This article examines the development of advanced writing curricula at a historically black public university during postrecession austerity measures. Analysis of institutional documents suggests that advocates enacted selfdetermined curricular changes by using strategies of subversive resilience to neoliberalism. Simultaneously accommodating and resistant, this form of resilience has roots in anticolonial, African American, and feminist responses to oppressive conditions.

Those of us who work at universities are accustomed to the way diversity and inclusion initiatives become institutionalized. Internal grant applications ask how the proposed research is relevant to a university's mission in relation to diversity; required online surveys are distributed to assure that faculty and staff understand accessibility guidelines; task forces, committees, and planning groups articulate goals related to diversity and inclusion. The application of these rhetorical acts in daily academic life undulates, sometimes visible and meaningful, other times fading into the scenery, becoming background to seemingly more pressing matters. We address these questions as they relate to scholarly publishing in rhetoric and composition journals, questions that affect editors and authors as well as those who teach and study in the field. As editorial team members of Composition Studies, a biannual independent print journal, we detail strategies for creating a home for diversity in our field.

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This essay focuses on new materialist reconfigurations of social theory that alter understandings of agency, identity, subjectivity, and power. This research lends itself to recognizing writing as radically distributed across time and space, and as always entwined with a whole host of others. After overviewing new materialist efforts to draft a robust concept of matter, I explore the value of this work for twenty-first-century writing studies through the lens of acknowledgments, a genre wherein relationality is dramatized.

Calling for an explicit commitment to graduate-level writing instruction in English studies, the authors describe a critical writing workshop that serves this purpose. The aim of the course is to create a formal curricular space through which students can brainstorm, create, and sustain a wide variety of critical writing projects.

Writing the Successful Thesis and Dissertation: Entering the Conversation by Irene L. Clark; Rewriting: How to Do Things with Texts by Joseph Harris; The Work of Writing: Insights and Strategies for Academics and Professionals by Elizabeth Rankin

Rhetorical grammar analysis encourages students to view writing as a material social practice in which meaning is actively made, rather than passively relayed or effortlessly produced. The study of rhetorical grammar can demonstrate to students that language does purposeful, consequential work in the world—work that can be learned and applied.

This essay examines the comicbook Daddy's Girl, by Debbie Drechsler, in an effort to show that mixed-media texts provide a rich contemporary site for the study of rhetoric. Although comicbooks are commonly dismissed as a juvenile art form, I argue that Daddy's Girl both challenges this dismissal and makes a claim for the comicbook as a site that can address the reality of women's lives. By contrasting child-like drawings with the serious subject matter of incest, Drechsler powerfully depicts the corruption of innocence; in doing so, she subverts reader expectations concerning what is appropriate comicbook subject matter.

Addresses the climate of disappointment that characterizes English studies generally and composition studies--particularly writing program administration (WPA). Considers that the context of disappointment is shaped by a number of overlapping factors including: the widely perceived job market collapse in the humanities; the national abuse of adjunct teachers of first-year writing courses; and the general devaluation of the humanities.