Queerly Centered explores writing center administration and queer identity, showcasing LGBTQA labor undertaken but not previously acknowledged or documented in the field’s research. Drawing from interviews with twenty queer writing center directors, Travis Webster examines the lived experiences of queer people leading writing centers, the promise and occasional peril of this work, and the disciplinary implications of such work for writing center administration, research, and praxis. Focused on directors’ queer histories, administrative activisms, and on-the-job tensions, this study connects and departs from oft-referenced lenses, such as emotional and invisible labor, for understanding work in higher education. The first book-length project that exclusively bridges writing centers and LGBTQA studies, Queerly Centered is for researchers, administrators, educators, and practitioners of all orientations and backgrounds in writing center and writing program administration, rhetoric and composition, and higher education administration.
Disruptive Stories uses an activist editing method to select and publish authors that have been marginalized in scholarly conversations and enrich the understanding of lived writing center experiences that have been underrepresented in writing center scholarship. These chapters explore how marginality affects writing centers, the people who work in them, and the scholarship generated from them by examining the consequences—both positive and negative—of marginalization through a mix of narratives and research. Contributors provide unique perspectives ranging across status, role, nationality, race, and ability. While US tenure-track writing center administrators (WCAs) do not make up the majority of those who hold WCA positions in writing centers, they are more likely to be the storytellers of the writing center grand narrative. They publish more, present more conference papers, edit more journals, and participate more in organizational leadership. This collection complicates that narrative by adding marginalized voices and experiences in three thematic categories: structural marginalization, globalization and marginalization, and embodied marginalization. Disruptive Stories spurs further conversations about ways to improve the review process in writing center scholarship so that it more accurately reflects the growing diversity of its administrators and practitioners.
A people-pleasing baker tries to find her place as a bridesmaid-for-hire. Will she finally find her happily ever after—and her own voice? “A delightful debut, perfect for any person who’s ever created their own place to belong.”—Casey McQuiston, bestselling author of Red, White & Royal Blue and One Last Stop FINALIST FOR THE LAMBDA LITERARY AWARD • ONE OF THE BEST BOOKS OF THE YEAR: Book Riot Amy, a semicloseted queer baker and bartender in mid-2010s Oklahoma, has spent a lifetime putting other people’s needs before her own. Until, that is, she’s fired from her job at a Christian bakery and turns her one-off gig subbing in for a bridesmaid into a full-time business, thanks to her baking talents, crafting skills, and years watching rom-coms and Say Yes to the Dress. Between her new gig and meeting Charley, the attractive engineer who’s just moved to Tulsa, suddenly Amy’s found something—and someone—she actually wants. Her tight-knit group of chosen family is thrilled that Amy is becoming her authentic self. But when her deep desire to please kicks into overdrive, Amy’s precarious balancing act strains her relationships to the breaking point, and she must decide what it looks like to be true to herself—and if she has the courage to try.
Mentorship/Methodology brings together emerging and established scholars to consider the relationship between mentoring practices and research methodologies in writing studies and related fields. Each essay in this edited collection produces a new intellectual space from which to theorize the dynamics of combining mentoring and research in institutions and communities of higher education. The contributors consider how methodology informs mentorship, how mentorship activates methodology, and how to locate the future of the field in these moments of intersection. Mentorship, through the research and relationships it nourishes, creates the future of writing studies—or, conversely, reproduces the past. At the juncture where this happens, the contributors inquire, Where have current arrangements of mentorship/methodology taken writing studies? Where do these points of intersection exist in performance and practice, in theory, in research? What images of the field do they produce? How can scholars better articulate and write about these moments or spaces in which mentorship and methodology collide in productive disciplinary work? By making the “slash” more visible, Mentorship/Methodology provides significant opportunities to support and cultivate diverse ways of knowing and being in rhetoric and composition, both locally and globally. The volume will appeal to students and scholars of rhetoric, composition, and technical and professional communication, as well as readers interested in conversations about mentorship and methodology.
Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies. The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study. Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader. Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi
The Routledge Handbook of Queer Rhetoric maps the ongoing becoming of queer rhetoric in the late twentieth and early twenty-first centuries, offering a dynamic overview of the history of and scholarly research in this field. The handbook features rhetorical scholarship that explicitly uses and extends insights from work in queer and trans theories to understand and critique intersections of rhetoric, gender, class, and sexuality. More important, chapters also attend to the intersections of constructs of queerness with race, class, ability, and neurodiversity. In so doing, the book acknowledges the many debts contemporary queer theory has to work by scholars of color, feminists, and activists, inside and outside the academy. The first book of its kind, the handbook traces and documents the emergence of this subfield within rhetorical studies while also pointing the way toward new lines of inquiry, new trajectories in scholarship, and new modalities and methods of analysis, critique, intervention, and speculation. This handbook is an invaluable resource for scholars, graduate students, and advanced undergraduate students studying rhetoric, communication, cultural studies, and queer studies.
This lively, opinionated, and playful look at the movies is a must-read for film buffs, and for anyone interested in gender, sexuality, and popular culture. One thing's for sure. After reading Flaming Classics you'll know you're definitely not in Kansas anymore.
2011 Outstanding Title, University Press Books for Public and Secondary School Libraries Winner of the Pacific Northwest Booksellers Association Award Before Forks, a small town on Washington’s Olympic Peninsula, became famous as the location for Stephenie Meyer’s Twilight book series, it was the self-proclaimed “Logging Capital of the World” and ground zero in a regional conflict over the fate of old-growth forests. Since Pulitzer Prize–winning journalist William Dietrich first published The Final Forest in 1992, logging in Forks has given way to tourism, but even with its new fame, Forks is still a home to loggers and others who make their living from the surrounding forests. The new edition recounts how forest policy and practices have changed since the early 1990s and also tells us what has happened in Forks and where the actors who were so important to the timber wars are now. For more information on the author to to: http://williamdietrich.com/
The story recreates a way of life that will never come again in reminiscences of the Roumanian scene viewed by Princess Anne-Marie and providing lovers of intimate scenes of life among the nobility with highly entertaining and refreshing tidbits. In a deeper sense, perhaps, it has some significance as a key to Roumanian psychology, politics, mores, at one social level. Her story centers largely on Bucharest and the country seat of the Bacaresco family. Anne-Marie inherited her wealth from her grandparents; her childhood recollections give detailed and intimate glimpses of life at Maneshti,- food, clothing, home management, the social round, in swift flowing story. Her allowance was spent by her spendthrift father and bailiffs hung around like vultures. At eighteen, Anne-Marie was swept into the social round, and the parade of kings, queens, princes, counts, wives and mistresses, parties, elaborate functions, all are described, and eventually the Princess in royal fashion proposes to Prince Jean Callimachi, catch of the season. Their honeymoon, their travels, and the arrival of their babies -- and the formidable English Nurse Wilkinson -- gradually build up to the first World War, to neutrality, mobilization, and finally the Peace Conference.
