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New business models have splintered journalists’ once-monolithic professional culture. Where the organization once had little sway in the newsroom, in today’s journalism ecosystem, owners and management influence newsgathering more than ever.

Using rich interviews and participant observation, Patrick Ferrucci examines institutions with funding mechanisms that range from traditional mogul ownership and online-only nonprofits to staff-owned cooperatives and hedge fund control. The variations in market models have frayed the tenets of professionalization, with unique work cultures emerging from each organization’s focus on its mission and the implantation of its own processes and ethical guidelines. As a result, the field of American journalism no longer shares uniform newsgathering practices and a common identity, a break with the past that affects what information we consume today and what the press will become tomorrow.

An inside look at a fracturing profession, The Organization of Journalism illuminates the institution’s expanding impact on newsgathering and the people who practice it.

 

The venture of this inviting collection is to look, from the many vantages that the 35 poets in this eclectic anthology chose to look, at what it was—knowing that a poem can’t be conceived in advance of its creation—that helped their poems to emerge or connected them over time. The Rag-Picker's Guide to Poetry permits an inside view of how poets outwit internal censors and habits of thought, showing how the meticulous and the spontaneous come together in the process of discovery. Within are contained the work and thoughts of:

• Betty Adcock
• Joan Aleshire
• Debra Allbery
• Elizabeth Arnold
• David Baker
• Rick Barot
• Marianne Boruch
• Karen Brennan
• Gabrielle Calvocoressi
• Michael Collier
• Carl Dennis
• Stuart Dischell
• Roger Fanning
• Chris Forhan
• Reginald Gibbons
• Linda Gregerson
• Jennifer Grotz
• Brooks Haxton
• Tony Hoagland
• Mark Jarman
• A. Van Jordan
• Laura Kasischke
• Mary Leader
• Dana Levin
• James Longenbach
• Thomas Lux
• Maurice Manning
• Heather McHugh
• Martha Rhodes
• Alan Shapiro
• Daniel Tobin
• Ellen Bryant Voigt
• Alan Williamson
• Eleanor Wilner
• C. Dale Young

What is literature? Can we measure ‘literariness’ in texts themselves? The innovative Computational Humanities project The Riddle of Literary Quality asked thousands of Dutch readers for their opinion about contemporary Dutch and translated novels. The public shared which novels they had read, what they really thought of them, and how they judged their quality. Their judgments of the same novels were compared with the results of computational analysis of the books.

Using evidence from almost 14,000 readers and building on more textual data than ever before, Van Dalen-Oskam and her team uncovered unconscious biases that shed new light on prejudices many people assumed no longer existed. This monograph explains in an accessible way how the project unfolded, which methods were used, and how the results may change the future of Literary Studies.

In this sequel to the acclaimed Threads from the Web of Life, Stephen Daubert presents twenty-six new stories that pull the reader into the mystery and immediacy of ecological processes ranging from the microscopic to the tectonic. Many show surprising intersections of creatures from different realms or the hidden interplay of evolving organisms. These gripping stories contain a level of intimacy and detail not usually encountered in other styles of natural history writing.

Praise for the first collection of stories:

Stephen Daubert's Threads from the Web of Life is written in the tradition of Aldo Leopold and Bernd Heinrich. It teaches by drawing you into the drama, excitement, and beauty of nature.
--Don Glass, host of the NPR-syndicated program "A Moment of Science"

Threads from the Web of Life is a uniquely wide-ranging combination of scientific research and literary imagination that takes the reader on journeys through time and space that even the most elaborate television programs still can't provide. Stephen Daubert's grasp of a variety of botanical, zoological, geological, and climatological disciplines is impressive, and he presents them and their interactions with grace and authority.
--David Rains Wallace, author of The Klamath Knot, The Monkey's Bridge, and Beasts of Eden

Each of these happenings is a thread in the intricate web of life, and Daubert, a molecular scientist at the University of California, Davis, demonstrates that these threads are easily broken by humans. ... Instructive and entertaining.
--Publishers Weekly

Threads from the Web of Life takes readers on a journey around the globe as the author describes unique and unusual ecological processes. It is ideal for casual reading as well as a source of selections to read aloud (!) or to link literature with the study of natural history.
--NSTA Recommends, National Science Teachers Association

Highly recommended. ... The stories are as much enjoyable as they are informative.
--Science Books& Films
In these sixteen stories of the interplay of organisms, weather, and geophysics, many a being succumbs to predation, and many another endures. Evolution happens as species learn the hard way. There is often a tragic element in these fascinating tales. . . . These vivid, poetic tales . . . afford good teaching. Threads from the Web of Life will appeal to any reader whose heart is in the living world.
-- ForeWord

In The Small Book of Hip Checks Erica Rand uses multiple meanings of hip check—including an athlete using their hip to throw an opponent off-balance and the inspection of racialized gender—to consider the workings of queer gender, race, and writing. Explicitly attending to processes of writing and revising, Rand pursues interruption, rethinking, and redirection to challenge standard methods of argumentation and traditional markers of heft and fluff. She writes about topics including a trans shout-out in a Super Bowl ad, the heyday of lavender dildos, ballet dancer Misty Copeland, the criticism received by figure skater Debi Thomas and tennis great Serena Williams for competing in bodysuits while Black, and the gendering involved in identifying the remains of people who die trying to cross into the United States south of Tucson, Arizona. Along the way, Rand encourages making muscle memory of experimentation and developing an openness to being conceptually knocked sideways. In other words, to be hip-checked.

What can we learn from baseball great Ted Williams about how to improve our writing? What can we learn we from the iconic ESPN show SportsCenter  about how to manage information? And are you sure you really know what the word “peruse” means? 

Explore these and other questions in the second volume of The Syntax of Sports, a series designed to recreate a popular course at the University of Michigan. Here are a few things students have said about the experience of taking it.

•  “Patrick Barry is the best teacher I have ever had. I have never learned so much in a class. I hated English my whole life until I took this course.”

• “I feel like this is and always will be the most valuable class I've ever taken here.”

• “I genuinely wanted to show up to this class due to the amount I knew I would learn.” 

•  “I'm going to severely SEVERELY miss this course.”

• “Every student should try to take one of Prof. Barry’s classes if he or she wants to become a better writer.”

•  “My writing is now 113x better.”

The Talk and Texts of Teacher Development explores the role of writing programs—specifically practicum courses—in developing teachers and articulating programmatic values. Drawing on interviews, curricular analysis, program archives, and teacher research, Adrienne Jankens explores how implicit values shape decisions about curriculum, pedagogy, and programmatic structures.
 
Through her multi-site analysis, Jankens examines the ways values are reflected in syllabi, committee meetings, and classroom practices. She demonstrates how values that are often unstated or assumed can be made explicit and linked to programmatic action, thus supporting development and aligning instructional goals with broader institutional objectives. Offering a nuanced framework on practicum courses, Jankens also highlights the importance of local contexts and distinguishes among tacit, implicit, explicit, emergent, and articulated values. This layered understanding helps reveal the often hidden mechanisms by which writing program values are enacted in day-to-day teaching practices.
 
Teacher development is a crucial site for enacting and understanding programmatic values, and making these values explicit can guide meaningful programmatic change. Providing an institutional ethnography of Jankens’s own writing program and situating those findings within broader conversations in writing studies, The Talk and Texts of Teacher Development adds to scholarship exploring the focus of the practicum course, the positionality and experience of graduate teaching assistants in writing programs, and the perennial work of the field to identify its core values and disciplinary identity.
 

Co-Winner of the 2024 ACLA Renè Wellek Prize for Monograph 

The emergence of the alphabet in ancient Greece, usually heralded as the first step in the inexorable march toward reason and progress, in fact signaled the introduction of a chance technology that hijacked the future, with devastating consequences for humanity. By investigating an array of cultural artifacts, ranging from Kubrick's 2001: A Space Odyssey to the Oracle at Delphi to Luther's challenge to the Church, this book demonstrates how the apparently benign emergence of writing made possible far-ranging systems of organized domination and unprecedented levels of violence. The Violence of the Letter considers how a twenty-six-letter code changed the face of the world, and not always for the better.

By one of the most original and learned critical voices in Hispanic studies— a timely and ambitious study of authority as theme and authority as authorial strategy in modern Latin American literature.

An ideology is implicit in modern Latin American literature, argues Roberto González Echevarría, through which both the literature itself and criticism of it define what Latin American literature is and how it ought to be read. In the works themselves this ideology is constantly subjected to a radical critique, and that critique renders the ideology productive and in a sense is what constitutes the work. In literary criticism, however, too frequently the ideology merely serves as support for an authoritative discourse that seriously misrepresents Latin American literature.

In The Voice of the Masters, González Echevarría attempts to uncover the workings of modern Latin American literature by creating a dialogue of texts, a dynamic whole whose parts are seven illuminating essays on seminal texts in the tradition. As he says, "To have written a sustained, expository book ... would have led me to make the same kind of critical error that I attribute to most criticism of Latin American literature.... I would have naively assumed an authoritative voice while attempting a critique of precisely that critical gesture."

Instead, major works by Barnet, Cabrera Infante, Carpentier, Cortázar, Fuentes, Gallegos, García Márquez, Roa Bastos, and Rodó are the object of a set of independent deconstructive (and reconstructive) readings. Writing in the tradition of Derrida and de Man, González Echevarría brings to these readings both the penetrative brilliance of the French master and a profound understanding of historical and cultural context. His insightful annotation of Cabrera Infante's "Meta-End," the full text of which is presented at the close of the study, clearly demonstrates these qualities and exemplifies his particular approach to the text.

The first English translation of Yves Bonnefoy’s account of his life as a traveler.
 
The Wandering Life is a poetic culmination of Yves Bonnefoy’s wanderings and characterizes the final twenty-five years of his work. Bonnefoy was an ardent traveler throughout his life, and his journeys in foreign countries left a profound imprint on his work. The time he spent in Italy, translating Shakespeare’s work in England, in universities in the United States, in India with Octavio Paz, and more, affected his poetry in discernible ways and inspired The Wandering Life. Interweaving verse and prose—vignettes that range from a few lines in length to several pages—this volume is a fitting capstone to Bonnefoy’s oeuvre and appears in English translation for the first time to mark the centenary of Yves Bonnefoy’s birth.
 

In her work as poet, essayist, editor, dramatist, and public intellectual, Chicana lesbian writer Cherríe Moraga has been extremely influential in current debates on culture and identity as an ongoing, open-ended process. Analyzing the "in-between" spaces in Moraga's writing where race, gender, class, and sexuality intermingle, this first book-length study of Moraga's work focuses on her writing of the body and related material practices of sex, desire, and pleasure.

Yvonne Yarbro-Bejarano divides the book into three sections, which analyze Moraga's writing of the body, her dramaturgy in the context of both dominant and alternative Western theatrical traditions, and her writing of identities and racialized desire. Through close textual readings of Loving in the War Years, Giving Up the Ghost, Shadow of a Man, Heroes and Saints, The Last Generation, and Waiting in the Wings, Yarbro-Bejarano contributes to the development of a language to talk about sexuality as potentially empowering, the place of desire within politics, and the intricate workings of racialized desire.

Elena Poniatowska is one of Latin America's most distinguished and innovative living writers. Advocacy of women and the poor in their struggle for social and economic justice, denunciation of the repression of that struggle, and a tendency to blur the boundaries between conventional literary forms characterize her writing practice.

Asserting that Poniatowska's writing has been uniquely shaped by her experience as a journalist and interviewer, Beth Jörgensen addresses four important texts: Palabras cruzadas (interviews), Hasta no verte Jesús mío (testimonial novel), La noche de Tlatelolco (oral history), and La "Flor de Lis" (novel of development). She also treats related pieces, including Lilus Kikus (short fiction), De noche vienes (short stories), Fuerte es el silencio (chronicles), and several of Poniatowska's essays. Her readings incorporate a variety of critical approaches within a feminist framework.

Through classroom ethnography, student interviews, analyses of settler archives, and personal reflection, There Is No Making It Out addresses the legacies of settler colonialism and settler rhetorics and their continued impact on how (subaltern) peoples see the world, walk through it, and interact with others. Romeo García argues that concepts of decoloniality prompt crucial counter-rhetorics and writing that are necessary but perhaps ultimately unattainable. In the demand for something else, and at the intersection between a praxical theorizing and theory-building actioning, There Is No Making It Out works to de-link and reclaim an archival approach as a critical method and also reclaim a theory of archival impressions as a theoretical apparatus deeply attuned both to tilling the ground on which power takes root and to a full spectrum of Matter (living, nonliving, nonhuman). García offers no definitive resolutions but, situated between two rhetorical standpoints—stories-so-far and the possibilities of new stories—There Is No Making It Out channels a hope and struggle for wor(l)ding otherwise.
 

Emotional labor is not adequately talked about or addressed by writing program administrators. The Things We Carry makes this often-invisible labor visible, demonstrates a variety of practical strategies to navigate it reflectively, and opens a path for further research. Particularly timely, this collection considers how writing program administrators work when their schools or regions experience crisis situations.
 
The book is broken into three sections: one emphasizing the WPA’s own work identity, one on fostering community in writing programs, and one on balancing the professional and personal. Chapters written by a diverse range of authors in different institutional and WPA contexts examine the roles of WPAs in traumatic events, such as mass shootings and natural disasters, as well as the emotional labor WPAs perform on a daily basis, such as working with students who have been sexually assaulted or endured racist, sexist, homophobic, and otherwise disenfranchising interactions on campus. The central thread in this collection focuses on “preserving” by acknowledging that emotions are neither good nor bad and that they must be continually reflected upon as WPAs consider what to do with emotional labor and how to respond. Ultimately, this book argues for more visibility of the emotional labor WPAs perform and for WPAs to care for themselves even as they care for others.
 
The Things We Carry extends conversations about WPA emotional labor and offers concrete and useful strategies for administrators working in both a large range of traumatic events as well as daily situations that require tactical work to preserve their sense of self and balance. It will be invaluable to writing program administrators specifically and of interest to other types of administrators as well as scholars in rhetoric and composition who are interested in emotion more broadly.
 

This richly textured edited collection explores the ways in which graduate teaching assistants are prepared to enter the field of rhetoric and composition. By viewing teaching and learning from the perspective of the TAs themselves, the chapters, personal narratives, and program profiles that make up this collection speak to the diversity and complexity found within and beyond university walls and deepen our understanding of how these preparation programs shape TA identities and practices. Through their stories and reports, the contributors to this volume provide valuable insights into the programs, realities, and experiences that shape their work in rhetoric and composition.

Proposes that we can best understand literature’s relationship to sex through a renewed focus on masochism.
 
In a series of readings that engage American and European works of fiction, drama, and theory from the late nineteenth through the early twenty-first centuries, critic and playwright Julia Jarcho argues that these works conceive writing itself as masochistic, and masochism as sexuality enacted in writing. Throw Yourself Away is distinctive in its sustained focus on masochism as an engine of literary production across multiple authors and genres. In particular, Jarcho shows that theater has played a central role in modern erotic fantasies of the literary.  
 
Jarcho foregrounds writing as a project of distressed subjects: When masochistic writing is examined as a strategy of response to injurious social systems, it yields a surprisingly feminized—and less uniformly white—image of both masochism and authorship. Ultimately, Jarcho argues that a retheorized concept of masochism helps us understand literature itself as a sex act and shows us how writing can tend to our burdened, desirous bodies. With startling insights into such writers as Henry James, Henrik Ibsen, Mary Gaitskill, and Adrienne Kennedy, Throw Yourself Away furnishes a new masochistic theory of literature itself.

In To Make Negro Literature Elizabeth McHenry traces African American authorship in the decade following the 1896 legalization of segregation. She shifts critical focus from the published texts of acclaimed writers to unfamiliar practitioners whose works reflect the unsettledness of African American letters in this period. Analyzing literary projects that were unpublished, unsuccessful, or only partially achieved, McHenry recovers a hidden genealogy of Black literature as having emerged tentatively, laboriously, and unevenly. She locates this history in books sold by subscription, in lists and bibliographies of African American authors and books assembled at the turn of the century, in the act of ghostwriting, and in manuscripts submitted to publishers for consideration and the letters of introduction that accompanied them. By attending to these sites and prioritizing overlooked archives, McHenry reveals a radically different literary landscape, revising concepts of Black authorship and offering a fresh account of the development of “Negro literature” focused on the never published, the barely read, and the unconventional.

Finalist: 2025 British Comparative Literature Association First Book Prize | July 22, 2025

Fusako Innami offers the first comprehensive study of touch and skinship—relationality with the other through the skin—in modern Japanese writing. The concept of the unreachable—that is, the lack of characters’ complete ability to touch what they try to reach for—provides a critical intervention on the issue of intimacy. Touch has been philosophically addressed in France, but literature is an effective—or possibly the most productive—venue for exploring touch in Japan, as literary texts depict what the characters may be concerned with but may not necessarily say out loud. Such a moment of capturing the gap between the felt and the said—the interaction between the body and language—can be effectively analyzed by paying attention to layers of verbalization, or indeed translation, by characters’ utterances, authors’ depictions, and readers’ interpretations. Each of the writers discussed in this book—starting with Nobel prize winner Kawabata Yasunari, Tanizaki Jun’ichirō, Yoshiyuki Junnosuke, and Matsuura Rieko—presents a particular obsession with objects or relationality to the other constructed via the desire for touch.

In Touching the Unreachable, phenomenological and psychoanalytical approaches are cross-culturally interrogated in engaging with literary touch to constantly challenge what may seem like the limit of transferability regarding concepts, words, and practices. The book thereby not only bridges cultural gaps beyond geographic and linguistic constraints, but also aims to decentralize a Eurocentric hegemony in its production and use of theories and brings Japanese cultural and literary analyses into further productive and stimulating intellectual dialogues. Through close readings of the authors’ treatment of touch, Innami develops a theoretical framework with which to examine intersensorial bodies interacting with objects and the environment through touch.

The field of writing program administration has long been a space rich in metaphor. From plate-twirling to fire-extinguishing, parents to dungeon masters, and much more, the work of a WPA extends to horizons unknown. Responding to the constraints of austerity, Toward More Sustainable Metaphors of Writing Program Administration offers new lenses for established WPAs and provides aspiring and early career WPAs with a sense of the range of responsibilities and opportunities in their academic and professional spaces.
 
This volume presents twelve chapters that reclaim and revise established metaphors; offer new metaphors based on sustainable, relational, or emotional labor practices and phenomena; and reveal the improvisational, artisanal nature of WPA work. Chapters resonate across three sections. The first section focuses on organic relationships captured in phrases like “putting out fires” and "seeing forests for the trees” alongside unexpected comparisons to ground and light. The second describes institutional landscapes featuring generative juxtapositions such as the WPA as a labor activist or a mapper of emotional geography. And the third discusses performance crafts like improv comedy and artisanal making.
 
Toward More Sustainable Metaphors of Writing Program Administration offers new and revised ways of thinking and acting for WPAs, who are constantly negotiating the paradoxical demands of their work and continually striving to act ethically in conflicted, and even fraught, situations. It will inspire practicing, aspiring, and former WPAs working in a time of transformation by highlighting more sustainable ways of enacting WPA identity.
 
 
Contributors: Jacob Babb, John Belk, Katherine Daily O'Meara, Ryan J. Dippre, Douglas Hesse, Andrew Hollinger, Rona Kaufman, Cynthia D. Mwenja, Manny Piña, Scott Rogers, Robyn Tasaka, Alexis Teagarden, Christy I. Wenger, Lydia Wilkes

We live in the age of trans-, an era of pervasive mobility across linguistic, national, disciplinary, and institutional borders of teachers, students, scholars, and institutional programs. The contributors to Toward a Transnational University examine how approaches to postsecondary writing instruction travel and, in the process, transform the transnational and translingual character of universities worldwide. The chapters in this edited collection investigate, in multiple contexts around the world, the challenges, opportunities, and ambiguities that arise when mobility is taken as their foundation. Writing from a wide range of locations—including Bangladesh, Canada, China, Japan, Nepal, Qatar, and the United States—the contributors to Toward a Transnational University examine the friction points by which particular approaches to academic writing and its teaching are translated and interact with local cultures and concerns. Together, they show how institutions of higher education are engaging the mobility and fluidity of academic writing, its teaching, and its learning.

In Toward an Anti-Capitalist Composition, James Rushing Daniel argues that capitalism is eminently responsible for the entangled catastrophes of the twenty-first century—precarity, economic and racial inequality, the decline of democratic culture, and climate change—and that it must accordingly become a central focus in the teaching of writing. Delving into pedagogy, research, and institutional work, he calls for an ambitious reimagining of composition as a discipline opposed to capitalism’s excesses.

Drawing on an array of philosophers, political theorists, and activists, Daniel outlines an anti-capitalist approach informed by the common, a concept theorized by Pierre Dardot and Christian Laval as a solidaristic response to capitalism rooted in inventive political action. Rather than relying upon claims of membership or ownership, the common supports radical, collective acts of remaking that comprehensively reject capitalist logics. Applying this approach to collaborative writing, student debt, working culture, and digital writing, Daniel demonstrates how the writing classroom may be oriented toward capitalist harms and prepare students to critique and resist them. He likewise employs the common to theorize how anti-capitalist interventions beyond the classroom could challenge institutional privatization and oppose the adjunctification of the professoriate.

Arguing that composition scholars have long neglected marketization and corporate power, Toward an Anti-Capitalist Composition extends a case for adopting a resolute anti-capitalist stance in the field and for remaking the university as a site of common work.

Tracing the Impact of First-Year Writing presents the results of a large-scale longitudinal study of college writers that explores the impact of a required first-year writing course with a comparative approach not previously available. Over five years Laura Wilder conducted 143 interviews with, and collected 774 pages of writing from, 58 students, half of whom had taken a new first-year writing course and half who had not. Wilder found that while in many ways the experiences of both groups are comparable—demonstrating how students receive valuable educations in rhetoric and writing from a variety of sources beyond a first-year writing course—students who took the first-year writing course were much more likely to identify as writers. This identification supported students’ use of writing in powerfully generative and knowledge-building ways that they carried with them long after the course into other appropriate contexts.
 
In contrast to previous longitudinal studies of college writers undertaken at institutions with high prestige and resources, Tracing the Impact of First-Year Writing explores the role of writing at a regional  public university and documents how students’ experiences with writing can be highly divergent across the curriculum and unequal across campuses. Additionally, this book includes the voices of students who do not identify as capable writers and have strongly negative emotional reactions to writing and writing instruction and adds empirical support to innovative calls in the field to transform the first-year writing course into one that inspires students to reflectively consider writing itself.