Abstract
As College English's recent special issue on the social turn can attest, English studies in general and composition studies in particular have often embraced the epochal language of "the turn" to gauge its self-efficacy, often hinging on the mission of its determined publics and/ or the liberal mission of the university. It is in this context that Frank Farmer's book, After the Public Turn: Composition, Counterpublics, and the Citizen Bricoleur, is welcome, as it attempts to put these turns into perspective by splicing the concept of counterpublics into our understanding of two publics often evoked in composition studies: one cultural and ad hoc, one disciplinary and institutional.