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English Teachers’ the Unofficial Guide: Researching the Philosophies of English Teachers; B. Marshall. Attending to the Margins: Writing, Researching, and Teaching on the Front Lines; M. H. Kells & V. Balester. Mutuality in the Rhetoric and Composition Classroom; D. L. Wallace & H. R. Ewald. Talkin’ That Talk: Language, Culture and Education in African America; G. Smitherman. Writing Simple Poems: Pattern Poetry for Language Acquisition; V. L. Holmes & M. R. Moulton.

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Discusses how social identity plays a significant role in defining the nature of classroom interaction. Describes how unresolved conflict emerged when the development of authentic student voice in narrative autobiography was the primary and perhaps only objective. Presents an example of the ways in which asymmetrical power relations influence how discourse works in the expressionist composition classroom.

Presents an assignment in which students look through a handful of poetry collections or anthologies, seeking 20 poems they like and thus understand or want to understand to some extent. Describes the benefits of this assignment, including honing students’ interpretive skills, dispelling their misconceptions about the genre, and continuing their "initiation into art."

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Discusses how a networked classroom environment—either to supplement or to replace traditional face-to-face class discussion—offers English teachers opportunities that can help make class discussion more engaging, more worthwhile, and significantly more effective as a teaching tool. Considers how to use new technology in the classroom to enhance class discussion.

Addresses past and current issues concerning teacher response to first-year student writing and suggests that teacher intervention should be viewed as a writing process itself. Describes the author’s own process of responding to student writing, which he hasfound to be very effective. Concludes that individual teachers must decide for themselves what ways of responding best suit their teaching styles.

Discusses how an online environment enhances the effectiveness of peer critique. Describes experiences with peer critiquing by computer. Notes that students responded favorably to online critiquing. Concludes that the results were critiques that were lively and personable—not matter-of-fact and dull like many handwritten ones.

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Available in print version only.

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Considers how screening Stanley Kubrick’s “2001: A Space Odyssey” in a sophomore film class shows modern community-college students that millennial anxiety existed well before late 1999, the time of “Y2K” fears. Presents an assignment that examines “2001: A Space Odyssey” in the context of its time and in 2001.

Considers how the introductory business writing course is appropriate for the development of critical literacy, especially for students at second-tier, working-class colleges. Notes that the opposition between labor and management offers rich opportunities for the critical examination of corporate rhetoric, opportunities that are as relevant in business writing class as they are in other courses.

Describes how a veteran writer and English teacher who only recently began writing poetry encourages others to invigorate their teaching by taking up a new writing genre. Details the lessons he has learned from poetry and passed on to his own students. Outlines six problems he encountered and presents solutions for each.

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Notes that beyond the challenges of technology and time, online teaching also elicits unexpected introspection about the role as instructors, the changing relationships with colleagues, and the evolving perceptions about the students. Outlines five achievements and challenges associated with online first-year composition.

Suggests that educators need to let students know that sometimes messages are sent in the hopes of confusing or misleading readers or listeners. Notes that people sending such messages include politicians, marketers, educators, parents, entertainers, medical personnel, and in fact, anybody and everybody. Considers how modern media makes it easier for people to manipulate others.

Reviews three books: Class Politics: The Movement for the Students’ Right to Their Own Language, by Stephen Parks; (Re)Visioning Composition Textbooks: Conflicts of Culture, Ideology, and Pedagogy, edited by Xin Liu Gale and Fredric G. Gale; Exploring Literature: Writing and Thinking about Fiction, Poetry, Drama, and the Essay, by Frank Madden.

Considers how reading Jane Tompkins’ “Sensational Designs” helps foster a new appreciation of the ways in which students contribute to the creation of a literary work. Discusses how students responded to their semester-long study of various “neglected” 19th-century women writers.

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Considers how mapping literary works provides students with a powerful tool for critical analysis. Suggests that educators need to force students to do something different with the text. Notes that the author’s solution is to insist that her students visualize the text on paper.

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Presents and discusses a study of 129 first-year composition students that identifies both their expectations and frustrations. Focuses on how such results demonstrate students’ ambivalence about classes and educators as well as their ability to function as effective writers.

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Discusses some methods educators can use to ensure that grading supports and enhances learning. Suggests ways to grade written work that will enhance learning. Notes that teachers benefit from collaborative grading, primarily as a result of discussing grading practices with colleagues and sharing ideas about effective methods. Presents guidelines for effective grading.

Argues that students are more motivated and develop more effective skills if challenged with assignments that ask for the depth of thinking required of academic disciplines and careers. Encourages composition teachers to experiment with assignments that challenge assumptions about first-year students’ capabilities.

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Discusses how current scholarship argues against one-shot, high-stakes writing tasks. Presents work from students that were part of a team-taught curriculum that coordinated writing and reading classes. Designs activities that would provide a core of material for students to draw on in their final testing situations.

Suggests that students can become motivated and engaged to improve their writing through guided interactions that target their affective, social, and cognitive capabilities. Presents fictional case scenarios developed from first- and second-year college students’ comments about their writing to help students assess their perspectives on writing, assess their interaction with writing instructors, and develop self-efficacy of the writing process.

Shows how an editing assignment emphasizing punctuation can help students in a first-year writing class discover new ideas and perspectives as part of the revision process. Considers a class that experimented with editing punctuation for a dual purpose--as a revision heuristic as well as for correctness. Reconsiders editing and revision assignments to take better advantage of editing’s generative powers.

Through two personalized instructional tools - usage scans and the "fix-it page" - students become more aware of their own patterns of mechanical errors, learn to locate and correct their errors, and learn to use a handbook.

Peer review requires training and reinforcement to be successful, yet, even then, students often lack the experience and perception to offer good advice to one another. Ransdell, advocates instead for more focused guidance through use of whole-class workshops. Here, she explains the logistics of running a class workshop and addresses both the advantages and disadvantages of the technique, noting that the negatives are far outweighed by the positives.

Sutton and Collins describe their team-taught humanities course that combines “Introduction to Ethics” with “Argument-Based Research.” The course asks students to examine ethical situations and seeks to establish a forum for deliberation in hopes that students will learn to express themselves more persuasively and self-critically while gaining empathy to those whose views and practices differ from their own. The ultimate goal is that rhetoric and ethics reach further from the classroom and into every day life.

A Group of Their Own: College Writing Courses and American Women Writers, 1880–1940, by Katherine H. Adams; Everyone Can Write: Toward a Hopeful Theory of Writing and Teaching Writing, by Peter Elbow; Teaching Composition as a Social Process, by Bruce McComiskey.

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Research has shown that contemporary popular films are a valuable resource in the ESL classroom. However, the short, silent film has been overlooked. Using D.W. Griffith’s The Painted Lady, Kaspar and Singer demonstrate how to use silent films to facilitate the development of ESL students’ critical thinking and writing skills.

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Using Bakhtin’s comparison of the two basic kinds of medieval festivals - official feasts and carnivals - as seen in “Rabelais and His World,” Heilker identifies two ways to teach the ritual of writing. First, students are trained to practice only one kind of writing - the official feast of thesis and support writing. But there is also an opposing and complementary public writing ritual - the carnival - that allows for liberation from accepted conventions and the freedom for students to reinvent themselves and their worlds. Students should be prepared not only to practice the official feast, Heilker says, but also to engage in carnivalesque writing as well.

Shafer recalls the process he and his colleagues in a community college writing program experienced in setting out to define their writing program and the theoretical framework upon which it was based. He reviews the literature that led the department to adopt a more process oriented, student centered curriculum.

Waggoner interviews for 2-year college creative writing instructors to find out about the present and future state of creative writing education.