In this essay, Sperling and DiPardo place their editorship in the context of key national and global currents of that time, which continue to evolve today. They argue that these currents touch on the work of English, language arts, and literacy educators, reflecting and shaping a number of phenomena: ever-new and surging cultural, social, and language diversities in our classrooms;technology’s mark on language and literacy, along with its benefits and constraints; the sometimes heavy hand of politics and policy on the day-to-day workings of the classroom; and, in sum, what it is that we’re supposed to teach and know as part of our English/language arts calling. This essay embeds itself in these issues in discussing RTE research from 2003 to 2008 and in thinking about the issues and research our field will encounter in the coming years.

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This issue of Research in the Teaching of English offers an array of perspectives that, like the discipline of English language arts itself, hit some recurrent notes but tend toward a kind of choral complexity.

In these pages we once again witness the complexity of the teaching-learning process”in elaborately woven webs of instructional talk, in teachers’ and students’ stumbling attempts to reach shared understandings, in the difficult task of assessing what students have already mastered, and in our efforts to develop insights into the needs of diverse learners.

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Occasional dissent notwithstanding, “expository” prose—usually conceived as depersonalized and decontextualized—continues to be the main focus of most writing instruction at the secondary and college levels. This article critically examines the opposition of objectified exposition and personal narrative posited by rhetorical tradition and maintained by most composition texts and syllabi today. The liveliness of recent cross-disciplinary discussions regarding the narrative as a uniquely rich mode of thought and discourse contrasts rather sharply with the negative and often impoverished assumptions about storied prose held by most composition theorists and teachers. Unsupported by empirical evidence, such assumptions reflect a cultural bias that prefers abstractions to stories and fails to grasp their dynamic interplay. Where writing instruction is concerned, narrative and exposition are best perceived as poles of a dialectic, with personal experience informing one's interest in abstract knowledge beyond the self, the understanding self becoming enlarged as it “takes in” what is “out there.” The best thinking and writing, it is argued, are at once personal and public, both infused with private meaning and focused upon the world beyond the self.