This piece examines In Memory’s Kitchen, a collection of recipes, poems, and letters compiled by Mina Pächter in the Terezîn Concentration Camp. The author argues that a proper reading of the text involves understanding genre, acts of resistance, and genre bending. Without applying these complex concepts to the texts, readers are at risk of misreading Pächter’s text as a cookbook rather than a memory text of spiritual resistance.

This essay uses Michael McGee’s concept of the ideograph to discuss the ways that <motherhood>was used both by and against women in World War I. Regardless of whether women sided with the peace or the preparedness movements, their participation was defined by their status as mothers (either actual or metaphorical). Their participation was also conscribed by societal and governmental ideals of motherhood, conveyed through a shifting ideographic definition. Women’s rhetorical practices during the war were, therefore, both constrained and defined by notions of motherhood.

This article looks at the various ways that communities can be "read" through their cookbooks. Recipes and collections can reveal much about communities, including shared memories/traditions, geographical identifications, and representations of class.

Books reviewed in this article: The Evolution of College English: Literacy Studies from the Puritans to the Postmoderns by Thomas Miller; From Form to Meaning: Freshman Composition and the Long Sixties, 1957–1974 by David Fleming; Interests and Opportunities: Race, Racism, and University Writing Instruction in the Post-Civil Rights Era by Steve Lamos.

Historians of composition and rhetoric need to question the grand narratives that so far have predominated in their field, including those that turn particular figures like Fred Newton Scott into lone heroes.