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Here is the continuation of Martha Ronk's life-long investigation of things as they are seen at a remove or seen not at all as in the presence of silence. Always hesitant, skeptical, her poetry circles the world the way a blind seer might. In this new collection, she follows the thread of Ariadne through the hands of men who jerk and steer her. - Fanny Howe, author of Second ChildhoodInspired by De Chirico's series of paintings depicting Ariadne, Martha Ronk writes, "Her sleeping is like waking, she is listening to whatever is said." And in this stunning new collection, A Myth of Ariadne, the poems ponder this abandoned figure who, even in her cool and classical repose, embodies history-its progress and its traumas. Placed within the poems' prosceniums, we partake of Ariadne's distracted and absorptive reflections even as catastrophe looms. Ever broadening her characteristic philosophical acuity, Ronk amplifies somatic gestures as she follows her thread to navigate conundrums of identity and perception. -Molly Bendall, author of Under the QuickThe poems in A Myth of Ariadne address De Chirico's Ariadne paintings: the myth and then the particular way De Chirico presents her as a sexualized statue threatened by intrusions of locomotives, ships, shadows, conspirators. Ronk's series, like his series, depends on the technique of disjunction, and exists in the space between the paintings, De Chirico's memoir and poems, and a jangled depiction of a woman's history.Martha Ronk has published eleven books of poetry, including most recently Silences, Ocular Proof, and Transfer of Qualities, as well as the short story collection Glass Grapes and Other Stories, and a semi-autobiographical book on food, Displeasures of the Table. For many years, she taught creative writing and directed the campus-wide creative writing program at Occidental College in Los Angeles.

The oldest independent periodical in the field, COMPOSITION STUDIES publishes original articles relevant to rhetoric and composition, including those that address teaching college writing; theorizing rhetoric and composing; administering writing programs; and, among other topics, preparing the field's future teacher-scholars. All perspectives and topics of general interest to the profession are welcome. We also publish Course Designs, which contextualize, theorize, and reflect on the content and pedagogy of a course. Contributions to Composing With are invited by the editor, though queries are welcome (send to compstudies@uc.edu). Cfps, announcements, and letters to the editor are most welcome. Composition Studies does not consider previously published manuscripts, unrevised conference papers, or unrevised dissertation chapters. CONTENTS OF COMPOSITION STUDIES 50.1 (Spring 2022): From the Editors: A Critical Encomium to Pasts, Presents, and Futures | AT A GLANCE: By the Numbers: A Citation Analysis BY Doug Eyman | Articulations by Dale Jacobs and Jay Dolmage | Familia's Digital Garden by Ronisha Browdy, Esther Milu, Victor Del Hierro, and Laura Gonzales | REFLECTIONS: AI-Based Text Generation and the Social Construction of "Fraudulent Authorship": A Revisitation by Chris M. Anson | Collaborative Writing, Collage, and Cooking: From Humanist to Post-Humanist Assemblages by Anis Bawarshi and Mary Jo Reiff | Differences within Difference: Everyday Praxis from Latinx Lived Experiences by Yvette Chairez, Victoria Ramirez Gentry, and Sue Hum | Rhetoric 2050: In Honor of Richard M. Coe's "Rhetoric 2001" by Sidney I. Dobrin | The Democratization of Writing and the Role of Cheating by Peter Elbow | Creating Space for Emotion in the Composition Studies Archive by Alexis Sabryn Walston and Jessica Enoch | Embodying Mentorship and Friendship: A Love Letter to Villanueva's "Tradition and Change" by Alexandra Hidalgo | Critical Distance in Composition Studies by Rebecca Lorimer Leonard | The Catharsis for Poison: A Counterstory Retrospective on Composition Studies' 50th Anniversary by Aja Y. Martinez | Composing in the Discomfort of Institutional Violence by Cruz Medina | Composition Studies at 50: The New Work of Writing Instruction as a Way Forward by Staci Perryman-Clark | Generation(al) Matters: Story, Lens, and Tone by Louise Wetherbee Phelps Renewing Commitments to Minoritized Writers by Ray Rosas and Cheryl Glenn | In Search of the Sentence by Hannah J. Rule | WHERE WE ARE: WHAT'S NEXT FOR (PUBLISHING IN) COMPOSITION & RHETORIC? Pushing Through: Moving Beyond Revision to Achieve Substantive Change by Sheila Carter-Tod | Speculative Middles and Composition Studies at 50 by Jennifer Clary-Lemon | Anti-Racist Futures for Publishing in Rhetoric and Composition by Christina M. LaVecchia | On the Future of Writing about Teaching by Carrie S. Leverenz | Where We've Been and Where We Might Go by Bob Mayberry | Fragile Material by Laura R. Micciche | BOOK REVIEWS: Self+Culture+Writing: Autoethnography for/as Writing Studies edited by Rebecca L. Jackson and Jackie Grutsch McKinney, reviewed by Bryna Siegel Finer | Working in the Archives: Practical Research Methods for Rhetoric and Composition, edited by Alexis E. Ramsey, Wendy B Sharer, Barbara L'Eplattenier, and Lisa Mastrangelo, reviewed by Lynée Lewis Gaillet | Postprocess Postmortem, by Kristopher Lotier, reviewed by Jason Tham | Contributors

The longest-running national peer-reviewed journal dedicated to writing across the curriculum, the WAC Journal is an open-access journal published annually by Clemson University, Parlor Press, and the WAC Clearinghouse. It is available by subscription in print through Parlor Press at https://parlorpress.com/products/wac-journal and in open-access format at the WAC Clearinghouse via https://wac.colostate.edu/journal/. The WAC Journal supports various approaches to and discussions of writing across the curriculum. We publish submissions from all WAC scholars that focus on writing across the curriculum, including topics on WAC program strategies, techniques, and applications; emergent technologies and digital literacies across the curriculum; antiracist pedagogies; feminist rhetorics across the curriculum; intersectional contexts of feminism; international WAC initiatives; and writing in the disciplines at the college level. | CONTENTS of VOLUME 32 (2021): From the Editors: David Blakesley and Cameron Bushnell | PLENARY ADDRESSES: WAC Fearlessness, Sustainability, and Adaptability: Part One by Chris Thaiss | Fearlessness, Sustainability, and Adaptability via WAC in a Small School by Carol Rutz | ARTICLES: Feminist Rhetorics in Writing Across the Curriculum: Supporting Students as Agents of Change by Letizia Guglielmo, Judson T. Kidd, and Dominique McPhearson | "A long-lasting positive experience" from a Short-term Commitment: The Power of the WAC TA Fellow Role for Disciplinary Tas by Elisabeth L. Miller and Kathleen Daly Weisse | INTERVIEW: Conversations in Process: Two Dynamic Program Builders Talk about Adapting WAC for Trilingual Hong Kong by Terry Myers Zawacki | FLASHBACK ARTICLES: They by Amy Warenda | Translation, Transformation, and "Taking it Back": Moving between Face-to-Face and Online Writing in the Disciplines by Heidi Skurat Harris, Tawnya Lubbes, Nancy Knowles, and Jacob Harris | REVIEW: Linguistic Justice on Campus: Pedagogy and Advocacy for Multilingual Students, edited by Schreiber et al., reviewed by Justin Nicholes | Contributors

As America begins dialing back the Trump-era restrictions that all but eliminated asylum for immigrants fleeing violence and seeking protection in the U.S., this volume of fifty powerful images, with captions in English and Spanish, documents the interfaith grassroots movement that never gave up on the Statue of Liberty's poetic pledge to welcome the world's "huddled masses, yearning to breathe free."Faces of Courage: Ten years of Building Sanctuary chronicles the first ten years of the New Sanctuary Movement of Philadelphia, a coalition of twenty-eight congregations, which builds community across religious, ethnic, and class lines to end injustices against all immigrants, documented or otherwise. The book follows New Sanctuary supporters as they demand policy changes with sit-ins at City Hall, consciousness-raising marches, and protests outside the Philadelphia field office of Immigration and Customs Enforcement. It goes behind the scenes into the churches where families facing deportation took refuge. It provides a visual record of New Sanctuary's campaign for driver's licenses for undocumented immigrants, and its "accompaniment" program to support immigrants at their court hearings.A Foreword by former Philadelphia Inquirer immigration writer Michael Matza and Afterword by Honduran-born, West Kensington Ministry Pastor Adan Mairena provide historical context in English and Spanish.Harvey Finkle, widely recognized as a Philadelphia treasure, is a graduate of the University of Pennsylvania's School of Social Policy & Practice. His photography, which has documented immigration to the city since the 1970s, has been hailed as "visual anthropology." His archives are a graphic record of the successive waves of settlement, mostly in South Philadelphia, by European Jews, Vietnamese, Cambodians, Burmese, Mexicans, Central Americans and other immigrants and refugees.Working and Writing for Change SeriesEdited by Steve Parks and Jessica Pauszek

Examines how emotions and affect are inextricably linked to writing center scholarship and practice. Contributors address the role of emotions and affect in writing center administration, training, tutoring, and research.

Examines how emotions and affect are inextricably linked to writing center scholarship and practice. Contributors address the role of emotions and affect in writing center administration, training, tutoring, and research.

Where does poetry come from? THE ENCOUNTER: A HANDBOOK OF POETIC PRACTICE addresses this question by offering personal essays by thirty different contemporary poets who reflect upon an encounter that has been formative in their own life. In evaluating their own experience, the poets in this collection cast light upon their own poetic process and their own coming to form. Whether by considering encounters with richly-individualized people, paintings, poems, poetic forms, or places, the astonishing and diverse poets assembled in this book offer a textured map of the many ways that poems come to be. The Encounter: A Handbook of Poetic Practice presents a set of invaluable resources for poets to rethink poetic practice and it showcases an unexpected and revelatory set of autobiographical personal essays for the general reader. Representing poets from a diverse set of backgrounds and from across the spectrum of contemporary poetry, the essays in this collection are written by Rae Armantrout, Jennifer Atkinson, Dan Beachy-Quick, Kelvin Corcoran, Martin Corless-Smith, Eduardo Corral, Laura Da'', Carolyn Forch├⌐, David Herd, Paul Hoover, Ger Killeen, L. S. Klatt, ├ëireann Lorsung, Farid Matuk, Rusty Morrison, Sawako Nakayasu, Eric Pankey, Carl Phillips, Donald Revell, Peter Riley, Ed Roberson, Elizabeth Robinson, Martha Ronk, Ian Seed, Simon Smith, Donna Stonecipher, Cole Swensen, Anne Waldman, Felicia Zamora, and Matthew Zapruder.Jon Thompson is a poet, essayist, and editor. He has published four full-length collections of poems, the most recent of which is Notebook of Last Things (Shearsman Books, 2019) and individual poems widely in journals. He is editor of Free Verse Editions, a poetry series, and Illuminations: A Series on American Poetics, both published by Parlor Press. More on him can be found at www.jon-thompson.com.

In Writing in the Clouds: Inventing and Composing in Internetworked Writing Spaces, John Logie examines the profound consequences of contemporary writing technologies for the act-and art-of composition.

Civil Twilight explores the tensions between social roles (work, parenthood, commuting) with the savagery and boundlessness of language itself. Free Verse Editions.

Includes multiple perspectives on a wide range of topics about writing in college. Authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Designed for first-year composition.

These poems engage with an exceptionally wide range of personal, philosophical, historical, and scientific themes in a creative-exploratory form where verse-music combines and interacts with prosodic, semantic, and syntactic nuances.