The Creative-Critical Bibliography

The creative-critical bibliography aims to point outwards towards the many resources available, both online and in print, in the broad field of creative-criticism, including print anthologies, journals, and web resources. It is at the heart of the site’s identity as “the creative-critical network”. If you have material you feel belongs in the bibliography and you’d like to include it, please get in touch with us at

Print Anthologies

Creative Criticism: An Anthology and Guide, edited by Stephen Benson and Clare Connors.

The most comprehensive anthology so far of the various forms creative criticism has taken across the 20th century, including key texts from the likes of Roland Barthes, Anne Carson, Jacques Derrida, Denise Riley, Ali Smith, Geoff Dyer and Sarah Wood. Also included is an essential introduction from Benson and Connors themselves, which is one of the key attempts to grapple with the various implications of what they call the creative critical turn.

The Creative Critic: Writing as/about Practice, edited by Katja Hilevaara and Emily Orley.

A new, highly playful anthology of formally experimental pieces drawn from a variety of critical fields, including work by Mojisola Adebayo, Douglas Kearney, Kristen Kreider, Mike Pearson, Undine Sellbach, and Salomé Voegelin. It also includes multiple pieces reflection on creative critical practice itself, including a lively introduction from editors Hilevaara and Orley, an afterword by Jane Rendell, as well as three 'middlewords' by Peter Jaeger, Maria Fusco and Timothy Mathews. In addition, it has an online expansion, featuring digital extensions of several pieces in the book, which can be accessed here.

Shakespeare and Creative Criticism, edited by Rob Conkie and Scott Maisano.

This brand new anthology (June 2019) explores 'how creative modes of writing might facilitate or inform new ways to critically engage with Shakespeare'. It features a variety of creative forms, including sonnets by Matthew Zarnowiecki, a photographic essay by Rob Conkie, and short stories by Jessica McCall and David Nicol, which attempt to bring new critical insights into Shakespeare through creative strategies.

This anthology is the concluding volume of the Critical Inventions series, published by Sussex University, in response to a need for a renewed sense of experiment, or invention in criticism. The book series, which features full length works of creative or experimental criticism by leading scholars such as Michael Wood, David Punter and J. Hillis Miller, climaxed in this collection of twenty four shorter pieces, or ‘shots in the dark’ as editors Schad and Teale describe them. It features work by the likes of Steven Connor, Jonathan Dollimore, Ewan Fernie, Mark Ford, Kevin Hart, Geoffrey Hartman, Esther Leslie, Willy Maley, and Michael Simmons Roberts.

This anthology, which is focussed on new developments in art criticism, brings together the fields of art history, performance studies and visual culture with the writings of contemporary artists. It features work by writers such as Rebecca Schneider, John Seth and Niru Ratnam, and is structured around three key ideas: the critic as performer, the critic as bored and distracted, and the critic as engaged in a writerly process.

The Writer in the Academy: Creative Interfrictions, edited by Richard Marggraf Turley.

Focussed on the complex position occupied by the ‘creative writer’ within universities and other institutions, this anthology examines the various possible dialogues and intersections made possible by creative writers studying and working alongside academic critics. It features contributions from the likes of Philip Gross, Jasmie Donahaye and Robert Sheppard.

The Future of Scholarly Writing, edited by Angelika Bammer and Ruth-Ellen Boetcher Joeres.

This collection centres on the relation between criticism’s form and its content, exploring what the expansion of possible forms means for the future of scholarly writing. Drawing from fields as diverse as law, literature and anthropology, and featuring contributions from scholars such as Marianne Hirsch, Susan McClary, Ruth-Ellen Boetcher Joeres and Jane Gallop, it is a wide ranging and playful investigation into both what it is the critic does, and how they do it.

Writing Otherwise, edited by Jackie Stacey and Janet Wolff.

An anthology of experiments in cultural criticism, with a particular focus on feminist criticism, Stacey and Wolff’s collection investigates the wide-ranging implications of what it means to write ‘otherwise’. The writing is lively and formally inventive, with pieces organised around three key themes: affects, displacements, and poetics. The book features work from the likes of Mary Cappello, Carol Smart, Brenda Cooper and Griselda Pollock.

Practice-led Research, Research-led Practice in the Creative Arts, edited by Hazel Smith and Roger T. Dean.

Practice as Research: Approaches to Creative Arts Enquiry, edited by Estelle Barrett and Barbara Bolt

Practice as Research in the Arts, edited by Robin Nelson

These three anthologies all investigate one of the biggest shifts of the last decade within higher education: the increasing recognition, in the humanities, of creative practice as a form of research. They explore what it means to think of practice as ‘research’, drawing from developments in fields such as creative writing, dance, music, theatre, and film. Smith and Dean’s anthology is more focussed on conceptualising and understanding the shift and its implications, while Bolt and Barrett’s examines specific examples, and is intended as a research tool or casebook of possible approaches. Nelson’s, meanwhile, features a long contribution from Nelson himself, drawing from his extensive research in the area, followed by six international contributors who broaden the perspective by considering similar shifts in the U.S., Australia, New Zealand, continental Europe, South Africa and the Nordic countries.

Journals and Publishers

An online, open access journal which ‘abandons the traditional journal article format and offers its contributors a dynamic online canvas where text can be woven together with image, audio and video’. Seeking to promote expositions of practice as research, the journal has been going since 2010 and features an international board of editors. It is inherently multiple, not only in its forms and methods, but also in its interdisciplinary approach, publishing work that touches on everything from architecture to photography to ecology to music.

A creative-critical publishing house, based in Norwich, which positions itself on the ‘seam’ between the creative and the critical. ‘The work we publish is neither criticism nor creative writing, but contains elements of both. It stitches together different forms beyond criticism and fiction to show us something more honest.’ As well as online material which makes creative use of the possibilities of digital publishing, they also publish occasional print work.

A new journal published by Edinburgh University Press, in association with the University of Malta, which seeks to explore the fluid ‘post-literary’ reality of criticism in the 21st century. It seeks to publish work, including short fiction and poetry as well as criticism, which investigates the 'migrations and mutations of the literary' that are occurring in our present era, 'in the drifts towards image cultures, digital spaces, globalisation and technoscientific advances'. It is published three times a year and features both special and general issues.

A print journal, published by Intellect Books in connection with the Writing Purposefully in Art and Design (Writing PAD) network, which seeks to open up ‘a new space in which received models of writing in creative practice can be explored and surpassed’. There is a particular focus on co-creation and co-authorship, something reflected in their double-blind reviewing system.

An open access journal run by the Montreal-based SenseLab (see ‘Online Resources’ section, below), which ‘affirms the value of creation in the research process’. The journal publishes articles, short texts of various genres including poetry and ficto-theory, images, sound, and other multimedia content. Each issue features a central thematic ‘node’ and various interlinked ‘tangents’.

An online journal which publishes contemporary poetry alongside criticism and analysis of contemporary poetry, aiming to bring the two into dialogue with each other. The journal often features interviews with the poets published in each issue, inviting them to discuss the ideas and processes behind the poems. Published three times a year, it describes itself as dedicated to reading contemporary poems up close.

Online Resources

The SenseLab describes itself as a ‘laboratory for thought in motion’, and aims to bring together theory and practice in a variety of ways. Based in Montreal, where it runs a series of public events, its extensive website aims to bring its local events to an international audience, through online reading groups, interviews, papers, and what it calls the “anarchive”, a ‘repertory of traces of collaborative research-creation events’. It also runs the open access journal Inflexions (see above).

A still ongoing project, run by the Melbourne-based Wheeler Centre, exploring the function of criticism in the modern age. As well as information on both past and upcoming events at the Centre, the site features a huge patchwork of intriguing quotations on criticism, from an array of writers, artists, musicians, journalists, filmmakers, bloggers and dancers.

A creative-critical publishing house, based in Norwich, which positions itself on the ‘seam’ between the creative and the critical. ‘The work we publish is neither criticism nor creative writing, but contains elements of both. It stitches together different forms beyond criticism and fiction to show us something more honest.’ As well as online material which makes creative use of the possibilities of digital publishing, they also publish occasional print work.

The website for a five-year project run by the University of Bristol from 2001-2006, featuring a variety of resources about practice-based and performance-based research. Although finished, the wealth of resources this project created are still available online.