David Bartholomae has been a prominent figure in the field of composition and rhetoric for almost five decades. Throughout his career, his focus has always been on teaching, writing, and the teaching of writing. These essays, written over the past dozen years, are arranged and unified by a thread that connects some of the books and ideas, people and places, students and courses that have shaped and sustained his work as a teacher of writing. The essays trace his formation as a teacher, writer, and scholar, and open doors to paths of study that speak directly to issues related to global understanding across linguistic and cultural divides. Taken together, the pieces in this collection reveal Bartholomae’s ideas about writing studies and the ways in which student writing and the teaching of writing contribute to and are central to the mission of the university.

In typical academic circles, texts must be critiqued, mined for the obfuscated meanings they hide, and shown to reveal larger, broader meanings than what are initially evident. To engage in this type of writing is to perform an authentic version of scholarship. But what if a scholar chooses instead to write without critique? What if they write about travelling, their children, food, grocery shopping, frozen garlic bread, sandwiches, condiments, falafel, yoga, and moments that normally wouldn't be considered scholarly? Can the writing still be scholarly? Can scholarly writing be authentic if its topics comprise the everyday?In Authentic Writing, Jeff Rice uses this question to trace a position regarding critique, the role of the scholar, the role of the personal in scholarship, the banal as subject matter, and the idea of authenticity. He explores authenticity as a writing issue, a rhetorical issue, a consumption issue, a culture issue, and an ideological issue. Rather than arguing for a more authentic state or practice, Rice examines the rhetorical features of authenticity in order to expand the focus of scholarship.

Translingual Inheritance tells a new story of the early days of democracy in the United States, when English had not yet become the only dominant language. Drawing on translingual theory, which exposes how language use contrasts with the political constructions of named languages, Elizabeth Kimball argues that Philadelphians developed complex metalinguistic conceptions of what language is and how it mattered in their relations. In-depth chapters introduce the democratically active communities of Philadelphia between 1750 and 1830 and introduce the three most populous: Germans, Quakers (the Society of Friends), and African Americans. These communities had ways of knowing and using their own languages to create identities and serve the common good outside of English. They used these practices to articulate plans and pedagogies for schools, exercise their faith, and express the promise of the young democracy. Kimball draws on primary sources and archival texts that have been little seen or considered to show how citizens consciously took on the question of language and its place in building their young country and how such practice is at the root of what made democracy possible.

In music, crossover means that a song has moved beyond its original genre and audience into the general social consciousness. Rhetorical Crossover uses the same concept to theorize how the black rhetorical presence has moved in mainstream spaces in an era where African Americans were becoming more visible in white culture. Cedric Burrows argues that when black rhetoric moves into the dominant culture, white audiences appear welcoming to African Americans as long as they present an acceptable form of blackness for white tastes. The predominant culture has always constructed coded narratives on how the black rhetorical presence should appear and behave when in majority spaces. In response, African Americans developed their own narratives that revise and reinvent mainstream narratives while also reaffirming their humanity. Using an interdisciplinary model built from music, education, film, and social movement studies, Rhetorical Crossover details the dueling narratives about African Americans that percolate throughout the United States.

In June 2015, Bree Newsome scaled the flagpole in front of South Carolina’s state capitol and removed the Confederate flag. The following month, the Confederate flag was permanently removed from the state capitol. Newsome is a compelling example of a twenty-first-century woman rhetor, along with bloggers, writers, politicians, activists, artists, and everyday social media users, who give new meaning to Aristotle’s ubiquitous definition of rhetoric as the discovery of the “available means of persuasion. ” Women’s persuasive acts from the first two decades of the twenty-first century include new technologies and repurposed old ones, engaged not only to persuade, but also to tell their stories, to sponsor change, and to challenge cultural forces that repress and oppress.Persuasive Acts: Women’s Rhetorics in the Twenty-First Century gathers an expansive array of voices and texts from well-known figures including Hillary Rodham Clinton, Malala Yousafzai, Michelle Obama, Lindy West, Sonia Sotomayor, and Chimamanda Ngozi Adichie, so that readers may converse with them, and build rhetorics of their own. Editors Shari J. Stenberg and Charlotte Hogg have complied timely and provocative rhetorics that represent critical issues and rhetorical affordances of the twenty-first century.

Women at Work presents the field of rhetorical studies with fifteen chapters that center on gender, rhetoric, and work in the US in the nineteenth and twentieth centuries. Feminist scholars explore women’s labor evangelism in the textile industry, the rhetorical constructions of leadership within women’s trade unions, the rhetorical branding of a twentieth-century female athlete, the labor activism of an African American blues singer, and the romantic, same-sex collaborations that supported pedagogical labor. Women at Work also introduces readers to rhetorical methods and approaches possible for the study of gender and work. Contributors name and explore a specific rhetorical concern that animates their study and in so doing, readers learn about such concepts as professional proof, rhetorical failure, epideictic embodiment, rhetorics of care, and cross-racial coalition building.

Writing begins with unconscious feelings of something that insistently demands to be responded to, acted upon, or elaborated into a new entity. Writers make things that matter—treaties, new species, software, and letters to the editor—as they interact with other humans of all kinds. As they write, they also continually remake themselves. In The Animal Who Writes, Cooper considers writing as a social practice and as an embodied behavior that is particularly important to human animals. The author argues that writing is an act of composing enmeshed in nature-cultures and is homologous with technology as a mode of making.

In preparation for this book, and to better understand our screen-based, digital world, Miller only accessed information online for seven years.On the End of Privacy explores how literacy is transformed by online technology that lets us instantly publish anything that we can see or hear. Miller examines the 2010 suicide of Tyler Clementi, a young college student who jumped off the George Washington Bridge after he discovered that his roommate spied on him via webcam. With access to the text messages, tweets, and chatroom posts of those directly involved in this tragedy, Miller asks: why did no one intervene to stop the spying? Searching for an answer to that question leads Miller to online porn sites, the invention of Facebook, the court-martial of Chelsea Manning, the contents of Hillary Clinton’s email server, Anthony Weiner’s sexted images, Chatroulette, and more as he maps out the changing norms governing privacy in the digital age.

In Reforming Women, Lisa Shaver locates the emergence of a distinct women’s rhetoric and feminist consciousness in the American Female Moral Reform Society. Established in 1834, the society took aim at prostitution, brothels, and the lascivious behavior increasingly visible in America’s industrializing cities. In particular, female moral reformers contested the double standard that overlooked promiscuous behavior in men while harshly condemning women for the same offense. Their ardent rhetoric resonated with women across the country. With its widely-read periodical and auxiliary societies representing more than 50,000 women, the American Female Moral Reform Society became the first national reform movement organized, led, and comprised solely by women. Drawing on an in-depth examination of the group’s periodical, Reforming Women delineates essential rhetorical tactics including women’s strategic use of gender, the periodical press, anger, presence, auxiliary societies, and institutional rhetoric—tactics women’s reform efforts would use throughout the nineteenth century. Almost two centuries later, female moral reformers’ rhetoric resonates today as our society continues to struggle with different moral expectations for men and women.

Nostalgic Design presents a rhetorical analysis of twenty-first century nostalgia and a method for designers to create more inclusive technologies. Nostalgia is a form of resistant commemoration that can tell designers what users value about past designs, why they might feel excluded from the present, and what they wish to recover in the future. By examining the nostalgic hacks of several contemporary technical cultures, from female software programmers who knit on the job to anti-vaccination parents, Kurlinkus argues that innovation without tradition will always lead to technical alienation, whereas carefully examining and layering conflicting nostalgic traditions can lead to technological revolution.

What forces bring ordinary people together in public to make their voices heard? What means do they use to break through impediments to democratic participation?Unruly Rhetorics is a collection of essays from scholars in rhetoric, communication, and writing studies inquiring into conditions for activism, political protest, and public assembly. An introduction drawing on Jacques Rancière and Judith Butler explores the conditions under which civil discourse cannot adequately redress suffering or injustice. The essays offer analyses of “unruliness” in case studies from both twenty-first-century and historical sites of social-justice protest. The collection concludes with an afterword highlighting and inviting further exploration of the ethical, political, and pedagogical questions unruly rhetorics raise. Examining multiple modes of expression – embodied, print, digital, and sonic – Unruly Rhetorics points to the possibility that unruliness, more than just one of many rhetorical strategies within political activity, is constitutive of the political itself.

Many localities in America resisted integration in the aftermath of the Brown v. Board of Education rulings (1954, 1955). Virginia’s Prince Edward County stands as perhaps the most extreme. Rather than fund integrated schools, the county’s board of supervisors closed public schools from 1959 until 1964. The only formal education available for those locked out of school came in 1963 when the combined efforts of Prince Edward’s African American community and aides from President John F. Kennedy’s administration established the Prince Edward County Free School Association (Free School). This temporary school system would serve just over 1,500 students, both black and white, aged 6 through 23. Drawing upon extensive archival research, Resisting Brown presents the Free School as a site in which important rhetorical work took place. Candace Epps-Robertson analyzes public discourse that supported the school closures as an effort and manifestation of citizenship and demonstrates how the establishment of the Free School can be seen as a rhetorical response to white supremacist ideologies. The school’s mission statements, philosophies, and commitment to literacy served as arguments against racialized constructions of citizenship. Prince Edward County stands as a microcosm of America’s struggle with race, literacy, and citizenship.

A Responsive Rhetorical Art explores the risk-ridden realm of wise if always also fallible rhetorical action—the productive knowledge building required to compose and to leverage texts, broadly construed, for the purposes of public life marked by shrinking public resources, cultural conflict, and deferred hope. Here, composition and literacy learning hold an important and distinctive cultural promise: the capacity to invent with other people new ways forward in light of their own interests and values and in the face of obstacles that could not have otherwise been predicted. Distributed across publicly situated strangers, including citizen-educators, this work engages a persistent challenge of early rhetorical uptake in public life: that what might become public and shared is often tacit and contested. The book’s approach combines attention to local cases (with a transnational student organization, the Nipmuck Chaubunagungamaug, and the South Sudanese diaspora in Phoenix) with a revisable guide for taking up wise action and methods for uncovering elusive institutional logics.

In Sounding Composition Steph Ceraso reimagines listening education to account for twenty-first century sonic practices and experiences. Sonic technologies such as audio editing platforms and music software allow students to control sound in ways that were not always possible for the average listener. While digital technologies have presented new opportunities for teaching listening in relation to composing, they also have resulted in a limited understanding of how sound works in the world at large. Ceraso offers an expansive approach to sonic pedagogy through the concept of multimodal listening—a practice that involves developing an awareness of how sound shapes and is shaped by different contexts, material objects, and bodily, multisensory experiences. Through a mix of case studies and pedagogical materials, she demonstrates how multimodal listening enables students to become more savvy consumers and producers of sound in relation to composing digital media, and in their everyday lives.

Despite its centrality to its field, there is no consensus regarding what rhetorical theory is and why it matters. The Ethical Fantasy of Rhetorical Theory presents a critical examination of rhetorical theory throughout history, in order to develop a unifying vision for the field. Demonstrating that theorists have always been skeptical of, yet committed to "truth" (however fantastic), Ira Allen develops rigorous notions of truth and of a "troubled freedom" that spring from rhetoric’s depths. In a sweeping analysis from the sophists Aristotle, and Cicero through Kenneth Burke, Chaïm Perelman and Lucie Olbrechts-Tyceta, and contemporary scholars in English, communication, and rhetoric’s other disciplinary homes, Allen offers a novel definition of rhetorical theory: as the self-consciously ethical study of how humans and other symbolic animals negotiate constraints.

Resounding the Rhetorical offers an original critical and theoretical examination of composition as a quasi-object. As composition flourishes in multiple media (digital, sonic, visual, etc.), Byron Hawk seeks to connect new materialism with current composition scholarship and critical theory. Using sound and music as his examples, he demonstrates how a quasi-object can and does materialize for communicative and affective expression, and becomes a useful mechanism for the study and execution of composition as a discipline. Through careful readings of Serres, Latour, Deleuze, Heidegger, and others, Hawk reconstructs key concepts in the field including composition, process, research, collaboration, publics, and rhetoric. His work delivers a cutting-edge response to the state of the field, where it is headed, and the possibilities for postprocess and postwriting composition and rhetoric.