has an interesting article pitting what it describes as America’s two writing cultures NYC and the MFA.
Here’s an excerpt:
MFA programs themselves are so lax and laissez-faire as to have a shockingly small impact on students' work—especially shocking if you're the student and paying $80,000 for the privilege. Staffed by writer-professors preoccupied with their own work or their failure to produce any; freed from pedagogical urgency by the tenuousness of the link between fiction writing and employment; and populated by ever younger, often immediately postcollegiate students, MFA programs today serve less as hotbeds of fierce stylistic inculcation, or finishing schools for almost-ready writers (in the way of, say, Iowa in the '70s), and more as an ingenious partial solution to an eminent American problem: how to extend our already protracted adolescence past 22 and toward 30, in order to cope with an oversupplied labor market.
Poets have long been professionally bound to academia; decades before the blanketing of the country with MFA programs requiring professors, the poets took to the grad schools, earning Ph.D.s in English and other literary disciplines to finance their real vocation. Thus came of age the concept of the poet-teacher. The poet earns money as a teacher; and, at a higher level of professional accomplishment, from grants and prizes; and, at an even higher level, from appearance fees at other colleges. She does not, as a rule, earn money by publishing books of poems—it has become almost inconceivable that anyone outside a university library will read them. The consequences of this economic arrangement for the quality of American poetry have been often bemoaned (poems are insular, arcane, gratuitously allusive, etc.), if poorly understood.