VOICES is a digital, student-led publication at Morehouse College that showcases the rhetorical choices African American men in an HBCU setting make in communicating issues of importance to them. I believe that activism, like leadership, begins at home. For these Morehouse College students, activism and leadership begin at “The House,” inside the Composition Classroom, where these young men engage in the writing process—from brainstorming to outlining, to drafting, to peer review and revision, and ultimately to publishing their work. From their choice of photos to the essays, short stories, poetry, and sketches they chose to include in this publication, VOICES shows how writing communities foster confidence, nurture scholarship, and provide a positive space for Black male voices, which is where Black activism ultimately begins.

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.

This essay presents the trajectory of a syllabus statement on linguistic and cultural pluralism and its role in the articulation and revision of a pedagogical approach that foregrounds students’ linguistic diversity and partnerships with local communities. In recounting the steps and stakeholders involved in crafting the statement, the author argues that this statement functions as an activist text. The author also contends that the field of composition studies should take on an activist agenda when it comes to language rights. Composition studies needs to go beyond merely accepting language pluralism to actively engaging and dismantling oppressive discourses and normative practices. By establishing explicit values and ideologies, the linguistic and cultural pluralism statement has the potential to promote and foster a culture of cross-cultural and global perspectives in the classroom through students’ ties to local communities.

Writing assignments carry political ramifications even when they attempt neutrality; students should learn that all writing occurs within larger contexts of power. To accomplish this goal, I advocate instruction derived from practices of critical rhetoric, critical revision, and critical discourse analysis. Rhetoric education, based on Donald Lazere's Reading and Writing for Civic Literacy, trains students not only for academic writing, but for citizenry. Students write what David Bartholomae calls "practical criticism," critically revising their own texts. Also, students may practice the methodology of critical discourse analysis, as prescribed by Thomas Huckin, in a course that integrates civic literacy with introductory CDA assignments.

The writing I received in my first-semester composition class at Xavier University in New Orleans, Louisiana, the semester immediately following Hurricane Katrina was stunning with respect to both student commitment and narrative sophistication. In this essay, I analyze a representative example of this writing entitled "life During Katrina" by a student I have called "K." The student's essay developed a thesis, documented a chronology, increasingly included detail, naturally included dialogue, and reached a sensitive and sophistication. In this essay, I analyze a representative sincerely reflective conclusion. Moreover, the student (like my other students in that class) was extraordinarily committed to revision, working diligently on issues of both grammar and clarity. My own conclusion to the remarkable post-Katrina student writing I experienced is that our teaching of Freshman Composition can be much more artificial than we really desire it to be. How to make first-year writing courses more meaningful to students is an imperative that I believe we must continue to explore.