LAUSR

title, cover, songs, and prolonged circulation as coordinated activities, musical world-making, and persuasion outside of direct human rhetorical intent (221). Illustrated through The Shape of Punk to Come, rhetoric is “an action that modifies, modulates, circulates—a series of vibrations that resonate, speed up, slow down, rearticulate, and invigorate ecologies of composition” (222). Hawk concludes by directing attention to the future of composition as a quasi-object through a re-reading of Ede and Lunsford’s canonical 1984 College Composition & Communication article “Audience Addressed, Audience Invoked,” focusing on the authors’ brief mention of writing for eventual audiences. Such a focus on future relationality, Hawk writes, is what resounding is: “setting off the potential for future resonance with eventual audiences and ecologies” (235). Hawk’s composition looks and listens forward, then, as it also casts back, entangling sound, music, humans, materials, and a resonating rhetoric. Resounding sets out a new theory of composition using an impressive (and at times daunting) amount of complex theory, both from rhetoric and composition and other fields. The book is foremost a theoretical text, much of which is dense and layered. Even so, Hawk is at his best when he weaves theory with examples, making composition as a quasi-object more accessible by describing the material and human interactions at the heart of the recording studio, for instance, or the spherical public circulation of Boyfriend’s music online. Hawk’s examples are so useful, in fact, that at times I wanted more detailed descriptions and analysis of the actions and interactions in the case studies. Overall, Resounding the Rhetorical provides rhetoricians and compositionists with in-depth discussions of key texts and concepts, re-read and re-interpreted through the lens of the new materialist quasi-object. Hawk’s discussion of research as transduction through diffractive methods, as one example of this move, was fascinating, reminding me to continually consider the material and the technological along with the human in my own research design and methods. And this, the joining of audience members with Hawk in our thinking and our actions, is how Resounding the Rhetorical enacts the theory it forwards, inviting readers to join in the coproduction of compositional ecologies as we work toward new understandings of what it is we study and practice as rhetoricians and writers.