Presents the story of Rumpelstiltskin and discusses many lessons that it presents for poets. Makes analogies of Rumpelstiltskin for writers. Considers how "the straw of quirks and earnest mistakes, of stubbornness" are living gold. (SG)

Suggests that drawing allows students time to think, spaces in which to look at the world more deeply, and ways into words. Lists eight ways teachers can encourage students to use drawing in language arts classrooms. (SG)

Reflects on what the author has learned about university teaching from her experience being a novice student of karate. Asserts the value for even seasoned teachers to maintain a beginner's mind that is "free of the habits of the expert, ready to accept, to doubt, and to open to all the possibilities." Concludes that from this new…

Discusses the complexity of naming nonfiction as a class of written works. Struggles with many different possible definitions of nonfiction and considers the problems with many of the definitions. Suggests the use of the term "creative nonfiction" as an umbrella to cover the widest range of nonfiction literary production. Argues that…

Describes how the author's habit of fabrications and stories as a 10-year-old became a source for writing fiction. Notes how he pursued journalism as a profession, but was frustrated by its limitations. Considers how as a professional field, composition continues to contemplate and struggle with issues of power and representation in research and…

Describes three approaches with which grammar may be welcomed back into the composition classroom. Considers how the teaching of grammar is making a comeback, with scholars acknowledging that the objections raised by process theories were valid but also investigating how to use grammar in writing classrooms, how to answer old process objections,…

Notes that writing centers have defined their goals and unique approaches and that they have gained a sense of permanence and a level of professionalism that has established writing centers as integral parts of writing instruction. Argues that writing centers have experienced growth and expansion but no major swings, shifts, or redefinitions of…

Explores what advanced student writers could be told about audience based on current principles of reading theory. Discusses reasons why teachers may not want to introduce students to these reading-based concepts of audience. (RS)

Discusses using students' graded papers as a "text" to be read and commented upon by other students. Notes that sharing students' papers (and the teacher's comments) (1) reassures the students that they are not the only ones making errors; (2) deepens their understanding of literature; and (3) increases their awareness of writing styles and…

Reviews a new book on using writing to teach literature in which the author is equally devoted to reader-response criticism and the close reading of texts. Summarizes the three extended sections of the book: "Teaching Connection and Perception,""Teaching Critical Distance," and "Sequencing Critical Inquiry." (KEH)

Presents an interview with Jacques Derrida, discussing rhetoric and composition. Describes Derrida's growth as a writer, proposes a model of composition instruction, discusses problems compositionists should avoid, and comments on a range of other topics, including liberatory learning, social constructionism, logocentrism, and feminism. (SR)

Describes how to transform a Rubik's cube into a tool for thinking and writing about literature. Notes how the six faces of the cube are labeled with common examples of theme, character, method, "world,""change," and reader perspective. Describes how, after shuffling, each face includes examples from each perspective. (RS)

Examines how some of Kenneth Burke's ideas on dialectic and rhetoric can offer a perspective on both the collaborative situation and collaborative writing. Argues that collaborators (especially students) should be made more aware of the role and value of substantive conflict to the collaborative process. (MM)

Proposes that reluctant writers' motivation can be enhanced by using a simple writing format, by allowing students to write in areas of strong interest, and by giving much reassurance. Stresses that success in an endeavor is essential to motivation and achievement. (SR)

Reviews publications on using literature in basic writing courses, noting that the theoretical orientations of these articles are inconsistent and contradictory. Cites arguments for the importance of literature in basic writing courses. (MM)