For good reasons, the rise of veterans studies has occurred within the discipline of writing studies, with its interdisciplinary approach to scholarship, pedagogy, and community outreach. Writing faculty are often a point of first contact with veteran students, and writing classrooms are by their nature the site of disclosures, providing opportunities to make connections and hear narratives that debunk the myth of the stereotypical combat veteran of popular culture. D. Alexis Hart and Roger Thompson offer rich academic inquiry into the idea of "the veteran" as well as into ways that veteran culture has been fostered or challenged in writing classrooms, in writing centers, and in college communities more generally. Presenting a more nuanced approach to understanding "the veteran" leads not only to more useful research, but also to more wide-ranging and significant scholarship and community engagement. Such an approach recognizes veterans as assets to the college campus, encourages institutions to customize their veterans programs and courses, and leads to more thoughtful engagement with veterans in the writing classroom.

In War & Homecoming: Veteran Identity and the Post-9/11 Generation, Travis L. Martin explores how a new generation of veterans is redefining what it means to come home. More than 2.7 million veterans served in Iraq and Afghanistan. Their homecomings didn't include parades or national celebrations. Instead, when the last US troops left Afghanistan, American veterans raised millions of dollars for the evacuation of Afghan refugees, especially those who'd served alongside them. This brand of selflessness is one reason civilians regard veterans with reverence and pride. The phrase "thank you for your service" is ubiquitous. Yet, one in ten post-9/11 veterans struggles with substance abuse. Fifteen to twenty veterans die by suicide every day. Veterans aged eighteen to thirty-four die at the highest rates, leading advocates to focus on concepts like moral injury and collective belonging when addressing psychic wounds. Martin argues that many veterans struggle due to decades of stereotyping and a lack of healthy models of veteran identity. In the American unconscious, veterans are treated as either the superficially praised "hero" or the victimized "wounded warrior," forever defined by past accomplishments. They are often appropriated as symbols in competing narratives of national identity. War & Homecoming critically examines representations of veterans in patriotic rhetoric, popular media, literature, and the lives of those who served. From this analysis, a new veteran identity emerges—veterans as storytellers who reject stereotypes, claim their symbolic authority, and define themselves through literature, art, and service. Their dynamic approach to life after military service allows for continued growth, agency, individuality, and inspiring examples of resilience for others.

Drilled to Write offers a rich account of US Army cadets navigating the unique demands of Army writing at a senior military college. In this longitudinal case study, J. Michael Rifenburg follows one cadet, Logan Blackwell, for four years and traces how he conceptualizes Army writing and Army genres through immersion in military science classes, tactical exercises in the Appalachian Mountains, and specialized programs like Airborne School. Drawing from research on rhetorical genre studies, writing transfer, and materiality, Drilled to Write speaks to scholars in writing studies committed to capturing how students understand their own writing development. Collectively, these chapters articulate four ways Blackwell leveraged resources through ROTC to become a cadet writer at this military college. Each chapter is dedicated to one year of his undergraduate experience with focus on curricular writing for his business management major and military science classes as well as his extracurricular writing, like his Ballroom Dance Club bylaws and a three-thousand-word short story. In Drilled to Write, Rifenburg invites readers to see how cadets are positioned between civilian and military life—a curiously liminal space where they develop as writers. Using Army ROTC as an entry into genre theory and larger conversations about the role higher education plays in developing Army officers, he shows how writing students develop genre awareness and flexibility while forging a personal identity.

Writing Centers and Learning Commons presents program administrators, directors, staff, and tutors with theoretical rationales, experiential journeys, and go-to practical designs and strategies for the many questions involved when writing centers find themselves operating in shared environments. The chapters comprehensively examine the ways writing centers make the most of sharing common ground. Directors, coordinators, administrators, and stakeholders draw on past and present attention to writing center studies to help shape the future of the learning commons and narrate their substantial collective experience with collaborative efforts to stay centered while empowering colleagues and student writers at their institutions. The contributors explore what is gained and lost by affiliating writing centers with learning commons, how to create sound pedagogical foundations that include writing center philosophies, how writing center practices evolved or have been altered by learning center affiliations, and more. Writing Centers and Learning Commons is for all stakeholders of writing in and across campuses collaborating on (by choice or edict), or wishing to explore the possibilities of, a learning commons enterprise. Contributors: Alice Batt, Cassandra Book, Charles A. Braman, Elizabeth Busekrus Blackmon, Virginia Crank, Celeste Del Russo, Patricia Egbert, Christopher Giroux, Alexis Hart, Suzanne Julian, Kristen Miller, Robby Nadler, Michele Ostrow, Helen Raica-Klotz, Kathleen Richards, Robyn Rohde, Nathalie Singh-Corcoran, David Stock

As the United States? wars in Afghanistan and Iraq continue, increasing numbers of students who experienced combat will enroll in colleges and universities. There is mounting evidence that these veterans will require support unique to their needs beyond the processing of financial aid paperwork from the Veterans Administration. Obviously, combat frequently inflicts injuries, both physical and mental, that will require attention, but veterans are a unique population in other ways as well. Soldiers experience extraordinary bonding in wartime, and colleges can provide opportunities for that fellowship to be a source of support and connection. Female veterans will bring a new, nontraditional perspective to campus, and student service organizations should pay careful attention. There is also a significant group of students who leave for service and return?under the best of circumstances, they need accommodation to succeed. Institutions of higher education traditionally have responded to the needs of special student populations by developing programs and offering services. This volume contains information about programmatic initiatives that can help create a welcoming environment for veterans, one that encourages serious, creative involvement. The authors bring broad experience and deliberate consideration to bear on questions that are only becoming more important to the entire spectrum of American colleges and universities. This is the 126th volume of the Jossey-Bass higher education quarterly report series New Directions for Student Services, an indispensable resource for vice presidents of student affairs, deans of students, student counselors, and other student services professionals. Each issue of New Directions for Student Services offers guidelines and programs for aiding students in their total development: emotional, social, physical, and intellectual.

Writing Program Architecture offers an unprecedented abundance of information concerning the significant material, logistical, and rhetorical features of writing programs. Presenting the realities of thirty diverse and award-winning programs, contributors to the volume describe reporting lines, funding sources, jurisdictions, curricula, and other critical programmatic matters and provide insight into their program histories, politics, and philosophies. Each chapter opens with a program snapshot that includes summary demographic and historical information and then addresses the profile of the WPA, program conception, population served, funding, assessment, technology, curriculum, and more. The architecture of the book itself makes comparison across programs and contexts easy, not only among the programs described in each chapter but also between the program in any given chapter and the reader’s own program. An online web companion to the book includes access to the primary documents that have been of major importance to the development or sustainability of the program, described in a “Primary Document” section of each chapter. The metaphor of architecture allows us to imagine the constituent parts of a writing program as its foundation, beams, posts, scaffolding—the institutional structures that, alongside its people, anchor a program to the ground and keep it standing. The most extensive resource on program structure available to the field, Writing Program Architecture illuminates structural choices made by leaders of exemplary programs around the United States and provides an authoritative source of standard practice that a WPA might use to articulate programmatic choices to higher administration. Contributors: Susan Naomi Bernstein, Remica Bingham-Risher, Brent Chappelow, Malkiel Choseed, Angela Clark-Oates, Patrick Clauss, Emily W. Cosgrove, Thomas Deans, Bridget Draxler, Leigh Ann Dunning, Greg A. Giberson, Maggie Griffin Taylor, Paula Harrington, Sandra Jamieson, Marshall Kitchens, Michael Knievel, Amy Lannin, Christopher LeCluyse, Sarah Liggett, Deborah Marrott, Mark McBeth, Tim McCormack, John McCormick, Heather McGrew, Heather McKay, Heidi A. McKee, Julianne Newmark, Lori Ostergaard, Joannah Portman-Daley, Jacqueline Preston, James P. Purdy, Ben Rafoth, Dara Regaignon, Nedra Reynolds, Shirley Rose, Bonnie Selting, Stacey Sheriff, Steve Simpson, Patricia Sullivan, Kathleen Tonry, Sanford Tweedie, Meg Van Baalen-Wood, Shevaun Watson, Christy I. Wenger, Lisa Wilkinson, Candace Zepeda

Addressing how composers transfer both knowledge about and practices of writing, Writing across Contexts explores the grounding theory behind a specific composition curriculum called Teaching for Transfer (TFT) and analyzes the efficacy of the approach. Finding that TFT courses aid students in transfer in ways that other kinds of composition courses do not, the authors demonstrate that the content of this curriculum, including its reflective practice, provides a unique set of resources for students to call on and repurpose for new writing tasks. The authors provide a brief historical review, give attention to current curricular efforts designed to promote such transfer, and develop new insights into the role of prior knowledge in students' ability to transfer writing knowledge and practice, presenting three models of how students respond to and use new knowledge—assemblage, remix, and critical incident. A timely and significant contribution to the field, Writing across Contexts will be of interest to graduate students, composition scholars, WAC and writing-in-the-disciplines scholars, and writing program administrators.

Literally translated as “self-culture-writing,” autoethnography—as both process and product—holds great promise for scholars and researchers in writings studies who endeavor to describe, understand, analyze, and critique the ways in which selves, cultures, writing, and representation intersect. Self+Culture+Writing foregrounds the possibility of autoethnography as a viable methodological approach and provides researchers and instructors with ways of understanding, crafting, and teaching autoethnography within writing studies. Interest in autoethnography is growing among writing studies scholars, who see clear connections to well-known disciplinary conversations about personal narrative, as well as to the narrative turn in general and social justice efforts in particular. Contributions by authors from diverse backgrounds and institutional settings are organized into three parts: a section of writing studies autoethnographies, a section on how to teach autoethnography, and a section on how ideas about autoethnography in writing studies are evolving. Self+Culture+Writing discusses the use of autoethnography in the writing classroom as both a research method and a legitimate way of knowing, providing examples of the genre and theoretical discussions that highlight the usefulness and limitations of these methods. Contributors: Leslie Akst, Melissa Atienza, Ross Atkinson, Alison Cardinal, Sue Doe, Will Duffy, John Gagnon, Elena Garcia, Guadalupe Garcia, Caleb Gonzalez, Lilly Halboth, Rebecca Hallman Martini, Kirsten Higgins, Shereen Inayatulla, Aliyah Jones, Autumn Laws, Soyeon Lee, Louis M. Maraj, Kira Marshall-McKelvey, Jennifer Owen, Tiffany Rainey, Marcie Sims, Amanda Sladek, Trixie Smith, Anthony Warnke

This reference guide provides a comprehensive review of the literature on all the issues, responsibilities, and opportunities that writing program administrators need to understand, manage, and enact, including budgets, personnel, curriculum, assessment, teacher training and supervision, and more. Writing Program Administration also provides the first comprehensive history of writing program administration in U.S. higher education. Writing Program Administration includes a helpful glossary of terms and an annotated bibliography for further reading.

Institutions of higher education are experiencing the largest influx of enrolled veterans since World War II, and these student veterans are transforming post-secondary classroom dynamics. While many campus divisions like admissions and student services are actively moving to accommodate the rise in this demographic, little research about this population and their educational needs is available, and academic departments have been slower to adjust. In Generation Vet, fifteen chapters offer well-researched, pedagogically savvy recommendations for curricular and programmatic responses to student veterans for English and writing studies departments. In work with veterans in writing-intensive courses and community contexts, questions of citizenship, disability, activism, community-campus relationships, and retention come to the fore. Moreover, writing-intensive courses can be sites of significant cultural exchanges—even clashes—as veterans bring military values, rhetorical traditions, and communication styles that may challenge the values, beliefs, and assumptions of traditional college students and faculty. This classroom-oriented text addresses a wide range of issues concerning veterans, pedagogy, rhetoric, and writing program administration. Written by diverse scholar-teachers and written in diverse genres, the essays in this collection promise to enhance our understanding of student veterans, composition pedagogy and administration, and the post-9/11 university.