Our article examines the challenges that “outsiders” face as academic leaders in higher education, with a special emphasis on the specific complications prevailing in the rhetoric and composition fields within English studies. We survey descriptive statistics and historical evidence to locate several of the problems confronting women and others newly and provisionally admitted to—and more often, still excluded from—the highest levels of academic leadership. Then, we bring together feminist-revisionist advocacy tools and Ernest Boyer’s alternative vision for “engaged scholarship” to suggest ways that leadership work formerly categorized as simply administrative duty or mere service be recognized for its broad-ranging impact both on campuses and the public domain.

This article investigates the spatial politics at work in composition and rhetoric's turn toward revisionist historiography. Drawing on critical spatial theory, the author seeks to answer a fundamental question: What would it mean to formulate a historiography for composition that brings an interrelation of space and time, of spatial and historical work, to the fore? This article expedites this foregrounding by highlighting the ways in which the divisions between time and space have already grown increasingly tenuous in our revisionist historical scholarship and by providing this interrelatedness a vocabulary—a space-time hermeneutic—to highlight and predict its theoretical and political implications.

Tracing the revisions Frederick Douglass made as his Narrative of the Life of Frederick Douglass (1845) metamorphosed into My Bondage and My Freedom (1855) and ultimately into the Life and Times of Frederick Douglass (1881, 1892), the author suggests that, while much attention has focused on Douglass’s seizing a “forbidden literacy” in transforming himself from object to subject, the crucial, and ever-increasing, role of African American vernacular traditions in his writing should be recognized.

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Examines representatives of the story cycle genre--Louise Erdrich’s “Love Medicine” and Gloria Naylor’s “The Women of Brewster Place.” Examines a revisionary episode from each text to situate story cycles in a frame that embraces both Western and non-Western traditions. Suggests that scholars, teachers, and students see and celebrate the diverse realities of spirituality, magic, and communal memory.Examines representatives of the story cycle genre--Louise Erdrich’s "Love Medicine" and Gloria Naylor’s "The Women of Brewster Place." Examines a revisionary episode from each text to situate story cycles in a frame that embraces both Western and non-Western traditions. Suggests that scholars, teachers, and students see and celebrate the diverse realities of spirituality, magic, and communal memory.

Suggests that Jane Smiley’s “A Thousand Acres” is a faithful and a “profoundly subversive” revision of Shakespeare’s “King Lear.” Argues that the terms in which the novel have been most frequently praised, no less than the case made for banning it, raise important questions about the relationship between the novel’s secret and the source of Smiley’s Shakespearean “production.”

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