The twentieth could easily be Utah’s most interesting, complex century, yet popular ideas of what is history seem mired in the nineteenth. One reason may be the lack of readily available writing on more recent Utah history. This collection of essays shifts historical focus forward to the twentieth, which began and ended with questions of Utah’s fit with the rest of the nation. In between was an extended period of getting acquainted in an uneasy but necessary marriage, which was complicated by the push of economic development and pull of traditional culture, demand for natural resources from a fragile and scenic environment, and questions of who governs and how, who gets a vote, and who controls what is done on and to the contested public lands. Outside trade and a tourist economy increasingly challenged and fed an insular society. Activists left and right declaimed constitutional liberties while Utah’s Native Americans become the last enfranchised in the nation. Proud contributions to national wars contrasted with denial of deep dependence on federal money; the skepticism of provocative writers, with boosters eager for growth; and reflexive patriotism somehow bonded to ingrained distrust of federal government.

Securing a Place for Reading in Composition addresses the dissonance between the need to prepare students to read, not just write, complex texts and the lack of recent scholarship on reading-writing connections. Author Ellen C. Carillo argues that including attention-to-reading practices is crucial for developing more comprehensive literacy pedagogies. Students who can read actively and reflectively will be able to work successfully with the range of complex texts they will encounter throughout their post-secondary academic careers and beyond.

Considering the role of reading within composition from both historical and contemporary perspectives, Carillo makes recommendations for the productive integration of reading instruction into first-year writing courses. She details a “mindful reading” framework wherein instructors help students cultivate a repertoire of approaches upon which they consistently reflect as they apply them to various texts. This metacognitive frame allows students to become knowledgeable and deliberate about how they read and gives them the opportunity to develop the skills useful for moving among reading approaches in mindful ways, thus preparing them to actively and productively read in courses and contexts outside first-year composition.

Securing a Place for Reading in Composition also explores how the field of composition might begin to effectively address reading, including conducting research on reading, revising outcome statements, and revisiting the core courses in graduate programs. It will be of great interest to writing program administrators and other compositionists and their graduate students.

Effie Marquess Carmack (1885-1974) grew up in the tobacco-growing region of southern Kentucky known as the Black Patch. As an adult she moved to Utah, back to Kentucky, to Arizona, and finally to California. Economic necessity primarily motivated Effie and her husband's moves, but her conversion to the Mormon Church in youth also was a factor. Throughout her life, she was committed to preserving the rural, southern folkways she had experienced as a child. She and other members of her family were folk musicians, at times professionally, and she also became a folk poet and artist, teaching herself to paint. In the 1940s she began writing her autobiography and eventually also completed a verse adaptation of it and an unpublished novel about life in the Black Patch.

Much of Effie's story is a charming memoir of her vibrant childhood on a poor tobacco farm. She describes a wide variety of folk practices, from healing and crafts to children's games. Her family's life included the backbreaking labor and economic trials of raising tobacco, but it was enriched by a deep familial heritage, communal music, creative play, and traditional activities of many kinds. After the family converted to the Mormon Church, religious study and devotion became another important dimension. Effie's account of Mormon missions contributes to the little-known record of Latter-day Saint attempts to establish a presence in the South.

After marrying, the Carmacks moved west, eventually landing in the Arizona desert, where Effie took up painting in earnest. Her art began to attract modest attention, which brought exhibits, awards, and a new career teaching others what she had taught herself. After the Carmacks later retired to Atascadero, California, Effie became a more active and public folk singer as well.

Class in the Composition Classroom considers what college writing instructors should know about their working-class students—their backgrounds, experiences, identities, learning styles, and skills—in order to support them in the classroom, across campus, and beyond. In this volume, contributors explore the nuanced and complex meaning of “working class” and the particular values these college writers bring to the classroom.

The real college experiences of veterans, rural Midwesterners, and trade unionists show that what it means to be working class is not obvious or easily definable. Resisting outdated characterizations of these students as underprepared and dispensing with a one-size-fits-all pedagogical approach, contributors address how region and education impact students, explore working-class pedagogy and the ways in which it can reify social class in teaching settings, and give voice to students’ lived experiences.

As community colleges and universities seek more effective ways to serve working-class students, and as educators, parents, and politicians continue to emphasize the value of higher education for students of all financial and social backgrounds, conversations must take place among writing instructors and administrators about how best to serve and support working-class college writers. Class in the Composition Classroom will help writing instructors inside and outside the classroom prepare all their students for personal, academic, and professional communication.

Contributors: Aaron Barlow, ​Cori Brewster, ​Patrick Corbett, ​Harry Denny, Cassandra Dulin, ​Miriam Eisenstein Ebsworth, ​Mike Edwards, ​Rebecca Fraser, ​Brett Griffiths, ​Anna Knutson, ​Liberty Kohn, ​Nancy Mack, ​Holly Middleton, ​Robert Mundy, ​Missy Nieveen Phegley, ​Jacqueline Preston, ​James E. Romesburg, ​Edie-Marie Roper, Aubrey Schiavone, Christie Toth, ​Gail G. Verdi

The first book-length empirical investigation of writing center directors’ labor, The Working Lives of New Writing Center Directors presents a longitudinal qualitative study of the individual professional lives of nine new directors. Inspired by Kinkead and Harris’s Writing Centers in Context (1993), the authors adopt a case study approach to examine the labor these directors performed and the varied motivations for their labor, as well as the labor they ignored, deferred, or sidelined temporarily, whether or not they wanted to.

The study shows directors engaged in various types of labor—everyday, disciplinary, and emotional—and reveals that labor is never restricted to a list of job responsibilities, although those play a role. Instead, labor is motivated and shaped by complex and unique combinations of requirements, expectations, values, perceived strengths, interests and desires, identities, and knowledge. The cases collectively distill how different institutions define writing and appropriate resources to writing instruction and support, informing the ongoing wider cultural debates about skills (writing and otherwise), the preparation of educators, the renewal/tenuring of educators, and administrative “bloat” in academe.

The nine new directors discuss more than just their labor; they address their motivations, their sense of self, and their own thoughts about the work they do, facets of writing center director labor that other types of research or scholarship have up to now left invisible. The Working Lives of New Writing Center Directors strikes a new path in scholarship on writing center administration and is essential reading for present and future writing center administrators and those who mentor them.

"Both from the Right and from the Left, we are stymied in talking well with one another about race and racism, by intransigent beliefs in our own goodness as well as by our conviction that such talk is useless. . . . White antiracist epistemology needs to begin not with our beliefs, but with our individual and collective awakening to that which we do not know."

Drawing on scholarship across disciplines ranging from writing and rhetoric studies to critical race theory to philosophy, I Hope I Join the Band examines the limits and the possibilities for performative engagement in antiracist activism. Focusing particularly on the challenges posed by raced-white identity to performativity, and moving between narrative and theoretical engagement, thebook names and argues for critical shifts in the understandings and rhetorical practices that attend antiracist activism.

At the 2003 "Rock the Vote" debate, one of the questions posed by a student to the eight Democratic candidates for the presidential nomination was "have you ever used marijuana?" Amazingly, all but one of the candidates voluntarily answered the question. Add to this example the multiple ways in which we now see public intrusion into private lives (security cameras, electronic access to personal data, scanning and "wanding" at the airport) or private self-exposure in public forums (cell phones, web cams, confessional talk shows, voyeuristic "reality" TV). That matters so private could be treated as legitimate-in some cases even vital-for public discourse indicates how intertwined the realms of private and public have become in our era. Reverse examples exist as well. Around the world, public authorities look the other way while individual rights are abused--calling it a private matter--or officials appeal to sectarian morés to justify discrimination in public policies.

The authors of The Private, the Public, and the Published feel that scholarship needs to explore and understand this phenomenon, and needs to address it in the college classroom. There are consequences of conflating public and private, they argue--consequences that have implications especially for what is known as the public good. The changing distinctions between "private" and "public," and the various practices of private and public expression, are explored in these essays with an eye toward what they teach us about those consequences and implications.

With growing anxiety about American identity fueling debates about the nation’s borders, ethnicities, and languages, Crossing Borders, Drawing Boundaries provides a timely and important rhetorical exploration of divisionary bounds that divide an Us from a Them. The concept of “border” calls for attention, and the authors in this collection respond by describing it, challenging it, confounding it, and, at times, erasing it.

Motivating us to see anew the many lines that unite, divide, and define us, the essays in this volume highlight how discourse at borders and boundaries can create or thwart conditions for establishing identity and admitting difference. Each chapter analyzes how public discourse at the site of physical or metaphorical borders presents or confounds these conditions and, consequently, effective participation—a key criterion for a modern democracy. The settings are various, encompassing vast public spaces such as cities and areas within them; the rhetorical spaces of history books, museum displays, activist events, and media outlets; and the intimate settings of community and classroom conversations.

Crossing Borders, Drawing Boundaries shows how rich communication can be when diverse cultures intersect and create new opportunities for human connection, even while different populations, cultures, age groups, and political parties adopt irreconcilable positions. It will be of interest to scholars in rhetoric and literacy studies and students in rhetorical analysis and public discourse.

Contributors include Andrea Alden, Cori Brewster, Robert Brooke, Randolph Cauthen, Jennifer Clifton, Barbara Couture, Vanessa Cozza, Anita C. Hernández, Roberta J. Herter, Judy Holiday, Elenore Long, José A. Montelongo, Karen P. Peirce, Jonathan P. Rossing, Susan A. Schiller, Christopher Schroeder, Tricia C. Serviss, Mónica Torres, Kathryn Valentine, Victor Villanueva, and Patti Wojahn.

The first collection of critical essays on May Swenson and her literary universe, Body My House initiates an academic conversation about an unquestionably major poet of the middle and late twentienth century. Between the 1950s and the 1980s, May Swenson produced eleven volumes of poetry, received many major awards, was elected chancellor of the Academy of American Poets, and was acclaimed by writers in virtually every school of American poetry.

Essays here address the breadth of Swenson's literary corpus and offer varied scholarly approaches to it. They reference Swenson manuscripts---poems, letters, diaries, and other prose---some of which have not been widely available before. Chapters focus on Swenson's work as a nature writer; the literary and social contexts of her writing; her national and international acclaim; her work as a translator; associations with other poets and writers (Bishop, Moore, and others); her creative process; and her profound explorations of gender and sexuality. The first full volume of scholarship on May Swenson, Body My House suggest an ambitious agenda for further work.

Contributors include Mark Doty, Gudrun Grabher, Cynthia Hogue, Suzann Juhasz, R.R. Knudson, Alicia Ostriker, Martha Nell Smith, Michael Spooner, Paul Swenson, and Kirstin Hotelling Zona.

This book is a joint project of the Utah Division of Indian Affairs and the Utah State Historical Society. It is distributed to the book trade by Utah State University Press.

The valleys, mountains, and deserts of Utah have been home to native peoples for thousands of years. Like peoples around the word, Utah's native inhabitants organized themselves in family units, groups, bands, clans, and tribes. Today, six Indian tribes in Utah are recognized as official entities. They include the Northwestern Shoshone, the Goshutes, the Paiutes, the Utes, the White Mesa or Southern Utes, and the Navajos (Dineh). Each tribe has its own government. Tribe members are citizens of Utah and the United States; however, lines of distinction both within the tribes and with the greater society at large have not always been clear. Migration, interaction, war, trade, intermarriage, common threats, and challenges have made relationships and affiliations more fluid than might be expected. In this volume, the editor and authors endeavor to write the history of Utah's first residents from an Indian perspective. An introductory chapter provides an overview of Utah's American Indians and a concluding chapter summarizes the issues and concerns of contemporary Indians and their leaders. Chapters on each of the six tribes look at origin stories, religion, politics, education, folkways, family life, social activities, economic issues, and important events. They provide an introduction to the rich heritage of Utah's native peoples. This book includes chapters by David Begay, Dennis Defa, Clifford Duncan, Ronald Holt, Nancy Maryboy, Robert McPherson, Mae Parry, Gary Tom, and Mary Jane Yazzie.

Forrest Cuch was born and raised on the Uintah and Ouray Ute Indian Reservation in northeastern Utah. He graduated from Westminster College in 1973 with a bachelor of arts degree in behavioral sciences. He served as education director for the Ute Indian Tribe from 1973 to 1988. From 1988 to 1994 he was employed by the Wampanoag Tribe in Gay Head, Massachusetts, first as a planner and then as tribal administrator. Since October 1997 he has been director of the Utah Division of Indian Affairs.