CFP Special Edition of The Peer Review

Special Issue: Researching and Restoring Justice in Writing Centers

2020 Timeline:
February 2: Article proposals due (300-500 words)
End of February: Invitations to submit full articles
End of April: Full draft of manuscripts due (4000-6000 words including references)
Early June: Feedback to authors
Late September: Final drafts due
Fall 2020: Publication of special issue

Editorial Statement:
Our objective for this issue is to amplify the work and profiles of tutors, graduate students, and
emergent scholars (and women, people of color, translingual speakers, and those identifying with other groups underrepresented within the discipline, specifically) not just by creating a platform for publication, but by serving as mentors for those focusing on writing center work and scholarship. While Elisabeth and Monty will be the faculty editors of the journal, we will involve tutors (from our institutions, as well as some that we’ve worked with at conferences) as co-editors in every stage of the process.

We aim for this edited collection to be explicit about, confront, and evolve the ways that academic publication often functions as a gatekeeper. “Writing centers,” Garcia cautions, “are not free from power relations” (pg. 33). Even CFPs, as precursors to this system, perpetuate these iniquities by virtue of whose work is cited and framed to undergird a collection’s legitimacy, and so we choose consciously here to amplify the voices of new and emerging scholars alongside foundational sources from and adjacent to our field. As such, we see this project emerging from the Spring 2019 Special Issue of The Peer Review, (Re)Defining Welcome. Elise Dixon and Rachel Robinson write in the issue’s introduction that, “When we work in a writing center, we (often unknowingly) become preoccupied with the idea of welcome…We perpetuate the idea of comfort to foster a setting for vulnerability, yet how do we know what is comfortable, what welcome means, for everyone who comes into our space?” We see a similar need to interrogate who/what is welcome within disciplinary writing center spaces by transforming publication narratives. We commit to a kind, inclusive editorial practice that will offer feedback and recommendations for all submitted proposals.

Panning back, we see the theme for this issue, “Researching and Restoring Justice in Writing
Centers” as surfacing from the field’s calls for amplifying the ways that social justice manifests not only in/from writing center work, but also within institutions, society, and personal experience. Faison et al. (2019) speak importantly about advancing antiracist practices within writing center professional communities, and recent scholarship from Lockett (2019a), Reich (2018), Saleem (2018), and Angelsey & McBride (2019) gesture importantly to the ways that writing center practitioners can powerfully confront writing center labor as primarily white, heteronormative, monolingual, and able-bodied. To borrow from Poe, Inoue, and Elliot’s (2018) critique of writing assessments, these sorts of restorative justice responses position writing centers as standing in opposition to what dominant neoliberal theories consider as social goods.
Through more concerted efforts to highlight and enact the ideas advocated for by those
underrepresented groups, and by articulating their theories of restorative justice into qualitative
research methodologies that promote application and replication across different contexts, writing center stakeholders can transform writing center labor and research via applications of antiracist, feminist, queer, and/or womanist theory (e.g., Lockett 2019b).

We see this issue as building upon these field-shifting perspectives and utilizing specifically The Peer Review’s platform as a multimodal, open-access, and sustainable forum for disseminating scholarly inquiry and restoring justice. This is a theme that necessarily invites critique: What does it mean to enact “restorative justice”? What does justice in writing centers (and our disciplinary conversations about writing centers) look like? How has justice been shaped institutionally and historically, and how might we shape it differently?

With these objectives and questions of inquiry as starting points, we encourage text-based and
multimodal submissions on a variety of topics, including those that:
● Describe local and sustainable practices for promoting writing center research and
● Critique local and disciplinary practices that inhibit research of social and restorative justice
● Challenge institutional, disciplinary, and political expectations of identity as it pertains to
labor, compensation, and administration
● Articulate qualitative research methods based on theories of justice
● Write using translingual literacies
● Compose historiographic bibliographies of writing center research, identity, and
● Provide insights into research at religious-affiliated, gender specific, Historically Black,
Native American, or Hispanic Service institutions
● Critique or evolve principles of accessibility within writing center spaces/research
● Differentiate and/or align scholarly research and administrative assessment
● Interpret the theme of the special issue in ways that the faculty editors did not anticipate

Submission info summary w/ contact info:
We invite proposals of 300-500 words (due February 2nd, 2020) for articles up to 6000 words
(including notes and references; allowing for variance depending on article mode). We are
especially interested in submissions that showcase arguments in multimodal formats.

Please send all proposals and questions to:
Faculty Guest Editors:
Elisabeth H. Buck
Director, Multiliteracy & Communication Center
University of Massachusetts Dartmouth
Randall W. Monty
Associate Director, Writing Center
University of Texas Rio Grande Valley

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Sep 13, Grand Remembrances

Today is Grandparents Day in the United States. Being a Grand is a special honor. I feel very blessed that my wife and I have two grandchildren. We were able to visit them today. Yes, we are still being cautious with the coronavirus, but we also find it very difficult to not see them when they live so close. So today we did drop by to visit Jacob (age 10) and Sophia (age 7) along with their parents. We brought donuts and caught up with them. Our grandchildren are still pretty young and this is a precious time in their lives – and ours!

I wish I had known my grandparents better. We never lived in the same place. Dad was a career Air Force pilot, so we moved around a lot. But we did get to see them once in a while when they would visit us, or we them.

A Plague of Giants

There are five known magical ‘kennings’ or types: air, water, fire, earth, and plants. Each nation specializes in of these kennings, and the magic influences the society. There’s a big pitfall with this diversity of ability and locale–not everyone gets along.

Enter the Hathrim giants, or ‘lavaborn’ whose kenning is fire. Where they live the trees that fuel their fire are long gone, but the giants are definitely not welcome anywhere else. They’re big, they’re violent, and they’re ruthless. When a volcano erupts and they are forced to evacuate, they take the opportunity to relocate. They don’t care that it’s in a place where they aren’t wanted.

I first read Kevin Hearne’s Iron Druid books and loved them (also the quirky The Tales of Pell), so was curious about this new venture, starting with A PLAGUE OF GIANTS. Think Avatar: The Last Airbender meets Jim Butcher’s Codex Alera series. Elemental magic, a variety of races, different lands. And it’s all thrown at you from page one.

But this story is told a little differently. It starts at the end of the war, after a difficult victory, and a bard with earth kenning uses his magic to re-tell the story of the war to a city of refugees. And it’s this movement back and forth in time and between key players in this war that we get a singularly grand view of the war as a whole. Hearne uses this method to great effect.

There are so many interesting characters in this book that I can’t cover them all here. Often in books like this such a large cast of ‘main’ character can make the storytelling suffer, especially since they don’t have a lot of interaction with each other for the first 3/4 of the book–but it doesn’t suffer, thankfully. And the characterization is good enough, despite these short bursts, that by the end we understand these people and care about what happens to them.

If there were a main character it would be Dervan, a historian who is assigned to record (also spy on?) the bard’s stories. He finds himself caught up in machinations he feels unfit to survive. Fintan is the bard from another country, who at first is rather mysterious and his true personality is hidden by the stories he tells; it takes a while to understand him. Gorin Mogen is the leader of the Hathrim giants who decide to find a new land to settle. He’s hard to like, but as far as villains go, you understand his motivations and he can be even a little convincing. There’s Abhi, the son of hunters, who decides hunting isn’t the life for him–and unexpectedly finds himself on a quest for the sixth kenning. And Gondel Vedd, a scholar of linguistics who finds himself tasked with finding a way to communicate with a race of giants never seen before (definitely not Hathrim) and stumbles onto a mystery no one could have guessed: there may be a seventh kenning.

There are other characters, but what makes them all interesting is that they’re regular people (well, maybe not Gorin Mogen or the viceroy–he’s a piece of work) who become heroes in their own little ways, whether it’s the teenage girl who isn’t afraid to share vital information, to the scholars who suddenly find how crucial their minds are to the survival of a nation, to the humble public servants who find bravery when they need it most. This is a story of loss, love, redemption, courage, unity, and overcoming despair to not give up. All very human experiences by simple people who do extraordinary things.

Hearne’s worldbuilding is engaging. He doesn’t bottle feed you, at first it feels like drinking from a hydrant, but then you settle in and pick up things along the way. Then he shows you stuff with a punch to the gut. This is no fluffy world with simple magic without price. All the magic has a price, and more often than not it leads you straight to death’s door. For most people just the seeking of the magic will kill you. I particularly enjoyed the scenes with Ahbi and his discovery of the sixth kenning and everything associated with it. But giants? I mean, really? It isn’t bad enough fighting people who can control fire that you have to add that they’re twice the size of normal people? For Hearne if it’s war, the stakes are pretty high, and it gets ugly.

The benefit of the storytelling style is that the book, despite its length, moves along steadily (Hearne is no novice, here). The bits of story lead you along without annoying cliffhangers (mostly), and I never got bored with the switch between characters. It was easy to move between them, and they were recognizable enough that I got lost or confused. The end of the novel felt a little abrupt, but I guess that has more to do with I was ready for the story to continue, despite the exiting climax.

If you’re looking for epic fantasy with fun storytelling and clever worldbuilding, check out A PLAGUE OF GIANTS.

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The Artwork Of Gary Choo

Gary Choo is a concept artist/illustrator based in Singapore. I’ve know Gary for a good many years ( 17, actually ), working together in animation studios in Singapore like Silicon Illusions and Lucasfilm. Gary currently runs an art team at Mighty Bear Games, but when time allows he also draws covers for Marvel comics, and they’re amazing –

The Art Of Gary Choo
The Art Of Gary Choo
The Art Of Gary Choo
The Art Of Gary Choo
The Art Of Gary Choo

To see more of Gary’s work or to engage him for freelance work, head down to his ArtStation.

The post The Art Of Gary Choo appeared first on Halcyon Realms – Art Book Reviews – Anime, Manga, Film, Photography.