Material conditions of writing have always delimited both the process and product of writing, so "writing" has held drastically different meanings over time, from paintings on cave walls to inscriptions on waxen tablets to intangible letters and symbols on computer screens. Each incarnation of writing possesses at least two common elements: the desire to communicate and the use of human hands. This paper, however, has been completed, by medical necessity, almost entirely without my hands.

In this essay, I imagine the aesthetic possibilities of such a of music and rhetoric – and how it can help rhetoric and composition imagine a new relationship with creative writing. I aim toward an understanding of such a mode of production by exploring “craft criticism” in terms of digital (multi-modal) rhetoric.

In this article, I argue that Family Guy models a form of rhetorical listening. The show demonstrates that pro- and anti-reparations claims can be simultaneously acknowledged rather than treating the viewpoints as mutually exclusive.

In this article, I propose a new approach for teaching the subject of the Holocaust to novice college students. This begins with encouraging students to take a stance of not-knowing. At the same time, I argue that it is important to maintain students' interests in the field by enabling a “paradigm shift” in their attitudes towards academic writing.

In the following essay, I relate the rhetorical and cultural journey of the children and their writings through Hurricane Katrina. I believe understanding the children’s reactions and coping processes are important in terms of promoting socially just outcomes.

In this paper, we offer a list of teaching materials to engage students with different taboo topics, from cultural practices surrounding food to the history of racial and sexual slurs to the process of menstruation. We discuss the advantages of teaching such topics in the context of composition classrooms.