This article describes the year-long collaborative composing process of a rural writing center seeking to develop an anti-racism and social justice statement. The author reflects on the way in which rural perspectives are often dismissed, often seen as provincial and hostile towards ideas that might be included in an anti-racism and social justice statement. The piece also connects theories of composing, fluidity, and identity to the writing of the statement and provides a detailed analysis of the lengthy, often challenging composing process used. The author finds that the collaborative composing process, more than the resulting statement, was significant to the ongoing dismantling of racist practices in the writing center and in training writing center consultants.

On November 2, 2016, Theresa Jarnagin Enos unexpectedly passed away at her home in Tucson, Arizona, leaving behind a trailblazing legacy of work in writing, teaching, scholarly editing, (wo)mentori...

Our initial research questions are concerned with the ways in which youth slam performance in this space contains the potential for not only response to, but urgent and active movements against, regressive contexts, such as the legislative moves in Arizona that have limited young people’s comprehensive access to narratives of sexuality, health, and rights.

As more and more multimodal projects emerge through writing program curricula, and as community literacy projects redefine what it means to facilitate change and reciprocity through generating multiple texts for multiple audiences, we think it would be useful to consider the significance and prevalence of the selfie as a genre, particularly in regard to its potential power to inspire social activism and critical consciousness.

In Slam School: Learning Through Conflict in the Hip-Hop and Spoken Word Classroom, Bronwen E. Low argues for the significance of critical hip-hop pedagogies, particularly when engaging with racial and social conflicts in educational settings. Low collaborated with a teacher at an urban arts magnet high school in the northeastern United States through a performance poetry course that was taught using a hiphop and spoken word curriculum. Overall, Low's book is useful for community literacy scholars as an application and assessment of a popular practice and growing pedagogy in schools and community organizations.