Continues the process of questioning what is taken for granted in communication research and expanding the views of rhetorical processes. Explores how and where texts are created, and how texts interact with each other, especially in terms of "intertextual interanimation." (RS)

Looks at the benefits and the losses to consider when thinking about making the transition from writer to manager. (SR)

One professor's approach to developing a course on French writers of the revolutionary era is presented. The lecture/discussion/oral report course was taught entirely in French and included a variety of literary genres. The syllabus, weekly log of lecture/discussion topics, and a bibliography are appended. (LB)

Explains how an impulse to invite a well-known writer to dinner has led to an extraordinarily satisfying mentor relationship. Author describes her own dedication to writing, the frustrations she occasionally feels as a writer, and the formation of a writers group of published women writers. (NB)

Suggests ways to make adults comfortable about the writing process: (1) recognize that adults want more involving lessons; (2) recognize their varied experiences; (3) enable writers to show that experiences will add to understanding of classes; (4) assess writing samples in nonthreatening ways; and (5) indicate that learning to write is a…

Reports results of a short survey of teachers regarding their use in class of books by author Judy Blume, and whether they had experienced controversy surrounding Blume's books. (SR)

In both canonical European American literature and contemporary ethnic American literature, there exists a counterpart to the "inscrutable Oriental" stereotype, the "inscrutable Albino." The albino motif is explored in some ethnic works to demonstrate how the trope functions in each and what this says about the author's world…

Presents an interview with Joseph Williams and Gregory Colomb, English professors, writing teachers, and coauthors of "Style: Toward Clarity and Grace." (SR)

Presents an interview with William Finnegan, staff writer at "The New Yorker." Discusses his travels and his experiences in southern Africa and the writing that grew out of them, his writing about the United States, and his writing process. (SR)

Offers advice from a playwright on how to use a play's stage directions. States that stage directions (1) are one playwriting technique for eliminating unnecessary words, (2) are strong suggestions from the playwright, and (3) often reveal character traits. Discusses script analysis. (PA)

Discusses the controversies about the copyright question by focusing on a case between France and Portugal in the 19th century. (PA)

Focuses on a resource used by author Monteiro Lobato to maintain a dialogue with society, i.e., giving voice to the character Emilia in his children's novels to express his own opinions about the "world order." (PA)

Presents separate interviews with children's authors Bruce Coville and Paul Zelinsky. Suggests that Coville captures the interests and hearts of his readers by offering a different twist on the story and the world. Notes that Zelinsky, under the influence of Maurice Sendak, turned his art major into a career of making picture books. (RS)

Discusses black novelists' use of white lead characters in their novels in the years between 1845 and 1945. Reasons cited include ambition, financial concerns, expansion of readership base, vicarious experiencing, approval of the white literary establishment, quest for universality, freedom of expression, and meeting the challenge. (MMU)

Presents an email interview with playwright and novelist Adam Rapp. Discusses his first three novels, which center on themes of isolation and alienation. Addresses his writing processes and how he develops the characters in his novels and plays. (RS)