This essay argued that, in the post-Dobbs era, reproductive justice-themed mural art serves a memorializing function as well as a site of utopic imagining in a time of declining access to reproductive healthcare. The author has used personal experience as a clinic escort to ground a visual rhetorical analysis of three reproductive justice-themed murals across the United States. The essay has identified recurring aesthetic elements in the murals’ compositions, including the female gaze, flowers in bloom, haloes, bold directional symbols, and affirming text. Drawing on reproductive justice scholarship and feminist rhetorical theories of place, the author argued that these aesthetic elements counter fetal personhood rhetoric and assert reproductive justice principles.

[Introduction] Edited by Linda S. Svitak and Christin Jaye Eaton, with Lee Svitak Dean, and published by the University of Minnesota Press, Kitchens of Hope: Immigrants Share Stories of Resilience and Recipes from Home (2025) fits neatly into the popular genre network of cookbooks that blend essay with recipe, mixing memoir with meals perfected over generations. But this book doesn't simply share the legacy of Liberian rice bread or summer beat soup. It explores the migration of these dishes and their cooks, contextualizing stories of displacement and development. Because of the breadth of this book, Mikhail Bakhtin might describe this collection as a chronotope of sorts, a configuration of time and space that "takes on flesh, becomes artistically visible" (qtd. in Bemong & Borghart, 2010, p. 4). Through Omedi Ochieng's lens of chronotopian humanitarianism, this book is a rhetorical tool for feminist scholarship seeking to counter a Eurocentric understanding of how and why people and stories move around and through the world.

At a time in history when we are faced with an authoritarian, misogynist, racist, imperial regime that has actively dismantled higher education in the USA, what does it mean to stand as an academic witness against the consolidation of white supremacy, of imperial regimes, of the normalization of gender, race, caste and class violence, of religious fundamentalisms and climate disasters, economic dispossession and the carceral state within and beyond the walls of the academy?In this special issue devoted to Transnational Feminist Rhetorical Studies, contributors mobilize critical race theory and transnational feminism to bear witness to the deeply violent, neoliberal, eurocentric narratives of the US academy that objectify, erase, and colonize minoritized international communities from the Global South.Using feminist autoethnography and counter-storytelling, these courageous authors develop complex, theoretically provocative analyses of a variety of rhetorical landscapes in the academy mapping the academic journey of a queer South Asian educator (Saurabh Anand); speculative linking and corporeal rhetorics--the body as the site, producer and consumer of labor in transnational feminist rhetorics (Florianne Jimenez); transnational counterstories and autoethnographies of Bangladeshi women (Abantika Dhar and Ridita Mizan); challenging female fragility and objectification of hegemonic narratives of refugees using counter-storytelling by Syrian Muslim women refugees to develop genealogies of agency and resistance (Nabila Hijazi); and finally, Sarah Cathryn Majed Dweik and Bernadita Yunis Varas' compelling autoethnographic, theoretically and historically grounded analysis of Palestinian feminist survivance rhetorics bearing witness to the profound impact of the occupation, colonization and genocide of Palestinians in the West Bank and Gaza.In speaking back to racist, colonial, objectified hegemonic knowledges normalized by the US academy these young scholars illustrate the profound significance of bearing witness to injustice, just as James Baldwin and many others stood witness to racism and white supremacy.

A photo of an orange and black Monarch butterfly.The butterfly is in flight against a light blue sky and field of yellow wildflowers.The butterfly is situated toward the upper left hand corner of the image.The background of the field is out of focus, while the butterfly heads toward a foreground of yellow flowers in focus.

[Introduction] "Hope is not like a lottery ticket you can sit on the sofa and clutch, feeling lucky. [...] Hope is an ax you break down doors with in an emergency." - Rebecca Solnit In 2018, Cheryl Glenn wrote, "The work of feminist rhetorical historiography is far from done; in fact, it has just begun-and it is anchored in hope." Following Glenn, we explore hope in this cluster as a methodological imperative in the archives. Informed by theorists Paulo Freire, bell hooks, Rebecca Solnit, and Cornel West, the writers in this Cluster Conversation envision hope as a radical orientation toward building new worlds and a willingness to do the work to make those worlds possible. Following the models of Jacqueline Jones Royster, Charles Morris, Terese Guinsatao Monberg, and others, we see archives and archival methods as a particularly valuable part of doing such work. As Linda Tuhiwai Smith argues in Decolonizing Methodologies, "To hold alternative histories is to hold alternative knowledges. The pedagogical implication of this access to alternative knowledges is that they can form the basis of alternative ways of doing things" (36). Archives and archival methods are vital to creating such alternative histories and knowledges.

10 for graduate students and $25 for faculty; more information is available at cwshrc.org.Cover Art: a print (etching and aquatint) showing an elf woman in a tree.She is nude and is using a long branch to point downward at a bear who is looking up at her.In the background are other leafy branches and a scenic cove.The

10 for graduate students and $25 for faculty; more information is available at cwshrc.org.Cover Art: a fractal in shades of black, dark blue, light blue, orange, yellow, and white.The lower left corner is a right triangle in solid black with the words "Peitho 26.4 Summer 2024 Special issue: Small and Subtle Feminist Rhetorical Doings" in a slightly slanted font, all caps, in yellow.It is inspired by adrienne maree brown's idea about fractals and patterns: "what we practice on a small scale can reverberate to the largest scale.