Reviewed are: Postcomposition Sidney I. Dobrin The Managerial Unconscious in the History of Composition Studies Donna Strickland What We Are Becoming: Developments in Undergraduate Writing Majors Greg A. Giberson and Thomas A. Moriarty, editors

Reviewed are: Adam J. Banks, Digital Griots: African American Rhetoric in a Multimedia Age, Margaret Price, Mad at School: Rhetorics of Mental Disability and Academic Life, Mary Soliday, Everyday Genres: Writing Assignments across the Disciplines, Myra M. Goldschmidt and Debbie Lamb Ousey, Teaching Developmental Immigrant Students in Undergraduate Programs: A Practical Guide, Greg A. Giberson and Thomas A. Moriarty, editors, What We Are Becoming: Developments in Undergraduate Writing Majors

Using the data collected by the CCCC Committee on the Major, the authors demonstrate how quickly the writing major is growing, map the commonalities among various majors, discuss some of the problems in developing a major, and raise questions about what a writing major should be.

[This book] is a must for those committed to voicing the personal conflicts writers experience and to turning those confusing and sometimes dismaying moments into productive sites for questioning textual relations. - Journal of Advanced CompositionIn Getting Restless, Nancy Welch calls for a reconception of what we mean by revision, urging compositionists to rethink long-held beliefs about teacher-student relations and writing practices. Drawing primarily on feminist and psychoanalytic theories, she considers how revision can be redefined not as a process of increasing orientations toward a particular thesis or discourse community, but instead as a process of disorientation: an act of getting restless with received meanings, familiar relationships, and disciplinary or generic boundaries--a practice of intervening in the meanings and identifications of one's text and one's life. Using ethnographic, case-study, and autobiographical research methods, Welch maintains two consistent aims throughout the study: to show how composition teachers can create for themselves and for their students environments that encourage and support revision as restlessness and as a process of intervening in a first draft's thoroughly social meanings and identifications to demonstrate how composition's process legacy is revitalized when we understand that our means to form and change communities- to form and change constructions of authority--are located in revision. In achieving these ends Welch examines three academic sites: a campus writing center, undergraduate writing classrooms, and a summer workshop for K-12 teachers. This book will appeal to a wide audience, including classroom and writing center teachers, historians and theorists in composition and rhetoric, feminist theorists, and those engaged in literacy studies, teacher education, and connections/tensions among teaching, writing, and psychoanalysis.

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On Rhetoric: A Theory of Civic Discourse, Aristotle, translated, with introduction, notes, and appendixes by George A. Kennedy Janet M. Atwill Rhetoric and Irony: Western Literacy and Western Lies, C. Jan Swearingen Beth Daniell Composition and Resistance, C. Mark Hurlbert and Michael Blitz Alice Calderonello Written Language Disorders: Theory into Practice, Ann M. Bain, Laura Lyons Bailet, and Louisa Cook Moates Patricia J. McAlexander Faking It: A Look into the Mind of a Creative Learner, Christopher M. Lee and Rosemary F. Jackson Patricia J. McAlexander Reading and Writing the Self Autobiography in Education and the Curriculum, Robert J. Graham Lynn Z. Bloom Textbooks In Focus: Advanced Writing Rethinking Writing, Peshe C. Kuriloff Evelyn Ashton-Jones About Writing: A Rhetoric for Advanced Writers, Kristin R. Woolever Evelyn Ashton-Jones Process, Form, and Substance: A Rhetoric for Advanced Writers, Richard M. Coe Evelyn Ashton-Jones Beginning Writing Groups Daniel Sheridan

When we design a course in writing, we join that debate over whether we should see individual cognition or social and cultural context as motive force in literate (Flower 282). To remind us of this debate, Linda Flower recently asked, Can we... reconcile a commitment to nurturing a personal voice, individual purpose, or an inner, self-directed process of making meaning, with rhetoric's traditional assumption that both inquiry and purpose are responses to rhetorical situations, or with more recent assertions that inquiry in writing must start with social, cultural, or political awareness? (282). Those three commitments are not really incongruous. All three can be found reconciled in advanced composition course described below. As a course built by students around individualized projects, it encourages students to apply general principles to specialized tasks. Good writers, according to Richard M. Coe, know how to apply general principles of composition to particular writing tasks and contexts (412). With so many different projects resulting from this approach, students' divergent interests must be shared in an atmosphere of collaboration. John Trimbur has stated that one of goals of collaborative learning is to replace traditional hierarchical relations of teaching and learning with practices of participatory democracy (6.11). Yet even collaborative models need to leave instructor with a certain authority. For example, James A. Reither and Douglas Vipond, whose teaching model is based on collaboration, suggest that the most powerful way to arrange this kind of situation is to organize a course so students collaboratively investigate a more or less original scholarly question or field. The teacher sets a research project or question for class, casting students as members of a research group (863). The final exam in my course acts as that long-range research project. This assignment, which is submitted to students on first day of class, summarizes

Richards on Rhetoric, Ann E. Berthoff W. Ross Winterowd Balancing Acts: Essays on the Teaching of Writing in Honor of William F. Irmscher , Virginia A. Chappell, Mary Louise Buley-Meissner, and Chris Anderson Sam Watson A Sense of Audience in Written Communication, Gesa Kirsch and Duane H. Roen Chris M. Anson Beyond Communication: Reading Comprehension and Criticism, Deanne Bogdan and Stanley B. Straw Sandra Stotsky The Writing Center: New Directions, Ray Wallace and Jeanne Simpson Muriel Harris Writer’s Craft, Teacher’s Art: Teaching What We Know, Mimi Schwartz Wendy Bishop Teaching Advanced Composition: Why and How, Katherine H. Adams and John L. Adams Richard Jenseth Textbooks in Focus: Creative Writing: Creative Writing in America: Theory and Pedagogy, Joseph M. Moxley Released into Language,Wendy Bishop Writing Poems, Robert Wallace What If?: Writing Exercises for Fiction Writers, Anne Bernays and Pamela Painter The College Handbook of Creative Writing, Robert DeMaria Chuck Guilford Textbooks in Focus: Technical WritingTechnical Writing: A Reader-Centered Approach, Paul V. Anderson Designing Technical Reports: Writing for Audiencesin Organizations, J. C. Mathes and Dwight W. StevensonTechnical Writing and Professional Communication, Leslie A. Olsen and Thomas N. Huckin Technical Writing: A Practical Approach, William S. Pfeiffer Technical Writing: Principles,Strategies, and Readings, Diana C.Reep Design of Business Communications: The Process and the Product, Elizabeth Tebeaux Carolyn R. Miller

This is the first book-length study of the status of composition in English studies and the uneasy relationship between composition and literature. Composition studies and institutional histories of English studies have long needed this kind of clarification of the historical and political contexts of composition teaching, research, and administration. Susan Miller argues that composition constitutes a major national industry, citing the four million freshman-level students enrolled in such courses each year, the $40 million annual expenditure for textbooks, and the more than $50 million in teacher salaries. But this concrete magnitude is not expressed in political power within departments. Miller calls on her associates in composition to engage in a persistent critique of the social practices and political agenda of the discipline that have been responsible for its institutional marginalization. Drawing on her own long experience as a composition administrator, teacher, and scholar, as well as on a national survey of composition professionals, Miller argues that composition teachers inadvertently continue to foster the negative myth about composition' s place in the English studies hierarchy by assuming an assigned, self-sacrificial cultural identity. Composition has been regarded as subcollegiate, practical, a how-to, and has been denied intellectual rigor in order to preserve literature' s presentations of quasi-religious textual ideals. Winner of three major book awards: The Modern Language Association' s Mina P. Shaughnessy Prize The Conference on College Composition and Communication' s Outstanding Book Award The Teachers of Advanced Composition' s W. Ross Winterowd Award

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Imaginative Writing in Advanced Composition: The Report of Workshop No. 14, College Composition and Communication, Vol. 6, No. 3, Workshop and Panel-Discussion Reports of the 1955 Conference on College Comosition and Communication (Oct., 1955), pp. 153-155