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WPA publishes articles and essays concerning the organization, administration, practices, and aims of college and university writing programs.

WPA: WRITING PROGRAM ADMINISTRATION publishes articles and essays concerning the organization, administration, practices, and aims of college and university writing programs. Possible topics include writing faculty education, training, and professional development; writing program creation and design the development of rhetoric and writing curricula; writing assessment within programmatic contexts advocacy and institutional critique and change; writing programs and their extra-institutional relationships with writing's publics; technology and the delivery of writing instruction within programmatic contexts; wpa and writing program histories and contexts; WAC / ECAC / WID and their intersections with writing programs; the theory and philosophy of writing program administration issues of professional advancement and wpa work; and projects that enhance wpa work with diverse stakeholders. CONTENTS OF WPA 42.3 (Summer 2019): Celebrating our Discipline: On the Occasion of WPA's 40th Anniversary by Lori Ostergaard, Jim Nugent, and Jacob Babb | Solidarity Forever for Awhile by Douglas Hesse | Tools of the Trade: Occupational Metaphors in the First Decade of WPA by Stephanie Roach | "A Little Coda . . . Before We Go": Kenneth Bruffee, WPA, and Editorial History by Melissa Ianetta | Commemorating Community: Forty Years of Writing Assessment in WPA: Writing Program Administration by Shane A. Wood and Norbert Elliot | Reviewing a Career of Scholarly Innovation, Mentorship, and Service: An Interview with Duane H. Roen by Sherry Rankins-Robertson, Angela Clark Oates, and Nicholas Behm | Topics and Networks: Mapping Forty Years of Scholarly Inquiry by Kristine Johnson | Changing Conceptions of Writing: An Interview with Elizabeth Wardle by Mandy Olejnik | Forty Years of Resistance in TA Education by Eric D. Brown and Savanna G. Conner | Assessing the Field of WPA with Edward M. White: An Interview with an Influential Scholar in WPA by Sarah Elizabeth Snyder | Professional Development as a Solution to the Labor Crisis by Morgan Hanson | Celebrating the Contributions of Doug Hesse by Molly Ubbesen | What's in a Name? Editor-Mentor-Administrator-Teacher-Scholar: Christine Hult on Managing Multiple Identities and Issues as a WPA Editor | Amy Cicchino and Kelly A. Moreland | Reflecting, Expanding, and Challenging: A Bibliographic Exploration of Race, Gender, Ability, Language Diversity, and Sexual Orientation and Writing Program Administration by Sheila Carter-Tod | Writing and Technology in WPA: Toward the WPA as an Advocate for Technological Writing by Michael J. Faris | Looking Backward to See Forward: An Investigative History of Dual Credit/Concurrent Enrollment Writing Courses by Erin Costello Wecker and Patty Wilde | Beyond Good Intentions: Learning to See and Address Race and Diversity in the Work We Do by Cassie A. Wright | WPAs Relating to Stakeholders: Narratives of Institutional Change in 40 Years of WPA: Writing Program Administration by Lynn Reid | A Retrospective on Two Articles Published in the 1980s on Writing Across the Curriculum by Elaine P. Maimon | Susan McLeod on Sustaining Collaboration and Community in Writing Across the Curriculum: A Labor of Love by Mary D. De Nora

Creole Composition is a collection featuring essays by scholars and teacher-researchers working with students in/from the Anglophone Caribbean. Arising from a need to define what writing instruction in the Caribbean means, Creole Composition expands the existing body of research literature about the teaching of writing at the postsecondary level in the Caribbean region. To this end, it speaks to critical disciplinary conversations of rhetoric and composition and academic literacies while addressing specific issues with teaching academic writing to Anglophone Caribbean students. It features chapters addressing language, approaches to teaching, assessing writing, administration, and research in postsecondary education as well as professionalization of writing instructors in the region. Some chapters reflect traditional Caribbean attitudes to postsecondary writing instruction; other chapters seek to reform these traditional practices. Some chapters' interventions emerge from discussions in writing studies while other chapters reflect their authors' primary training in other fields, such as applied linguistics, education, and literary studies. Additionally, the chapters use a variety of styles and methods, ranging from highly personal reflective essays to theoretical pieces and empirical studies following IMRaD format.Creole Composition, the first of its kind in the region, provides much-needed knowledge to the community of teacher-researchers in the Anglophone Caribbean and elsewhere in the fields of rhetoric and composition, writing studies, and academic literacies. In suggesting frameworks around which to build and further institutionalize and professionalize writing studies in the region, the collection advances the broader field of writing studies beyond national boundaries.Contributors include Tyrone Ali, Annife Campbell, Tresecka Campbell-Dawes, Valerie Combie, Jacob Dyer Spiegel, Brianne Jaquette, Carmeneta Jones, Clover Jones McKenzie, Beverley Josephs, Christine E. Kozikowski, Vivette Milson-Whyte, Kendra L. Mitchell, Raymond Oenbring, Heather M. Robinson, Daidrah Smith, and Michelle Stewart-McKoy.

Creole Composition is a collection featuring essays by scholars and teacher-researchers working with students in/from the Anglophone Caribbean. Arising from a need to define what writing instruction in the Caribbean means, Creole Composition expands the existing body of research literature about the teaching of writing at the postsecondary level in the Caribbean region. To this end, it speaks to critical disciplinary conversations of rhetoric and composition and academic literacies while addressing specific issues with teaching academic writing to Anglophone Caribbean students. It features chapters addressing language, approaches to teaching, assessing writing, administration, and research in postsecondary education as well as professionalization of writing instructors in the region. Some chapters reflect traditional Caribbean attitudes to postsecondary writing instruction; other chapters seek to reform these traditional practices. Some chapters' interventions emerge from discussions in writing studies while other chapters reflect their authors' primary training in other fields, such as applied linguistics, education, and literary studies. Additionally, the chapters use a variety of styles and methods, ranging from highly personal reflective essays to theoretical pieces and empirical studies following IMRaD format.Creole Composition, the first of its kind in the region, provides much-needed knowledge to the community of teacher-researchers in the Anglophone Caribbean and elsewhere in the fields of rhetoric and composition, writing studies, and academic literacies. In suggesting frameworks around which to build and further institutionalize and professionalize writing studies in the region, the collection advances the broader field of writing studies beyond national boundaries.Contributors include Tyrone Ali, Annife Campbell, Tresecka Campbell-Dawes, Valerie Combie, Jacob Dyer Spiegel, Brianne Jaquette, Carmeneta Jones, Clover Jones McKenzie, Beverley Josephs, Christine E. Kozikowski, Vivette Milson-Whyte, Kendra L. Mitchell, Raymond Oenbring, Heather M. Robinson, Daidrah Smith, and Michelle Stewart-McKoy.

The essays in Sudden Eden explore the ways in which the memory of Paradise, or experience of the paradisiacal, has shaped canons of experimental writing from the late Middle Ages through to the present day. Keyed to figures as various as Dante and Beckett, Thomas Traherne and Barbara Guest, Sudden Eden proposes a new constellation of Metaphysical, Symbolist, and Postmodern lights-a single, continuous Heaven. DONALD REVELL is the author of fifteen collections of poetry, most recently of The English Boat (2018) and Drought-Adapted Vine (2015), both from Alice James books, Revell has also published six volumes of translations from the French, including Apollinaire's Alcools, Rimbaud's A Season in Hell, Laforgue's Last Poems, and Verlaine's Songs without Words. His critical writings have been collected as Essay: A Critical Memoir; The Art of Attention; and Invisible Green: Selected Prose. Winner of the PEN USA Translation Award and two-time winner of the PEN USA Award for Poetry, he has also won The Academy of American Poets' Lenore Marshall Prize and is a former Fellow of the Ingram Merrill and Guggenheim Foundations. Additionally, he has been twice awarded Fellowships from the National Endowment for the Arts. Having previously taught at the universities of Alabama, Denver, Iowa, Missouri, Tennessee and Utah, Donald Revell is currently Professor of English at the University of Nevada, Las Vegas.

Out of the 1920s Surrealist art studios emerged the exquisite corpse, a collaboratively drawn body made whole through a series of disjointed parts whose relevance today is the subject of Exquisite Corpse: Studio Art-Based Writing in the Academy. This collection draws from the processes and pedagogies of artists and designers to reconcile disparate discourses in rhetoric and composition pertaining to 3Ms (multimodal, multimedia, multigenre), multiliteracies, translingualism, and electracy. With contributions from a diverse range of scholars, artists, and designers, the chapters in this collection expand the conversation to a broader notion of writing and composing in the 21st century that builds upon traditional notions of composing but also embraces newer and nontraditional forms. In the section devoted to process, readers will find connections between art, design, and academic writing that may encourage them to incorporate nontraditional strategies and styles into their own writing. In the section devoted to pedagogy, readers will encounter art-based writing projects and activities that highlight the importance of interdisciplinary work as students continue to compose in ways that are more than solely alphabetic. Both sections provide insight into experimental process, inquiry-based work, play, and risk-taking. They also reveal what failure and success mean today in the composition classroom. Throughout the collection, readers will encounter a variety of stylized critical essays, poetic vignettes, lavish contemporary visual art, 20th-century Surrealist exquisite corpse drawings, and candid snapshots from the artists' own studios.Contributors include John Dunnigan, Brian Gaines, Felix Burgos, Meghan Nolan, Derek Owens, Jason Palmeri, Christopher Rico, Jody Shipka, S. Andrew Stowe, Vittoria S. Rubino, Tara Roeder, Gregory L. Ulmer, and K. A. Wisniewski."Inspired by the Surrealist parlor game that fosters play, randomness, and collaboration in the creative process, Exquisite Corpse: Studio Art-Based Writing in the Academy breathes fresh air into traditional pedagogy in the disciplines of writing, art- making, and writing about art. Its essays advocate playfulness, fancy, collaboration, collage, improvisation, and intersecting genres to upend traditional practices of academic art-making and criticism with the goals of richer creativity, inclusivity, and social justice. Reading it has made me want to try all sorts of new things in my writing classes." -James Lough, Savannah College of Art and Design."As I made my way through this wonderfully diverse collection of essays exploring the elements and implications of art-based processes and art-based pedagogy, I (as reader, writer, and teacher) could feel my juices stir. Oh, the possibles. While this collection focuses on processes and pedagogy, the project as a whole subverts the traditional and skillfully sidesteps method to reveal ways of doing/teaching composition that inspire. This collection, as the editors suggest, "values play, collaboration, community, imagination and artistic innovation," resonating the Deleuzian 'difference.' Each chapter reminds us that what it means to teach writing is to help students make the connection (between writing and life)-that writing like 'difference' comes first and above all, in the words of Deleuze, from "the internal explosive force that life carries with it." Exquisite Corpse: Studio Art-Based Writing in the Academy is indeed exquisite. -Jacqueline Preston, Utah Valley University

Out of the 1920s Surrealist art studios emerged the exquisite corpse, a collaboratively drawn body made whole through a series of disjointed parts whose relevance today is the subject of Exquisite Corpse: Studio Art-Based Writing in the Academy. This collection draws from the processes and pedagogies of artists and designers to reconcile disparate discourses in rhetoric and composition pertaining to 3Ms (multimodal, multimedia, multigenre), multiliteracies, translingualism, and electracy. With contributions from a diverse range of scholars, artists, and designers, the chapters in this collection expand the conversation to a broader notion of writing and composing in the 21st century that builds upon traditional notions of composing but also embraces newer and nontraditional forms. In the section devoted to process, readers will find connections between art, design, and academic writing that may encourage them to incorporate nontraditional strategies and styles into their own writing. In the section devoted to pedagogy, readers will encounter art-based writing projects and activities that highlight the importance of interdisciplinary work as students continue to compose in ways that are more than solely alphabetic. Both sections provide insight into experimental process, inquiry-based work, play, and risk-taking. They also reveal what failure and success mean today in the composition classroom. Throughout the collection, readers will encounter a variety of stylized critical essays, poetic vignettes, lavish contemporary visual art, 20th-century Surrealist exquisite corpse drawings, and candid snapshots from the artists' own studios.Contributors include John Dunnigan, Brian Gaines, Felix Burgos, Meghan Nolan, Derek Owens, Jason Palmeri, Christopher Rico, Jody Shipka, S. Andrew Stowe, Vittoria S. Rubino, Tara Roeder, Gregory L. Ulmer, and K. A. Wisniewski."Inspired by the Surrealist parlor game that fosters play, randomness, and collaboration in the creative process, Exquisite Corpse: Studio Art-Based Writing in the Academy breathes fresh air into traditional pedagogy in the disciplines of writing, art- making, and writing about art. Its essays advocate playfulness, fancy, collaboration, collage, improvisation, and intersecting genres to upend traditional practices of academic art-making and criticism with the goals of richer creativity, inclusivity, and social justice. Reading it has made me want to try all sorts of new things in my writing classes." -James Lough, Savannah College of Art and Design."As I made my way through this wonderfully diverse collection of essays exploring the elements and implications of art-based processes and art-based pedagogy, I (as reader, writer, and teacher) could feel my juices stir. Oh, the possibles. While this collection focuses on processes and pedagogy, the project as a whole subverts the traditional and skillfully sidesteps method to reveal ways of doing/teaching composition that inspire. This collection, as the editors suggest, "values play, collaboration, community, imagination and artistic innovation," resonating the Deleuzian 'difference.' Each chapter reminds us that what it means to teach writing is to help students make the connection (between writing and life)-that writing like 'difference' comes first and above all, in the words of Deleuze, from "the internal explosive force that life carries with it." Exquisite Corpse: Studio Art-Based Writing in the Academy is indeed exquisite." -Jacqueline Preston, Utah Valley University

"If only words were salt-soluble, savory, vital, electric," Eric Pankey writes in "Variations on Hadrian's Animula," one of many virtuosic works in Vestiges: Notes, Responses, and Essays 1988 - 2018. In this diverse collection of lyrical prose, Pankey assays his personal-poetic history with passion, brilliance, and grace. He considers the works of many great poets-Dickinson, Stevens, Donne, Hopkins, Merwin, Justice, Levis, and Lorca, to name just a few-invoking them as teachers and guides. As much about language as the unutterable, sight as the unseen, Vestiges is a gorgeous, vital collection. -Danielle Cadena Deulen, author of The RiotsVestiges: Notes, Responses, and Essays 1988 - 2018 maps the mind of one of our best lyrical poets and thinkers. In these concise and nuanced works of prose, Eric Pankey meditates on such subjects as spiritual faith, the poetic image, memory, language, duende, and silence in poetry. Pankey is a quester, a searcher for truth, so it's no surprise that in Vestiges he eschews nailed-down arguments and grand arrivals, prioritizing the question and the journey towards "the unsayable, the untouchable . . . the unknowable." He reminds us that mystery and uncertainty are not weaknesses, but essential aspects of a life lived richly in both art and faith. -Brian Barker, author of Vanishing ActsEric Pankey muses, "What is the divine? How is it made manifest? Where does it reside?" Revisiting the lyric impulse in a post-religious generation, Vestiges ponders the Romantic lyric subject in light of postmodern skepticism with allusions to Biblical contexts, illuminating the phenomenon of wonder in a material yet epistemologically unstable world: "In the lyric, language is both the ritual and the sacrifice at the moment's altar." Guided by an inner compass of memory and desire, psalms and lamentations, restoration and revival, we unearth in ourselves "not a spark, but a splinter of God in each of us, inflamed, working its way to the surface." This book, a revitalizing act of faith and inspiration, is a marvelous gift to us. -Karen An-hwei Lee, author of Phyla of JoyERIC PANKEY is also the author of ten collections of poetry and Professor of English and the Heritage Chair in Writing at George Mason University in Fairfax, Virginia.

WPA publishes articles and essays concerning the organization, administration, practices, and aims of college and university writing programs.

In her early career, Kang Eun-Gyo marked nihilism as the departure of her poetic imagination. In response to the turmoil of the world and modern Korean history full of violence and violations of human rights, the poet struggled to build her poetry in a house of nothingness. With Bari's Love Song, Kang Eun-Gyo echoes the voice of a sorceress, a female shaman who treats the sadness, suffering, loss, and pain of all people. From the private losses of the poet to the universal songs of losses and love, Bari's Love Song portrays the modern history of Korea in the forms of songs and recollections of Bari, the princess from Korean folk literature who walked the land in search of hope.Kang Eun-Gyo made her literary debut with the publication of Night of the Pilgrims, which earned her the 1968 New Writer Prize by the journal Sasanggye (World of Thoughts). Her most significant poetry collections are House of Nothingness, Diary of a Pauper, House of Noises, Red Rivers, Song of the Wind, and Letter in the Wall. Kang was also the recipient of the Korean Writers Prize and the Contemporary Literature Award.About the TranslatorChung Eun-Gwi is Professor in the Department of English Literature at Hankuk University of Foreign Studies, Seoul. Her publications include Ah, Mouthless Things (2017), Fifteen Seconds without Sorrow (2016), The Colors of Dawn: Twentieth Century Korean Poetry (2016), and When the Wind Blows (2019) Her articles and translations have appeared in a wide variety of journals.This book is published with the support of the Literature Translation Institute of Korea (LTI Korea)

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 47.1 (Spring 2019): Reviewers from March 2018 through March 2019 | From the Editorial Assistants: An Interview with Laura R. Micciche | COMPOSING WITH: Adventures in Collaborative Documentary Editing Across Continents, or How I Learned to Make Better Movies by Alexandra Hidalgo | ARTICLES: Approaching the (Re)Design of Writing Majors: Contexts of Research, Forms of Inquiry, and Recommendations for Faculty by Kara Alexander, Michael-John DePalma, Lisa Shaver, and Danielle M. Williams | Encouraging Languages other than English in First-Year Writing Courses: Experiences from Linguistically Diverse Writers by Alyssa G. Cavazos | "Nameless, Faceless People": How Other Teachers' Expectations Influence Our Pedagogy by Brooke R. Schreiber and Dorothy Worden | Decolonial Potential in a Multilingual FYC by Cruz Medina | The Reader in the Textbook: Embodied Materiality and Reading in the Writing Classroom by Carolyne M. King | To Ensure Warfighting Function: Writing Inside a U.S. Army Brigade Headquarters by J. Michael Rifenburg | Beginning at the End: Reimagining the Dissertation Committee, Reimagining Careers by Amy J. Lueck and Beth Boehm | Good Things in Threes: Long-Term Effects of Literate Dwelling by Steve Lamos | WHERE WE ARE: Where We Are: My Mundane Professional Life | BOOK REVIEWS: Composition Studies, Public-Facing Activism, and Our Continued Social Turn: A Review Essay by Darin Jensen | Retention, Persistence, and Writing Programs, edited by Todd Ruecker, Dawn Shepherd, Heidi Estrem, and Beth Brunk-Chavez, Reviewed by James Clifford Swider | Bad Ideas about Writing, edited by Cheryl E. Ball and Drew M. Loewe, Reviewed by Jenn Fishman with Alli Bernard, Jessica Brown, Grace Chambers, Lorena Dulce, Ryan Higgins, Brian Huback, Saúl López, Aishah Mahmood, Shane Martin, Beth Michalewski, Madi Moster, Carly Ogletree, Alyssa Paulus, Lily Regan, Anna Story, and Haley Wasserman | Assembling Composition, edited by Kathleen Blake Yancey and Stephen J. McElroy, Reviewed by Sara Austin | Composition, Rhetoric, and Disciplinarity, edited by Rita Malenczyk, Susan Miller-Cochran, Elizabeth Wardle, and Kathleen Blake Yancey, Reviewed by Jacob Babb | Retroactivism in the Lesbian Archives: Composing Pasts and Futures, by Jean Bessette, Reviewed by Katie Brooks | How Writing Faculty Write: Strategies for Process, Product, and Productivity, by Christine E. Tulley, Reviewed by Emily Carson | Public Pedagogy in Composition Studies: Studies in Writing and Rhetoric, by Ashley J. Holmes, Reviewed by Erin Cromer Twal | Contributors