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The standard perception of higher education in the United States is that it is only for the elite (or those middle-class folks who are willing to take out massive loans to pay for their education). However, the founding concept behind public higher education was to allow all who wish to earn an advanced degree the opportunity to do so. Obviously, the schema appears to have changed. Financial considerations, admissions standards, and other limitations can produce obstacles to admission. One way to overcome these obstacles is the Community and Technical College system. This system has flourished as a result of offering skills-based training in a number of readily employable fields. Another way to surmount obstacles to higher education, and the one that is the subject of this review, is through community engagement. Community engagement occurs when an institution of higher learning opens its doors to the general public and seeks to partner with them in providing academic and professional training. Community can occur in one of two ways: the institution can seek partnerships with the public through campus events or community service, or the public can seek partnerships with the institution through fieldwork arrangements or training programs. Obviously, this can also be a two-way street where the institution and the community collaborate in the engagement process. Welch’s volume is based on the Carnegie Foundation’s significant research study on existing community engagement offices at several major American universities and the conceptual writings on community engagement by John Saltmarsh. Welch outlines the purpose of, platforms for, and programs involved with community engagement. The strength of the volume is Welch’s thorough analysis and systematizing of the Carnegie report. However, the volume promises more than that; it promises to provide practical direction for how schools can connect with their community to implement these platforms and programs. This is where the volume falls short of expectations. As mentioned previously, this book is quite voluminous when it comes to the analysis and quantification of the Carnegie study. And if it had simply stayed there, this would have been an insightful and thought-provoking volume that naturally leads to two other volumes by the same publisher that appear to be connected (Publically Engaged Scholars edited by Post, Ward, Longo, and Saltmarsh, and Community Partner Guide to Campus Collaborations by Cress, Stokamer, and Kaufman). However, the book also attempts to craft an implementation plan for community engagement. It waffles between institutions partnering with community liaisons to provide internships for human services or business students on the one hand and developing institution-based think-tanks that, through strategic partnerships, craft economic and political policy through instructor-student-sponsor relationships on the other. Ultimately, Welch’s volume becomes a never-ending firehose that could lead to bloated institutions scrambling to keep their doors open or to anemic institutions beaten down by unnecessary feelings of academic and professional inferiority.

Luis S. Villacaňas de Castro, an assistant professor in the department of Language and Literature Education at the University of Valencia in Spain, wrote Critical Pedagogy and Marx, Vygotsky, and Freire as a companion volume to his earlier book The Copernican Turn and the Social Science, which was published in Spanish in 2013. Villacaňas de Castro writes extensively in epistemology, critical pedagogy, political philosophy, and language education and publishes in both Spanish and English.  This volume has three sections and an introduction. In the introduction, the author explores the Copernican turn, which involves paradigm-shifting theories. He argues that four scientific theories qualify as Copernican turns: Freud’s psychoanalysis; Marx’s works in sociology; Neo-Darwinism; and the Theory of Relativity. Villacaňas de Castro explains that “a Copernican turn thus involves two kinds of knowledge: about the object and the subject; knowledge about specific realities; and also new knowledge about how human beings should understand themselves in relation to those four objects” (2). He argues that each Copernican turn creates epistemological obstacles, and he engages these obstacles through the lens of the German concept Erscheinungsformen, which he translates as phenomenal forms. The author explores “the threats and difficulties that the Erscheinungsformen pose to teaching and learning, and how educators should negotiate these obstacles” (5). Villacaňas de Castro uses the works of Marx, Vygotsky, and Freire to translate the epistemological obstacles into pedagogical problems and then engages pedagogical approaches to solve the problems (7). The author argues that these pedagogical approaches justify participatory action research as the most effective educational approach. The first section deals with Marx, Freud, and pedagogy. In Chapter I, Villacaňas de Castro introduces the major concepts of Marxist sociology and Freudian psychoanalysis in terms of pedagogical approaches to address the epistemological obstacles. Section II explores epistemology, critical pedagogy, and the liberal principle. The two chapters in this section engage concepts from Marx and Vygotsky to unpack and engage Erscheinungsformen. Villacaňas de Castro argues that this chapter reveals “a theoretical blind spot in Vygotsky’s pedagogy…which it is in the interests of critical pedagogues to resolve” (46). The work of Freire becomes key as Villacaňas de Castro develops this critical pedagogy in the form of social democracy. The last part of the book, Section III, explores the theory and practice of educational action research. Using Freire’s pedagogical approach and John Elliott’s liberal pedagogy, the author concludes “that John Elliott does not provide educators with a liberal pedagogy, but rather an appropriate method for them to fulfill their main critical goal: to help students understand the nature of the key subject matters that determine their life in society” (114). This supports Villacaňas de Castro’s argument and he concludes that participatory meta-action research is “an effective measure to break the vicious circle both students and I have fallen into” (144). This book is a very complex and abstract argument. Villacaňas de Castro’s academic writing style will throw off many readers. His sentence structures are very long (including a 141-word sentence on pages 86 and 87) with many embedded clauses. This makes attempting to unpack the already difficult concepts of Marx, Vygotsky, and Freire more challenging. However, the author develops a solid case for a stronger critical pedagogy rooted in participatory action research. Theological libraries that support programs with components of theological methodology should add this text to their collections. In addition, faculty and graduate students who are working with participatory action research should read this book to explore the epistemological foundations of their methodology.

On Writing Well has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers. (From the Publisher)

Writing is a solitary sport—but none of us can do it without good company at crucial moments. This spirited collection of inspiring and useful essays and exercises on the craft of writing is the next best thing to having an experienced writer at your side. These twenty-nine pieces, more than half of which have never been published in book form, include selections as unusual and diverse as behaviorist B. F. Skinner's "How to Discover What You Have to Say"; Brett Candlish Millier's investigation of the seventeen drafts of Elizabeth Bishop's poem "One Art"; Ursula Le Guin's "Where Do You Get Your Ideas From?"; Anne Eisenberg's "E-Mail and the New Epistolary Age"; and Nancy Mair's "The Writer's Thin Skin and Faint Heart." Other contributors include Gloria Naylor, Stanley Kunitz, Bernard Shaw, Natalie Goldberg, Anne Tyler, Rita Dove, Peter Elbow, and Gail Godwin. (From the Publisher)

It has become commonplace these days to speak of “unpacking” texts. Voice and Vision is a book about packing that prose in the first place. While history is scholarship, it is also art—that is, literature. And while it has no need to emulate fiction, slump into memoir, or become self-referential text, its composition does need to be conscious and informed. Voice and Vision is for those who wish to understand the ways in which literary considerations can enhance nonfiction writing. At issue is not whether writing is scholarly or popular, narrative or analytical, but whether it is good. Fiction has guidebooks galore; journalism has shelves stocked with manuals; certain hybrids such as creative nonfiction and the new journalism have evolved standards, esthetics, and justifications for how to transfer the dominant modes of fiction to topics in nonfiction. But history and other serious or scholarly nonfiction have nothing comparable. Now this curious omission is addressed by Stephen Pyne as he analyzes and teaches the craft that undergirds whole realms of nonfiction and book-based academic disciplines. With eminent good sense concerning the unique problems posed by research-based writing and with a wealth of examples from accomplished writers, Pyne, an experienced and skilled writer himself, explores the many ways to understand what makes good nonfiction, and explains how to achieve it. His counsel and guidance will be invaluable to experts as well as novices in the art of writing serious and scholarly nonfiction. (From the Publisher)

Immensely helpful and illuminating to any aspiring writer, this special edition of Stephen King’s critically lauded, million-copy bestseller shares the experiences, habits, and convictions that have shaped him and his work. “Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have. King’s advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999—and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it—fans, writers, and anyone who loves a great story well told. (From the Publisher)

In a second volume of original essays drawn from the long-running New York Times column, Writers on Writing brings together another group of contemporary literature's finest voices to muse on the challenges and gifts of language and creativity. The pieces range from taciturn, hilarious advice for aspiring writers to thoughtful, soul-wrenching reflections on writing in the midst of national tragedy. William Kennedy talks about the intersecting lives of real and imagined Albany politics; Susan Isaacs reveals her nostalgia for a long-retired protagonist; and Elmore Leonard offers pithy rules for letting the writing, and not the writer, take charge. With contributions from Diane Ackerman, Margaret Atwood, Frank Conroy, Mary Karr, Patrick McGrath, Arthur Miller, Amy Tan, and Edmund White, Writers on Writing, Volume II offers an uncommon and revealing view of the writer's world. (From the Publisher)

By turns poignant, hilarious, and practical, Writers on Writing brings together more than forty of contemporary literature's finest voices. Pieces range from reflections on the daily craft of writing to the intersection of art's and life's consequential moments. Authors discuss what impels them to write: creating a sense of control in a turbulent universe; bearing witness to events that would otherwise be lost in history or within the writer's soul; recapturing a fragment of time. Others praise mentors and lessons, whether from the classroom, daily circumstances, or the pages of a favorite writer. For anyone interested in the art and rewards of writing, Writers on Writing offers an uncommon and revealing view of a writer's world. Contributors include Russell Banks, Saul Bellow, E. L. Doctorow, Richard Ford, Kent Haruf, Carl Hiaasen, Alice Hoffman, Jamaica Kincaid, Barbara Kingsolver, Sue Miller, Walter Mosley, Joyce Carol Oates, Annie Proulx, Carol Shields, Jane Smiley, Susan Sontag, John Updike, Kurt Vonnegut Jr., Alice Walker, and Elie Wiesel. (From the Publisher)