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The oldest independent periodical in the field, COMPOSITION STUDIES publishes original articles relevant to rhetoric and composition, including those that address teaching college writing; theorizing rhetoric and composing; administering writing programs; and, among other topics, preparing the field's future teacher-scholars. All perspectives and topics of general interest to the profession are welcome. We also publish Course Designs, which contextualize, theorize, and reflect on the content and pedagogy of a course. Contributions to Composing With are invited by the editor, though queries are welcome. CONTENTS OF COMPOSITION STUDIES 51.2 (Fall 2023): Editorial Introduction: What Is Good Writing? | AT A GLANCE: Ameliorating Violence in Composition: A Need for Vigilance by Scott Gage and Kristie S. Fleckenstein | ARTICLES: Meaningful Writing Projects Among Multilingual Undergraduate by Writers: Personal, Practical and Developmental by Qianqian Zhang-Wu, Alison Stephens, and Neal Lerner | Building Bridges and Changing the Story: Recognizing Funds of Knowledge in Summer Bridge Programs by Maria Conti Maravillas | Writing About Writing: A Snapshot in Time by Cynthia A. Cochran, Rebecca Day Babcock, and Aliethia Dean | Building Our Ideals into Program Structures: Democratic Design in Program Administration by Brad Jacobson and Rachael W. Shah | COURSE DESIGNS: BTW 250: Principles of Business Communication by A. Kay Emmert, Andrew Moss, David Morris, and Andrew Bowman | English 5519 & 700: Introduction to the Theories and Practices of Composition Teaching by Antonio Byrd and Virginia M. Schwarz | WHERE WE ARE: Ungrading: Where We Are and Where We Might Go by Ellen C. Carillo | Defining Ungrading: Alternative Writing Assessment as Jeremiad by Megan Von Bergen | Ungrading: Self-Assessment, Effort, and Motivation by Hannah T. Davis | We're All Still Grading: A Call for Honesty in Writing Assessment Discourse by Maggie Fernandes, Emily Brier, and Megan McIntyre | BOOK REVIEWS: Approaches to Lifespan Writing Research: Generating an Actionable Coherence, edited by Ryan J. Dippre and Talinn Phillips, Reviewed by Nasih Alam | Multilingual Contributions to Writing Research: Toward an Equal Academic Exchange, edited by Natalia Ávila Reyes, Reviewed by Gregg Fields | Teaching through the Archives: Text, Collaboration, and Activism, edited by Tarez Samra Graban and Wendy Hayden, Reviewed by C.C. Hendricks | Creating a Transnational Space in the First Year Writing Classroom, edited by William. Ordeman, Reviewed by Donald Joseph | Desegregation State: College Writing Programs after the Civil Rights Movement, by Annie S. Mendenhall, Reviewed by Jessica Edens McCrary | Languaging Myths and Realities: Journeys of Chinese International Students, by Qianqian Zhang-Wu, Reviewed by Shreya Sangai | Grounded Literacies in a Transnational WAC/WID Ecology: A Korean-U.S. Study, by Jay Jordan, Reviewed by Eunhee Seo | Stories of Becoming: Demystifying the Professoriate for Graduate Students in Composition and Rhetoric, by Claire Lutkewitte, Juliette C. Kitchens, and Molly J. Scanlon, Reviewed by Gabriella Wilson | CONTRIBUTORS | 2022 REVIEWERS

An Image Not a Book is an attempt to register "the strain / of assembly," the difficulty of gathering, garlanding, and holding-together while grieving lost companionship. Instead of raging after order, these poems adapt themselves to looser, more tenuous forms of interwovenness. Improvising restless structures that come together, fall apart, then recombine again, An Image Not a Book is an account of relearning how to dwell in this world (the only world there is) in the aftermath of a catastrophe.What People Are Saying¿¿¿After great pain, as we've been taught, a formal feeling comes. What is remarkable about Kylan Rice's debut is the sheer stateliness of its cadences, the sober pressure and release of its allegiances. Its allegiances are as much with the heart as with the natural world: of snows and garlandings, of the beach at Nags Head and "ponds / in thickened fields." Rice knows that "looking in" is not quite the same thing as "joining in," yet these are poems of sustained connection. To love is, quite simply, to risk having loved: a truth that blazes across these poems. This book-length ode to human intimacy feels its losses in its pulse-and, through its art and artfulness, its grace and empathy and attention, comes to count even them as gain. -G. C. WaldrepThis meager apocalypse. With this phrase, Kylan Rice prophesies the condition of contemporary catastrophe, whose meagerness consists of disintegration, fragmentation, fissure, fracking, exorcism, deferral. The greedy pursuit of a "usufructed gram of dew." Formally expansive, functionally recursive, An Image Not a Book concerns friendship and climate crisis in equal valences, performing memory as ouroboral recall, predicting structure from its collapse, envisioning transmigration in a hierogametic spore. Rice has written a plaint for the age, one with the shapeshifting structure of a cloud and the exhilaration of a sudden zero. -Peter O'Leary¿¿¿¿¿¿In dense evocative poetic diction, Kylan Rice maps an uneasy becoming through the work of memory, myth, and writing, which is always tragically entwined with deceit and forgetting. He asks: in this world of fragmentation, how does one keep fidelity to oneself and to those one loves? You will not find a definitive answer here, but instead a continuous stream of questions sketched in philosophical lucidity. Rice mixes beauty and difficulty, a combination so badly needed in twenty-first-century American poetry."-Laura Jaramillo Kylan Rice is the author of Incryptions, a collection of essays. He is co-author of Primer, a collection of conversations with the poet Dan Beachy-Quick, and co-editor of Southern Lights: 75 Years of the Carolina Quarterly. His poems and essays have appeared in Colorado Review, Denver Quarterly, Image, Kenyon Review Online, and West Branch, among others. He is the associate editor for The Missouri Review.

Reference Guides to Rhetoric & CompositionEditors: Charles Bazerman, Anis Bawarshi, & Mary Jo ReiffWRITING KNOWLEDGE TRANSFER: THEORY, RESEARCH, PEDAGOGY develops a capacious understanding of transfer in writing studies, tracing the distinct ways transfer has been engaged in various disciplinary fields and drawing connections among similar threads of inquiry. Working from a large-scale, collaborative analysis of some of the most salient long-term debates around transfer, this book guides scholars to link long and broad transfer conversations, attend to troublesome transfer problems in their teaching or research, and support both amplitude (more capacious understandings of writing transfer) and specificity (more detailed and relevant treatments of the term) in research on the transfer of writing knowledge. In addition to a detailed synthesis of multiple disciplines' treatment of transfer, the book offers five themes developed during a rigorous transdisciplinary reading of approximately seven hundred books and articles on transfer from disciplines including cognitive psychology and situated learning; sports, medical, and aviation education; second language writing; and school-to-work research, among others. Together the themes capture the interdependent relations among transfer's actors, influences, contexts, and outcomes. They also provide new frames for better understanding learners' varied and even paradoxical motivations for writing. Ultimately, the book offers value and kinship across disciplines to suggest new transfer questions, lines of inquiry, and theoretical and methodological commitments.Rebecca S. Nowacek is Professor of English at Marquette University, where she co-directs the Norman H. Ott Memorial Writing Center. Rebecca Lorimer Leonard is Associate Professor of English at the University of Massachusetts Amherst, where she teaches undergraduate and graduate courses on language diversity, literacy studies, and research methods. Angela Rounsaville is Associate Professor of Writing at the University of Central Florida, where her research focuses on transnational literacy, genre studies, and transfer.

¿¿DESIGN FOR COMPOSITION offers a range of creative, multimodal projects aimed at improving student proficiency and awareness of how we create visual, verbal, vocal, and multimodal messages. With an emphasis on learning by doing, these projects give students an active introduction to modes, composition processes, and design concepts essential for twenty-first-century literacy. Design for Composition is unique in focusing on creativity as a heuristic, as a part of the composing process, and as a tool or skill that can be applied across a wide range of making.. Each chapter introduces students to different multimodal projects (visual, tactile, auditory, verbal, physical/embodied, or a combination), layered with different levels of creative engagement. ¿¿DESIGN FOR COMPOSITION provides students with experiences in composing and communicating that are creative, fun, and relatable. Each creative project comes with its own chapter and includes samples, steps in the process, suggested tools, collaboration guidelines, context discussions, and reflection questions.DESIGN FOR COMPOSITION: INSPIRATION FOR CREATIVE VISUAL AND MULTIMODAL PROJECTS is printed in full color, presented on high-quality 70# acid-free paper, and includes a bibliography, index, and project checklists.Sohui Lee is Associate Professor and Faculty Director of the Writing and Multiliteracy Center at California State University Channel Islands. She is co-editor of The Routledge Reader on Writing Centers and New Media (2013) and Disruptive Stories: Amplifying Voices from Writing Center Margins (Utah State University Press, forthcoming 2024). She also worked as associate editor at WLN: A Journal of Writing Center Scholarship (2017-2021) and has published over thirty articles and chapters in peer-reviewed journals. Russell Carpenter is Assistant Provost and Professor of English at Eastern Kentucky University. He serves as editor-in-chief of the Journal of Faculty Development and has written or edited a wide range of books and articles, including Engaging Millennial Faculty, Studio-Based Approaches for Multimodal Projects, Writing Studio Pedagogy, and Sustainable Learning Spaces.

"Informed by years of the authors' teaching experience as well as thorough research on teamwork across multiple settings, this guide effectively brings together the practical, psychosocial, and pedagogical elements of collaboration and collaborative writing. Beautifully designed and appealingly readable, it is the finest and most comprehensive interdisciplinary text on this subject that I have seen. It should be required reading for students in every writing-intensive course."-Chris M. Anson, North Carolina State University"Here it is: a theory-based guide (or 'playbook') for students engaged in team writing that is at once resolutely practical, deeply insightful, and chock-a-block full of strategies for working successfully together. At the heart of the book is empathy-for every member of a writing team as well as for all audience members: the authors know that attitudes and feelings are directly connected to how and why team writing groups work-or don't. Sound principles of design thinking, transparency, and teamwork are at work throughout this text, as team members practice critical thinking, imaginative research strategies, and writing, writing, writing. Especially important is the discussion of 'next-level inclusivity,' which recognizes not only the importance of diverse perspectives to the quality of work a team produces but also the difficulty of achieving real inclusivity, along with practical advice for doing so. The concluding chapter importantly builds on this advice in its discussion of 'next-level collaboration,' which focuses on how team members can best understand and be open to one another, how to build trust, and how to solve problems-together. Students and instructors across the disciplines will find much food for thought-and for thoughtful practice-in this provocative and helpful book."- Andrea A. Lunsford, Stanford UniversityJoe Moses teaches collaborative writing, research, and project design in the Department of Writing Studies at the University of Minnesota, Twin Cities. Jason Tham (PhD, University of Minnesota) is Associate Professor of Technical Communication and Rhetoric at Texas Tech University. Moses and Tham's first book in the Playbook Series, Collaborative Writing Playbook: An Instructor's Guide to Designing Writing Projects for Student Teams, was published by Parlor Press in 2021.

COMMUNITY LITERACY JOURNAL 17.2 (Spring 2023) | The journal understands "community literacy" as the domain for literacy work outside mainstream educational and work institutions. It can be found in programs devoted to adult education, early childhood education, reading initiatives, lifelong learning, workplace literacy, or work with marginalized populations, but it can also be found in more informal, ad hoc projects. For COMMUNITY LITERACY JOURNAL, literacy is the realm where attention is paid not just to content or knowledge but to the symbolic means by which it is represented and used. Thus, literacy makes reference not just to letters and to text but to other multimodal and technological representations as well. We publish work that contributes to the field's emerging methodologies and research agendas. ¿CONTENTS: Editors' Introduction by Isabel Baca and Paul Feigenbaum, with Vincent Portillo and Cayce Wicks | ARTICLES: "You Call It Honor, We Call It Dishonor." Counterstorytelling & Confederate Monuments in Isle of Wight County, Virginia by Brooke Covington, Chief Rosa Holmes Turner, and Julianne Bieron | "I Have Always Loved West Virginia, But...": How Archival Projects Can Complicate, Build, and Reimagine Place-Based Literacies by Erin Brock Carlson | PROJECT AND PROGRAM PROFILES: Capacitating Community: The Writing Innovation Symposium by Jenn Fishman with Abigayle Farrier, Aleisha R. Balestri, Barbara Clauer, Bump Halbritter, Darci Thoune, Derek G. Handley, Gitte Frandsen, Holly Burgess, Lillian Campbell, Liz Angeli, Louise Zamparutti, Jenna Green, Jennifer Kontny, Jessica R. Edwards, Jessie Wirkus Haynes, Julie Lindquist, Kaia L. Simon, Kayla Urban Fettig, Kelsey Otero, Margaret Perrow, Maria Novotny, Marie Cleary-Fishman, Maxwell Gray, Melissa Kaplan, Patrick W. Thomas, Paul Feigenbaum, Sara Heaser, and Seán McCarthy | JAMAL: Adult Literacy Decolonizing Knowledge and Activism in 1970s Jamaica by Randi Gray Kristensen | ISSUES IN COMMUNITY LITERACY: Rhetorical Considerations for Missy, an LGBTQ+ Zine at the University of Mississippi by Tyler Gillespie | Payment in the Polity: Funded Community Writing Projects by Audrey Simango, Matthew Stadler, and Alison Turner | Access as Praxis: Navigating Spaces of Community Literacy in Graduate School by Millie Hizer | BOOK AND NEW MEDIA REVIEWS: From the Book and New Media Review Editor's Desk by Jessica Shumake, Editor | Teaching Through the Archives: Text, Collaboration, and Activism, Edited by Tarez Samra Graban and Wendy Hayden, Reviewed by Walker P. Smith | Translingual Inheritance: Language Diversity in Early National Philadelphia by Elizabeth Kimball, Reviewed by Lily Deen, Noha Labani, Lauren Piette, Vanessa Sullivan, and Heidi Willers | Talking Back: Senior Scholars and Their Colleagues Deliberate the Past, Present, and Future of Writing Studies, Edited by Norbert Elliot and Alice S. Horning, Reviewed by Heidi M. Williams | CODA: Coda Editorial Collective Introduction by Kefaya Diab, Chad Seader, Alison Turner, and Stephanie Wade | Tucson House: Visual Echoes by Stephen Paur | Storms by Adam Craig The Man Who Lived on Rose Street by Alexandra Melnick | Becoming by Ada Vilageliu Di¿az | I Won American Idol by Nic Nusbaumer | SpeakOut! CLC by Constance Davis, Grace Dotson, Mia Manfredi, Ainhoa Palacios, and Tanya Sopkin, with Tobi Jacobi and Mary Ellen Sanger

The oldest independent periodical in the field, COMPOSITION STUDIES publishes original articles relevant to rhetoric and composition, including those that address teaching college writing; theorizing rhetoric and composing; administering writing programs; and, among other topics, preparing the field's future teacher-scholars. All perspectives and topics of general interest to the profession are welcome. We also publish Course Designs, which contextualize, theorize, and reflect on the content and pedagogy of a course. Contributions to Composing With are invited by the editor, though queries are welcome.CONTENTS OF COMPOSITION STUDIES 51.1 (Spring 2023)): Editorial Introduction: Why Write? | AT A GLANCE: Soundwriting Pedagogies: A Mixtape by Courtney S. Danforth, Kyle D. Stedman, and Michael J. Faris | ARTICLES: Homing in on Etymology in the Writing Classroom by Melissa T. Yang | Designing Digital Repositories: User Centered Design Thinking and Sustainable Professional Development by Hadi Riad Banat, Emily Palese, Hannah Morgan Gill, Shelley Staples, and Bradley Dilger | Structuration and Genre: Revising Teaching Observations to Reflect Program Values by Adrienne Jankens and Joe Torok | Archival Quest: Research Writing Pedagogies To Recover Historical Rhetorics that Centralize Latinx Voice & Inquiry by Loretta Ramirez | COURSE DESIGN: Re-Orienting Rhetorical Theory in an Asian American Rhetorics Seminar by Jennifer Sano-Franchini | Multilingual Academic Writing: Transfer from a Bridge Course by Omar Yacoub | WHERE WE ARE: AI and Writing: Truth-Telling: Critical Inquiries on LLMs and the Corpus Texts That Train Them by Antonio Byrd Defining Moments, Definitive Programs, and the Continued Erasure of Missing People by Alfred L. Owusu-Ansah | Lessons Learned from Machine Learning Researchers about the Terms "Artificial Intelligence" and "Machine Learning" by John R. Gallagher | Meta-Writing: AI and Writing by Aimée Morrison | Post-Process but Not Post-Writing: Large Language Models and a Future for Composition Pedagogy by S. Scott Graham | Don't Act Like You Forgot: Approaching Another Literacy "Crisis" by (Re)Considering What We Know about Teaching Writing with and through Technologies by Gavin P. Johnson | Large Language Models Write Answers by Annette Vee | A Dis-Facilitated Call for More Writing Studies in the New AI Landscape; or, Finding Our Place Among the Chatbots by Courtney Stanton | BOOK REVIEWS: Dependent Variables, or, Can Graduate Education Be Saved? by Kelly Ritter: Re-Imagining Doctoral Writing, by Cecile Badenhorst, Brittany Amell, and James Burford and The New PhD: How to Build a Better Graduate Education, by Leonard Cassuto and Robert Weisbuch | Writing Futures: Collaborative, Algorithmic, Autonomous, by Ann Hill Duin and Isabel Pedersen, Reviewed by Thomas Deans | Wikipedia and the Representation of Reality, by Zachary J. McDowell and Matthew A. Vetter, Reviewed by Vanessa Osborne | Failure Pedagogies: Learning and Unlearning What It Means to Fail, edited by Allison D. Carr and Laura R. Micciche, Reviewed by Chauntain Shields | Rhetorics of Democracy in the Americas, edited by Adriana Angel, Michael L. Butterworth, and Nancy R. Gómez, Reviewed by Kelly L. Wheeler | Radiant Figures: Visual Rhetorics in Everyday Administrative Context, edited by Rachel Gramer, Logan Bearden, and Derek Mueller, Reviewed by Shiva Mainaly | Pedagogical Perspectives on Cognition and Writing, edited by J. Michael Rifenburg, Patricia Portanova, and Duane Roen, Reviewed by Anthony Lince | CONTRIBUTORS

The WAC Journal 33 (Fall 2022)The longest-running national peer-reviewed journal dedicated to writing across the curriculum, the WAC Journal is an open-access journal published annually by Clemson University, Parlor Press, and the WAC Clearinghouse. It is available by subscription in print through Parlor Press at https://parlorpress.com/products/wac-journal and in open-access format at the WAC Clearinghouse via https://wac.colostate.edu/journal/. The WAC Journal supports various approaches to and discussions of writing across the curriculum. We publish submissions from all WAC scholars that focus on writing across the curriculum, including topics on WAC program strategies, techniques, and applications; emergent technologies and digital literacies across the curriculum; antiracist pedagogies; feminist rhetorics across the curriculum; intersectional contexts of feminism; international WAC initiatives; and writing in the disciplines at the college level. | CONTENTS of VOLUME 33 (2022): ARTICLES: Working With Faculty Partners to Change Conceptions of Writing Beyond University Walls by Mandy Olejnik, Elizabeth Wardle, Jennifer Helene Maher, Will Chesher, and Angela Glotfelter | Lifewide Writing across the Curriculum: Valuing Students' Multiple Writing Lives Beyond the University by Ashley J. Holmes, Kathleen Blake Yancey, Íde O'Sullivan, D. Alexis Hart, and Yogesh Sinha | The Swamp and the Scaffold: Ethics and Professional Practice in the Writing Classroom by Dori Coblentz and Jonathan Shelley | Counselors, Tsunamis, and Well-Oiled Machines: Analyzing Figurative Language Among Disciplinary Faculty by Rebecca Hallman Martini | Writing Assignment Prompts Across the Curriculum: Using the DAPOE Framework for Improved Teaching and Aggregable Research by Brian Gogan, Lisa Singleterry, Susan Caulfield, Moline Mallamo | REVIEWS: Writing STEAM: Composition, STEM, and a New Humanities, edited by Vivian Kao, and Julia E. Kiernan, Reviewed by Hannah Ringler | Cultivating Critical Language Awareness in the Writing Classroom by Shawn Shapiro, Reviewed by Olivia Rowland | CONTRIBUTORS

Visibly (and Invisibly) Muslim on Grounds: Classroom, Culture, and Community at the University of Virginia offers a unique insight into the experience of Muslim students studying and living on an elite university campus. The powerful stories shared by these students, however, will no doubt resonate across all campuses across the United States. In these pages, you will not only hear students speak about the impact of direct and subtle Islamophobia but about how these same students respond by building communities of support. And you will understand how pathways toward inclusion and understanding can be created across a university campus. Throughout, you witness students navigating difficult circumstances with the insight, care, and understanding too often missing from mainstream news coverage. As such, this book is vital reading for university administrators and professors. "No scholarly community can function when certain members are either unseen or stereotyped within it. This book is an urgent call for change. May it inspire the beginning of a conversation that UVA so pressingly needs to convene."-Noah Salomon, Associate Professor in Islamic Studies, Department of Religious Studies, University of Virginia"Through extensive interviews and careful analyses, this book shares the stories of young Muslim college students in America today. Often othered, misrepresented, and misunderstood, the Muslim students interviewed here show their strength and resilience. Taken together, the interviews illustrate the diversity of American Muslim communities and provide for us the very real and tangible impacts of anti-Muslim rhetoric."-Tamara Issak, Assistant Professor, St. John's University

The oldest independent periodical in the field, COMPOSITION STUDIES publishes original articles relevant to rhetoric and composition, including those that address teaching college writing; theorizing rhetoric and composing; administering writing programs; and, among other topics, preparing the field's future teacher-scholars. All perspectives and topics of general interest to the profession are welcome. We also publish Course Designs, which contextualize, theorize, and reflect on the content and pedagogy of a course. Contributions to Composing With are invited by the editor, though queries are welcome. CONTENTS OF 50.3 (Fall 2022): From the Editors: A Three-Year Check-In | AT A GLANCE: Myth-Checking in Complandia: The Dispositions of Try This by Jennifer Clary-Lemon, Derek Mueller, and Kate Pantelides | ARTICLES | Interrogating the Four Ps: Positionality, Privilege, Power, and Professionalism in the Rhetoric and Composition Job Market by Chen Chen, Dev K. Bose, Jennifer Sano-Franchini, Elizabeth Keller Kirycki, Ruth D. Osorio, and Elliot Tetreault | Unlike Conventional Form(s) Of: Beyond Reparative Antiracism by Louis M. Maraj | Teaching During a Pandemic: A Study of Instructors' Preparedness for Online Composition Delivery by Pam Lieske, Ana Wetzl, and Mahli Xuan Mechenbier | "Expanding Communicative Possibilities" in the Public Writing Classroom by Alisa Russell | COURSE DESIGNS | WRD 110 - Composition and Communication I: Researching Oral Histories of the University of Kentucky by Jannell McConnell Parsons, Kathryn Kohls, Shelby Roberts, Joshua McConnell Parsons, and Jim Ridolfo | Incorporating Black Life, History, and Culture (BLHAC) in English Composition 101 at an HBCU by Nathaniel Norment, Jr. | WHERE WE ARE: DISCOURSES OF CRISIS IN RHETORIC AND COMPOSITION: Fakers and Takers: Disrespect, Crisis, and Inherited Whiteness in Rhetoric-Composition Studies by Carmen Kynard | Queering Crisis: Hope for an Alternative Academy by William P. Banks | Dizzying Up the Discipline by Ryan Skinnell | A Long-Term Crisis: Peak Graduate Programs and Market Contraction by Jim Ridolfo | A Historical and Cultural Rendering of the Rhetoric of Disciplinary Crisis by Cedric D. Burrows | The AI "Crisis" and A (Re)turn To Pedagogy by Sandra Jamieson | REVIEW ESSAY | New Histories and Theories of Writing with/through Technologies: A Review Essay by Gavin P. Johnson and G. Edzordzi Agbozo | Are We There Yet? Computers and the Teaching of Writing in American Higher Education-Twenty Years Later, by Jennifer Marlow and James P. Purdy | Video Scholarship and Screen Composing, by Daniel Anderson | 100 Years of New Media Pedagogy, by Jason Palmeri and Ben McCorkle | BOOK REVIEWS: Writing Rhetorically: Fostering Responsive Thinkers and Communicators, by Jennifer Fletcher Reviewed by Suzanne Bordelon | Self+Culture+Writing: Autoethnography for/as Writing Studies, edited by Rebecca Jackson and Jackie Grutsch McKinney Reviewed by Erick Raven | Storytelling in Queer Appalachia: Imagining and Writing the Unspeakable Other, edited by Hillary Glasby, Sherrie Gradin, and Rachael Ryerson Reviewed by Tyler J. Martinez | Community Is the Way: Engaged Writing and Designing for Transformative Change, by Aimée Knight Reviewed by Jainab Tabassum Banu | Translingual Pedagogical Perspectives: Engaging Domestic and International Students in the Composition Classroom, edited by Julia Kiernan, Alanna Frost, and Suzanne Blum Malley Reviewed by Andres Altamirano | Beyond Progress in the Prison Classroom: Options and Opportunities, by Anna Plemons Reviewed by Rae Haight | On Teacher Neutrality: Politics, Praxis, and Performativity, edited by Daniel P. Richards | Reviewed by Kaustav Mukherjee | Transfer Across Media: Using Digital Video in the Teaching of Writing, by Crystal Van Kooten Reviewed by Shreelina Ghosh | Black Madness :: Mad Blackness, by Therí Alyce Pickens Reviewed by Kimberly A. Bain | CONTRIBUTORS

COMMUNITY LITERACY JOURNAL 17.1 (Fall 2022) | The journal understands "community literacy" as the domain for literacy work outside mainstream educational and work institutions. It can be found in programs devoted to adult education, early childhood education, reading initiatives, lifelong learning, workplace literacy, or work with marginalized populations, but it can also be found in more informal, ad hoc projects. For COMMUNITY LITERACY JOURNAL, literacy is the realm where attention is paid not just to content or knowledge but to the symbolic means by which it is represented and used. Thus, literacy refers not just to letters and text but to other multimodal and technological representations as well. We publish work contributing to the field's emerging methodologies and research agendas. CONTENTS: Guest Editors' Introduction by Ada Hubrig and Christina V. Cedillo | ARTICLES: "Documenting Barriers, Transforming Academic Cultures: A Study of the Critical Access Literacies of the CCCC Accessibility Guides" by Ruth Osorio | "Storying Access: Citizen Journalism, Disability Justice, and the Kansas City Homeless Union" by Brynn Fitzsimmons | "Everything You Need to Eat: Food, Access, and Community" by Tyler Martinez | "Rethinking Access: Recognizing Privileges and Positionalities in Building Community Literacy" by Sweta Baniya | "Reinventing a Cultural Practice of Interdependence to Counter the Transnational Impacts of Disabling Discourses" by Elenore Long | SYMPOSIUM: "To Community with Care: Enacting Positive Barriers to Access as Good Relations" by Cana Uluak Itchuaqiyaq, Caroline Gottschalk Druschke, Lauren Cagle, and Rachel Bloom-Pojar" | "No, I won't introduce you to my mama: Boundary Spanners, Access, and Accountability to Indigenous Communities" by Cana Uluak Itchuaqiyaq | "Cultivating Soil, Cultivating Self" by Lauren E. Cagle | "Co-Creating Stories of Confianza" by Rachel Bloom-Pojar | "From Access to Refusal: Remaking University-Community Collaboration" by Caroline Gottschalk Druschke | BOOK AND NEW MEDIA REVIEWS: "From the Book and New Media Review Editor's Desk" by Jessica Shumake | Rhetoric Inc: Ford's Filmmaking and the Rise of Corporatism by Timothy Johnson, reviewed by Geoffrey Clegg | Women's Ways of Making, edited by Maureen Daly Goggin and Shirley K Rose, reviewed by Kristen A. Ruccio | Writing for Love and Money: How Migration Drives Literacy Learning in Transnational Families by Kate Vieira, reviewed by Jagadish Paudel

These poems continue Christopher Norris's spirited exploration of the paths by which contemporary poetry might find its way out of the self-enclosed sphere of lyric subjectivity into the larger air of philosophical, ethical, political, scientific, and environmental debate. They do so through a range of formal resources, among them rhyme and meter, which Norris regards as portals of creative-intellectual discovery and not, as free-verse practitioners would have it, artificially cramping constraints. Norris also deploys a great range of stanza forms and verse structures to demonstrate the variety of ways in which technique and prosody can serve not only to emphasize, deepen or qualify a point but to express thoughts and feelings beyond the communicative reach of prose discourse. These aspects of his work are subject to commentary in a concluding essay where Norris talks about his passage from literary theory to philosophy and thence to poetry, although-as the reader will soon discover-without having left those earlier interests behind. Indeed, it is a main concern of this collection to make the case-against dominant post-Romantic or Modernist conceptions-that a poem can justifiably put forward certain ideas, propositions, or hypotheses that ask to be assessed in rational-critical as well as aesthetic or literary-critical terms. Norris is very clear that his kind of formalism is strictly a matter of verse-technique or structure and no part of any larger, doctrinally driven autonomist program, like that of the 'old' New Criticism, that treats poems as purely verbal artifacts self-sealed against any such alien intrusions as history, biography, or the meddlesome prose intellect. These poems are intended as mind-openers whose formal elements are always in the service of a deeper, more lucid, and creative engagement with their diverse topics and concerns.What People Are SayingExploring the relationship between poetry, literary criticism, theory, and philosophy, Norris has the earned authority of an expert in all four fields. Yet there's a disarming playfulness in his engagement with the reader, and he makes complex argument memorably musical by mining the resources of meter and rhyme. Deploying a dazzling array of poetic forms - from villanelle, terza rima and sonnet to ballad and acrostic-this collection is a tour de force of wit, intellect, political verve and musicality: in short, a major achievement. -Lucy Newlyn, author of Reading, Writing, and RomanticismEminent philosophers, or literary theorists, do not usually turn, all of sudden, into fully-formed, metrically-perfect and highly-formalized poets; but that is the trick or magic of Christopher Norris. And in this his latest volume of poetry the magic is all the more magical for often silently becoming the very subject of his poems. Witness talk of William Empson's "late-style change of hats," or James Joyce's Daedalus slipping "the scholar's leash." Here then, juggling his hats as he goes, Scholar Norris is well-and-truly on the run. And, as the Runaway himself writes, "just North of here the games begin."- John Schad, author of Paris Bride: A Modernist LifeAbout the AuthorChristopher Norris is Emeritus Professor of Philosophy at Cardiff University in Wales, where he taught for four decades. He is the author and editor of more than forty books on topics in philosophy, literary theory, politics, music, and the history of ideas. More recently, he has published ten volumes of poetry ranging from lyrics and reflective verse to philosophical verse-essays and political satires. Academically he is best known for his extensive writing on the poet and literary critic William Empson and for his many books and essays on Jacques Derrida and deconstruction.

New Measure Poetry Prize WinnerFree Verse EditionsEdited by Jon ThompsonWhat People Are SayingIn & there's you still thrill hour of the world to love, Aby Kaupang constructs a new world order out of loss and erasure much like Christine de Pizan does in her medieval book The Book of the City of Ladies. Kaupang's poems erect a discovered city, still dripping with seawater from its retrieval from the depths of the sea. In this city, we see through the windows: what it is like to grow into becoming the parent of a differently abled child; what it is like to be a woman in this world. Her poems are kinetic and immersive; they draw you into their orbit. I ate this book up and left feeling like I had learned a new way to see the world. -Iris Jamahl Dunkle, author of West: Fire: Archive and Charmian Kittredge London: Trailblazer, Author, Adventurer.An inventive, crisp-as-green-apple lyric impulse pours through these poems that rarely lose sight of Capitalism's power over locale: "dear makers of the machine." Aby Kaupang's & there's you still thrill hour of the world to love is made of buffalo wind, a Western place, art, a family torn and bound lovingly by disability, Beckettian humor, and formal invention. But most central to this book is its striking concern with looking. Alternate vantages shift, a gaze burrows deep into a dark bodily interior. In these poems the intertwining activity of the visual and the verbal is so delicately woven, inevitable--shifting, darting like our powers of observation, perception, consciousness. A beautiful meditation, a collage of dual art, a distinctive music of "miracle and practice," & there's you still thrill hour of the world to love is a book singing its resistance songs and love notes while looking back at itself as it coaxes us back to ourselves. Reading it evokes sensation, and many of them. "And" the book says, and "&." This book invites and invites. What an imaginative feat. -Gillian Conoley, author of Peace and Tall Stranger Aby Kaupang's porous, supple poems invite the reader into spaces of existential neighborliness, spaces where homing instincts tether us to landscapes, other people, and other species in a palpable web of interbeing: "I too am a part of the snowy junipers & the street lamp & the evening" and "I too am a part of the core of the world." Each of these prismatic poems takes up its own utterances and revolves them, reprising and remixing phrases to preserve their errors and swerves, a process that yields language more pliable and tender, truer to human experience of hours, of time itself. -B.K. Fischer, author of Ceive and RadioapocryphaAbout the AuthorAby Kaupang is the author of & there's you still thrill hour of the world to love, Radiant Tether, NOS, disorder not otherwise specified (with Matthew Cooperman), Little "g" God Grows Tired of Me, and multiple other collections. She holds master's degrees in creative writing and occupational therapy. Employed outside of academia, she practices as an occupational therapist and nurse's aide specializing in treating neurodivergent and special needs children. Aby lives in Fort Collins, Colorado, where she assists in organizing an annual book festival, hosts the reading series, Every Eye, and has served as Poet Laureate. More information can be found at abykaupang.com.

Electracy and Transmedia StudiesSeries Editors: Jan Rune Holmevik and Cynthia HaynesAddressed to digital humanists, Reimagining the Humanities updates our methods for engaging with ideology and technology, drawing on a broad range of practices informed by collective challenges and an ongoing state of crisis. Voices in the collection range from graduate students to established scholars, drawn from across humanities disciplines, all seeking to reimagine the humanities at a time when many disciplines are facing both a loss of resources and political support, as well as the demands of rapidly changing classrooms, campuses, and external institutions. We recognize that shifts in information technologies call for different ways of knowing and that it is our responsibility to invent humanist methods for theorizing, teaching, and experimenting within these emerging technical-ideological apparatuses of what Gregory Ulmer has termed our "electrate" age. Most importantly, we ask how these understandings must be addressed differently through transdisciplinary humanist education at a time when disinformation is dominant in the technical landscape that shapes our classrooms and communities. The collection includes a digital compendium of projects: https://bit.ly/reimagining-humanities.Contributors include Carissa Baker, Cassandra Branham, Erik Champion, James Paul Gee, Meghan Griffin, Kenton Taylor Howard, Jessica Kester, Jessica Lipsey, Dan Martin, David Matteson, Barry Mauer, Marci Mazzarotto, Stuart Moulthrop, Laura Okkema, Anastasia Salter, Craig Saper, Nathan Snow, Kirk St.Amant, Gregory L. Ulmer, and Jennifer Wojton.

Winner of the New Measure Poetry Prize¿¿¿¿A multilayered book and performance, A Short History of Anger speaks through fragments, fractures, song, and the voices of a Greek Chorus. This lament confronts the massacre of Greek citizens in the 1922 Destruction of Smyrna, and the buried traces of this tragedy as they haunt the poet's family history. Governed by its musical, ritualistic construction, it excavates a legacy of genocide and displacement that resonates through successive generations.What People Are Saying"Joy Manesiotis is a brilliant poet, one who understands, that lyric, as Joseph Brodsky once insisted, is a soul's release into language. So, watch how the line-breaks, sentences, precise orchestrations and wonders of syntax work in her poems, how they move us to a different register of human emotions, how they open doors we did not know exist. Manesiotis is wonder poet, one whose work I admire deeply." -Ilya Kaminsky, authorof Dancing In Odessa and Deaf Republic"When a great catastrophe, the genocide of the Greeks of Smyrna, is immured in silence, does collective horror harbor in the genes-the blood line a long fuse smoldering with hidden fire, 'Smyrna burning and burning....' How to speak of such things? But 'who will sing the moirolaia to help the souls cross over?' In answer, voices­-ancestral, choral, personal-rise from the ashes in this eloquent moirolaia of Joy Manesiotis: recovered history, lamentation, remembrance, release." -Eleanor Wilner, author of Before Our Eyes: New and Selected Poems, 1975-2017"When, in Anna Akhmatova's famous poem, she was asked 'Can you describe this?' about an atrocity she lived through, she replied, 'Yes, I can.' In A Short History of Anger, Joy Manesiotis lifts the same burden of responsibility to her own shoulders, and the beautiful, heartbreaking poem she made here could have been written a thousand years ago, or yesterday. And the terrible thing is, when I look up from this book, our landscape is the same as inside it: on fire. When no remedy is coming, poets at least make it possible to sit in the dirt and weep. Sit here with me. I would count it a privilege to hold your hand and keen these poems together." -Patrick Donnelly, author of Little-Known Operas, Nocturnes of the Brothel of Ruin, and The ChargeAbout the AuthorJOY MANESIOTIS is the author of They Sing to Her Bones, which won the New Issues Poetry Prize. Recently, she has staged A Short History of Anger: A Hybrid Work of Poetry & Theatre-comprised of a Speaker and Greek Chorus-at international festivals and universities in the US and Europe.Free Verse EditionsSeries Editor: Jon Thompson

Here is the continuation of Martha Ronk's life-long investigation of things as they are seen at a remove or seen not at all as in the presence of silence. Always hesitant, skeptical, her poetry circles the world the way a blind seer might. In this new collection, she follows the thread of Ariadne through the hands of men who jerk and steer her. - Fanny Howe, author of Second ChildhoodInspired by De Chirico's series of paintings depicting Ariadne, Martha Ronk writes, "Her sleeping is like waking, she is listening to whatever is said." And in this stunning new collection, A Myth of Ariadne, the poems ponder this abandoned figure who, even in her cool and classical repose, embodies history-its progress and its traumas. Placed within the poems' prosceniums, we partake of Ariadne's distracted and absorptive reflections even as catastrophe looms. Ever broadening her characteristic philosophical acuity, Ronk amplifies somatic gestures as she follows her thread to navigate conundrums of identity and perception. -Molly Bendall, author of Under the QuickThe poems in A Myth of Ariadne address De Chirico's Ariadne paintings: the myth and then the particular way De Chirico presents her as a sexualized statue threatened by intrusions of locomotives, ships, shadows, conspirators. Ronk's series, like his series, depends on the technique of disjunction, and exists in the space between the paintings, De Chirico's memoir and poems, and a jangled depiction of a woman's history.Martha Ronk has published eleven books of poetry, including most recently Silences, Ocular Proof, and Transfer of Qualities, as well as the short story collection Glass Grapes and Other Stories, and a semi-autobiographical book on food, Displeasures of the Table. For many years, she taught creative writing and directed the campus-wide creative writing program at Occidental College in Los Angeles.