part I Why Was I Picked and Groomed by America , Part II Primer Misterio , Part III Excerpts from the Wickered Throne , Part IV Retorno a Mi Tierra Natal

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• Thesis & Distinction

Students who demonstrate excellence in their major area of study may qualify for admission to the department’s or programs honors program. By successfully completing a senior honors thesis/project, the candidate will graduate with distinction in the major. Each academic department and program offering a major, as well as Program II, has established procedures and standards for determining Graduation with Distinction. 

The English department offers its majors two options for earning distinction:

• Critical Thesis option
• Creative Writing option
• Spring-to-Fall theses are due by  December 1.
• Fall-to-Spring theses are due by  March 30.

Either two Independent Studies or a "home seminar" and one Independent Study. (Fall/Spring or Spring/Fall.) Under most circumstances, a completed length of 35-70 pages. Home seminars entail enrolling in a course taught by your thesis adviser closely associated with your topic. You should first get your instructor's permission, and arrange to do extra reading and writing assignments for the class that translate the course work into the terms of your thesis. The home seminar option is only available the first semester you are working on your distinction project.

Distinction courses count toward the major. Students must complete 11 total courses to graduate with distinction in the major instead of the standard 10.

Independent Study Numbers for Thesis:

• Creative Writing Option : ENGLISH 495 and 496 Distinction Creative Writing Independent Study
• Critical Option : ENGLISH 497 and 498 Distinction Critical Research Independent Study

Application

Eligible students must have completed (no later than the beginning of their senior year) at least five 200-level English courses (old 100 level) and must have a GPA of at least 3.5 in English courses.

Eligible students must submit:

• Critical and creative writing thesis application
• one writing sample of approximately 10 pages from an English course
• one letter of recommendation from an English faculty member
• a project description 
• basic bibliography (critical applications only; one page single-spaced)

Applications must be submitted to the Director of Undergraduate Studies Offices (303AA). Applications are due November 15 for a spring-to-fall option and March 15  for a fall-to-spring option.

Evaluation Procedure

Upon approval by the instructor, the completed thesis is submitted to the Director of Undergraduate Studies Office (303AA) by December 1 (for a spring-to-fall honors project) or March 30 (for a fall-to-spring honors project) of the senior year for evaluation by a member of the DUS committee, the thesis adviser, and one other faculty member.  

Please submit an electronic .pdf of your completed thesis via email to  [email protected] .

See samples for help formatting and binding your thesis before submission: ​

Levels of Distinction

Three levels: Distinction, High Distinction, or Highest Distinction. Levels of distinction are based on the quality of the completed work. Students who have done satisfactory work in the seminar or independent study but whose theses are denied distinction will simply receive graded credit for their seminars and/or independent studies. Whereas the standard major in English asks for a total of ten courses, students pursuing honors in English will take nine courses plus either two independent studies or a home seminar to be followed by an independent study.

Class of 2023

• “Ellegua,” Nicholas Bryce Bayer
• "Bastards & Butterflies: Theorizing the Hip-Hop epic During the Woke Era,” Kyle Brandon Denis 
• "I Sailed On/Our Ocean,” Dylan Charles Haston
• “Jaywalking,” Mina Jang
• "Ceramics After Sundown: My Family’s Jewish Diaspora Grief and Resilience,” Lily Eliana Levin
• "Undoing Disneyland: Using the Judaic Cynical Hope Storytelling to Reconnect to Tradition,” Alison Rachel Rothberg
• "A Quiet Between Bombardments,” Rebecca Paige Schneid
• "Writing to Heal: The Expulsion of Intergenerational Trauma in Vietnamese American Literature,” Katelyn Amy Tsai
• "The Great Blue American Novel: A Story of the Crossroads,” Akshaj Raghu Turebylu
• "Reimagining Reality: The Intersection of Black Science Fiction, Structural Violence, and Trauma on the Body and Environment,” Aiyana Villanueva

Class of 2022

• "bright force: poems,” Margot Armbruster
• “The Psychologization of Reading the Nineteenth-Century British Novel,” Sullivan Brem
• "Weaving Together Women’s Narratives, Composing a Room of My Own,” Margaret Gaw
• "Reforming Retribution: Class Systems, Capital Punishment, and Criminal Justice in Mary Shelley’s Frankenstein and Charles Dickens’ Oliver Twist,” Kari Larsen
• “Tracking Simulacra: Baudrillard, Morrison, Mehretu"
• “Paradise Retold: Changing Cosmologies of the Western Frontier,” Taylor Plett

Class of 2021

• "The Sky is Surely Open," James Benjamin
• "The Way Back Up: Narratives of Downfall and Restoration in Fiction of the American South," Genevieve Beske
• "Bridge and Other Stories," Anthony Cardellini
• "How Does Sciences Communication Vary Among Genres?:  Science Through the Pens of Journalists, Creative Writers, and Researchers," Lydia Goff
• "Stuck on the Spectrum:  A Queer Analysis of Male Heterosexuality in Mid-Twentieth Century American Literature," Clifford Haley
• "Noumenal Word," Joseph Haston
• "The Secret War/A New Life," Jared Junkin
• "Postcolonial Environmental Justice and the Novels of Kiran Desai," Anna Kasradze
• "Tianya Haijiao," Julie Peng
• "I Know the End," Charlotte Sununu
• "The Convergence of Nature and Culture:  Illegitimacy in Adam Bede and Daniel Deronda," Charlotte Tellefsen

Class of 2020

• "Witnessing in African and Diaspora Narratives of Illness," Dorothy Oye Adu-Amankwah
• "Protein Binds: Decoding Factory-Farmed Meat in the American South," Arujun Arora
• "Need is Not Quite Belief:" Spritural Yearning in the Poetry of Sylvia Plath and Anne Sexton," Bailey Bogle
• "Patriarchl Physicians and Dismembered Dames: Edgar Allan Poe and Nineteeth-Century Representation of Gender," Dahlia Chacon
• "Long Way Home," Alice Dai
• "Denizens of Summer," James Flynn
• "I Would Rather Be a Man Than a God': Myth and Modern Humanity in the Einstein Intersection and American Gods," Grace Francese
• "Embodied History: An Analysis of Trauma Inflicted on Female Bodies in the Fiction of Isabelle Allende and Herta Muller," Savita Gupta
• "Bullets in the Dining Room Table': Reckoning with the South and Its Burdens in Faulkner, O'Connor, and Morrison," Megison Hancock
• "Still Life with Fruit," Rachel Hsu
• "Narrative as Search:  Computational Forms of Knowledge in the Novels of Tom McCarthy," Joel Mire
• "The Roadkill Club," Valerie Muensterman
• Conceits of Imagined Silence: Reconciling Recognition and Acknowledgment in Fiction" Brennen Neeley
• "The Eye of Arctos," Emily Otero
• "Welcome to WackoWorld," Kristen Siegel
• "As a Pidgin: A Brief Memoir on Surviving Between Worlds" Ailing Zhou

Class of 2019

• "The Art of Corporate Takeover," Glenn Huang
• "Language Matters: Exploring Language Politics in Native Speaker and Dictee," Hyun Ji Jin
• "Where's My Family," Hannah Kelly
• "If the Sutures Hold," Nadia Kimani
• The Machinations of Sensation: Stimulus, Response and the Irresistible Heroines of the Nineteenth-Century Novel," Christine Kuesel
• "Paradise in America?" Utopia and Ideology in the Godfather," Madison V. Laton
• "The Treatment Plan," Sarah Perrin
• "Historical Visions: Reinventing Historical Narrative Through Word and Image," Alexander Sim
• "Grandmotherhood: A Memoir," Nichole Trofatter Keegan
• "Lines of Crisis: William Carlos Williams, Robert Creeley and Denise Levertov," Aaron Christopher Van Steinberg 
• "Global Hybridities: Rethinking the "Woman Warrior" and the Third Space of Culture," Zhongyu Wang

Class of 2018

• "Syllabic Heirlooms" Chloe Hooks
• "In waves, tilted" Manda Hufstedler
• "Seattle: A Summer Memoir" Emily Waples
• "Litany (based on Crush, a collection of poems by Richard Siken)" Maria Carrasco
• "The Work of Being Worked (For): Intimacy, Knowledge, and Emotional Labor in the Works of Henry James" Lauren Bunce
• "Something on the Cusp of Hope: The Convent as imaginative Practice" Carolina Fernelius
• "Full of Grace and Grandeur: Theological Mystery in the Poetry of Gerard Manley Hopkins" Luke Duchemin
• "Repositioning Home: Performing and Reconstructing Identity in the Migration Narrative"  Catherine Ward
• "Within a Jail, My Mind is Still Free': The Language of Resistance from Plantation to Prison in the Works of Frederick Douglass, George Jackson, and Yasin Bey" Jackson Skeen
• "Arrowsmith as Medical and Scientific Microcosm: The Implications of Shifting Belief Systems During the Scientization of Medicine" Emery Jenson

Class of 2017

• "Full and by the Wind" Louis Garza
• "The Resurrectionist" Ryan Eichenwald
• "Delusions of Controls: The V-2 in Gravity's Rainbow" Sean McCroskey
• "Surface and Symbol: Epigram and Genre in the Works of Oscar Wilde" Sarah Atkinson
• "Woman, Nature, and Observer in Tess of the D'Urbervilles and To the Lighthouses: An Ecofeminist Approach" Elizabeth George
• "Creative Impulse in the Modern Age: The Embodiment of Anxiety in the Early Poetry of T.S. Eliot (1910-1917)" Anna Mukamal
• "Inventions of the Human: Othering Caliban and the Ethic of Recognition" Issac Rubin
• "F. Scott Fitzgerald's Women: Independence, Class, and the Superior Male" Margaret Booz

Class of 2016

• "Upon the Face of the Deep: The Voyage of the Sparkling Wave" Gwen Hawkes
• "Lelén: A Memoir for My Mother" Megan Pearson
• "The Car Wreck Album" Josephine Ramseyer
• "Bury Me at the Body Farm" Gabriel Sneed
• "Push, momentum" Isabella Kwai
• "A Cicada's Sorrow" Madeline Pron
• "He Filled the Darkness with Fantasies" Dimeji Abidoye
• "The Anamorphic ‘Figure in the Carpet’: James, Kafka, Morrison and Mitchell " Jacqueline Chipkin
• "Politics and Poetics of the Novel: Using Domesticity to Create the Nation" Katherine Coric
• "Modern Poetry: A Single Genre" JP Lucaci

Class of 2015

• "How to Run Away Without Moving" Mary Hoch 
• "The Self-Fulfilling Prophecy: The Dangers of Metaphorizing Ebola as War in the United States" Roshini Jain
• "Dear Master: A Screenplay" Jamie Kessler
• "A Hawk from a Handsaw:  "How Historical Perceptions of Madness Dictated Portrayals of Insanity in British Literature, 1300-1900" Danielle Muoio
• "Every Dram of Woman’s Flesh: "Paulina’s Role and Remedy in The Winter’s Tale" Bailey Sincox
• "The Violence of Alienation in Morrison and Faulkner: A Study in Family, Religion, and Class" Meredith Stabe

Class of 2014

• “Breaking and Entering” Audrey Adu-Appiah 
• “Wilfred Owen, Isaac Rosenberg, Siegfried Sassoon, and the Birth of Modernism” Christopher Broderick Honorable Mention:  Bascom Palmer Literary Prize
• “Forms of Femininity: A Modernist Approach to Female Psychology” Grace Chandler
• “This is the Hour of Lead: Emily Dickinson in 1862" Shibani Das
• “Presidential Persuasiveness in Justifying Use of Force In the Post 9/11-Era” Maureen Dolan
• “A Harvard Man” Amanda Egan
• “A Light in the Stairwell” Sarah Elsakr
• “Women in Medicine: What Medical Narratives Reveal About Patriarchy in the Medical System” Jennifer Hong 
• “In Your Own Bosom You Bear Your Heaven and Earth Interiority and Imagination in William Blake’s Jerusalem: The Emanation of Giant Albion” Emmie Le Marchand
• “A Shakespearean Ecology: Interconnected Nature In A Midsummer Night’s Dream and The Winter’s Tale” Paige Meier
• “It is I you Hold and Who Holds You: The Persuasive Grip of Whitman’s Leaves of Grass in the Age of Slam Poetry” Haley Millner
• “Bright Grey:  an Unfinished Novel” Lindsey Osteen
• “Once Upon Our Time: Five Fairy Tale Retellings” Nicholas William Prey
• “Crumbling” Emily Schon
• “Fashion Cues: Visual Politics of Liminality in Quicksand and Quartet” Allison Shen
• “The Search for Transcendence: W.B. Yeats and His Dance Plays” Caitlin Tutterow
• “Soul Power: The Psychology and Politics of Asian American Melancholia” Katherine Zhang

Independent Study Courses

• ENGLISH 491 Independent Study - Independent projects in creative writing, under the supervision of a faculty member. Open to juniors and seniors. Consent of both the instructor and the director of undergraduate studies required.
• ENGLISH 493 Research Independent Study - Individual research in a field of special interest under the supervision of a faculty member, the central goal of which is a substantive paper or written report containing significant analysis and interpretation of a previously approved topic. Open to juniors and seniors. Consent of both the instructor and the director of undergraduate studies required.

You must apply for approval to register for independent study. The procedure, approval process and application form are posted on the Trinity College of Arts & Sciences website.

Completed applications must be submitted to the Director of Undergraduate Studies by one week prior to drop/add. Please bring to 303AA Allen. The Undergraduate Assistant will give a permission number to students whose applications have been approved by both the professor and the Director of Undergraduate Studies.

Departmental Guidelines

The Faculty of the English Department have agreed on these desiderata: tutorial and independent study must not duplicate available course offerings the subject of study must be in the instructor's general field of professional competence the amount of work required must be approximately equivalent to that required in a regular course the student must have had 200-level course work in the general field of the proposal or otherwise have made acceptable preparation to study independently in that area. 

To maintain a high quality of independent study, the faculty member directing the study must have sufficient time to give the course careful attention. The Department has therefore decided that no faculty member shall direct more than three independent study courses in any semester. No student with an incomplete (I) in a course in independent study will be permitted to enroll in a second course. The application (one page only) must include the following information:

Name; year; mailing address, email, student ID (non English majors), and phone number; Semester of study, English courses taken and in progress (with the instructor's name) and any other courses that bear upon the proposed study; title of the independent study, including an abbreviated title of twenty five spaces (including blanks) that will appear on registration records; description of the proposed study including a tentative plan of reading and procedure; the signature of the supervising professor.

Creative Impulse in the Modern Age: The Embodiment of Anxiety in the Early Poetry of T. S. Eliot (1910-1917) – Anna Mukamal (2017)

My principal concern in this work is to investigate whether, and if so, how anxiety may be worthwhile or particularly constructive for poetic production in the modern context. I have approached this question from a variety of epistemological perspectives, including but not limited to 19 th and 20 th century philosophical theories of anxiety, formalist readings of poetry and fiction from the late Victorian and early modernist periods, and contemporary scholarship engaging with principal figures representing the “inward turn” of modernist literature. At stake is the salient and complex concept of the mental and physical state most conducive to the production of timeless art.

Evoking the fundamental tension between individual desire, predilection, and emotion and universal truth, my work “worries” over what Eliot intends to accomplish by writing worried poetry. I have chosen to focus on the verse written and published between 1910 and 1917 in part because it coincides with Eliot’s most direct engagement with the tormented, self-plagued persona whose persistent self-questioning leads to no future remedial action. In this sense, Eliot’s early verse objectifies—by its very rhetorical embodiment—a crippling array of symptoms of the physical, moral, and spiritual devolution that he observes in European society and in which he takes an ambivalent part.

Limiting my textual analysis to this early period is also a way of treading humbly in the domain of ultimate questions and taking Eliot’s own advice, since “it is easier for a young poet to understand and to profit by the work of another young poet, when it is good, than from the work of a mature poet” (MTP 217). While varying in self-proclaimed literary quality and critical reception, the poems with which I engage consistently probe the question of whether the modern person—facing rapid and seemingly irrevocable political polarization, a materially-oriented consumerist culture, and an increasing distrust of God, among other prevalent and distressing modern developments—must necessarily be sick, miserable, anxious, intellectually stunted, and spiritually vide .

Remarkably, in the first phase of his poetic enterprise Eliot creates personae embodying and refracting the ambient anxieties of an era simultaneously increasing in empirical knowledge and declining in certitude. To provide the historical context of these issues, the first chapter, “Global and Individual Anxiety pre- Waste Land ,” traces 19 th century philosophical inquiry with which Eliot would have been familiar and by which he was likely influenced. Kierkegaard’s concept of global anxiety and Nietzsche’s “man of resentment” constitute two central theories of the modern person’s intellectual and physical predicament. The transition between a faith-based and empirical proof-based society in part explains the pervasive global anxiety, as does the broader spiritual uncertainty engendered by a fomenting distrust of truths subjective, and hence necessarily objectively unverifiable. I argue that the state of mind in which Eliot writes The Waste Land in 1922 cannot be fully understood without tracing the spiritual and moral concerns pervasive in the poet’s early poetic enterprise. Is pain a prerequisite for the modernist artist’s creative impetus?

The first and second chapters demonstrate through close textual analysis that Eliot’s early verse is both generative and remedial of anxiety. The second chapter, “The Rhetorical Embodiment of Anxiety,” further explores the connection between pain and artistic production by analyzing the presence of skepticism, inaction, solipsism, and despair in Eliot’s self-lacerating and overly conscious personae. In poems such as “The Burnt Dancer” and the well-known “Portrait of a Lady,” I analyze the rhetorical means by which Eliot conveys disembodied agency, stunted volition, and seemingly irredeemable self-possession. His evocation of repetitive thought processes—mirroring self-paralysis as actions are dissociated from agents—coincides with his search for an overarching morality to transcend the banal propriety of his sociocultural milieu. Eliot writes, in other words, to discover an authentic communicative mode even while acutely aware of the inherent ineffability of subjective truth and the linguistic limitations of an arbitrary, imperfect system of language. Eliot’s self-locating within the modern petit-bourgeois cultural sensibility renders even more convincing his poetic evocation of the Faustian myth of human love and high artistry. The resonance between his ultimate questions and those of both Nietzsche and Mann indicates that aggression may be a necessary effect of persistent inner doubt and self- loathing. This helps to explain why the age’s pervasive sexual anxiety may correspond with a general decadence of communicability in the context of a transactional consumerist culture in which actions are increasingly devoid of deeper meaning.

Chapter 3, “The Anxiety of Artistic Production,” poses the question of how the modernist artist may presume , to employ an idiom germane to Eliot, to produce art in the modern world. Is it even possible in such a chaotic environment to create ordered art, and must art necessarily denote order or must it instead evolve to fulfill another function more compatible with modern sensibilities? Preceding Chapter 4’s delineation of the physical and psychological health effects once the artist has committed himself to the actual generative process, this chapter traces anxieties with a dilatory function before the art’s conception, relying in part on Bloom’s The Anxiety of Influence . Public reception of the work, the elusiveness of finding a cohesive voice, and the near-impossibility of justifying a poetic enterprise as meaningful in the face of national instability and even tragedy: these are just a few of the anxieties plaguing the modernist artist, perhaps preventing him from even attempting to reflect the neuroses of his time. Even if the artist determines that there is something new to be said , he must overcome the metaphysical reality of death—which, for Eliot, represents the ultimate inability to connect with others— believing that timeless art lends meaning to the vast expanse of time beyond his own death.

The fourth chapter extends fluidly into the relationship between sickness and poetic productivity, interrogating the physical and psychological health effects once the poet has sacrificed himself to active artistic production. Does attained artistic sublimity necessarily presuppose perverse health? In this chapter I examine Eliot’s concept of the sacrifice of the self to art, offering a reading of Mann’s Death in Venice (1912), concomitant with Eliot’s early verse, to demonstrate that the artist’s ambivalently divided self—between a bourgeois and bohemian sensibility—manifests at the level of aesthetic form. Both Eliot and Mann create personae representing the “delicate heroism suited to the times” and thus epitomizing the man of the era, for better or for worse (DV 46). I have chosen to incorporate early Mann because both writers subtly lament the modern age’s lost telos of beauty, evoking the tension between the finite body and the (perhaps) immortal mind through a tangible anxiety about mortality and a notable coupling of spiritual sublimation and physical deterioration. I argue that the artists’ depiction of sickness is a commentary on the moral, physical, and psychological downturn of Europe at the turn of the 20 th century. The feckless and sick Herr Spinell of Mann’s “Tristan” and Emma Bovary of Flaubert’s classic novel epitomize, in turn, the potential for a tragically scripted consciousness to devolve into aggression and violence as well as the loss of action and spiritual, rather than material comfort, as meaningful categories of existence.

The final chapter, “Anxiety and the Bourgeois Sensibility,” investigates the purpose or objective of interrogating anxiety through poetry, determining the “work,” in a non-material but rather intellectual and spiritual sense, that Eliot’s early verse accomplishes for his age. What is at stake in Eliot’s poetic unveiling of the volatile psychological state hidden by the placid surface of bourgeois propriety, and how may he address its unsavory effects from within that very culture? Probing the ambivalence of the bourgeois sociocultural marker, I argue that Eliot’s early verse reveals the inauthenticity of scripted communicative modes. Preventing modern people from engaging with eternal truths, moral conformism supplants independence of thought—while material success in a consumerist culture obscures the normative good—and these developments are not only detrimental for social discourse, but also for literature. The modernist artist more broadly, and Eliot in particular, aims to combat the general societal ignorance of the insidious social tyranny that engenders a widespread dissolution of the causative link between feelings and agency. Communication in the modern world, Eliot’s early verse contests, is a parody of authentic interpersonal communion. Yet ever-present in the poetry are glimpses of hope resisting the tempting idea that subjectivity of experience implies the fundamental incommunicability of human souls.

As a developing artist, Eliot relies on the poetic medium to probe the essential question— later adumbrated in Heidegger’s 1927 Being and Time— of whether boredom and anxiety are more authentic affective ways of being in the world than happiness. As a whole, my work continues and honors this question’s seeming insolubility. I hope to show that anxiety—Eliot’s individual anxiety, the ambient anxiety of his era, the accrual of global anxiety over time— constitutes an underexplored and undeniable creative impetus for Eliot and his contemporaries.

Not in the clinical sense, but rather as a quotidian force with which the thoughtful individual necessarily grapples, modern anxiety is paradoxically both inhibitive and generative. This work, in addition to demonstrating the young Eliot’s engagement with profound existential questions of meaning, affirms that anxiety is a valuable framework for analyzing the conditions of timeless artistic production in the modern world.

The Anamorphic “Figure in the Carpet”: James, Kafka, Morrison and Mitchell – Jackie Chipkin (2016)

How does fiction challenge readers to expand their definitions of human life? For my honors thesis, I want to investigate forms of fiction that approach this question from an eccentric angle. At first, these texts’ unconventional vantage points seem to defy what the reader considers “realism,” aligning his or her view with what Giorgio Agamben says of the contemporary author: those who truly “belong to their time” neither “coincide with it nor adjust themselves to its demands” (Agamben 40). Just so, rather than ignore the reality of their moment, the novels I consider in this thesis question the conventional way of looking at it. The characters whose experiences will shape my study are neither confined to the human body nor limited to its natural abilities and traditional habits of mind; they elude normative notions of form and cognitive faculty. At the same time, the reader cannot dismiss the palpable plasticity of these characters as primitive or fantastic. Alongside their parents, siblings and lovers, these characters inhabit familiar worlds shaped by the same everyday practices and socio-economic force fields that shape the human figure under realism. They exist in relation to, rather than outside of, the world as it is depicted in novels more squarely in the tradition of European realism. These characters push the envelope of realism farther than any traditional work of realism from a position within it.

My love of reading and analysis has been motivated by a desire to understand the world around me. Since childhood, I have been drawn to works that push me to examine and reimagine my environment. The characters I meet are my guides and the fulcrum of my literary experience. My world and a protagonist’s world are components of a reality I imaginatively share with that character and other readers. These characters’ thoughts, emotions, conversations, relationships and actions embody the ebb and flow of human experience across time and space. Through them I inhabit alternative worlds and, in turn, better understand my own.

As I immersed myself in the novels of Hemingway, Melville, Dickens, Austen, James, Woolf and others, I discovered how different novels produced the cultural boundaries within which readers have to live in order to imaginatively inhabit the worlds of fictional characters. Working to reconstruct the essential differences that distinguish culture from nature, I came to understand how the novel contributed to the concept of the modern individual. Once the novel had created this figure, readers understood themselves in terms of a narrative that produced a self-governing subject (Armstrong 25). For me, the novel became the paramount literary form through which I could explore fiction’s varying, shifting definitions of human life. I first encountered and was drawn into this project in a survey course of gothic fiction. From Shelley’s Frankenstein to Wilde’s Dorian Gray , gothic works drove me to question the parameters that define human life and reality.

Similarly, as an aspiring physician, I strive to make sense of my environment through the stories of those who occupy perspectives different than my own. As an avid reader and writer, I have chosen to approach medicine through narratives of illness. From Bolivia to North Carolina, from pediatric hospitals to hospice centers, I have asked the patients I have met to share their medical experiences with me. As they have entrusted me with their memories and emotions, I have strived to honor their stories with my words. Just as a character’s world is not my world, I must recognize that a patient’s experience is not my experience. As a doctor interacting with patients—like a reader interacting with characters—I must understand the “literary” rules governing the patient’s world in order to understand how the patient feels and what his or her “normal” condition is. These narratives drive me to pursue a career in medicine—to partner with patients to write stories shaped by their notions of health and recovery.

Though in strikingly different ways, all of the eccentric novels I will analyze in my thesis make the same formal variation on traditional realism; namely, they bind together two absolutely incompatible views of the same literary world. These works challenge readers to confront incompatible perspectives—that expected of the normative reality and reader and that of the eccentric character—simultaneously. These novels consequently make us see the same world as two worlds that cannot be synthesized. Henry James’ The Turn of the Screw , presenting two incompatible perspectives, models this phenomenon. From one perspective, the novella is a traditional British ghost tale, a chilling account of an unnamed governess’ fantastic delusions and psychotic demise. But from another—that of the governess—the story is factual recount of a lived experience that defies scientific explanation. James begins to layer these perspectives within the novella’s first pages. The Turn of the Screw is a story thrice told: first from the governess to Douglas, then from Douglas to the narrator, and finally from the narrator to the reader. The narrator describes these types of stories as a form of entertainment, intending to “hold” an audience and render listeners “breathless” (James 1).

James warns us that storytellers do not necessarily adhere to fact, but rather strive to elicit emotional reactions. The governess’ tale, however, is a “written” document (3), a permanent record that lays claim to archival credibility. While the narrator assures readers that “this narrative” is an “exact transcript” of that evening (3), James does not clarify whether the original story—rather than merely its repetition—is the product of empirical observation or bad affect. Holding the governess’ perspective beside that of the story’s narration, James’ novella is simultaneously a ghost tale and a “manuscript” documenting the preternatural events at the country estate where she was the chief guardian of two privileged but orphaned children (3). The author’s cues do not indicate whether we are to regard this tale as true to the facts to which it testifies, true to what the governess feels, or both.

As the novella unfolds, James’ irreconcilable perspectives continue to clash. The governess asks how she will “retrace…the strange steps of [her] obsession” (80). She frequently mentions her vivid imagination and the emotions that she allows to actively control her thoughts, admitting that she is “rather easily carried away” (31). If the spirits that once inhabit Bly can still be detected there, self-doubt and mania are reasonable responses for these extenuating circumstances. Under these conditions, readers can justify why the governess tries to discredit these apparitions by invoking “obsession” and “imagination” (80). If we take the governess’s descriptions of herself as true, then the ghosts are creations of her imagination. But can we trust the words of a woman who claims that her own words are untrustworthy? James’ protagonist is not inherently an unreliable narrator; rather, she is only unreliable in that readers cannot assess whether she is reliable or not. Thus, James’ text neither supports nor refutes the governess’s judgment by indicating what is actually there to be seen; rather, he embeds her story within a landscape of normative reality so that it not only calls the governess’ view into question but calls the normative view into question as well.

Most criticism from 1921-1970 approaches James’s text psychoanalytically. Overall, these theorists argue that the ghosts and attendant horrors are figments of the governess’ neurotic imagination. The reasoning goes that because “there is never any evidence that anybody but the governess sees the ghosts” (James, Esch and Warren 172), the ghosts must be delusional, arising from factors implied but not established by her tale. A number of readers in this tradition, such as Edna Kenton, bring Freudian analysis to bear on this account, transforming it into a case history. Kenton state that the governess is “trying to harmonize her own disharmonies by creating discords outside herself” (169). The literary critic argues that the governess’ story stems from the trauma of unrequited love; the ghosts represent the governess’ repressed sexual passion for her master. Alternatively, Harold Goddard accredits the governess’s psychosis to an unwholesome childhood, as “the young woman’s home and early environment…point to its stifling narrowness” (161).

While there is no evidence that anyone besides the governess sees the ghosts, neither is there any evidence that the children she supervises do not see or communicate with the ghosts of their former governess and groundskeeper. Given the lack of evidence to show that the governess is insane, and thus the ghosts imaginary, these critics almost uniformly begin by declaring that the ghosts are imaginary in order to classify the governess as psychotic. On the assumption that the ghosts cannot be real, they lace their arguments with diagnostic diction. They label the governess a “victim of insomnia” (161). They declare that her “overwrought condition” leads to “insanity,” “hallucinations” and “mania” (163-64). These terms and the conditions they label (for example, a manic episode) are all clearly defined by bodies of medical literature. In this context, however, criticism uses these terms rhetorically; they are technical terms that, albeit persuasive, are not substantiated by the text. Because James does not provide textual evidence for the governess’ psychosis, we cannot establish her insanity; indeed, we cannot even prove that the ghosts are “exquisite dramatizations of her little personal mystery” (170). The critics succeed in normalizing one view of the world by delegitimizing another. They apply psychoanalysis to a fictional character in order to establish the authority of modern secular realism as if to insist that there can only be one reading of reality. Any reality that resists that reading is consequently reduced to the status of ignorance or pathology, if not unreliability. This interpretive imperialism refuses to acknowledge that at any point in time, the same world may be an entirely different world for a different person bearing different cultural baggage. Through the interpolation of discrete perspectives within one another, James’ novel form works to equip readers with more flexible, critical cultural tools.

In order to develop such an approach, I use the figure of anamorphosis as a way of explaining how novels such as The Turn of the Screw employ eccentric characters to revise the novel form. Anamorphosis is an image that appears distorted when viewed from a normative perspective, requiring specific viewpoints or tools to reconstitute its true form. This true form is not one of a single, stable reality. Rather, it is a composition of multiple frameworks and embedded perspectives—the artist’s interpolative machinery. Hanneke Grootenboer, art historian and author of The Rhetoric of Perspective, stresses the paradoxical etymology of anamorphosis. In classical Greek, anamorphosis literally translates as “distortion,” while in Modern Greek, ana- functions both as the English prefixes dis - , as in “distortion,” and re- , as in “reformation” (Grootenboer 101). Anamorphosis can thus be understood as “that which lacks a proper shape” and the “restoring of that which has been out of shape” (101). Its meaning refers to the actual image in addition to the process of its reshaping—that is, the viewer’s search for the right point of view.

Anamorphism began as a series of perspective experiments in the 1500s and 1600s (Castillo), and its appearance as a consciously applied technique in art history corresponds to the invention of linear perspective (Collins). As Renaissance artists began to master traditional methods of perspective, they also learned to manipulate those methods and distort the object they produced accordingly. The geometry of anamorphic images was considered revolutionary in the sense that it did not strictly conform to the Cartesian coordinate system, which localizes points in space through their relative distances from perpendicular intersecting lines (Collins). It is easy to see how the Cartesian system alone is inadequate to capture the multiple perspectives that simultaneously occupy a common reality. In anamorphic art, artists interpolate an image that is not oriented according to the normatively positioned spectator within an image that is indeed oriented according toward the ideal spectator in a Cartesian system. Undermining the orthodox principles of perspective upon which it depends, anamorphic art can be considered a counterpart of both Cartesian rationalism and doubt. By challenging the Cartesian system from within it, artists who produce anamorphic art challenge the notion of a single, normative reality. I will demonstrate that novelists as well as visual artists think in terms of the figure of anamorphosis when they embed an eccentric perspective within a normative one. These writers strive to honor multiple, legitimate perspectives that coexist at any moment within a shared reality.

Anamorphic art pushes readers to linger in the uncomfortable intersection of incompatible perspectives. Donald Preziosi, art historian, states that in anamorphic art, “relationships among units in the archive are visible (that is, legible) only from certain prefabricated stances, positions, or attitudes toward the system” (119). Anamorphic images are the product of carefully calculated angles; their forms and desired effects are rooted in the experimentation of mathematics as well as art. Typically, in drawings and paintings, viewers would be required to physically shift their positions in order to see an alternate image within the portrait or scene, usually rendered along an alternate geometrical plane. In addition to anamorphic images created on two-dimensional surfaces, artists also employ tools such as mirrors and conical surfaces to guide viewers to the desired images. Regardless of the medium, an artist’s craftsmanship and ingenuity stem from his or her ability to engineer the interpolation of conflicting perspectives.

The perceptual doubling of anamorphosis produces a rupture in the viewer’s gaze, as Hans Holbein’s painting The Ambassadors famously demonstrates. As viewers move to the right, glancing back at the portrait, they glimpse not the iconic representation of the two ambassadors they saw from the front view, but rather, a skull (Holbein). Holbein’s painting appears to look back at the viewer, to demand that the spectator actively engage the artwork’s virtual affects. Viewers must move from the center of the image to the margins in order to understand the image in front of them. The gymnastics necessary for the successful apprehension of the anamorphic image casts observers in active roles. A crucial aspect of the anamorphic experience in art, therefore, is the way in which it requires that the experience be performed by the body. Unmoored from its perceptual anchors, the body must practice a form of spectatorship beyond that of the normative perspective. Stephen Greenblatt, American scholar of Renaissance and Shakespearean studies, argues that in demanding this movement, Holbein’s portrait threatens to undermine “the very concept of locatable reality upon which we conventionally rely in our mappings of the world, to subordinate the sign systems we so confidently use to a larger doubt” (20-21). How does literature accomplish this same subordination of the sign systems on which we conventionally rely as readers of “a larger doubt” (20-21)?

Ernest Gilman first applied the concept of anamorphosis to literature. In his book on seventeenth-century English literature, Gilman proposes that displays of wit in poetry are like displays of “visual wit in what the seventeenth century called the 'curious perspective,' pictures or devices which manipulate the conventions of linear perspective to achieve ingenious effects” (248). In Shakespeare’s Richard II , Gilman interprets Bushy's witty speech of comfort to the queen (qtd. in Gilman 248), which plays on terms of perspective vision, and by analogy with Holbein's double portrait, The Ambassadors . Gilman argues that the play must be interpreted from two places, “one facing straight, the other oblique,” and states that anamorphic texts challenge “multiple conceptual and perspective registers at once” (249). Gilman finds, in conclusion, that

Two modes of explanation in the same historical event…The play neither endorses nor denies the Tudor myth but builds on its premises to show that the providential theory of the king's double nature necessarily requires a complex kind of doublethink for which the curious perspective is the visual model. (249)

Beyond Gilman’s Shakespearean criticisms, anamorphosis is rarely referenced in literary analysis.

However, as I researched this project, I became convinced that anamorphosis should be applied to literary analysis. Indeed, I discovered that principles of anamorphosis resonated with the very novels featuring eccentric perspectives that I have always found compelling. I asked myself: what form does anamorphosis assume in prose? How does literature examine two conflicting realities? Wielding words in place of paintbrushes, authors, too, interpolate one viewpoint within a normative framework with which it is incompatible. Through the voices of their characters, novels produce readings that can challenge readers to stand at the crossroads of two conflicting perspectives and consider an order of things and events that is off-center in relation to their own. Most interpretive systems attempt to produce a unity which subordinates the minority point of view, such as critics who aim to silence the governess’ perspective through diagnoses of insanity. These systems aim to render culturally variant views of the world illegitimate by classifying them as either delusional or merely fictional. Novels that have been so marginalized, for whatever reason, actually belong to a tradition that deliberately inserts eccentric viewpoints within a normative world so as to naturalize the abnormal and broaden the conceptual boundaries of realism. These works require readers to struggle with conflicting definitions of human life. To argue that anamorphosis identifies an important tradition of fiction, I will show how select novels use what we dismiss as “magic,” if not “delusion,” to challenge us to redefine boundaries of realism, our capacity for sympathetic identification and parameters of human life itself.

To test this hypothesis, I will investigate Franz Kafka’s The Metamorphosis , Toni Morrison’s Beloved and David Mitchell’s Ghostwritten. Kafka’s novella insists that Gregor Samsa is physiologically—not allegorically, metaphorically, or symbolically—transformed into an insect. Yet despite his revolting antennae and cravings for rotten food, Gregor maintains the cognitive and intellectual depth he possessed in typical human form. In Morrison’s novel, Beloved is neither an intangible memory nor a translucent ghost; she is a corporeal figure waiting on the steps of 124. Finally, in Mitchell’s Ghostwritten , a disembodied character called the noncorpum transmigrates from one specifically located host to another, crossing the span of humanity from a psychotic terrorist in Tokyo to a late-night DJ in New York. Gregor is typically human in cognitive faculty but not in biological form.

Beloved possesses a typical human form but an extra-human cognitive faculty. The noncorpum remaps the brain’s codification as it moves from body to body. By looking closely at these novels—which feature a broad range of character forms and cognitive abilities—in relation to one another, my purpose is to show how each novel remodels the formula of one mind to one body that defines the modern individual.

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Hey there, I'm a high school junior who's really passionate about writing and I'm looking for colleges with strong writing programs. Any recommendations on the best writing colleges or universities out there? Thanks in advance!

Hello! It's great that you're passionate about writing and looking for colleges that support your interests. Here are some colleges and universities known for their exceptional writing programs:

1. Columbia University: Columbia offers a strong writing program through the School of the Arts with excellent faculty, including well-established authors. Majors include Creative Writing, including concentrations in Fiction, Nonfiction, and Poetry.

2. University of Iowa: The University of Iowa boasts a top-notch writing program and is home to the prestigious Iowa Writers' Workshop, renowned for producing some of America's best writers.

3. New York University: NYU's Creative Writing Program offers students the opportunity to study with distinguished faculty and is available as both a major and a minor in the College of Arts and Sciences.

4. Emerson College: Emerson's writing program has a strong reputation, and it offers both a BFA and a BA in Writing, Literature, and Publishing is available through the Department of Writing, Literature, and Publishing.

5. University of Michigan: The University of Michigan's Creative Writing Program is a top-tier program with strong faculty, especially in poetry and fiction.

6. Kenyon College: A liberal arts school with a small student population, Kenyon offers a strong emphasis on writing with courses in creative writing, including fiction, poetry, and creative nonfiction.

7. Brown University: Brown features a unique open curriculum, so students can dig into their passion for writing while having flexibility in crafting their academic paths.

These are just a few examples of fantastic writing programs, and there are many more out there. When researching colleges and universities, be sure to pay attention to factors like faculty, course offerings, internship opportunities, and extracurricular writing organizations (literary magazines, writing clubs, etc.).

Good luck in your college search!

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