The forum contributors draw on their personal experiences and insights to put forth ideas about contingent faculty’s relations with the profession of English studies in general.

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The authors define midrash and explain its importance as a Jewish rhetorical practice, focusing on how two particular examples of midrash deal with the deity’s response to the destruction of the Temple.

The guest editor introduces the issue’s essays by reviewing previous scholarship on Jewish rhetorical studies. She points out that the question of how to define a distinctly “Jewish” rhetoric is hard to resolve. Ultimately, she argues, an author’s or text’s relation to Jewish traditions should be pragmatically determined, through analysis of specific historical or geographical contexts.

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The guest editor introduces this special issue on Chinese rhetoric by emphasizing that we should (1) focus on how the Chinese engaged their domestic and foreign Other; (2) be prepared to acknowledge and validate voices that call for or search for other paradigms; and (3) resist the temptation to codify any definitions of rhetoric even as we seek non-Western alternatives.

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“Crash” does better than the Sidney Poitier looks at racism, but it still engages in stereotyping. In fact, the film becomes interesting if you see it as a study of stereotypes as a maze you can’t walk out of.

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Teaching films like Crash gives teachers and researchers the opportunity to discuss films as social texts that engage students in critical thinking and self-reflection. This particular movie is especially effective in its use of a pulp-fiction visual rhetoric. Unfortunately, the film equates and replaces the term “race” with the term “prejudice” and then argues that everyone is a little prejudiced. The result is a missed opportunity to investigate whiteness as a powerful social construction.

“Crash” has value insofar as it dives into the muck and dirt of racial and ethnic tensions. But the film de-voices African Americans in the face of white privilege, and it papers over significant social tensions by ultimately emphasizing love and redemption.

“Crash” is a means for classes to explore the complicated interpersonal, social, and political legacies of the civil rights movement. Nevertheless, it is important for students to examine how, on the subject of racism, the movie blurs the distinction between individual moral choices and larger institutional practices.