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This collection is organized around the concept of abduction, a logical operation introduced by Charles Sanders Peirce that explains how new ideas are formed in response to an uncertain future. Responding to this uncertain future with rigor and insight, each essay imagines new methods, concepts, and perspectives that extend writing studies research into startling new terrain. To appeal to a wide range of audiences, the essays work within foundational areas in rhetoric and composition research such as space, time, archive, networks, inscription, and life. Some of the essays take familiar concepts such as historiography, the writing subject, and tone and use abduction to chart new paths forward. Others use abduction to identify areas within writing studies such as futural writing, the calling of place, and risk that require more sustained attention. Taken together, these essays expose the manifold pathways that writing studies research may pursue.

Each of the twelve essays that comprise this collection sparks new insights about the phenomenon of writing. A must-read for rhetoric and composition scholars and students, Abducting Writing Studies is sure to foster vibrant discussions about what is possible in writing research and instruction.
 

Denied access to traditional advertising platforms by lack of resources, craft breweries have proliferated despite these challenges by embracing social media platforms, and by creating an obsessed culture of fans. In Craft Obsession, Jeff Rice uses craft beer as a case study to demonstrate how social media platforms such as Facebook and Twitter function to shape stories about craft.

Rice weaves together theories of writing, narrative, new media, and rhetoric with a personal story of his passion for craft beer. He identifies six key elements of social media rhetoric—anecdotes, repetition, aggregation, delivery, sharing, and imagery—and examines how each helps to transform small, personal experiences with craft into a more widespread movement. When shared via social media, craft anecdotes—such as the first time one had a beer—interrupt and repeat one another, building a sense of familiarity and identity among otherwise unconnected people. Aggregation, the practice of joining unlike items into one space, builds on this network identity, establishing a connection to particular brands or locations, both real and virtual. The public releases of craft beers are used to explore the concept of craft delivery, which involves multiple actors across multiple spaces and results in multiple meanings. Finally, Rice highlights how personal sharing operates within the community of craft beer enthusiasts, who share online images of acquiring, trading for, and consuming a wide variety of beers. These shared stories and images, while personal for each individual, reflect the dependence of craft on systems of involvement. Throughout, Rice relates and reflects on his own experience as a craft beer enthusiast and his participation via social media in these systems.

Both an objective scholarly study and an engaging personal narrative about craft beer, Craft Obsession provides valuable insights into digital writing, storytelling, and social media.

Since the 1967 riots that ripped apart the city, Detroit has traditionally been viewed either as a place in ruins or a metropolis on the verge of rejuvenation. In Digital Detroit: Rhetoric and Space in the Age of the Network, author Jeff Rice goes beyond the notion of Detroit as simply a city of two ideas. Instead he explores the city as a web of multiple meanings which, in the digital age, come together in the city’s spaces to form a network that shapes the writing, the activity, and the very thinking of those around it.

Rice focuses his study on four of Detroit’s most iconic places—Woodward Avenue, the Maccabees Building, Michigan Central Station, and 8 Mile—covering each in a separate chapter. Each of these chapters explains one of the four features of network rhetoric: folksono(me), the affective interface, response, and decision making. As these rhetorical features connect, they form the overall network called Digital Detroit. Rice demonstrates how new media, such as podcasts, wikis, blogs, interactive maps, and the Internet in general, knit together Detroit into a digital network whose identity is fluid and ever-changing. In telling Detroit’s spatial story, Rice deftly illustrates how this new media, as a rhetorical practice, ultimately shapes understandings of space in ways that computer applications and city planning often cannot. The result is a model for a new way of thinking and interacting with space and the imagination, and for a better understanding of the challenges network rhetorics pose for writing.

Best known for his books We Have Never Been Modern, Laboratory Life, and Science in Action, Bruno Latour has inspired scholarship across many disciplines. In the past few years, the fields of rhetoric and composition have witnessed an explosion of interest in Latour’s work. Editors Paul Lynch and Nathaniel Rivers have assembled leading and emerging scholars in order to focus the debate on what Latour means for the study of persuasion and written communication.

Essays in this volume discern, rearticulate, and occasionally critique rhetoric and composition’s growing interest in Latour. These contributions include work on topics such as agency, argument, rhetorical history, pedagogy, and technology, among others. Contributors explain key terms, identify implications of Latour’s work for rhetoric and composition, and explore how his theories might inform writing pedagogies and be used to build research methodologies.

Thinking with Bruno Latour in Rhetoric and Composition shows how Latour’s groundbreaking theories on technology, agency, and networks might be taken up, enriched, and extended to challenge scholars in rhetorical studies (both English and communications), composition, and writing studies to rethink some of the field’s most basic assumptions.  It is set to become the standard introduction that will appeal not only to those scholars already interested in Latour but also those approaching Latour for the first time.