Organizations like the John Reed Clubs and the WPA Federal Writers’ Project, as well as publications like The New Masses can be seen as “literacy sponsors” of the U.S. literary left in the 1930s, particularly the young, the working class, and African American writers. The vibrant, inclusionary, activist, literary culture of that era reflected a surge of revolutionary ideas and activity that seized the imagination of a generation of writers and artists, including rhetoricians like Kenneth Burke. Here I argue that this history has relevance for contemporary community writing projects, which collectively lack the political cohesiveness and power of the national and international movements that sponsored the 1930s literary left but may anticipate another global period of struggle for democracy in which writers and artists can play a significant role.

This article tells the story of the Long Island University lockout, analyzes its implications for struggles against the corporatization of higher education, and contributes to the discussion of resilience as a tool for collective organizing.

This article describes how a first-year learning community combining library, archival, and digital literacies facilitated students’ grasp of threshold concepts of academic research and writing. It argues that critical-rhetorical processes and pedagogies can help counteract neoliberal educational trends that interpellate students as consumers rather than learners.

This article draws parallels between the Great Depression and the great recession that began in 2007 in light of the history, methods, themes, and relevance of the New Deal Federal Writers’ Project (FWP) to contemporary community writing projects. Through a critical analysis of the FWP’s legacy as both a twentieth-century American epic and a lesson in powerful, sometimes flawed methodologies, this article suggests that a twenty-first-century reprise of the FWP would unify and inform already existing university-community partnerships to enact the “public turn” called for in composition and other disciplines at a critical juncture in American—and world—history.

Reviewed are Basic Writing by George Otte and Rebecca Williams Mlynarczyk; Basic Writing in America: The History of Nine College Programs, edited by Nicole Pepinster Greene and Patricia J. McAlexander; Before Shaughnessy: Basic Writing at Yale and Harvard, 1920-1960 by Kelly Ritter; The Rhetoric of Remediation: Negotiating Entitlement and Access to Higher Education by Jane Stanley; and The Way Literacy Lives: Rhetorical Dexterity and Basic Writing Instruction by Shannon Carter.

This essay reports on a university-school oral history project at an elementary school in Brooklyn, New York. It theorizes the dialectic of place and history as expressed in the voices of the school community and goes on to suggest some tenets for a public sphere pedagogy rooted in material rhetoric and economic geography.

The difficulty of resolving the contradiction between personal and academic writing, experience and analysis, and local and global phenomena resides in deeper binary oppositions that continue to haunt us. Time and space, history and structure, are the larger frameworks in which we operate. Understanding the dialectical relationships of these coordinates illuminates the material and social processes of the production of culture, language, and history, suggesting a theoretical perspective based on a unity of opposites rather than their polarization. Through reflection on a course taught according to these principles, the author argues for a dialectical writing pedagogy.