Drawing on a larger year-long ethnography at a public, urban, comprehensive high school in the Midwestern United States, this article describes the texts students composed in a co-taught sophomore (grade 10) humanities course combining social studies and English language arts. Bringing together sociocultural perspectives on literacy and composition with queer theorizations of time, I argue for the utility of attending not only to time’s multi dimensionality but also its multi directionality. Doing so in writing instruction can help thaw binary polarization and foster more humanizing temporal and in turn ideological movements. To illustrate, I present an ethnographic case of students writing about the history of gendered clothing in 20th-century U.S. society. I examine how different temporal ideologies had consequences for students (not) reproducing antagonistic, polarized binaries with respect to oppressive values, in particular anti-LGBTQIA+ values as they intersect with class, race, and politics. Although my emphasis is how gender and sexuality intertwine with economics, race, and politics, this article suggests that attending to the multidimensionality and multidirectionality of time is a productive site for scholars and educators committed to praxes of justice in writing instruction.

This article provides three major contributions to the literature: we provide granular information on the development of student argumentative writing across secondary school; we replicate the MacArthur et al. model of Natural Language Processing (NLP) writing features that predict quality with a younger group of students; and we are able to examine the differences for students across language status. In our study, we sought to find the average levels of text length, cohesion, connectives, syntactic complexity, and word-level complexity in this sample across Grades 7-12 by sex, by English learner status, and for essays scoring above and below the median holistic score. Mean levels of variables by grade suggest a developmental progression with respect to text length, with the text length increasing with grade level, but the other variables in the model were fairly stable. Sex did not seem to affect the model in meaningful ways beyond the increased fluency of women writers. We saw text length and word level differences between initially designated and redesignated bilingual students compared to their English-only peers. Finally, we see that the model works better with our higher scoring essays and is less effective explaining the lower scoring essays.

Within literacy, rhetoric, and composition (LRC) studies, composing practices have been studied as an embedded feature of life, one that manifests histories, imagination, and identities through acts of writing. Likewise, in queer LRC studies, the capacity to write with queer rhetorical agency or to recognize the impossibility of composing queer subjectivity has been tied to the living. Scholars have yet to consider with adequacy, however, the ways in which writing is equally bound up with the dead, with ghosts, histories, and ancestors that animate the imagination and attendant composing practices. Tracing the historically rooted speculative composing practices (HRSCPs) of an inquiry group of nine queer composers, this article spotlights queer ancestors as speculative resources for imagining and then composing alternative rhetorics of queer futurity. Specifically, this article details how three queer composers, Coyote (they/them), Helen (she/her), and Margarita (they/them), restory the imagination, happiness, and reality with the ancestors, doing so to challenge the trope of queer unhappy endings attached to realist genres. This article concludes by inviting LRC studies to explore how HRSCPs might be integrated into future research and pedagogy and thereby pursue healing for communities long marginalized within the field.

Coming out is a powerful way for individuals to disclose, constitute, and perform membership in stigmatized identity categories. The practice has now spread far beyond its LGBTQ origins. In this essay, I examine how atheists and other secularists have taken up and adapted coming out discourse to meet their situational and rhetorical needs. Through an analysis of 50 narratives about coming out atheist, I show that atheist writers use coming out discourse to claim both high and low agency over their identities. They both follow and resist a low-agency approach that has sometimes characterized LGBTQ uses of coming out discourse. Furthermore, I argue that the attribution of high personal agency in coming out discourse and other discourses of identity can introduce themes of deliberation, choice, and uncertainty, leading to a richer public discussion of identity category membership.

Recent trends in gender and writing research avoid or ignore the issue of essentialism while attempting to formulate a theory of “composing as a woman” that might rely on essentialist assumptions. Codifying the characteristics of “writing like a woman” or “writing like a man” can result in a limited—and limiting—conception of gender and its effect on writing. To illustrate this argument, this article uses as an example of I'écriture féminine the writing of Kenneth Burke and as an example of writing like a man the prose of Julia Kristeva. It argues for conceptualizing and studying gender as a secondary factor affecting writing rather than the principal factor.