1^y mother is never late for anything. In fact, she's infuriatingly early for doctor's appointments, movies, personal dates. When my siblings and I were kids, we heard over and over again, Hurry up. You don't wanna be late. My brother Guy and I are our mother's children-never late for anything, usually five or ten minutes early. My habit of being early has paid off for me, I have to admit. I've gotten the job more than once because I was the first one there. Employers see me as dependable and conscientious, and my friends know they can count on me to be there when I say I will. My sister Sue, though, chose to respond to our mother's chronic promptness by rebelling-she's late for everything. When I lived with her for a year in Anchorage, I found myself adopting her way of thinking for a while. Doctor's appointment across town in twenty minutes? Sure, I've still got time to eat

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_ nce, in an early British literature course, I was assigned to write an analysis of Shakespeare's That time of year thou mayest in me behold. I tried hard to get myself out of the essay (and thus out of the sonnet), but my effort was a C at best. On the last page, my professor drew a large box (to represent the whole sonnet) and three smaller boxes inside (to represent the parts of the sonnet). Paraphrasing John Ciardi, she wrote

Jane E. Hindman, Thoughts on Reading "The Personal": Toward a Discursive Ethics of Professional Critical Literacy, College English, Vol. 66, No. 1, Special Issue: The Personal in Academic Writing (Sep., 2003), pp. 9-20

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n 1937 Meridel Le Sueur authored a textbook, Worker Writers, for use in writing classes she offered under the auspices of the Works Progress Administration in Minnesota. To illustrate for her students the basic principles of storytelling and narrative technique, Le Sueur included an annotated version of her short story, Biography of My Daughter. The story focuses on the firstperson narrator's visit to a state-run sanitarium to see a young friend, Rhoda. Upon arriving at the hospital, the narrator learns she has come too late: Rhoda has died. Although her friend's death will be officially attributed to tuberculosis, the narrator knows that months of anxiously searching for a job; of working sixteen hours a day when employment was to be had; and of standing in long relief lines when no jobs were available had punished Rhoda's body beyond repair. The narrator recognizes that Rhoda has died of starvation (29; all page numbers refer to the first edition of Worker Writers). As the narrator drives back to Minneapolis with Rhoda's grieving family, they pass through fields with round pumpkins [...] corn fattening, [and] melons like the crescent moons of the season (34). The abundance of the natural world stands in stark contrast to the privations known by Rhoda and other women like her during the Great Depression. From the narrator's perspective, a system of proprietary control of resources by private individuals has led to grotesque social inequities and created a world in which young women like Rhoda starve amidst abundance. In using Biography of My Daughter as an illustrative short story in Worker Writers, Le Sueur astutely highlights important tensions between public property and private ownership. For Le Sueur, a social activist and member of the Commu-

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ing logic of the market is intricately, if silently, bound to theories of autonomous creativity, the writer is surely caught in a bind. Considering the trials of Coleridge and Wordsworth is enough to drive one into the arms of Trollope, abjuring forever the cycle of hypomania and depression, inspiration and silence. If the market is inescapable, turn its discipline to good effect. Such is Trollope's response to Romanticism: There are those [...] who think that the man who works with his imagination should allow himself to wait till-inspiration moves him. When I have heard such a doctrine preached, I have hardly been able to repress my scorn. To me it would not be more absurd if the shoemaker were to wait for inspiration, or the tallow-chandler for the divine moment of melting (102). Trollope scorns those who wait for inspiration, and embraces the analogy of novel writing to shoe making, pointedly refusing the Romantic separation of Art from craft: A shoemaker when he has finished one pair of shoes does not sit down and contemplate his work in idle satisfaction [...]. The shoemaker who so indulged himself would be without wages half his time. It is the same with a professional writer of books [.. .]. I had now quite accustomed myself to begin a second pair as soon as the first was out of my hands (265). God is on the side not so much of the angels, as of the man who settles down to do his work here on earth, for idleness is a vice, industriousness a virtue. This content downloaded from 157.55.39.211 on Sat, 25 Jun 2016 05:12:48 UTC All use subject to http://about.jstor.org/terms Writer's Block, Merit, and the Market 637 Just do it. This familiar marketing slogan is applicable to all walks of life, it seems. Donald Murray, in The Craft of Revision, echoes Trollope and Boice, too, when he urges writers to [make] writing a habit [ . .]. The writing becomes expected in the way you are expected to wait on tables, show up for your job in the emergency room, deliver papers. Roger Simon of the Baltimore Sun explained, 'There's no such thing as writer's block. My father drove a truck for 40 years. And never once did he wake up in the morning and say: 'I have truck driver's block today. I am not going to work' (17). There's something bracing about this. Murray appeals to the complex network of social relations any worker must enter into, which carry obligations that must be honored. The market makes us all interdependent and we are all expected to work, indeed, required to work if we need to earn our incomes. So Murray, like Trollope, urges one to internalize these obligations, which are both ethical and economic, and thus take advantage of the support this network can provide. Replace the Romantic agonies of inspiration with an ethic of work and you will be rewarded. You will have your writing, your copyright, your income, and your peace of mind. Yet the work ethic is by no means our salvation, as Max Weber's magisterial study, The Protestant Ethic and the Spirit of Capitalism, makes clear. Weber argues that Protestants developed in the seventeenth century an ethic that he calls worldly asceticism (120). This ethic is motivated first by religious belief and later, in the late eighteenth and nineteenth centuries, by the force of capitalist accumulation. For Calvin, the purposeful organization and arrangement of the cosmos is evidence of a divine plan, even if the will of God is mysterious. Obvious in the order of the natural world, this organization extends to the order of society as well, in which every person has a calling, a job to do. Those who are in a state of grace glorify God by fulfilling his commandments, which providentially organize social relations. Each individual Christian must therefore work in his or her calling, regardless of his or her desires, and must work methodically, honestly, prudently, steadfastly, all for the glory of God. As Weber observes, Labor in a calling was [.. .] the ascetic activitypar excellence (133). Alone in an individual relation with God, quit of priestly mediation and Roman Catholic acts of penance, the Protestant went to work and prospered. Such labor is endless since it is not a goal in itself; done conscientiously, it will yield riches on earth that represent prospectively (given the grace of God) the Protestant's reward in heaven. I sketch the theological dimensions of the Protestant ethic to stress the fact that it is predicated on deeply felt belief, and to recall how inextricable this belief is from the discourse of political economy. Weber argues that the logic of utilitarian political economy is an effect of Protestant theology and religious belief. Calvinism holds that This content downloaded from 157.55.39.211 on Sat, 25 Jun 2016 05:12:48 UTC All use subject to http://about.jstor.org/terms

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onsider Pauline Hopkins's short story Talma Gordon (1900), first published in the Colored American Magazine. Like many Hopkins's writings, Talma Gordon takes up the issue the tragic mulatto and the larger theme miscegenation. In this text, however, she frames these social issues in the form detective fiction, the locked-room mystery structure that Edgar Allan Poe inaugurated with Murders in the Rue Morgue. The story opens at the Canterbury Club Boston, a private club composed wealthy, well-connected white men who gather monthly to discuss questions of vital importance to the life the Republic, such as that evening's topic, Expansion: Its Effect upon the Future Development the Anglo-Saxon throughout the World (4). The speaker, Dr. William Thornton, argues that despite the efforts to thwart intermarriage among races, it is inevitable, even between the white Boston Brahmins and the far-off tribes dark-skinned peoples (5). If are not ready to receive and assimilate the new material which will be brought to mingle with our pure Anglo-Saxon stream, Thornton warns, we should call a halt in our expansion policy (5). Arguing that man is powerless to combat both fate and the laws the Omnipotent, Thornton avers that

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he banal catch phrase of the real estate industry suggests that the only thing more important than location is ... well . . . location. But what every real estate agent knows is that location is more than the material, more than the physical orientation of a place. Location involves the imagination. The economy, geology, geography, demographics, aesthetics, and history of a surrounding region, or neighborhood, all figure into the idea of a particular place-hence into its value. Landowners, and would-be owners, are not buying and selling mere property, but ideas about the way property works. Essentially, then, the real estate industry focuses on the buying and selling of ideas about place. While I am not going to suggest that real estate and higher education are completely similar enterprises, I do see a compelling, and somewhat helpful, analogy. Like real estate, higher education is promoting, attempting to get students to buy (into) ideas about place. The ideas have value, and like plots of land, their value is based on an intersection of the material and conceptual, of the real and the imagined. In other words, the value of academia for students depends upon their interpretation or creation of academic space. To buy (into) academia (and its attendant postures, behaviors, and perspectives), students must buy (into) a particular conception of the terrain. However, the processes of learning academic terrain are far more complicated than the processes of buying a plot of land. Students do not merely buy the terrain of academia as one might buy a new house. As students enter into academic space, they must, at the same time, enter into its making. And succeeding at such a feat requires significant guidance. Students must learn a vast array of cartographic skills which

Seeks to extend the work of Rosteck, Bazerman, Condit, and others by further elaborating what a hybrid rhetorical cultural study might look like. Studies the rhetorics surrounding HIV and AIDS, particularly home HIV testing. Focuses on the rhetoric of science and technology because of its cross-disciplinary nature and its potential to contribute to high-stakes enterprises, such as HIV testing.

Illustrates how significant numbers of college students are "lost": they are unsituated in academic space. Suggests a rigorous exploration of the changing academic space outside of school offices and off campuses. Presents 4 assignments that provide a conceptual place (a topic) while also prompting students to make meaning out of the people–places that constitute their daily lives.

Investigates questions of what the New London Group calls "multiliteracies." Looks carefully at various texts associated with the television show "Felicity" and considers what they have to say about contemporary popular literacies. Considers how "Felicity" acts as a kind of core sample, extracted from the broader soil of popular culture to help explore some workings of contemporary literacies. Discusses implications for the English classroom.

n his 1992 Society of America keynote address titled Rhetoric in the Vortex of Cultural Studies, Walter Beale proposed that rhetoric and cultural engage in a mutually beneficial dialectic. The point of such a dialectic, Beale clarified, would not be to absorb rhetoric into cultural or vice versa, but to invent ways to fruitfully combine the two sets of approaches. A few years later, Thomas Rosteck similarly called on rhetoricians to advance the project of rhetorical by bringing together the rhetorical tradition and contemporary cultural studies (297). With the rising stock of cultural in the disciplines of English and communication studies, rhetoricians have begun to take up these invitations, as Rosteck's collectionAt the Intersection: Cultural Studies and Rhetorical Studies attests. Some rheto-

Argues that issues of generic hybridity embody multicultural literature while promoting another kind of multiculturalism that reflects the current debates about literary canons in general and the field of American literature in particular. Considers how a reading of texts that relies on all of their component parts allows literature to perform a vital function, to foster an informed and compassionate vision of the different.

Discusses the complexity of naming nonfiction as a class of written works. Struggles with many different possible definitions of nonfiction and considers the problems with many of the definitions. Suggests the use of the term "creative nonfiction" as an umbrella to cover the widest range of nonfiction literary production. Argues that categorizing and compartmentalizing limits vision.

Discusses the topic of creative nonfiction and how it is addressed throughout this special issue. Suggests that how creative nonfiction is placed does have implications for literature and writing, both creative and non.

Describes how the author’s habit of fabrications and stories as a 10-year-old became a source for writing fiction. Notes how he pursued journalism as a profession, but was frustrated by its limitations. Considers how as a professional field, composition continues to contemplate and struggle with issues of power and representation in research and writing. Addresses the issues of power and representation and the ethical concerns that such issues entail.

Offers a presentation of creative nonfiction addressing the author’s personal family experiences. Addresses ethical issues involved in creative nonfiction. Describes how she decided to narrate her history and contemplates in depth the artistic choices she made.