Since its inception in 2000, Reflections has functioned as a site of synthesis for community-based writing pedagogy, service-learning, public rhetoric, and community-engaged research. Such a diverse range of influences leads to the formation of a journal that is ever shifting in its identity, scope, and mission. This complexity is what ultimately defines Reflections: a publication that constantly pushes the boundaries of knowledge creation and strives to remain receptive to topics and voices that are often excluded from other academic sources. The following collaborative article offers a content analysis of all publications in Reflections’ twenty-year history (2000-2020). Though not exhaustive, this analysis highlights unique aspects of the journal’s history, methods, non-traditional genres, pedagogical and disciplinary impact, and evolving interactions with power and privilege that have made it the public conscience for Writing Studies.

This article is an experimental collaboration that blends qualitative data, archival research, and rhetorical theory with autoethnographic writing. Utilizing Jenny Edbauer’s (2005) conceptualization of rhetorical ecologies, we engage strategic contemplation and critical imagination (Royster and Kirsch 2012) to explore Reflections’ past, present, and future rhetorical landscapes. We designed, distributed, coded, and analyzed a fifteen-item questionnaire to discover the journal’s readership demographics, its archival contents, and its reverberating effects/affects on issues of public rhetoric, civic writing, service learning, and community literacy. We identified four themes—inclusivity, advocacy, pedagogy, and discovery—as the most salient features of Reflections’ twenty-year legacy. Amplifying our participants’ voices, we discuss the ways in which these four themes work to cultivate an affirming space of theoretical inquiry and ethical intervention—a networked community of mutual reciprocity that continues to transform the field of rhetorical studies today. Altogether, this article offers unique insight into Reflections’ rhetorical ecology, including its professional legacy and the ways in which the journal has innovated the genre of writing scholarship.

Common in higher education in prison (HEP) and writing studies research is the idea that writing and education are transformative for incarcerated populations. While we believe that both can be powerful tools for reflection and social change among people on the inside, the prevalence of such transformation narratives can contribute to stereotypical depictions or understandings of incarcerated people and their literacy practices. Drawing upon our experiences with the Education Justice Project (EJP), a college-in-prison program, this article argues for expanded recognition and study of literacy practices, genres, and prison education beyond those typically discussed in HEP and writing studies scholarship. In doing so, we draw on the work of Martinez (2017) to present four personal scenes of writing and education as counterstories that intervene in master narratives about how incarcerated students are transformed by literacy. This approach not only grounds our work in methodology that values the lived and experiential knowledge of marginalized people but also enables us to push back against stock stories of prison writing that might inadvertently stereotype incarcerated students. Through telling our stories in this article, we call on academics to join us in composing different stories about incarcerated students that honor the complexities of our multiple identities and literacy practices.

A proliferation of scholarship, teaching, and activism in the field of rhetoric and composition attends to prison writing, as an ethical imperative to combat mass incarceration and its dire consequences (Jacobi, Hinshaw, Berry, Rogers, etc.). However, parole board writing— arguably the genre of writing within prison most closely tied to material liberation—remains largely unexamined, both in legal studies and rhetoric and composition. The authors of this article have been working together for the past three years in a weekly writing workshop for former “lifers”—individuals sentenced to life with the possibility of parole; in this setting, parole board writing comes up often in free writes, discussions, and formal compositions. In fact, some participants have brought the pieces they read to the parole board to workshop for discussion and even continued revision. The article analyzes this prison-writing genre with participants of the workshop who coauthor the piece. We argue that the writing and rhetorical performance required of prisoners when they face parole boards enacts institutional and rhetorical constraints while simultaneously carving out new spaces for freedom and resistance. We examine how the parole board has shifted to a standard based on evaluating an inmate’s “insight” into their crimes (as opposed to being evaluated solely on their originary crimes), and we show the ways that this shift engenders new tensions between 1) writings that affirm existing power dynamics and narratives of responsibility, accountability, repentance, and transformation and 2) writings that subvert and resist dominant discourses and challenge existing power dynamics. Thus, this carceral writing process is at once coercive and subversive, oppressive and empowering, restraining and liberating for those who participate in it.

Review of Genre and the Performance of Publics by editors Mary Jo Reiff and Anis Bawarshi.

Drawing upon concepts from service-learning theorists Sarah Ash and Patti Clayton’s DEAL Model for Critical Reflection (2009), this article suggests an innovative approach to critical reflection. Rather than create separate reflection assignments, which can be problematic for a number of reasons described in this article, the author offers composition teachers strategies for embedding critical reflection concepts into composition assignments to create a “reflective course.” The author provides models of types of reflective assignments from a first-year service-learning writing course, including a research paper, a proposal letter to a member of the community, and an oral presentation. These models are adaptable to many levels of rhetoric and composition courses, to many genres, and to students working with a wide range of community partners.

This essay considers the implications of using David Russell's activity theory to re-conceptualize models of community service writing (CSW) that stem from discourse community theory. Here I argue that the notion of discourse community is of limited use to practitioners committed to CSW, because it leads students to adopt unrealistic expectations about their roles in CSW projects and it prevents them from accounting for a number of important factors while doing CSW. In its place, I offer activity theory as a guiding framework that students can use to learn about the multilayered activity systems they are seeking to work in as collaborators in CSW projects.

This article explains the procedure, content, and impact of a unique intergenerational exchange: the service-learning component of a capstone writing course focused on the complex genre of memoir. The investigation of memoir writing was conducted both theoretically and experientially as undergraduate writers worked in pairs to "ghost write" the memoirs of a fascinating group of senior citizens. This exploration of memoir—and of age as a frequently overlooked dimension of diversity—proved a powerful nexus for demonstrating the long-held belief that carefully-structured, community-based pedagogy significantly benefits its participants both affectively and academically.

This article chronicles changes in the author’s service-learning pedagogy, concentrating on his recent attention to genre and its consequences for course design. The cumulative influences of rhetoric, discourse community theory, collaborative assignments, and genre theory are traced. The core claim, however, is that instructors should help students grasp the concept of genre as social action. Included are descriptions of assignments for first-year and advanced courses, plus student samples of genre analysis memos.

Insights from activity theory—specifically, David Russell’s synthesis of activity theory with genre theory—suggest ways to understand and ease problems of clashing expectations encountered in professional writing classes that use a client-based assignment model for service-learning.

Editors’ Note: This photo essay, created by an undergraduate student at Howard University enrolled in a service learning class taught by Arvilla Payne-Johnson, preserves and documents the graffiti at the now closed Washington D.C. area Lorton Prison. The essay highlights a genre of hidden literacies claimed by inmates even in spaces of vast power differentials and exaggerated social control. We suggest that readers inspired by this project to pursue similar work also consult Jeff Ferrell’s Crimes of Style: Urban Graffiti and the Politics of Criminality (NY: Garland, 1993), Ralph Cintron’s Angels’ Town : Chero Ways, Gang Life, and the Rhetorics of Everyday, and Pete Vandenberg et al.’s “Confronting Clashing Discourses: Writing the Space between Classroom and Community” in Reflections 2.2 (Spring 2002): 19-39.

In his introduction to Life Stories, a collection of New Yorker Profiles, David Remnick confesses that "the Profile is a terribly hard form to get right." Conceived as a form to describe Manhattan celebrities, the genre now travels widely and along all emotional and occupational registers. One quality runs through many of the best Profiles, though, notes Remnick: a sense of obsession. The Book Man is one student's foray into the genre of the Profile. It was written in an Introduction to Creative Nonfiction course and is based on her service-learning experiences for which she earned an optional fourth credit.

At a moment when multiculturalism is inspiring new directions for studying non-fiction, new literary genres are emerging, including the oral history narrative. This essay explores the value of the oral history narrative through its recovery in a service-learning course. Interrogating questions of genre, subjectivity, ethics, and composition, this paper affirms the place of oral history recovery in the composition classroom and proposes innovative strategies to remake a basic assignment into an interdisciplinary event.