Margaret A. Syverson discusses the ways in which a theory of composing situations as ecological systems might productively be applied in composition studies. She demonstrates not only how new research in cognitive science and complex systems can inform composition studies but also how composing situations can provide fruitful ground for research in cognitive science.

Syverson first introduces theories of complex systems currently studied in diverse disciplines. She describes complex systems as adaptive, self-organizing, and dynamic; neither utterly chaotic nor entirely ordered, these systems exist on the boundary between order and chaos. Ecological systems are "metasystems" composed of interrelated complex systems. Writers, readers, and texts, together with their environments, constitute one kind of ecological system.

Four attributes of complex systems provide a theoretical framework for this study: distribution, embodiment, emergence, and enaction. Three case studies provide evidence for the application of these concepts: an analysis of a passage from an autobiographical poem by Charles Reznikoff, a study of first-year college students writing collaboratively, and a conflict in a computer forum of social scientists during the Gulf War. The diversity of these cases tests the robustness of theories of distributed cognition and complex systems and suggests possibilities for wider application.

Women Writing the Academy is based on an extensive interview study by Gesa E. Kirsch that investigates how women in different academic disciplines perceive and describe their experiences as writers in the university.

Kirsch’s study focuses on the writing strategies of successful women writers, their ways of establishing authority, and the kinds of audiences they address in different disciplinary settings. Based on multiple interviews with thirty-five women from five different disciplines (anthropology, education, history, nursing, and psychology) and four academic ranks (seniors, graduate students, and faculty before and after tenure), this is the first book to systematically explore the academic context in which women write and publish.

While there are many studies in literary criticism on women as writers of fiction, there has not been parallel scholarship on women as writers of professional discourse, be it inside or outside the academy. Through her research, for example, Kirsch found that women were less likely than their male counterparts to think of their work as sufficiently significant to write up and submit for publication, tended to hold on to their work longer than men before sending it out, and were less likely than men to revise and resubmit manuscripts that had been initially rejected.

This book is significant in that it investigates a new area of research— gender and writing—and in doing so brings together findings on audience, authority, and gender.

Psychoanalysis and writing instruction have much to offer each other, asserts Mark Bracher. In this book, Bracher examines the intersection between these two fields and proposes pedagogical uses of psychoanalytic technique for writing instruction.

Psychoanalysis reveals that the writing process is profoundly affected by factors that current theories have largely neglected—forces such as enjoyment, desire, fantasy, and anxiety, which, moreover, are often unconscious. Articulating an approach based on the work of Jacques Lacan, Bracher shows how a psychoanalytic perspective can offer useful insights into the nature of the writing process, the sources of writing problems, and the dynamics of writing instruction. He further demonstrates that writing instruction constitutes the most favorable venue outside of individual psychoanalytic treatment for pursuing psychoanalytic research and practice. Like psychoanalytic treatment proper, writing instruction can function as a way of reducing psychological conflict and as a means of pursuing psychoanalytic research into the workings of the mind. Empirical studies and personal testimonies have demonstrated the psychological (and even the physical) benefits of writing about personal conflict in an academic setting; such benefits promise to be enhanced and consolidated through the application of psychoanalytic principles to the teaching of writing.

Drawing upon previously unpublished archival materials as well as historical accounts, Gere traces the history of writing groups in America, from their origins over a century ago to their recent reappearance in the works of Macrorie, Elbow, Murray, and others.

From this historical perspective Gere examines the theoretical foundations of writing groups, challenging the traditional concept of writing as an individual performance. She offers instead a broader view of authorship that includes both individual and social dimensions, with implications not only for the teaching of composition but also for theories of rhetoric and literacy.

Winner, CCCC Outstanding Book Award 

Until recently, American composition scholars have studied writing instruction mainly within the borders of their own nation, rarely considering English composition in the global context in which writing in English is increasingly taught.  Writing in the Devil’s Tongue challenges this anachronistic approach by examining the history of English composition instruction in an East Asian country. Author Xiaoye You offers scholars a chance to observe how a nation changed from monolingual writing practices to bilingual writing instruction in a school setting.          

You makes extensive use of archival sources to help trace bilingual writing instruction in China back to 1862, when English was first taught in government schools. Treating the Chinese pursuit of modernity as the overarching theme, he explores how the entry of Anglo-American rhetoric and composition challenged and altered the traditional monolithic practice of teaching Chinese writing in the Confucian spirit. The author focuses on four aspects of this history: the Chinese negotiation with Anglo-American rhetoric, their search for innovative approaches to instruction, students’ situated use of English writing, and local scholarship in English composition.  

Unlike previous composition histories, which have tended to focus on institutional, disciplinary, and pedagogical issues, Writing in the Devil’s Tongue brings students back to center stage by featuring several passages written by them in each chapter. These passages not only showcase rhetorical and linguistic features of their writings but also serve as representative anecdotes that reveal the complex ways in which students, responding to their situations, performed multivalent, intercultural discourses.  In addition, You moves out of the classroom and into the historical, cultural, and political contexts that shaped both Chinese writing and composing practices and the pedagogies that were adopted to teach English to Chinese in China.  Teachers, students, and scholars reading this book will learn a great deal about the political and cultural impact that teaching English composition has had in China and  about the ways in which Chinese writing and composition continues to be shaped by rich and diverse cultural traditions and political discourses.

In showcasing the Chinese struggle with teaching and practicing bilingual composition, Writing in the Devil’s Tongue alerts American writing scholars and teachers to an outdated English monolingual mentality and urges them to modify their rhetorical assumptions, pedagogical approaches, and writing practices in the age of globalization.