Interesting conversation, all.
I tend toward agreeing with all the responders in various ways.
I certainly tried to keep discussion in my writing courses on how well
the pieces did what they seemed to be trying to do, & not going off on
discussions of the writers' personal senses of the themes, concepts,
etc they had chosen. Not because those weren't important (& indeed,
sometimes, it was important to address theme; as in Mairead's example:
when everyone really enjoyed a poem they also felt was in some ways
offensive (to someone else usually, but).
Still, the reason for being in the writing workshop was to improve
one's writing, not one's morals.
On the other hand, I have often been moved by what I know to be lesser
art toward tears, often to my own chagrin. So I'm not sure how I would
speak of that to the writer/reader. Or if I'd just stay silent.
The Holocaust example is hard in this context, though, & I agree with
those who say it depends, especially on who is writing it, not just how
well that person writes but what his or her relation to the event may
be.
Doug
Douglas Barbour
11655 - 72 Avenue NW
Edmonton Ab T6G 0B9
(780) 436 3320
Shakespeare
Drag yr mouldy old bones
Up these stairs & tell me
What you died of,
I think
I’ve got it
Too.
Sharon Thesen
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