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When delivering a speech at a meeting of the Writers’ Congress, Ernest Hemingway said as a fiction writer:
A writer's problem does not change. He himself changes, but his problem remains the same. It is always how to write truly and having found what is true, to project it in such a way that it becomes part of the experience of the person who reads it. (1937)
Does this statement still ring true today? If it does, what approach should and can be taken for Chinese university students to write ‘truly’ during their fiction writing workshops in English when they know what they try to accomplish is indeed something fictional or self-evidently ‘untrue’? What characterises the main thematic and stylistic elements of Chinese students’ short stories written in English as creative outcomes?
The university-level poetry writing workshops in English taught in a Chinese context are characterized chiefly by bilingual creativity. Based on the practical task of creating ‘contact literature’ (Kachru, 1992: 317), to be more exact, ‘contact poetry’, they transcend the limits of any one single language and culture so as to make points of contact between Chinese and English languages and cultures in terms of verbal images, sound devices, and thematic concerns.
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