Through pedagogical narratives, literary analyses, reflective essays, and collaborative dialogues, Narratives of Educating for Sustainability in Unsustainable Environments explores the professional and intellectual tensions of curricula, pedagogies, and personal practices that honor the relationships of interspecies ecologies, reinhabit and reconceive wounded landscapes and wounding institutions, and allow us to reattune ourselves to new yet ancient frameworks for sustainability. For the writers here, fostering sustainability in higher education means focusing on place, creating positive relationships with humans and other beings, and creating administrative structures that will maintain new approaches for the long-term, showing how teaching environmentally is at once intensely site-specific yet powerfully global, deeply personal yet visibly public. Narratives of Educating for Sustainability in Unsustainable Environments confronts the contexts that make environmental pedagogies difficult, the challenges to the well-being of the teacher-scholar, and the corrosive academic structures that compartmentalize knowledge and people. The collection simultaneously offers models for working through and within these challenges to advance understandings and ways of being on local, global, and personal levels that will turn the planetary tide toward effective and shared sustainability.

In National Healing, author Claude Hurlbert persuasively relates nationalism to institutional racism and contends that these are both symptoms of a national ill health afflicting American higher education and found even in the field of writing studies. Teachers and scholars, even in progressive fields like composition, are unwittingly at odds with their own most liberatory purposes, he says, and he advocates consciously broadening our understanding of rhetoric and writing instruction to include rhetorical traditions of non-Western cultures.

Threading a personal narrative of his own experiences as a student, professor, and citizen through a wide ranging discussion of theory, pedagogy, and philosophy in the writing classroom, Hurlbert weaves a vision that moves beyond simple polemic and simplistic multiculturalism. National Healing offers a compelling new aesthetic, epistemological, and rhetorical configuration.
 

In this book, the first published in the #writing series, Derek N. Mueller offers a methodological response to recent efforts by scholars in rhetoric and composition/writing studies to account for patterns indicative of the discipline's maturation. Influenced by work on distant reading (Moretti, 2005) and thin description (Love, 2010 & 2013), this monograph attends to forms of knowledge newly available via computationally mined, aggregated data from large collections of texts, which is then used to build experimental models for discerning non-obvious relationships. By shedding light on large-scale patterns, the models promote what Mueller refers to as a network sense of the field, which regards these as crucial structures of participation for orienting newcomers to the shifting terrain of disciplinary knowledge and for sustaining a generalist's wherewithal in the midst of a growing archive of increasingly specialized scholarship.

In A New Writing Classroom, Patrick Sullivan provides a new generation of teachers a means and a rationale to reconceive their approach to teaching writing, calling into question the discipline's dependence on argument.

Including secondary writing teachers within his purview, Sullivan advocates a more diverse, exploratory, and flexible approach to writing activities in grades six through thirteen. A New Writing Classroom encourages teachers to pay more attention to research in learning theory, transfer of learning, international models for nurturing excellence in the classroom, and recent work in listening to teach students the sort of dialogic stance that leads to higher-order thinking and more sophisticated communication.

The conventional argumentative essay is often a simplistic form of argument, widely believed to be the most appropriate type of writing in English classes, but other kinds of writing may be more valuable to students and offer more important kinds of cognitive challenges. Focusing on listening and dispositions or "habits of mind” as central elements of this new composition pedagogy, A New Writing Classroom draws not just on composition studies but also on cognitive psychology, philosophy, learning theory, literature, and history, making an exciting and significant contribution to the field. 

Next Steps: New Directions for/in Writing about Writing is the first collection of teacher and student voices on a writing pedagogy that puts expert knowledge at the center of the writing classroom. More than forty contributors report on implementations of writing-about-writing pedagogies from the basic writing classroom to the graduate seminar, in two-year and four-year schools, and in small colleges and research universities around the United States and the world.
 
For more than ten years, WAW approaches have been emerging in all these sites and scenes of college writing instruction, and Next Steps offers an original look at the breadth of ways WAW pedagogy has been taken up by writing instructors and into an array of writing courses. Organized by some of the key foci of WAW instruction—writerly identity, process, and engagement—the book takes readers into thick classroom descriptions as well as vignettes offering shorter takes on particular strategies. The classroom descriptions are fleshed out in more personal ways by student vignettes, reflections on encountering writing about writing in college writing classes. As its theoretical basis, Next Steps includes chapters on threshold concepts, transfer of writing-related learning, and the history of WAW pedagogies.
 
As the first extensive look into WAW pedagogies across courses and institutions, Next Steps is ideal for writing instructors looking for new approaches to college composition instruction or curious about what “writing about writing” pedagogy actually is, for graduate students in composition pedagogy and their faculty, and for those researching composition pedagogy, threshold concepts, and learning transfer.
 
Contributors:
Linda Adler-Kassner, Olga Aksakalova, Joy Arbor, Matthew Bryan, Shawn Casey, Gabriel Cutrufello, Jennifer deWinter, Kristen di Gennaro, Emma Gaier, Christina Grant, Gwen Hart, Kimberly Hoover, Rebecca Jackson, Frances Johnson, Elizabeth Kleinfeld, Katie Jo LaRiviere, Andrew Lucchesi, Cat Mahaffey, Michael Michaud, Rebecca S. Nowacek, Andrew Ogilvie, Sarah Read, Rebecca Robinson, Kevin Roozen, Mysti Rudd, Christian Smith, Nichole Stack, Samuel Stinson, Hiroki Sugimoto, Lisa Tremain, Valerie Vera, Megan Wallace, Elizabeth Wardle, Christy I. Wenger, Nancy Wilson, Dominique Zino

In Noise from the Writing Center, Boquet develops a theory of "noise" and excess as an important element of difference between the pedagogy of writing centers and the academy in general. Addressing administrative issues, Boquet strains against the bean-counting anxiety that seems to drive so much of writing center administration. Pedagogically, she urges a more courageous practice, developed via metaphors of music and improvisation, and argues for "noise," excess, and performance as uniquely appropriate to the education of writers and tutors in the center.

Personal, even irreverent in style, Boquet is also theoretically sophisticated, and she draws from an eclectic range of work in academic and popular culture-from Foucault to Attali to Jimi Hendrix. She includes, as well, the voices of writing center tutors with whom she conducted research, and she finds some of her most inspiring moments in the words and work of those tutors.