By definition, it was a university community collaborative. For this reason, the "failure" of the Glassville project called into question the integrity of its borders, creating a scenario in which "foreign powers" (deans, department heads, grant agencies, and other community partners) might use the moment to reclaim the space and resources for other initiatives. It was this development of a strategic community publishing space that necessitated institutional responsibility and recognition of the importance of correcting the project. There was simply no possibility Links Of London Charms(http://www.toplinkslondon.com/charms-c-181.html) of allowing the Glassville project to "fade away." It would affect not only the community, but the English Department as well. For this reason, I argue that the "hope" of such community-based work can be realized only by the creation of strategic university spaces that bring with them a collective ethical and institutional commitment to the numerous literacy populations that make up a neighborhood, city, or state.
Returning to the connections among English studies, value, and community publishing, I reiterate my argument that the history of English studies (a rubric covering both literary and composition studies) has involved the slow inclusion of vernacular or marginalized voices—a limited definition of value. English studies now resides in a space, however, from which it can take on a strategic role in alliance with marginalized populations not only to produce community-based publications, but also to ensure that the emerging commitment to publishing the words and voices of our local communities is enacted in an ethical and institutionally responsible manner. In doing so, English studies will not only further articulate its own traditions, but it will develop a framework to enrich the work of students, community members, and faculty. For this reason, English studies should become part of the effort to socialize the means of literary/literacy production by becoming active in community publishing networks within the residents' local communities or establishing their own small/low-level community publishing efforts. Such are the "common values" that could unite community publishing and English studies.
So how does the story of the Glassville project end how this revised sense of value shaped my response to the controversy to answer these questions, I focus on two particular elements of the response: the use of the book in our composition classroom and the production of the second edition. In the aftermath of the controversy, we were still faced with the commitment to use Links London(http://www.linksukstore.com) the book in our first-year writing courses; there were two thousand copies in our storeroom. Recognizing the need to coordinate with the community over the inclusion of the book in our curriculum, I decided to discuss with the neighborhood association how the book would be "used" in university classrooms. In doing so, I explicitly promised the president of the association that, when we used the book in university classes, we would not hide the project's mistakes or the community's anger. privileged space, ignoring the situation of those who don't have the "university" standing behind their "intellect." This led me to consider who is really allowed to exist within such broad and "alternative" definitions of the intellectual. Who has the power to decide that they can afford such a definition this conversation sparked a debate among those creating the course on what it meant to sound like or to be "intellectual." Or, as it was posed to students, how do we understand the relationship between intellectuals sponsored by a community and those sponsored by the academy How should these different intellectuals relate In a sense, the idea of the intellectual became a metaphor for the class to examine how university/neighborhood organizations might interact in the production of knowledge.
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