Disciplinary histories of composition studies argue that the mission of communication programs shifted during World War II: from striving to democratize higher education to promoting uncritical patriotism. Historically black colleges and universities (HBCUs) rarely figure into these histories, in part because they seldom appeared in the era’s scholarly publications. Recently digitized African American newspaper archives invite a counter narrative of wartime democratizing pedagogy. Press coverage highlights the Hampton Institute Communications Center, the most widely publicized and politicized site of literacy instruction during the war. The controversy it engendered shows Hampton and other HBCU curricula forwarding wartime literacies that constituted patriotic resistance to Jim Crow segregation.

The gendered rhetorical constraints imposed on female writers in mid-nineteenth-century letter-writing manuals are challenged by the representations of letter writing in Susan Warner’s  The Wide, Wide World and Maria Cummins’s The Lamplighter, popular mid-century novels. By investigating imaginative literature by women as a site of women’s rhetoric, feminist historians of rhetoric can recognize that the battlefield for expanding women’s rhetorical agency in the mid-nineteenth century is not primarily located at the division between domestic and public realms—the site emphasized in current histories of women’s rhetoric—but is interior, where letter-writing rhetorics seek to police habits of mind.

This essay draws on genre theory and recent conceptualizations of the personal as rhetorical in order to investigate the collective stakes of writerly self-representation. Contextualizing and analyzing a widely published early twentieth-century genre, the vocational autobiography, I argue that female professionals made use of the rhetorical resources available in the genre to personalize their professional identities, counteracting a widespread discourse of exceptionalism and flouting widespread advice about the necessity of strict separation between personal and professional identities. By using personal narratives to depict their gendered and embodied presence in powerful professional spaces such as laboratories and newsrooms, female writers made use of this genre to normalize their presence and to open up access to such spaces for other women.

Holdstein examines the threads that connect three seemingly disparate books in composition studies: Agents of Integration: Understanding Transfer as a Rhetorical Act by Rebecca S. Nowacek, The Materiality of Language: Gender, Politics, and the University by David Bleich, and The Promise of Reason: Studies in The New Rhetoric, edited by John T. Gage.

This special issue of College English brings together well-established scholars of intellectual property as they present fresh work to the field. Their essays offer wide-ranging, provocative explorations of intellectual property as a cultural artifact over the past three centuries.

Recent movies and television programs frequently depict the English professor as a dangerously seductive man associated with sexual transgression and other illicit temptations. This stereotype reveals a widespread ambivalence, a fascination intermingled with distrust, generated specifically by figures who preside over the study of literature in the academy.

English faculty in community colleges feel pressured to make their composition courses acceptable for transfer to four-year schools. In particular, many of them feel obligated to emphasize academic research and argument at the expense of literature. But community college students will benefit from first-year courses that address a wide range of discourse by integrating literary study with writing instruction.

Keeping in mind the Chinese character-combination yuyan, with its multiple meanings of language, parts of language, the processes of language, and the products of those processes, the author depicts English as kept alive by many people and by many different ways of using it in a wide range of personal, social, and historical contexts. She proposes four lines of inquiry “against the grain” of English-only instruction—that living-English users weigh what English can do for them against what it has done to them; that they weigh what English can do against what it cannot do; that they understand English as being in the hands of all its users; and that they focus energy on how to tinker with the very standardized usages they are pressured to “imitate”—and discusses the implications of those lines of inquiry for composition in the United States.

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.

Addresses the climate of disappointment that characterizes English studies generally and composition studies--particularly writing program administration (WPA). Considers that the context of disappointment is shaped by a number of overlapping factors including: the widely perceived job market collapse in the humanities; the national abuse of adjunct teachers of first-year writing courses; and the general devaluation of the humanities.

Considers the wide variation of first-year composition programs and if they do indeed vary so widely. Considers what the programs have in common. Asks if it would be possible to articulate a general curricular framework for first-year composition, regardless of institutional home, student demographics, and instructor characteristics. Presents a list of outcomes approved by the Council of Writing Program Administrators.

Addresses the evolution of the most authoritative and widely used textbook in world literature courses in the United States, “The Norton Anthology of World Masterpieces.” Questions if the “Norton Anthology” has provided educators who are committed to the teaching of world literature from non-Eurocentric perspectives with a useful tool, or if the anthology reproduces the canon’s ideological underpinnings.

Urges compositionists to reframe Writing across the Curriculum (WAC) to reach beyond university boundaries. Reviews calls for an expanded conception of WAC, describes a program that carries writing instruction and literacy research beyond university boundaries, and suggests problems and benefits that may accompany this change of orientation for writing programs.

Argues a need to reposition Writing Across the Curriculum (WAC) theory. Examines current myths about WAC. Discusses what WAC is, what it does, and what it can become.

Describes two ways that teaching and responding to student writing are being pressured by rapidly developing technologies now being introduced into educational institutions. Discusses (1) the increasing replacement of face-to-face contact by “virtual” interaction via multimedia technology, e-mail communication systems, and the recently expanded capabilities of the World Wide Web; and (2) distance education.

Notes that in Native American storytelling, memory is seen through an already existing story or recognized as a familiar category of experience that is widely shared. Suggests that the implications of the merging of tribal memory and personal memory are profound and that the reach of the storyteller’s memory extends beyond his own lifetime, her own experience.

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In the new world of writing across the curriculum, English departments are still trying to find their role. They have been in charge of writing instruction for so long that they often feel that they should institute, or at least lead, writingacross-the-curriculum programs. But I want to argue that the English department should have no special role in writing across the curriculum-no unique leadership role and no exclusive classes to teach-not even freshman composition. Instead, a writing-across-the-curriculum program should be designed, administered, and taught equally by all departments. True writing across the curriculum should be based on dialogue among all the departments, and, in this dialogue, the English department should be only one of the voices.