David Wallace argues that any understanding of writing studies must include the conception of discourse as an embodied force with real consequences for real people. Informed in important ways by queer theory, Wallace calls to account users of dominant discourses and at the same time articulates a theory base from which to interpret "alternative rhetoric."
To examine the practice of writing from varied margins of society, Compelled to Write offers careful readings of four exemplar American writers, each of whom felt compelled within their own time and place to write in response to systemic injustices in American society.
Sarah Grimké, a privileged white woman advocating for abolition, is forced to defend her right to speak as a woman; Frederick Douglass begins his public career almost as a curiosity (the articulate ex-slave) and ends it as one of the most important rhetors in American history; Gloria Anzaldúa writes not only in multiple languages and dialects but from marginalized positions related to gender, race, class, sexual identity, and physical abled-ness; David Sedaris uses his privileged position as a middle-class white male humorist to speak unabashedly of his sexuality, his addictions, and obsessive-compulsive personality disorder.
Through these writers, Wallace explores a range of strategies that comprise alternative rhetorical practice, and demonstrates how such practice is inflected by social constraints on rhetorical agency and by how writers employ alternative discourses to resist those constraints. Grounding and personalizing Compelled to Write with rich material from his own teaching and his own experience, Wallace considers a number of implications for teachers of writing.
Drilled to Write offers a rich account of US Army cadets navigating the unique demands of Army writing at a senior military college. In this longitudinal case study, J. Michael Rifenburg follows one cadet, Logan Blackwell, for four years and traces how he conceptualizes Army writing and Army genres through immersion in military science classes, tactical exercises in the Appalachian Mountains, and specialized programs like Airborne School.
Drawing from research on rhetorical genre studies, writing transfer, and materiality, Drilled to Write speaks to scholars in writing studies committed to capturing how students understand their own writing development. Collectively, these chapters articulate four ways Blackwell leveraged resources through ROTC to become a cadet writer at this military college. Each chapter is dedicated to one year of his undergraduate experience with focus on curricular writing for his business management major and military science classes as well as his extracurricular writing, like his Ballroom Dance Club bylaws and a three-thousand-word short story.
In Drilled to Write, Rifenburg invites readers to see how cadets are positioned between civilian and military life—a curiously liminal space where they develop as writers. Using Army ROTC as an entry into genre theory and larger conversations about the role higher education plays in developing Army officers, he shows how writing students develop genre awareness and flexibility while forging a personal identity.
When he was five and a half years old, Paul Bissex wrote and posted this sign over his workbench: DO NAT DSTRB GNYS AT WRK. The “work” from which this “genius” refused to be “disturbed” was the work typical of all children, namely, the task of learning how to write and read. In Gnys at Wrk, Glenda Bissex goes far beyond the chronicle of her son’s accomplishment to provide the first in-depth case study of a child’s confrontation with written language, rich in revelations about the nature and processes of the mind.
Paul begins by writing notes in a system of his own invention—like IEAVGAWNTOOTHESTOR for “I have gone to the store”—and this system becomes more elaborate as he goes on to create stories, games and signs. Eventually, the system merges with conventional written English as Paul learns to separate words and to associate letters not with their names but with sets of possible sounds.
Glenda Bissex shows how the evolution of Paul’s writing ability is closely intertwined with his reading development—in Paul’s own words, “once you can write a word you can read it.“ She also makes an intriguing comparison between Paul’s schoolwork and his endeavors at home, and explores the influence of his personal interests and world view on his facility with words. Her study is a unique, detailed account of the “genius” that is, quite simply, the human capacity for language.
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