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Eileen Maley retired in July 2015 after working a total of 42 years for NCTE and serving over 15 years as the CCCC Convention Manager. Any CCCC Chair will tell you that Eileen helped to make every conference what it was, working tirelessly and with excellent humor behind the scenes. She was there to address every question, every idea, every concern—and with a smile and an excellent joke to top it all off.

Below are excerpts from messages sent by some recent CCCC Chairs who wanted to thank Eileen one last time.

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If I can be considered the desk general of a military campaign, Eileen Maley was my best field marshal. I’d move a piece on the big map of the battlefield, and then, often much more quickly than I would have expected, she’d write me to say it was done.  The bridge was captured, the train depot secured, the supply lines beefed up.

That sort of big-picture-coupled-with-detailed-implementation relationship is what made Tampa work.  It’s what allowed me to dream and plan big, knowing that Eileen had the logistical experience to make those ideas happen.  She was a fabulous partner to my academic team and will be missed.

Joyce Carter

  

Upon becoming program chair, I knew that I was in good hands when Eileen sent me a clear and full timeline of all my responsibilities and benchmarks.  Bless you for that, Eileen.  It was a life-saver.

My most vivid image of Eileen is of her walking the halls of the convention center, usually with Jacqui Biddle, the two of them, decked out in multiple badges, comfortable walking shoes—ready to head wherever they were needed:  a problem with tech,  a last minute mix-up in rooms, you name it they were on it.    Eileen was a pro’s pro:  unflappable, and able to find humor in just about anything.   And a glass of wine, she realized, would ease all the rest.   

Howard Tinberg

 

Planning a huge convention almost immediately after being elected into the Officer’s rotation is a deep-end-of-the-pool experience. A lot of helpful advice comes from past program chairs. But for me and so many other Assistant Chairs of CCCC, Eileen Maley was a godsend. It wasn’t just that she knew everything about what would happen, good and bad, before and during the convention—and how to plan for it—but that she made it all seem like it could be done without a loss of mind or spirit. Imagine sending off a panicked email about some forgotten detail or leaving a gaspy urgent phone message and then hearing back from Eileen in . . . five minutes. Every time. Eileen seemed to be everywhere. Nowhere was this more visible than at the convention itself, where at every turn of a hallway there she’d be, holding her pager and cell phone and a batch of papers, ready to ward off the next possible catastrophe. I kept wondering whether Eileen ever wound down and put the conference out of her mind and turned off her cell phone and pager and stopped worrying about a million small details. So I told her that the blues band we commissioned to play at the opening session was doing a gig at a nearby venue on Saturday of the convention and urged her to show up. I figured she’d be roaming the cavernous spaces of the convention center all evening. But I’d tried.

My family and I went to the blues club that night, and to my surprise and delight, there was Eileen with friends and family at a large table near the stage. We joined them, and for a couple of hours, we forgot about the convention, CCCC, and all the little glitches (that only Eileen was aware of anyway).

At 6:30 the next morning, she was starting all over again, cell phone and pager in hand. Thanks, Eileen, for all your years of service to our organization, and for your friendship and so-wise counsel. So many of us are in your debt.

Chris Anson

 

When CCCC wants a top-notch convention, who you gonna call?  Eileen.  If there’s something weird and it don’t look good, who you gonna call? Eileen.

Over the years, she has guided us meticulously through the rigors of Stage 2 reviews, and searched for affordable, accessible properties, always keeping in mind budget-conscious attendees. With the 2009 San Francisco convention, I witnessed how, through her trusted working relationships, she could solve sticky problems and even negotiate complimentary facilities.  During conferences, she was the first one to check operations, greet faculty, remind presenters where they were supposed to be, and the last to leave special events. Now, we’ll miss her combing the hallways in tennis shoes with clip board. We’ll miss her knowledge of everything, and her patience with our many questions.  Thanks Eileen for always going the extra mile!

Marilyn Valentino

 

Until you have been through it, you can’t know how complex organizing the C’s conference is. Eileen has been there, done that.  I really mean done that.  More times than she probably cares to remember. But she is really good at it–identifying venues, negotiating great deals, getting the financials right, organizing logistic and academic processes, and herding all the voluntary labor to keep processes on schedule.  Then she fields all the questions and confusions from the membership so that all arrive happy and ready to engage.

Although I have organized more than my share of conferences, I never could have gotten through this one without her, and she made it easy and a pleasure for all of us chairs.  Efficient and effective, she still has excess energy for jokes and multiple identities. Did I mention, Eileen is a hoot.

Charles Bazerman

 

How Do You Solve a Problem like Eileen?
(with apologies to Rodgers and Hammerstein)

The question’s not “How do you solve a problem like Eileen.” Rather, it’s “How do you solve a problem like Eileen’s leaving us?
Now, that’s the much tougher question. You see, Eileen is NCTE’s long-time problem solver. She is, as Rodgers and Hammerstein put it so simply, “a darling! a demon! a lamb!” And everyone’s favorite, to be sure.
And it’s only in Urbana and only Eileen who can solve our problems. We call Eileen to find out why our NCTE password doesn’t work. We email Eileen to see if she can find a way to change the day or time or meeting space of our CCCC presentation. We ask her how we might order coffee service for our workshop. And we go to Eileen, too, to see if she can—somehow—find our university a party room at the last minute. If anyone can make things happen, it’s Eileen.
Only in Urbana.
Only Eileen.
And when you’re CCCC Program Chair, it’s Eileen who soothes your worries and complaints, assuring you that all the characters in the CCCC-convention drama play their own predictable roles.
The wondrous Eileen—talented, generous, sharp as a tack, fun as a circus—is much more than her Coach bags, zinfandel, and wicked humor. She is, as those lyricists would say, the unpinnable cloud, the untouchable moonbeam.
In other words, our Eileen is magic at its best.
Oh, how we’ll miss her!

Cheryl Glenn

 

Eileen Maley
A warm woman who empathizes when things go wrong.
A convention manager who helps plan conferences, suggests room assignments, gets information into the program, finds chairs for chairless sessions, schedules workshops, finds LCDs, relocates misplaced sessions, contracts with audio-visual folks so presentations, large with sound and visuals, go off without a hitch, finds missing items . . . with a smile.
A person with cell in hand and some kind of walky-talky in (other) hand walking–no, almost running–to a crisis to make it stop.
A throughline from Milwaukee and Nashville to Chicago and two-times New York City and New Orleans and St. Louis and Indianapolis and two-times San Francisco and Louisville and San Antonio and Tampa.
Tampa, 2015, lovely sunny cheerful palm trees straw hats perfect Tampa.
Our last CCCC with Eileen.
Our Eileen.
You are missed.

Kathleen Blake Yancey

  

  

2016 CCCC Annual Convention

April 6-9, 2016, Houston, Texas
Writing Strategies for Action

     

For over five decades, writing researchers and teachers have explored the many things that writing is, the many things that writing does, and the many roles that it plays for individuals and groups. From these efforts, some broad points of consensus have emerged from our research and practices. For example: writing is an activity that can be used for a range of purposes—to help writers develop their identities, facilitate thinking, express ideas, demonstrate knowledge and understanding. Writing is also a subject of study that fosters people’s abilities to identify expectations within and across boundaries and make conscious decisions based on those expectations, developing the kind of flexibility that leads to the production of “good” or “successful’ communicative products.

From this research- and practice-based knowledge, the field has contributed to ways of understanding and acting upon ideas about writing that can be seen in curriculum, majors, minors, graduate programs, collaborations with colleagues in other disciplines and with communities. At the same time, though, debates about what writing is, does, and can do sometimes don’t reflect this knowledge. A few recent examples illustrate the point: Basic writing courses and programs are being marginalized or eliminated. State legislatures are establishing writing standards. Policy actors are contending that if secondary education reforms are successful, first year writing may become a “remedial” course. There are signs that the open access movement that brought diverse students and diverse voices into the academy, a movement that has contributed in important ways to our ethos and identity as a discipline, seems to be moving in reverse.

Each of these actions suggest potential consequences for different students and institutions. They point to the need for strategic action. This action requires that we continue to articulate—for ourselves and to and with others—what writing is and does. It also entails research- and experience-based discussion with one another, with colleagues at our institutions, with members of the communities in which we live about why understandings of writing matter, about where and how writing development occurs in postsecondary education, and about the implications of research-based understandings about writing as an activity and a subject of study.

Read more from the 2016 Call for Program Proposals (PDF).

Linda Adler-Kassner
University of California, Santa Barbara
2016 Program Chair 

 

  

 

Performance-Rhetoric, Performance-Composition

2019 CCCC Annual Convention
March 13–16, 2019
Pittsburgh, Pennsylvania

Program Chair: Vershawn Ashanti Young

Call for Proposals

Rhetoric is one of the peas—composition is the other—in our disciplinary pod.

 Yet the institutions, publics, and students we serve often think rhetoric is simply “words, words, words.” And sometimes, we in the discipline wanna take our two peas and pick them outta they one pod, where rhetoric be in the mind, while composition be the written manifestation of that internal work. But, hold up! What if we think of rhetoric and composition as live, as embodied actions, as behaviors, yes, as
performances inside of one pod—our discipline—that lead to the creation of texts, to presentations, that invite mo performances and certainly mo co-performances?

Come join me in Pittsburgh for CCCC 2019.

 We gon show up, show out, practice, and theorize performance-rhetoric and performance-composition. Ahm talkin bout buttressing the public good and engaging communication pedagogies that open possibilities, many of them yet unknown—in reading, writing, speaking, listening, visuality, and digital communication. I prod you to raise new questions about performance-rhetoric, performance-composition, or you can ruminate on one of mine:

• What benefit could performance-rhetoric yield for understanding how the body relates to composition practices?
• What does performance-composition do for increased acquisition and demonstration of robust communication skills, not just for our students, but for us all?
• How can performance-rhetoric foster a translingual orientation toward language and literacy?
• What does performance-composition offer to the practice and understanding of the everyday linguistic practice of code-meshing?
• How can performance-rhetoric unearth old but gold theoretical practices that lead to exciting, inventive, and stimulating pedagogical dimensions?
• How can performance-composition help us to keep on keeping on, keep strutting our stuff, keep us woke bout our responsibilities to antiracism, to practicing class, gender, and social justice?

As you prepare yo proposal, also note that the structure of CCCC 2019 will be based on the traditional cluster system. Ahm also planning special programming, including workshops on Saturday of the convention for local K–12 teachers to explore hip-hop pedagogies and performative writing/communication.

I have asked a few of our colleagues, yeah, a few of my homies, to offer they thoughts on the terminological and theoretical functions of performance-rhetoric and performance-composition in the work that we [can] do. Because these peeps will also be Stage II reviewers, they will help determine the accepted proposals and help shape the conference program. So, I hope you will pay special attention to the knowledge they spittin. (Also see the vid of some of these scholars discussing the concepts Performance-Rhetoric and Performance-Composition.)

Vershawn Ashanti Young
2019 Program Chair

 

Elaine Richardson:

By emphasizing writing as performance art, I embrace a theory of embodied knowledge that challenges dominant institutions’ biases for standardization. “While intellectual rigor has long been measured in terms of standard linguistic acuity and print production that reinforce the dominant culture’s deep meanings, performance art is suspect because of its ephemeral, emotional,” (Joni Jones, “Sista Docta,” 1997: 53) critical, malleable, and imaginative nature.

Thinking about writing as performance brings together critical issues of language and identity, such as the meanings writers bring to words and how words work in the world. “Performance challenges Composition Studies to refocus its attention away from fixing the discipline to stretching it, opening the definition of ‘composing’ and requiring us to be open to periods of indecision and flux” (Meredith Love, “Composing Through the Performative Screen,” 2007).

 

Bump Halbritter:

The lens of performance spotlights the interpretive possibilities of both rhetoric and composition. Performance-rhetoric is composed to mean. Performance-composition, at some point, throws up its hands and says, “You take it from here.” As such, performance is a productive filter for considering most of my collaboratively authored works: musical compositions and recordings; edited, digital-video productions; scholarly -ogy texts (methodology, pedagogy); syllabi, writing prompts, and curricula. Each of these performances of art, inquiry, and pedagogy has emerged through acts of collaborative composition—partnerships that blur actors and audience, influence and invention, creation and interpretation, what (all) is said and what (all) is heard. Performance-rhetoric and performance-composition may have their say, but rarely the last word.

 

Frankie Condon:

Performance-rhetoric is speaking and writing in which the rhetor—a social justice warrior or accomplice, say—puts her money where her mouth is—not just saying what she thinks but doing it too in the words she chooses and the manner of her speech or writing. When we speak or write, we are making our relations: affiliating, disaffiliating, transforming who we think we are or could be with and for others. There’s no quicker way to demolish affiliations across lines of difference than by saying one thing and by one’s words doing another. But one powerful way of beginning to move from the selfish side of the self/other binary to articulating at the joint or point of interdependence between us is to deliberately, reflectively reach for performativity: for being and becoming just as we advocate for justice.

 

Derek Mueller:

Performance courageously courts unpredictability; so, it’s risk-taking. Performance envelopes activity with style; so, it’s attentionseeking. Performance recombines rhetorics’ means and sensoria and inheritances, chancing spectral composites. Shouldn’t we, then, insofar as carrying out this discipline’s work, invite, prime, and elicit performance more expansively?

 

Andrea Lunsford:

Performance-rhetoric/-composition rests on the premise, put forward and explained by Kenneth Burke, J. L. Austin, and many others, that language has the capacity to act, to do things and to make things happen in the world. Students can see such performances at work from the revolutionary American Declaration of Independence to a current Kickstarter site whose statements/images are so compelling that they elicit spontaneous donations. A second premise underlying performance rhetoric/composition is its epistemic ability: performance-rhetoric/composition not only records thought or knowledge but rather has the capacity to produce and perform both.

 

Meredith Love:

It’s always been clear to me, this connection between rhetoric and performance. Performance-rhetoric elucidates the movement of language and the ways that words do. It brings to consciousness the ways in which languages and bodies co-mingle and our desire for words to prompt action. Indeed, performance-rhetoric is both playful and generative, but at all times dangerous and risky. In the end, it is a process insistent on connection, reminding us that we are agile animators of words who cannot stand still but must stretch out for the hands of others.

Steven Lessner:

Performance-rhetoric offers crucial spaces in our pedagogies and research for listening to, interacting with, and learning from diverse voices, experiences, and literacy practices unfairly silenced in US society. In two-year college writing classrooms where I teach, students choose hip hop as a performance-rhetoric to vibe with, research, and connect to their writing. Students often highlight that hip hop, with its intellectual flow, revolutionary critiques, and intricate rhymes and rhythms, offers a needed place for marginalized voices to speak up and back to individuals and institutions that perpetuate racism and classism. Hip hop as a performance-rhetoric brings those individuals who are forgotten by society to the center of a conversation through art. Spitting fire on the mic since ’94, MC Nas echoes this sentiment when defining his role in hip hop: “I thought that I would represent for my neighborhood and tell their story, be their voice, in a way that nobody has done it.”

Jerry Won Lee:

In thinking about “performance,” I am drawn to the question of language, specifically in terms of what kinds of language and what kind of languages are imagined as “appropriate” for “academic” use. Maybe it’s time to shift the expectation of “performing appropriately with language” to the “performative through language,” in the sense of language as doing and reconstituting. This way, we can start imagining radical possibilities for what “appropriate” is in the first place.

Collin Craig:

When I write as an academic, I leverage both the cultural and performative possibilities of rhetoric. It allows me to center alternative voices and stories that are relegated to the margins and to reclaim them as sites for knowledge making and theory building. As a researcher, it allows me to explore the performative potential of literacy by Black and Latino students that I mentor at The Black Male Initiative. Performance-composition as a liberatory practice permits me to assert my voice as a counterstory to the memory of dramatic struts and cadences sung in rhythm by a military father who performatively spoke a language of shining Black masculinity with his body. Performance-composition as a cultural rhetorical practice affords me the opportunity to interrogate prevailing epistemologies, canons, and linear rhetorical traditions that are used to sanction curriculums and shape education policies and political agendas.

Andre Jones:

When a brother hears performance-rhetoric immediately a brother thinks of how “stiff” White people sometimes be (the emphasis on mimicking it) and thinks about the “cool pose” associated with young Black men (the emphasis on avoiding it). Both reflect cool, calm, and collectedness when faced with adversity, but they ain’t tantamount: the cool pose marks terrorism, indifference, anti-intellectualism. In pop culture, the cool pose is unsophistication rather than a serious, very real way of existing for Black people; one that if harnessed, respected, demonstrated more, could usher in a new era of re/presenting. Think of Obama’s dusting dirt off his shoulder—POTUS performing collectedness a la Jay-Z..

David F. Green Jr.:

Performance is never merely a set of rehearsed acts, but a way of achieving competence through repetition and embodied action. I find this to be true with regards to the study of writing and rhetoric specifically; thus, whether we openly acknowledge this or not, written or oratorical performances are always attempts to refashion or remix sedimented assumptions about identity and language competence provided by the communities we are born into or step into. Moreover, the decisions we make to demonstrate our respective competencies to those same communities are in many ways shaped by what we come to believe about rhetoric either explicitly or intuitively. From a pedagogical perspective this understanding of rhetoric and performance becomes a valuable way of acknowledging that texts, experiences, and writing are always given meaning according to time, place, and context, and that this requires an attentiveness to the way developing writers come to view and produce meaning through shared performances, by those who value the progressive possibilities of rhetoric and writing instruction.

 

Douglas S. Kern:

Performance rhetoric is an encounter of action or inaction—the way one might perform their silence, arms crossed, to elicit discomfort or embody resistance. It’s pursuit vs. obstacle. We employ performance rhetoric to achieve whatever ends we seek. When you’re talking to your mother, don’t ya act a certain way? The waiter down the street, don’t he act a certain way when he’s bringing you your food? The performative act gives birth to or fosters the essential discourses which pop up all around us (both academic and beyond).

 

 

 

Maximize your time at the 2016 CCCC Annual Convention by downloading the NCTE Events app. The app allows you to easily view the sessions, exhibitors, speakers, Houston area information, floor plans, alerts, and more!

NOTE:  If you downloaded the NCTE Events app for the 2015 NCTE Annual Convention, then you only need to add the CCCC 2016 event to your existing app.

How to Download

There are four different options for downloading the NCTE Events App.

1. Simply scan this QR code to be directed to the app in your app store.

2. Visit the appropriate app store to download. If you’re not downloading on an Apple or Android device, simply use the web version.

3. Text “NCTE” to 99000.

4. Search for “NCTE” or “NCTE Events” in your app or play store.

 

After You Download the App

Once you’ve downloaded the app, it’s easy to add the 2015 Annual Convention Event. On the home screen in the app, click on “Download Events” to check for new meetings or events.

Click on the 2016 CCCC Convention event to download it to your app, and then you’ll have access to all applicable information!

 

Join CCCC in going mobile today!

 

To hear stories about how colleagues have used the strategies for action that will be discussed in the workshops, view one of the illustrations below (with more coming soon!).

 

Steve Parks – Building Writing Beyond the Curriculum

  

Sheila Carter-Tod – Getting to Know a Writing Program

   

Dominic Delli Carpini – Building an Identity for Writing

 

   

At CCCC 2018 in Kansas City, an all-convention event, entitled “Literacy, Language, and Labor for Social Justice: Outward and Inward Reflection,” will be held on Thursday, March 15, from 1:45-3:00 pm. The session will have short presentations by local activists from Kansas City, MO, who can speak to our concerns and needs as a diverse body of literacy, rhetoric, and writing teachers and researchers. In addition to the panel, we will have opportunities to talk in small groups in response to a collection of statements from teacher-scholars in our field reflecting upon literacy, language, and labor for social justice.

It is anticipated that these table discussions will produce information for both the participants to take home with them that may inform their work there, and the CCCC organization to help it continue to re-imagine itself in more socially just and activist ways. We are looking for members attending the convention to serve as discussion facilitators during this event. Discussion facilitators will be responsible for the following tasks at tables during the event:

• Reading the collection of statements prior to the session (to be circulated a month before the convention) in preparation for the event.
• Engaging participants at your table in discussion of the questions raised by the statements and the panel discussion.
• Taking notes on the discussion, including documenting questions, ideas, and thoughts for further action. Facilitators will then contribute any notes taken to an online space to document the table’s discussions.
• Identifying questions, problems, points of tension, or forward actions that emerge from the discussion and be willing to share during the Q and A session.

If you are interested in serving in this role, please submit your name, email, and institution on this form by January 20, 2018. A list of table facilitators will be included in the program, with your institutional affiliation.

CCCC 2016’s Taking Action Workshops will provide opportunities to develop specific strategies for action. These workshops, facilitated by professional organizers and activists, will be offered

• to all convention registrants;
• free of additional charge;
• during regularly scheduled conference times on Thursday and Friday.

Each of the five Taking Action Workshops will be offered twice daily on Thursday and Friday. CCCC attendees are free to visit the workshops in any order they would like and as many times as they would like to.

On Saturday, during the last session of the conference, we’ll hold a plenary session where workshop facilitators will discuss what they learned offering the workshops and attendees will think together about next steps – for themselves, as well as for CCCC.

Learn More

 

Tell us about your concerns!

Share concerns you might bring to the Taking Action workshops by completing the Taking Action Workshop survey.  Please note that you don’t need to complete the survey to attend the workshops, and completing the survey does not obligate you to attend the workshops.

   

Each Taking Action workshop at CCCC 2016 will focus on a specific aspect of action-taking.

 

Naming and Narrowing

Our concerns are many and broad – but to take effective action, we need to narrow to a definable problem. What is your concern? What’s the “so what” of your concern – to whom does it matter? And how can you narrow it to a workable, solvable problem? This Taking Action workshop will help you focus the issues so that you can take action on them. (Sessions A, D, F, I)

Building Alliances

We all do better working together. Who else is interested in your concern, and how can you build alliances with them? This Taking Action workshop will help you to identify possible allies and build connections so that you can approach your concern with others. (Sessions A, C, G, J)

Framing Messages

Exploring how stakeholder groups currently understand our issues (writing, students, learning, schooling, and more) is the first step in figuring out how to create change. The frames through which people perceive problems impact their willingness to be part of the solution. This workshop will help you learn how to use strategic framing to craft effective messages as part of your overall taking action campaign. (Sessions B, E, H, J)

Influencing Policy

Often, we want to change policies related to writing, material conditions for writing education, and writers. But “policy” often seems large and confusing and it’s hard to keep track of policy changes and to know where to begin. How can we make effective contributions to policy and policy discussions? This Taking Action workshop will help you learn more about where you can be most effective and how to contribute to ongoing policy and discussions. (Sessions B, D, H, K)

Making Action Plans

Once we’ve named and narrowed to a problem, built alliances, and thought about messages and possible results, it’s time to make an action plan. This Taking Action workshop will help you to put your thinking into practice and equip you with concrete strategies and tactics for next steps. (Sessions C, E, I, K)

 

 

  

2025 CCCC Annual Convention

April 9–12, 2025
Baltimore Convention Center
Baltimore, MD

Program Chair: Kofi J. Adisa

Theme: “Computer Love”: Extended Play, B-sides, Remix, Collaboration, and Creativity

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Registration and housing are now open for CCCC 2025. Register now.

Visit the registration and housing page for registration and housing details.

View the CCCC 2025 searchable session listing.

Questions? Email CCCCevents@ncte.org.

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Additional Resources

2025 CCCC Annual Convention Call for Proposals
All proposers received a proposal notification and accepted presenters received scheduling information in fall 2024.

Tips for Poster Presentations

Event Policies

Funding Opportunities for the CCCC Annual Convention

Getting Ready for CCCC 2024: Some Tips for Graduate Students

Attending and Getting Involved at CCCC 2024: Tips for Graduate Students

Future CCCC Conventions and Siting Policies

Past Convention Programs

CCCC Member Groups

About the CCCC Annual Convention

Not Finding what you are looking for?

Send us an email with your questions!

 

The Conference on College Composition and Communication takes seriously the concerns that are included in the NAACP Missouri Travel Advisory. CCCC’s Convention Siting and Hostile Legislation: Guiding Principles state that we “will work to change state or local policies in host convention cities that diverge from established CCCC positions or otherwise threaten the safety or well-being of our membership.” To do so, we will consult with local groups and “arrang[e] activities and opportunities for members to support those who are disadvantaged by offensive policies . . . as a vehicle for nonviolent protest.”

We cannot move our national convention, which will be held in Kansas City, Missouri, on March 14-17, 2018. As our Guiding Principles explain, moving a national convention can incur hundreds of thousands of dollars in penalties. At this late date it is not possible to find an alternative location. We will work with the Visitor’s Bureau and other local organizations to make our expectations for member safety clear. We will also reach out to the local NAACP branch in Kansas City to find out ways we might work together on this and other issues that agree with both organizations’ missions and values.

Additionally, over the next few months and in preparation for our convention in Kansas City, we will work with CCCC members to create a forum for discussion and potential action on this and other related issues in which we might potentially partner with the local chapter of the NAACP and other local groups. The main goal will be finding ways to keep our members safe while travelling to and attending the conference and providing the support we can to anyone affected by the state policies of Missouri.

As part of CCCC’s efforts to create such forums for members, we invite you to provide input via this form: http://tinyurl.com/cccctravel. It will also allow you to review all responses made on it. The form will close on Sept 01, 2017. The program chair and local site committee will review all responses and share them with the CCCC Executive Committee.

If you wish to offer personal feedback to the 2018 CCCC Program Chair, Asao B. Inoue, you may email him at asao@uw.edu.