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Alice Moore Dunbar-Nelson left a record of her experiences as a paid activist and organizer in the womens suffrage movement of the 1910s not in a diary stories, or published writing, but in a scrapbook (Dunbar-Nelson, Scrapbook No. 3).1 She kept this book for five months in the summer and fall of 1915 as she traveled and spoke throughout Pennsylvania, working in a statewide campaign to pass a suffrage resolution. Because it is mediated, written in the words of those other than herself, it refracts her experience in multiple directions.

This book explores a reader's interactions with advertising during a period when not only consumption but advertising itself became established as a pleasure. The book argues that participation in advertising, rather than top-down dictation by advertisers, made advertising a central part of American culture. It tracks new forms of fictional realism that contained brand name references, courtship stories, and other fictional forms. As magazines became dependant on advertising rather than sales for their revenues, women's magazines led the way in making consumers of readers through the interplay of fiction, editorials, and advertising. The book takes the bicycle as a case study. At once invisible, familiar, and intrusive, advertising both shaped fiction of the period and was shaped by it. The book unearths the lively conversations among writers and advertisers about the new prevalence of advertising for mass-produced nationally distributed products.

[...] the extraordinary repurposing, reuse, and, most important, reconceptualizing of media represented by American Slavery As It Is entailed a complex negotiation between modes of access to media, expertise, and the imagination and vision to understand that southern newspapers could not only be made to speak against themselves, but also be picked through, tagged, and sorted to create a new mode of understanding information. Like present-day academic researchers who pick through databases for particular uses of words, for authors' names, or for fragments of poetry to place them into new contexts that will yield new interpretative possibilities, Angelina and Sarah Grimké and Theodore Weld reconceived of ads and articles in proslavery papers as items that could be broken free of their surroundings and aggregated, strung along a different thread to yield a damning portrait of slavery written in the slaveholders' own words.

[...]it's Teach for America that provides a lot of the directors of urban school districts which are privatizing and bringing in charter schools. [...]these Aspen Institute programs talk about this...bringing together charter school people and people who are trying to reform education with those who see schools as profit- making ventures. School reform is the single most ineffective policy initiative in American history since Prohibition, at a certain point, its manifest failure to do what it says it was going to do is going to become clear to everyone. On their own campuses, college professors should resist every form of assessment, supervision, and scripting if they've got tenure.

In the same year, as reported in The NewYork Times, the Texas Board of Education voted to \"put a conserva- tive stamp on history and economics textbooks, stressing the superiority of American capitalism, questioning the Founding Fathers' commitment to a purely secular government and presenting Republican political philosophies in a more positive light.\" [...]it asks what it is like to teach while under the assault of attacks on academic freedom, and demands to teach to the test.

Because Purdy's story was published specifically for an authence of farm women, readers are hailed as keepers of the new community mores that are visible throughout the magazine in advice on economical redecorating. In her other stories, Freeman treated shopping and the desire for goods as a senseless displacement of creative and sexual desires, as Monica Elbert has demonstrated. [...] in 1917, Freeman wrote a \"retraction\" of her story, asserting that it was \"false,\" since a New England woman like Sarah Penn would either have agreed with her husband that cows should be better housed than people or would have gotten what she wanted long before (\"Who's Who\" 25, 75).

The digital divide flickers through the articles in this issue on Teaching Digital Media, most obviously in the contrast between the world of elite universities, replete with research assistants creating rich and beautiful websites from the university's holdings, and assisting students in using them, versus public city and state university instructors relying on their own ingenuity to adapt available technology, without much support, that they can teach their students to use in a brief session. [...] the divide is not so simple: some less advantaged institutions have secured grants to bring digital resources to students, digital projects created by wealthier universities have allowed open access to those outside the gates, and the range of new technologies- from smartphones to social networking to free off-the-shelf software tools-offers students many points of entry into the digital world.