Volumes in Writing Spaces: Readings on Writing offer multiple perspec- tives on a wide-range of topics about writing. In each chapter, authors present their unique views, insights, and strategies for writing by ad- dressing the undergraduate reader directly. Drawing on their own ex- periences, these teachers-as-writers invite students to join in the larger conversation about the craft of writing. Consequently, each essay func- tions as a standalone text that can easily complement other selected readings in writing or writing-intensive courses across the disciplines at any level.

Volumes in Writing Spaces: Readings on Writing offer multiple perspectives on a wide-range of topics about writing, much like the model made famous by Wendy Bishop’s “The Subject Is . . .” series. In each chapter, authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Drawing on their own experiences, these teachers-as-writers invite students to join in the larger conversation about developing nearly every aspect of craft of writing. Consequently, each essay functions as a standalone text that can easily complement other selected readings in writing or writing-intensive courses across the disciplines at any level. Topics in Volume 1 of the series include academic writing, how to interpret writing assignments, motives for writing, rhetorical analysis, revision, invention, writing centers, argumentation, narrative, reflective writing, Wikipedia, patchwriting, collaboration, and genres.

Volumes in WRITING SPACES: READINGS ON WRITING offer multiple perspectives on a wide-range of topics about writing. In each chapter, authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Drawing on their own experiences, these teachers-as-writers invite students to join in the larger conversation about the craft of writing. Consequently, each essay functions as a standalone text that can easily complement other selected readings in writing or writing-intensive courses across the disciplines at any level. Volume 2 continues the tradition of the previous volume with topics, such as the rhetorical situation, collaboration, documentation styles, weblogs, invention, writing assignment interpretation, reading critically, information literacy, ethnography, interviewing, argument, document design, and source integration.

Volumes in Writing Spaces: Readings on Writing offer multiple perspectives on a wide range of topics about writing. In each chapter, authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Drawing on their own experiences, these teachers-as-writers invite students to join in the larger conversation about the craft of writing. Consequently, each essay functions as a standalone text that can easily complement other selected readings in first year writing or writing-intensive courses across the disciplines at any level. Volume 3 continues the tradition of previous volumes with topics such as voice and style in writing, rhetorical appeals, discourse communities, multimodal composing, visual rhetoric, credibility, exigency, working with personal experience in academic writing, globalized writing and rhetoric, constructing scholarly ethos, imitation and style, and rhetorical punctuation.

When you Read Like a Writer (RLW) you work to identify some of the choices the author made so that you can better understand how such choices might arise in your own writing. The idea is to carefully examine the things you read, looking at the writerly techniques in the text in order to decide if you might want to adopt similar (or the same) techniques in your writing. You are reading to learn about writing. Instead of reading for content or to better understand the ideas in the writing (which you will automatically do to some degree anyway), you are trying to understand how the piece of writing was put together by the author and what you can learn about writing by reading a particular text. As you read in this way, you think about how the choices the author made and the techniques that he/she used are influencing your own responses as a reader. What is it about the way this text is written that makes you feel and respond the way you do?

Volumes in WRITING SPACES: READINGS ON WRITING offer multiple perspectives on a wide-range of topics about writing. In each chapter, authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Drawing on their own experiences, these teachers-as-writers invite students to join in the larger conversation about the craft of writing. Consequently, each essay functions as a standalone text that can easily complement other selected readings in writing or writing-intensive courses across the disciplines at any level. Volume 2 continues the tradition of the previous volume with topics, such as the rhetorical situation, collaboration, documentation styles, weblogs, invention, writing assignment interpretation, reading critically, information literacy, ethnography, interviewing, argument, document design, and source integration.

Includes multiple perspectives on a wide range of topics about writing in college. Authors present their unique views, insights, and strategies for writing by addressing the undergraduate reader directly. Designed for first-year composition.

Poems and other texts from the 1960s by a pioneering conceptual artist that show a continuity with his subsequent work in performance and video art. Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the period, but demonstrates the continuity of his early writing with his later work in film, video, and performance. Language to Cover a Page documents a key moment in the unprecedented intersection of artists and poets in the late 1960s -- as seen in the Dwan Gallery's series of "Language" shows (1967-1970) and in Acconci's own journal 0 to 9. Indeed, as Acconci moved from the poetry scene to the art world, his poetry became increasingly performative while his artwork was often structured and motivated by linguistic play. Acconci's early writing recalls the work of Samuel Beckett, the deadpan voice of the nouveau roman, and the jump cuts and fraught permutations of the nouvelle vague. Poems in Language to Cover a Page explore the materiality of language ("language as matter and not ideas," as Robert Smithson put it), the physical space of the page, and the physicality of source texts (phonebooks, thesauruses, dictionaries). Other poems take the space of the page as an analogue to performance space or implicate the poem in a network of activity (as in his "Dial-a-Poem" pieces). Readers will find Acconci's inventive and accomplished poetry as edgy and provocative as anything published today.

This second edition of Jay David Bolter's classic text expands on the objectives of the original volume, illustrating the relationship of print to new media, and examining how hypertext and other forms of electronic writing refashion or "remediate" the forms and genres of print. Reflecting the dynamic changes in electronic technology since the first edition, this revision incorporates the Web and other current standards of electronic writing. As a text for students in composition, new technologies, information studies, and related areas, this volume provides a unique examination of the computer as a technology for reading and writing.

Elegant data and ideas deserve elegant expression, argues Helen Sword in this lively guide to academic writing. For scholars frustrated with disciplinary conventions, and for specialists who want to write for a larger audience but are unsure where to begin, here are imaginative, practical, witty pointers that show how to make articles and books a pleasure to read—and to write. Dispelling the myth that you cannot get published without writing wordy, impersonal prose, Sword shows how much journal editors and readers welcome work that avoids excessive jargon and abstraction. Sword’s analysis of more than a thousand peer-reviewed articles across a wide range of fields documents a startling gap between how academics typically describe good writing and the turgid prose they regularly produce. Stylish Academic Writing showcases a range of scholars from the sciences, humanities, and social sciences who write with vividness and panache. Individual chapters take up specific elements of style, such as titles and headings, chapter openings, and structure, and close with examples of transferable techniques that any writer can master.