Dorsey Armstrong provides a new, Modern English translation of the MORTE DARTHUR that portrays the holistic and comprehensive unity of the text as a whole, as suggested by the structure of Caxton's print, but that is based primarily on the Winchester Manuscript, which offers the most complete and accurate version of Malory's narrative. This translation makes one of the most compelling and important texts in the Arthurian tradition easily accessible to everyone-from high school students to Arthurian scholars. In addition to the complete text, Armstrong includes an introduction that discusses Malory's sources and the long-running debate surrounding the manuscript and print versions of the narrative. For ease of use, the text is keyed to both William Caxton's print version and the manuscript version edited by Eug ne Vinaver. A detailed index is also included. Dorsey Armstrong is Associate Professor of English and Medieval Literature at Purdue University. Her research interests include medieval women writers, late medieval print culture, and the Arthurian legend, on which she has published extensively. Her book GENDER AND THE CHIVALRIC COMMUNITY IN SIR THOMAS MALORY'S MORTE D'ARTHUR was published by University Press of Florida in 2003. Her 36-part lecture series on The Medieval World will be available from The Teaching Company in late 2009. Currently, she is Editor-in-Chief of the academic journal ARTHURIANA, which publishes the most cutting-edge research on the legend of King Arthur from its medieval origins to its enactments in the present moment.

Writing Proposals and Grants, Third Edition takes readers through the entire proposal and grant writing process-from finding and analyzing requests for proposals to designing final deliverables. Writing Proposals and Grants (3rd ed.) offers an updated and expanded version of Writing Proposals (2nd ed.). This new edition maintains what so many readers loved about Writing Proposals (2nd ed.): its step-by-step guidance for each stage of proposal and grant writing, its numerous worksheets and heuristics, and its grounding in time-tested rhetorical principles. Readers of older editions will notice that Writing Proposals and Grants (3rd ed.) now offers additional guidance for grant proposal writing-including details about writing literature reviews and research methods-as well as new and revised case studies and sample proposals. The new edition also offers advice about integrating generative artificial intelligence applications into proposal and grant writing workflows.

Richard Johnson-Sheehan is a Professor of Rhetoric and Professional Writing at Purdue Univ-ersity. He researches and publishes on communications in science, technology, entrepreneurship, and healthcare. He is also the President of Phronesis, LLC, a communications and consulting company that produces and edits books, articles, and manuscripts in fields related to science, technology, entrepreneurship, and medicine. He specializes in technical proposals, grants, and business models for start-ups. Johnson-Sheehan is the author of several popular college textbooks, including Technical Communication Today (7e), Writing Today (5e), Argument Today (2e), and Technical Communication Strategies for Today (3e).

Paul Thompson Hunter is a PhD Candidate in Rhetoric and Composition at Purdue Univ​ersity. His work has appeared in IEEE Transactions on Professional Communication, the Journal of Technical Writing and Communication, and Communication Design Quarterly.

Writing Proposals and Grants (3rd ed.) offers its readers . . .

Step-by-step guidance for every stage of the proposal writing process, from early ideation to final deliveryTime-tested rhetorical strategies for accurately analyzing rhetorical situations and creating documents that meet the momentAdditional guidance about writing research grants, including details about literature reviews and research methodologiesInsights about incorporating artificial intelligence applications into business and grant proposal workflowsNew and revised case studies and sample proposals that demystify the processes and outcomes of proposal writing

Studies in Rhetorics and Feminisms

Edited by Cheryl Glenn and Shirley Wilson Logan

RHETORICAL LISTENING IN ACTION: A CONCEPT-TACTIC APPROACH aims to cultivate writers who can listen across differences in preparation for thinking critically, communicating, and acting across those differences. Krista Ratcliffe and Kyle Jensen offer a rhetorical education centered on rhetorical listening as it inflects other rhetorical concepts, such as agency, rhetorical situation, identification, myth, and rhetorical devices.

RHETORICAL LISTENING IN ACTION spans classical and contemporary rhetoric, reading key concepts through rhetorical listening and supported by scholarship in rhetoric and composition, feminist studies, critical race studies, and intersectionality theory. The book expands on how we think about and negotiate difference and the factors that mediate social relations and competing cultural logics. Along the way, Ratcliffe and Jensen associate creative and heuristic tactics with clearly defined concepts to give all writers methods for listening rhetorically to and understanding alternative viewpoints.

For writers new to the concepts of rhetorical listening, four appendices show how these concepts illuminate rhetoric, language, discourse, argument, writing processes, research, and style.

KRISTA RATCLIFFE is Foundation Professor and Chair in the Department of English at Arizona State University. Her research focuses on intersections of rhetoric, feminist theory, and critical race studies. Her book Rhetorical Listening: Identification, Gender, Whiteness (2006) won the 2007 CCCC Outstanding Book Award, and the 2007 Rhetoric Society of America Book Award. She has served as President of the Rhetoric Society of America and the Coalition of Feminist Scholars in the History of Rhetoric and Composition. She is a Fellow of the Rhetoric Society of America.

KYLE JENSEN is Professor of English and Director of Writing Programs at Arizona State University. He is the author or co-editor of five previous books, including Reimagining Process: Online Writing Archives and the Future of Writing Studies (2015), The War of Words by Kenneth Burke (2018), and Kenneth Burke's Weed Garden: Refiguring the Grounds of Modern Rhetoric (2022).

AUTHORS: Vershawn Ashanti Young, Rusty Barrett, Y'Shanda Young-Rivera, and Kim Brian Lovejoy. SERIES: Working and Writing for Change edited by Steve Parks. With a new Foreword by April Baker-Bell and a new Preface by Vershawn Ashanti Young and Y'Shanda Young-Rivera, Other People's English: Code-Meshing, Code-Switching, and African American Literacy presents an empirically grounded argument for a new approach to teaching writing to diverse students in the English language arts classroom. Responding to advocates of the code-switching approach, four uniquely qualified authors make the case for code-meshing--allowing students to use standard English, African American English, and other Englishes in formal academic writing and classroom discussions. This practical resource translates theory into a concrete road map for pre- and inservice teachers who wish to use code-meshing in the classroom to extend students' abilities as writers and thinkers and to foster inclusiveness and creativity. The text provides activities and examples from middle and high school as well as college and addresses the question of how to advocate for code-meshing with skeptical administrators, parents, and students. Other People's English provides a rationale for the social and educational value of code-meshing, including answers to frequently asked questions about language variation. It also includes teaching tips and action plans for professional development workshops that address cultural prejudices.

Free Verse Editions

Series Editor: Jon Thompson

What People Are Saying

Elizabeth Jacobson's new poems are both profound and transparent, which is rare. Also rare is their intimacy with the natural world, rendered in language memorable for its near-microscopic observation and precision. Set in the desert, the tropics, and the human mind, the poems move fluently from family to ecological grief to the life of the spirit and beyond. Curious, eloquent, surprising, and probing, this book takes a hard, compassionate look at what it means to be human right now, moment to moment, on this injured planet. It's a book that deepens every time I read it. -Chase Twichell, author of Things as It Is

In Elizabeth Jacobson's poetry, What is the lure of this world? is not just a question but a way to encounter what is actual in whatever she sees, imagines or remembers. Her replies create the bracing sensation of engagement with a world just now coming into range. There is enthrallment-and also candor, As if this will cure one failure of the self after another. There Are as Many Songs in the World as Branches of Coral is a profound achievement. -Ron Slate, author of Joy Ride

From the opening poem, where even a jar void of substance holds emptiness as if it were full, we are carried by a poet who looks so hard she sees past seeming emptiness, past void, to the energies and emotions that bind us to each other and the natural world. Here, sugar-dusted bee's eat the sweetness off each other's bodies, pine roots spread their ballad into the earth, and every observation of the more-than-human is an opportunity to delight in the rituals and desires of others, which might then reflect us back to ourselves. Poems of childhood share the origin story of a poet who put anything in my mouth / to know it: sucking salt from the legs of starfish, ash from discarded cigarettes, even dirt clinging to a hairpin from the grounds of Birkenau. Here, the poet insists on taking in the full range of the world's hardships and wonders and, like a bee converting nectar to honey, gives it back to us made new in searching, sensual poems. -Jessica Jacobs, author of unalone

This new collection offers up many secrets. That the human heart has no space or weight limits, is one. Strong works of art like this prompt us to pause. Pause via seduction wielded by language composed of ether, quarter notes and whole rests, Floridian beach sand, high desert soil and leaps of the mind. None lost on the Soul. -Tommy Archuleta, author of Susto

About the Author

Elizabeth Jacobson was the fifth Poet Laureate of Santa Fe, New Mexico and an Academy of American Poets Laureate Fellow. Her second collection of poems, Not into the Blossoms and Not into the Air, won the New Measure Poetry Prize, selected by Marianne Boruch (Free Verse Editions/Parlor Press, 2019) and the 2019 New Mexico-Arizona Book Award for both New Mexico Poetry and Best New Mexico Book. Her other books include Her Knees Pulled In (Tres Chicas Books, 2012), two chapbooks from dancing girl press and Everything Feels Recent When You're Far Away: Poetry and Art from Santa Fe Youth During the Pandemic (Axle Books, 2021), which she co-edited. Elizabeth is a reviews editor for the online literary magazine Terrain.org, and she directs the poetry programs at Santa Fe's Center for Contemporary Arts (CCA).

Responding to a widespread belief that the field of composition studies is less unified than it was in the late twentieth century, editors Deborah Coxwell-Teague and Ronald F. Lunsford ask twelve well-known composition theorists to create detailed syllabi for a first-year composition course and then to explain their theoretical foundations. Each contributor to FIRST-YEAR COMPOSITION: FROM THEORY TO PRACTICE, discusses the major goals and objectives for their course, its major assignments, their use of outside texts, the role of reading and responding to these texts, the nature of classroom discussion, their methods of responding to student writing, and their assessment methods. The contributors to FIRST-YEAR COMPOSITION: FROM THEORY TO PRACTICE include Chris Anson, Suresh Canagarajah, Douglas Hesse, Asao Inoue, Paula Mathieu, Teresa Redd, Alexander Reid, Jody, Shipka, Howard Tinberg, Victor Villanueva, Elizabeth Wardle and Doug Downs, and Kathleen Blake Yancey. Their twelve essays provide a window into these teachers' classrooms that will help readers, teachers, and writing program administrators appreciate the strengths of unity and diversity in rhetoric and composition as a field. The examples will empower new and experienced teachers and administrators. The editors frame the twelve essays with an introductory chapter that identifies key moments in composition's history and a concluding chapter that highlights the varied and useful ways the contributors approach the common challenges of the first-year composition course.

Invitatory hovers in a space between worlds: one disintegrating, one yet unformed; outside of time, but teeming with the desires time presents. Probing the nature and reliability of language and perception, the contours of human suffering, and the complexities of ordinary love, Invitatory insists that we confront the world, and ourselves in it, and invites us to pledge ourselves to the world as it is and as it might one day be.

What People Are Saying

In this luminous collection, Molly Spencer sets her infrared sight on the interstice between shelter and glare, that indeterminate spot where elements recombine and the world appears strangely remade - or, even more mysteriously, found out. Thresholds are frightening places, but Spencer trusts that destabilized ground is exactly where all encounters with genuine rescue occur. Undaunted by the ever-slippery nature of language, Spencer tracks words like a bird dog, or guide to the underworld, crafting, in poem after gorgeous poem, the most intimate forms of invitation, that we, too might recognize likeness between self and other, and hold our deepest yearnings with compassion. -Lia Purpura, author of All the Fierce Tethers

Wasn't rowing at all, only dipping the blade of my one oar / here, then there, to steer a little, yet or is the oar which sets Molly Spencer's poems pleasingly amok in this masterful collection, Invitatory. Or rather, it's inside the boundaries of the either-or, where Spencer explores breakage (and ruin) as the presage and/or the aftermath of intimacy, of language, of touch, of longing, and (yes) of loss. There is an intriguing muscularity happening here, a kind of muscle memory in which each poem, grafted tendon-like each to each, remembers, foresees, and challenges what happens in the other poems. Rather I should say, more body than just a collection of poems, Invitatory isn't afraid to show its math. Images-well-wrought, evocative, and cinematic the first time-are reconsidered again and again, yet somehow appear sharper, more vivid, more surprising with each iteration. Spencer has created a living thing that is sure to outlive all of us lucky enough to hold it for a while. -Tommye Blount, author of Fantasia for the Man in Blue

About the Author

Molly Spencer is a poet, critic, editor, and writing instructor. Her debut collection, If the House (University of Wisconsin Press, 2019) won the 2019 Brittingham Prize judged by Carl Phillips. A second collection, Hinge (Southern Illinois University Press, 2020), won the 2019 Crab Orchard Open Competition judged by Allison Joseph. She teaches at the University of Michigan.

Free Verse Editions

Series Editor: Jon Thompson

What People Are Saying

Chengru He's wonderful and entirely original poems have one foot in a Chinese poetic sensibility (its spareness, erasure of self, and reliance on image) and the other in an American going-outness and commitment to play. Her work crosses alphabets and disparate poetics, landscapes half a world away from each other, and diverse personal and cultural histories with openness, wit, and immense charm. Out of these, she creates a welcome intervention in and addition to an emergent, newly inclusive American poetry. -Katharine Coles

From its very title, with the Chinese character for moon interposed into the English word Moon, this collection offers rare and intimate access to what linguistic and poetic-as well as physical-exile feels like. The speaker of these poems refuses to choose between Chinese and English, between Tang Dynasty and twenty-first-century poetry, between memories of a vanished China and walks down contemporary American streets. Almost every poem in this collection demonstrates how the lost part of me/ sneaks back/ to remind the rest of me/ how I used to hold a pen tight/ one stroke/ after another. Particularly moving are the variations on Li Bai's Moon -a poem about longing for home-which appear throughout the collection: first in Chinese characters, then in pinyin, then in English, then in various combinations and then expanding to make room for the stuff of twenty-first-century America life: LED 3 color temp/erature lamp; 4K Screen; identity politics; Social Security number, as well as images from He's other poems in the collection, working to break down the distinctions between Chengru He's mostly English-language contemporary poems and the great ancient Chinese poetic tradition from which they come. -Jackqueline Osherow

M O月 N is English word is Chinese character is sometimes a character inside of a word is in the sky as light and on the ground as shadow and on the body is time is marker of home, when homes are so far away from each other (Shanghai to Alabama and Utah). M O月 N is still a point between a language/culture that has no tenses, and one that is tense with worry about categories and places: how to invite the non-self from its nonexistence to a / land of identity politics how to introduce the non-self who controls the verbs with no rules. Chengru He charts her own geographies according to these moons, the approximate moan of a word with a character inside it. This is a beautiful book about dispersions of many kinds, a map to the scattered world. -Susan M. Schultz

About the Author

Chengru He 何琤茹 is a Chinese poet and translator currently based in Salt Lake City, where she is a PhD candidate at the University of Utah. She is the author of a hybrid collection I Would Vanish into Its Stronger Existence and the Chinese translator of two books from English.

Winner of the New Measures Poetry Prize

Free Verse Editions

What People Are Saying

In the tradition of such poets as Laura Jensen, Jean Valentine, and Saskia Hamilton-yet utterly their own-Lily Brown's poems spring from ordinary enough spaces-the natural world, domestic life and what goes on there-but as if these were the understory to a vast forest of waking dream, of the general and particular/rhymed to

dream's interior. The poems are governed, I would add, by dream's particular, elusive, strange logic, all the stranger for how persuasive and authoritative it is while refusing to be mapped or, indeed, explained. I trust these poems, as I trust their way of thinking-a way that, by the book's end, feels like the only way of proceeding: not past mystery, but deeper, into it. -Carl Phillips

In Lily Brown's stunning Blade Work, every line rounds a sharp corner to crash into pleasure. The discoveries made here are those of a mapmaker tracing strange hills and paths laid out in her own hand. And when she finds darkness, it's tempered by the transformative power of attention: Crushed a dead moth with my sleeve, Brown writes. Anywhere I lean, wing. These gorgeous and precise poems reassemble the broken vase of language itself.-Dan Rosenberg

The fence is thinking, the trees look like legs, the field is the sea in lines sharp as a jagged fragment of slate, Lily Brown seeks to restore things to their thingness-to see things as they are, often by seeing them as they are not. To seal out emotion to let the world make her, instead of the other way around. Through Brown's eyes, the world becomes itself again-vivid, radiant, unknowable.-Emma Winsor Wood

As AI-powered media mirrors chart a billion blinks, scan each eye for its next fear, its secret desire, as power fans out in a zillion-swarm of amoeba drones, the poems in Lily Brown's Blade Work turn our eyes to other and othered elements: sky, cloud, wind, river, dream. Here sets a semi-automatic sun, there a building's touch gives the wind its pitch. Like a valve that lets another consciousness arrive, Blade Work taunts the looming world by turning away, thumbs its nose to annihilation's head fakes, its con-job hypnotist's claim to our attention. Instead, since the answer, it turns out, is an abyss, these scalpeled and sculpted poems address power's truer signatures by folding Bishop, Stein, and Stevens into new prescriptions for feeling what we see. The clarity here hovers inside a spiritual crisis locked inside global material catastrophe; the authority claims, even flaunts, an impossibility of achieved precision like glass bent in a storm/of sun. -Ed Pavlic

About the Author

Lily Brown is the author of Rust or Go Missing and several chapbooks, including The Haptic Cold. In addition to the New Measure Poetry Prize, she has won the Poetry Society of America's Cecil Hemley Memorial Award and has been awarded residencies at Arte Studio Ginistrelle, the Vermont Studio Center, and the UCross Foundation.

Like Ariosto's Orlando Furioso and Tasso's Jerusalem Delivered, Boiardo's chivalric stories of lords and ladies first entertained the culturally innovative court of Ferrara in the Italian Renaissance. Inventive, humorous, inexhaustible, the story recounts Orlando's love-stricken pursuit of the fairest of her Sex, Angelica (in Milton's terms) through a fairyland that combines the military valors of Charlemagne's knights and their famous horses with the enchantments of King Arthur's court. Today it seems more than ever appropriate to offer a new, unabridged edition of Boiardo's Orlando Innamorato, the first Renaissance epic about the common customs of, and the conflicts between, Christian Europe and Islam. Having extensively revised his earlier translation for general readers, Charles Ross has added headings and helpful summaries to Boiardo's cantos. Tenses have been regularized, and terms of gender and religion have been updated, but not so much as to block the reader's encounter with how Boiardo once viewed the world. Charles Stanley Ross has degrees from Harvard College and the University of Chicago and teaches English and comparative literature at Purdue University. Neglect of Italian romances robs us of a whole species of pleasure and narrows our very conception of literature. It is as if a man left out Homer, or Elizabethan drama, or the novel. For like these, the romantic epic of Italy is one of the great trophies of the European genius: a genuine kind, not to be replaced by any other, and illustrated by an extremely copious and brilliant production. It is one of the successes, the undisputed achievements. -C. S. Lewis

Dreams and Nightmares appears in full color in both English and Spanish.

Description

At fourteen, Liliana Vel squez walked out of her village in Guatemala and headed for the U.S. border, alone. On her two-thousand-mile voyage she was robbed by narcos, rode the boxcars of La Bestia, and encountered death in the Sonoran Desert. When she was caught by Immigration in Arizona, she thought her journey was over. But it had just begun.

A los catorce a os, Liliana abandon su pueblo en Guatemala y se dirigi hacia la frontera de los Estados Unidos, sola. En su viaje de dos mil millas fue asaltada por los narcos, viaj en los vagones de La Bestia y se enfrent a la muerte en el desierto de Sonora. Cuando fue capturada por Inmigraci n en Arizona, ella pens que su viaje hab a terminado. Pero solo acababa de empezar.

What People Are Saying

While Immigrants' stories are often told by others, Liliana shares her personal experience of vulnerability, resilience and perseverance in the face of uncertainty. She is a strong and remarkable woman.

Mientras que las historias de los inmigrantes son generalmente contadas por terceros, Liliana comparte su propia historia personal, su capacidad recuperativa y su perse-verancia en medio de mucha incertidumbre. Ella es una mujer fuerte y extraordinaria.

--Mar a Sotomayor, DACA recipient, Youth Organizer, Pennsylvania Immigration and Citizenship Coalition

Stories like Liliana's counter the inhumane narratives that cast migrants and refugees as drug dealers and rapists, and instead offer US audiences a perspective infused with the genuine human experience of migration.

Historias como la de Liliana contradicen a las historias des-humanizantes en las que se equipara a los inmigran-tes y refugiados con narcotraficantes y violadores. La historia de Liliana ofrece al p blico estadounidense una perspectiva imbuida de una experiencia migratoria genuina-mente humana.

--Aja Y. Martinez, PhD, Syracuse University

Liliana's story is heartbreakingly ordinary, similar to tens of thousands of children who have fled violence, abuse, and extreme poverty, only to suffer further hardship at the hands of a US government that treats them as threats rather than child survivors of trauma.

La historia de Liliana es dolorosamente com n, similar a la de decenas de miles de ni os que han huido de la violencia, el abuso y la pobreza extrema, s lo para sufrir m s adver-sidades a manos del gobierno de los E. U. que los trata como si fueran una amenaza y no como a ni os sobre-vivientes de un trauma.

--Jonathan Blazer, Advocacy and Policy Counsel for Immigrants' Rights, American Civil Liberties Union

GLOBAL RHETORICAL TRADITIONS is unique in design and scope. It presents translated primary sources on global rhetorical instruction and practices of Asia, Africa, the Near East, the Middle East, Polynesia, and precolonial Europe. Each chapter represents a different rhetorical region and includes an introduction, critical commentary, translated primary sources, a glossary of rhetorical terms, and a comprehensive bibliography. The general introduction helps contextualize the project, justify its organization and coverage, and draw attention to the various features, characteristics, and/or philosophies of the rhetorics included. The book's significance lies in its contributions to studying and teaching global rhetorical traditions by offering representative research methods and primary sources in a single volume. It can be read as scholarship, as reference, and as textbook.

When a reviewer sees a manuscript like this, she should think, Why hasn't anyone done this before? That was exactly my response to Global Rhetorical Traditions: Why hasn't anyone put together a comprehensive collection of global rhetorical contributions? Hui Wu and Tarez Samra Graban make clear that they are whom we've been waiting for. -Cheryl Glenn

Bringing together a diverse range of sub-editors who expertly explain and analyze rhetorics and traditions from Africa, India, Russia, Polynesia, Turkey, and more, this is just the book my graduate students in rhetoric have been looking for and one my undergrads, in the multi-identity, multi-cultural context in which I teach will simply love. I know, cuz I do. -Vershawn Ashanti Young

A global counterpart to Bizzell, Herzberg, and Reames's The Rhetorical Tradition, this meticulously edited volume expands not only the spectrum of transnational and comparative rhetorics but also the methodologies required for analyses. A stellar contribution to our scholarship, GRT will become a foundational source for study and a well-charted map guiding future research. -Richard Leo Enos

With the use of translations of exemplary texts and robust analyses and interpretations, this volume re-casts our sense of origin and impact in rhetorical arenas over time. -Jacqueline Jones Royster

. . . a groundbreaking reference for a better appreciation and understanding of non-European cultures and their rhetorical nature. I am sure that it will appeal to a large audience among all scholars of Comparative Rhetoric, Comparative Literature, Comparative Poetics, and World Literature. -Hany Rashwan

The book is one of the most important anthologies of the last two generations and is a must-read for scholars and teachers of rhetoric. The volume is trustworthy, carefully crafted, and, simply, phenomenal. I recommend it highly.-Kathleen Ethel Welch

Wide-ranging in scope, innovative in methodology, and significant in its contribution, Global Rhetorical Traditions teaches us what it means to engage with global rhetorical traditions in the twenty-first century.-LuMing Mao

Hui Wu is Professor of English and Chair of the Department of Literature and Languages at the University of Texas at Tyler. Tarez Samra Graban is Associate Professor of English at Florida State University.

Contributors: Raed Alsawaier, Leonora Anyango, Maha Baddar, Shuv Raj Rana Bhat, Gregory Coles, Trey Conner, Rasha Diab, Richard Doyle, Robert Eddy, Lahcen Ezzaher, Tarez Samra Graban, Shreelina Ghosh, Elif Guler, ku'ualoha ho'omanawanui, Steven B. Katz, Andrew Kirkpatrick, Uma Krishnan, Haixia Lan, Keith Lloyd, Anne Melfi, Georganne Nordstrom, Lana Oweidat, Maria Prikhodko, Ellen Quandahl, Jim Ridolfo, Brian J. Stone, Jeffrey Walker, and Hui Wu.

EMOTIONS AND AFFECT IN WRITING CENTERS explores how emotions and affect are lived, embodied, and experienced in writing centers. Fifteen chapters provide perspectives on emotions and affect from both tutor and writing center director perspectives. Collaboratively written and single-authored chapters focus on topics such as listening, burnout, tutor training, and emotional labor. Using several methodological approaches, including narratives, reflections, conversation analysis, and quantitative and qualitative studies, contributors identify how multiple identities, experiences, and histories can be mobilized through attention to emotions and affect. Contributors offer readers particular recommendations throughout the collection, including suggestions for training and future conversations between writing center stakeholders. Contributors also argue for adaptability, as they reflect on the impact of political and cultural events on the emotive qualities of writing center work.

Contributors include Lisa Bell, Lauren Brentnell, Marilee Brooks-Gillies, Nicole Caswell, Nicole Chavannes, Erica Cirillo-McCarthy, Monique Cole, Steven J. Corbett, Kristi Murray Costello, Celeste Del Russo, Elise Dixon, Genie Giaimo, Jackie Grutsch McKinney, Jordan Guido, Mike Haen, Kelin Hull, Luke A. Iantorno, Rebecca Jackson, Elizabeth Leahy, Neal Lerner, Sabrina Louissaint, Anna Rita Napoleone, Kate Navickas, Kyle Oddis, Rachel Robinson, Tabatha Simpson-Farrow, Lisha Daniels Storey, and Katherine Villarreal.

Writing Program Administration

Series Editors: Chris Carter and Laura Micciche

ABOUT THE EDITORS

Janine Morris is an Assistant Professor and Kelly Concannon is an Associate Professor in the Department of Communication, Media, and the Arts at Nova Southeastern University. Both are also Faculty Coordinators at the NSU Writing and Communication Center.

Volumes in Writing Spaces: Readings on Writing offer multiple perspectives on a wide range of topics about writing. In each chapter, authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Drawing on their own experiences, these teachers-as-writers invite students to join in the larger conversation about the craft of writing. Consequently, each essay functions as a standalone text that can easily complement other selected readings in writing or writing-intensive courses across the disciplines at any level.

Volume 5 continues in this tradition while updating and adding to previous volumes on topics such as advanced rhetoric, translanguaging and code-meshing practices, revision workflows, environmental justice, social annotation, Wikipedia, plagiarism, accessibility, data analysis, writing knowledge transfer, and more. Contributors include David Blakesley, Rachel Buck, Ellen Cecil-Lemkin, Amy Cicchino, Kristin DeMint Bailey, Zack DePiero, Danielle DeRise, Kefaya Diab, Ryan Dippre, Sydney Doyle, William Duffy, Tamara Gluck, An Ha, L. Lennie Irvin, Erin E. Kelly, Angela M. Laflen, Glenn Lester, Taylor Lucas, Jason McIntosh, Benjamin Miller, Oksana Moroz, Anthony J. Outlar, Alison Overcash, Mattius Rischard, Michelle Sprouse, Christopher Thaiss, Lisa Tremain, Silvia Vaccino-Salvadore, Crystal VanKooten, Matthew Vetter, Stephanie Wade, and Jennifer Wells.

All volumes in the series are published under a Creative Commons license and available for download at the Writing Spaces website (https: //writingspaces.org/), Parlor Press (https: //parlorpress.com/pages/writing-spaces), and the WAC Clearinghouse (https: //wac.colostate.edu/).

Working and Writing for Change

Series Editors: Steve Parks and Jessica Pauszek

Victor Villanueva tells stories of The Forever Colony through snippets of memoir, creative nonfiction, and fictional magical realism. Each chapter opens with a personal memory and a particular rhetorical trope that reinforces the ongoing colonialism symbolized by Puerto Rico. Memoir and trope are followed by tales told by the spirit Bushika or other narrators, tales with which to imagine Columbus and the Taíno, Ponce deLeón, and others sometimes forgotten in histories of Puerto Rico, like the legendary cacica/leader Yuíza, the pirate Miguel Enríquez, the revolutionaries of the 19th century, the journeys north from settler colony to the economic colony in the northern migrations to the U.S. during the mid-20th century. The stories would have us consider colonialism, racism, and political economy from the perspective of one descended from the world's oldest continuous colony.

What People Are Saying

Villanueva finds a new way to share with readers the signature quality of his writing: its weave of lyricism and analysis, of narrative and argument, of rhetoric and philosophy. -Raúl Sanchez, Associate Professor, University of Florida and author of Inside the Subject: A Theory of Identity for the Study of Writing.

About the Author

Victor Villanueva is Regents Professor and Edward R. Meyer Distinguished Professor of Liberal Arts at Washington State University. He is the author, editor, or co-editor of eight books and nearly fifty articles or chapters in books. Among his books are the award-winning Bootstraps, From an American Academic of Color, Rhetorics of the Americas: 3114 BCE to 2013 CE, and Cross-Talk in Comp Theory: A Reader, one of the most-adopted books for the training of English teachers of writing in the U.S. and abroad.

Writing Program Administration

Series Editors: Christopher Carter and Laura R. Micciche

What People Are Saying

With assessment considered a significant focus of any WPA or WCD position, Writing Assessment at Small Liberal Arts Colleges will become a go-to resource for professionals of all ranks. -Allison Carr, Coe College

I particularly appreciate the practicality of the collection and that many of the chapters include actionable steps and real samples from specific institutions/programs/initiatives. This is one of the aspects of this collection that I think will make it incredibly valuable for those doing SLAC WPA work! -Marion Wolfe, Case Western Reserve University

About This Book

WRITING ASSESSMENT AT SMALL LIBERAL ARTS COLLEGES focuses on the state of writing program administration and assessment at small liberal arts colleges. Small liberal arts colleges have rich writing traditions unique to their size and culture. This collection with twenty-two contributors details numerous unique assessment projects and showcases programs that promote inclusive pedagogy and reflective writing program administration.

WRITING ASSESSMENT AT SMALL LIBERAL ARTS COLLEGES provides an updated set of assessment projects and rhetorical analyses of practices, policies, and curricula over a decade after the publication of Gladstein and Regaignon's Writing Program Administration at Small Liberal Arts Colleges. Current and aspiring writing program administrators at small liberal arts colleges, as well as graduate students and others interested in researching or teaching at SLACs, will find chapters on writing and program assessment, writing center administration, honor codes, equitable assessment practices, reflective administration and assessment, antiracist assessment, and more.

Contributors include Sarah Agnihotri, Hannah Bellwoar, Holly Blakely, Julie Christoph, George Cusack, Bridget Draxler, Kim Fahle Peck, Matthew Fledderjohann, Crystal Fodrey, Bridget Fullerton, Genie Giaimo, Claire Jackson, Diane LeBlanc, Bryan Lutz, Abby Madar, Gabriel Morrison, Megan O'Neill, Sarah Polo, Justine Post, Kristina Reardon, Hayley Stefan, Nicole Weaver, and Kara Wittman.

About the Editors

Megan O'Neill is Professor of English and the Director of Writing at Stetson University. Genie Nicole Giaimo is Associate Professor of Writing Studies and Rhetoric and Director of the Writing Center at Hofstra University.

Studies in Rhetorics and Feminisms

Editors: Cheryl Glenn and Shirley Wilson Logan

A Rhetoric of Becoming: USAmerican Women in Qatar takes Western feminism abroad into the complexity of transnational spaces. Working at interdisciplinary intersections of rhetoric, feminist theory, narrative inquiry, and expat studies, Nancy Small interweaves conversational interviews with observations of the author's own six years living in the Middle East.

A shared lifeworld of paradoxical positionings emerges, grounded in certain uncertainty, empowerment and vulnerability, hypervisibility and invisibility, and freedom and restraint. Expat women developed nuanced rhetorical strategies grounded in feminist principles of listening, reflexivity, and adaptation through and beyond these positionings. Participants gradually recognized the scope of their white, Western privilege and consequently became highly aware of injustices surrounding them. However, amid their awakening to positionality and power, they remained sensitive to their own precarity and limited agency. Rather than retreat to their expat golden ghettos, participants learned to leverage their positioning and developed strategies for resisting unjust systems. Through their storytelling, a new feminist tactic emerges as a substantive contribution to the scholarly field: micropraxis-small, purposeful acts of resistance and justice-creates potential for subverting patriarchal systems. Outcomes of this project are easily imported into a wide array of local spaces, as globalization, immigration, and increasing diversity-as well as ongoing recognition of unjust systems-bring the contemporary relevance of these conversations home.

NANCY SMALL is Assistant Professor and Director of First-Year Writing at the University of Wyoming, where her work centers on a range of applications of storytelling as a rhetorical process and product. Her teaching and research engage topics of rhetorical feminism, public memory, qualitative research ethics, and intercultural communication. Her scholarly projects have been published in edited collections on education in the Middle East as well as in a range of scholarly journals, including Peitho: Journal of the Coalition of Feminist Scholars in the History of Rhetoric & Composition; Kairos: A Journal of Rhetoric, Technology, and Pedagogy; and the Journal of Technical Writing and Communication.

NOT PLAYING AROUND: FEMINIST AND QUEER RHETORICS IN VIDEOGAMES examines how videogames function rhetorically to have material, affective, and embodied consequences. Rebecca S. Richards argues that playing videogames has a resistant rhetorical impact equivalent to other rhetorical acts such as giving a speech or writing a letter. Building upon extant videogame scholarship, Richards shows how these artifacts are urgent exigencies about gender and sexuality, presenting the audience with opportunities to practice rhetorical listening and silence, engage strategic contemplation, stealth transnational surveillance, and model disorientation and failure in a white supremacist, patriarchal capitalistic world. By default, videogames are forcibly transnational texts-texts that are created and circulate inside and across nation-state boundaries, which make them compelling sites for investigating how gender and sexuality are national social constructs with global implications.

NOT PLAYING AROUND builds upon and pulls together several thriving areas of academic inquiry with the explicit intent of moving the Studies in Rhetorics and Feminisms series into conversation with videogames as texts. Not Playing Around expands the conversations of videogames and rhetoric to include theories and issues of gender and sexuality. While acknowledging that videogames can circulate oppressive ideologies, Richards analyzes videogames that engender nuanced engagement with gender and sexuality. These games require serious play and astute rhetorical negotiation, holding tremendous power for players.

REBECCA S. RICHARDS is Associate Professor of English at the University of Massachusetts Lowell. Her research and teaching explore the intersection of rhetoric, gender and sexuality, and media. Her first book, Transnational Feminist Rhetorics and Gendered Leadership in Global Politics: From Daughters of Destiny to Iron Ladies (Lexington Books 2015), analyzes how gendered concepts circulate among women who have been world leaders. Her work also appears in journals, such as Feminist Formations, Feminist Teacher, and Kairos, as well as in edited collections, such as Hillary Rodham Clinton and the 2016 Election.

LENSES ON COMPOSITION STUDIES Series Editors: Sheryl I. Fontaine and Steve Westbrook. STRATEGIES FOR WRITING CENTER RESEARCH is a guide to empirical research on writing center work. Though there are many other places where formal writing instruction, conversations about writing, conversations about teaching writing, writing, and revision happen, these activities are all always occurring in writing centers. All of the political, theoretical, social, spatial, technological, and practical debates about how a someone becomes a better writer play out hour after hour in the writing center; thus, the possibility of the writing center as a site for serious, interesting, groundbreaking writing research cannot be overstated. STRATEGIES FOR WRITING CENTER RESEARCH is divided into three parts that correspond, more or less, to the stages of a research project. Part 1 includes an overview of writing center research, an introduction to key terms for research, a discussion of how to conduct bibliographic research in writing center studies, and advice on shaping a research proposal. Part 2 helps readers select appropriate research methods for their research questions. Chapters are devoted to discourse analysis, interviewing, surveying, fieldwork, and action research, including a discussion of the limitations, ethical challenges, and pitfalls to expect, as well as a description of the sort of data collected. Part 3 includes a discussion of approaches for analyzing and reporting research. JACKIE GRUTSCH MCKINNEY is Director of the Writing Center and Professor of English at Ball State University in Muncie, Indiana. Her scholarship on writing center issues has appeared in key journals such as WPA: Writing Program Administration, Writing Center Journal, Writing Lab Newsletter, and Praxis: A Writing Center Journal, as well as in several writing center edited collections, including Before and After the Tutorial, Multiliteracy Centers, and The St. Martin's Sourcebook for Writing Tutors. Her first book, Peripheral Visions for Writing Centers, won the International Writing Center Association Outstanding Book Award in 2014.

New Media Theory

Series Editor: Byron Hawk

What People Are Saying

I'm excited by the way Composing Resonance brings together classroom experiences, experimental sound art, and musicians' practices under the headings of material and sonic rhetorics. It is an exciting expansion of work by the Comstock and Hocks, whose research has already recursively influenced many of the scholars cited in this volume. -Eric Detweiler, author of Responsible Pedagogy: Moving Beyond Authority and Mastery in Higher Education

The visual and digital turns in both media studies and writing studies have ushered in a welcome focus on sound studies and sonic composition. COMPOSING RESONANCE: CULTURE AND COLLABORATION IN SONIC PRACTICES advances current discussions of sonic rhetoric as well as multimodal rhetorics and digital writing more generally. Comstock and Hocks expand interdisciplinary conversations on cultural and environmental soundscapes, music production, and sonic archives.

COMPOSING RESONANCE offers an important new cultural and rhetorical framework for situated sonic practices. Michelle Comstock and Mary Hocks demonstrate how sound artists and musicians' ritualized practices of embodied listening create an acute sense of presence, evoke multiple pasts, and powerfully contribute to our experience of location, personal soundscapes, and identity in time and space. Such sonic practices also offer important lessons for writing and composition students.

The sound artists and musicians Comstock and Hocks study have developed practices for resonating with and shaping this vibrant medium, including priming the ear/body to receive diverse sounds and exchanging them within and across cultures and communities. These sonic practices have helped students understand sound as a powerful, often flawed, location device, and record and remix sound elements to move the self and others toward a richer, more diverse, multispecies, interrelational sense of place, culture, history, and environment.

Michelle Comstock is Associate Professor of Writing, Rhetoric, and Technology in the Department of English at the University of Colorado Denver. Her research on sonic rhetoric, cultural studies, and the environmental humanities have appeared in Computers and Composition, Community Literacy Journal, Rhetoric Review, and JAC, among others. She is the co-author of Composing Public Space and is currently co-producing a grant-sponsored digital audio tour of the Auraria Campus and its history of displacement.

Mary Hocks is Associate Professor of English at Georgia State University. Her articles have appeared in College Composition and Communication, Writing Program Administration, Rhetoric Review, and Computers and Composition, as well as numerous edited collections in feminist rhetorics and digital writing. She is the co-editor of Eloquent Images: Word and Image in the Age of New Media, and co-author of the Handbook of Technical Communication.