This article applies Kenneth Burke’s concept of piety to an evaluation of nine recovery stories from members of four different 12-step fellowships. In this theoretical context, recovery can be explained as a process of adopting and remaking pious systems. All nine recovery stories follow a similar pattern: (1) identifying difference and similarity in the community; (2) letting go of old pieties; (3) adopting group piety; and (4) inventing and remaking individual systems of piety. This analysis investigates how individual and group pieties interact to strengthen or threaten individual recovery and group cohesion.

This article argues for a framework of material methods, a forefronted material-rhetorical approach to archival research, applying material-methodological heuristics of rhetorical accretion and proximity. The article offers an extended example of archival research undertaken at the Public Records Office of Northern Ireland (PRONI). Such heuristic content generated by a material approach is valuable in two ways. First, it offers readable layers of rhetorical accretion that deserve examination and analysis as separate texts in order to make meaning of research processes. Second, such content makes archival methods more transparent while resisting an untroubled narrative arc of our stories of research.

This article argues that historians of composition studies are burdened by adherence to history-as-narrative in archival research, whether supporting or countering master narratives of the field. I propose that historians redefine their work in conversation with the principles of archival ethnography, a concept from the field of library and information science. Reseeing historiography through this lens means privileging the position of the archivist as community interloper, thus creating a shift in responsibility from interpretation of archival material to public transmission thereof. Re-imagining the historian's role as ethnographic also aims to redress the ethical burden of inevitable re-presentation of past agents, practices, and values.

Abstract Doug Peacock, known as the inspiration for Edward Abbey's George Hayduke in the environmentalist comedy The Monkey Wrench Gang, has published his own accounts of their relationship and his conservationist work. These memoirs recount his experiences with PTSD after serving in Vietnam and argue for grizzly bear conservation. By using trauma to establish identification with the audience, the texts encourage readers to value other species and their own while resisting the totalizing tendencies of Burkean consubstantiality. The texts build identification and preserve difference through narrative structure and appeals to collective memory that encourage empathy yet stress the specificity of personal experience. Notes 1 I thank RR peer reviewers Jeremy Engels and Randy Lake for their valuable suggestions and encouragement. 2 On the representation of My Lai in popular cinema and how collective memory of the war has evolved, see Owen.

Abstract Co-owning and writing for one of the world's largest private publishing houses in the 1920s and 1930s, Marcet Haldeman-Julius's (1887–1941) position should have guaranteed her a place in American women's literary history. Haldeman-Julius's socialist and feminist exigency, though, was elided by a complex and emotionally abusive marriage to her editor and publisher, Emanuel Haldeman-Julius, whose final approval represented her chance to effectively enter the public sphere. This study recovers Haldeman-Julius's work and traces her significant attempts to negotiate the paradox of writing as a feminist in ways rhetorically coded to escape certain audiences and to activate others. Notes 1I want to thank Catherine Hobbs for her meticulous reading of my manuscript and her insightful and charitable guidance in bringing this piece through the review stages. I would also like to thank Breon Mitchell at Indiana University's Lilly Library, as a portion of my research was made possible by a Helm Visiting Fellowship. Thanks also to Randy Roberts and Janette Mauk at the Leonard Axe Library at Pittsburg State University for their generous assistance during the research process as well as Teresa Coble at the Kansas State Historical Society. I would also like to publicly express my gratitude to Frank Farmer, Maryemma Graham, Brian Donovan, Amy Devitt, Susan Gubar, Bill Tuttle, Ann Schofield, and James Gunn for their guidance, time, and encouragement, at various stages of this process. In the end, though, I owe the most to Rebecca, Gus, Mae Hazel, Reba, and Steve for their patience, energy, and optimism.

Abstract This study offers scholars in composition and communication studies an opportunity to reflect on the relationship between feminists and rhetoric in the context of edited collections. The author first recasts recovery and gender critique as inventive arts for editors, and then analyzes a selection of edited collections' framing texts to demonstrate how editors compose their collections by mediating these arts. This work reveals that an early either/or relationship between the arts of recovery and gender critique gives way to a both/and approach that opens possibilities for multiple, rich avenues of inquiry in feminist rhetorical studies.

(1989). Rhetorical history as a component of composition studies. Rhetoric Review: Vol. 7, No. 2, pp. 230-240.