Moss and Susan M. Brookhart contend that improving student learning and achievement happens in the immediacy of an individual lesson--what they call today's lesson--or it doesn't happen at all.The key to making today's lesson meaningful? Learning targets. Written from students' point of view, a learning target describes a lesson-sized chunk of information and skills that students will come to know deeply. Each lesson's learning target connects to the next lesson's target, enabling students to master a coherent series of challenges that ultimately lead to important curricular standards.Drawing from the authors' extensive research and professional learning partnerships with classrooms, schools, and school districts, this practical book- Situates learning targets in a theory of action that students, teachers, principals, and central-office administrators can use to unify their efforts to raise student achievement and create a culture of evidence-based, results-oriented practice. - Provides strategies for designing learning targets that promote higher-order thinking and foster student goal setting, self-assessment, and self-regulation. - Explains how to design a strong performance of understanding, an activity that produces evidence of students' progress toward the learning target. - Shows how to use learning targets to guide summative assessment and grading. Learning Targets also includes reproducible planning forms, a classroom walk-through guide, a lesson-planning process guide, and guides to teacher and student self-assessment.What students are actually doing during today's lesson is both the source of and the yardstick for school improvement efforts. By applying the insights in this book to your own work, you can improve your teaching expertise and dramatically empower all students as stakeholders in their own learning.

    This second edition includes a new appendix of sample scansions, and a comprehensive index of poets and poems cited. "This intelligent, user-friendly book is a quality guide to rhyme, rhythm, meter, and form for students, experienced readers, and practitioners of poetry... "The Poem's Heartbeat" may well be the finest general book available on prosody."-"Library Journal" (starred review) "In lucid prose, Corn clears a straight path through the scansion of quantitative verse and free verse... A provocative, definitive manual on meter.""Publishers Weekly" "A lively and well-informed primer to prosody, a current hot topic in poetic studies. Corn's aim is to introduce the novice poet or student to the vocabulary and understanding of English prosody, from its basic rules and definitions to the complexities of how sound is measured in poetry. Recommended for all academic libraries, this book could only have been written by someone who cares about the details, the relation of sound to sense, and fine, clear expression."-"Choice" "The Poem's Heartbeat triumphs over the dryness-or supposed dryness-of the subject, treating every aspect of it with precision, dispatch, and apt illustration. That it is sorely needed in the present footless state of things goes without saying."-Richard Wilbur

    The book includes numerous stories about the way circles have been used in many diverse situations, discussion on the use of proactive, responsive and staff circles, and an overview of restorative practices, with particular emphasis on its relationship to circle processes.

    The Book Lust audience is committed to reading, and here is a smart and entertaining tool for picking the best books for kids. Divided into three sections--Easy Books, Middle-Grade Readers, and Young Adult--Nancy Pearl makes wonderful reading connections by theme, setting, voice, and ideas. For horse lovers, she reminds us of the mainstays in the category (Black Beauty, Misty of Chincoteague, etc.) but then in a creative twist connects Mr. Revere and I to the list. In a list called Chapter One, she answers the proverbial question: which chapters books are the most compelling for kids who are now ready to move beyond picture books. And who says picture books aren't deep? Recommended Folk Tales sort out many of life's dilemmas and issues of good and bad; a selection of picture books on Death and Dying introduces this topic with sensitivity; and You've Got a Friend offers up books for early readers that show the complexities and the pleasures of relating to others. Parents, teachers, and librarians are often puzzled by the unending choices for reading material for young people. It starts when the kids are toddler and doesn't end until high-school graduation. What's good, what's trash, what's going to hold their interest? Nancy Pearl, America's favorite librarian, points the way in Book Crush.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    With the introduction of the rigorous Common Core State Standards, diverse classrooms need a proven framework for optimizing student engagement and facilitating deeper learningCulturally responsive pedagogy has shown great promise in meeting this need, but many educators still struggle with its implementation. In this book, Zaretta Hammond draws on cutting-edge neuroscience research to offer an innovative approach for designing and implementing brain-compatible culturally responsive instruction.The book includes:*Information on how one’s culture programs the brain to process data and affects learning relationships*Ten “key moves” to build students’ learner operating systems and prepare them to become independent learners*Prompts for action and valuable self-reflectionWith a firm understanding of these techniques and principles, teachers and instructional leaders will confidently reap the benefits of culturally responsive instruction.

    This practical resource shows teachers how to be effective and have a life! Author and educator Maia Heyck-Merlin explores the key habits of Together Teachers—how they plan ahead, organize work and their classrooms, and how they spend their limited free time. The end goal is always strong outcomes for their students. So what does Together, or Together Enough, look like? To some teachers it might mean neat filing systems. To others it might mean using time efficiently to get more done in fewer minutes. Regardless, Together Teachers all rely on the same skills. In six parts, the book clearly lays out these essential skills. Heyck-Merlin walks the reader through how to establish simple yet successful organizational systems. There are concrete steps that every teacher can implement to achieve greater stability and success in their classrooms and in their lives. Contains templates and tutorials to create and customize a personal organizational system and includes a companion website: www.thetogetherteacher.com Recommends various electronic or online tools to make a teacher's school day (and life!) more efficient and productive Includes a Reader's Guide, a great professional development resource; teachers will answer reflection questions, make notes about habits, and select tools that best match individual needs and preferences Ebook customers can access CD contents online.  Refer to the section in the Table of Contents labeled, Download CD/DVD Content, for detailed instructions.

    What's more, she shows how in this practical resource book.Gibbons begins with a strong theoretical underpinning for her practice, drawing on a functional model of language, sociocultural theories of learning, and current research on second-language development. After supporting her view that the regular curriculum offers the best language-learning environment for young ESL students, Gibbons demonstrates the ways in which content areas provide a context for the teaching of English, from speaking and listening to reading and writing. These in turn are treated not as discrete skills, but as ones that can also be integrated in the learning of diverse subjects. Gibbons illustrates this with a wide range of teaching and learning activities across the curriculum, supplemented with programming and assessment formats and checklists.Language learning is not a simple linear process, but involves the ongoing development of skills for a range of purposes. Gibbons sees this development as largely the result of the social contexts and interactions in which learning occurs. By focusing on the ways in which teachers can "scaffold" language and learning in the content areas, she takes a holistic approach-one that appreciates the struggle of students learning a new language, while simultaneously developing subject knowledge in it, and the challenge for teachers to address these needs.Given today's culturally and linguistically diverse classrooms, ESL students can no longer be thought of as a group apart from the mainstream-they are. the mainstream. This book describes the ways to ensure that ESL learners become full members of the school community with the language and content skills they need for success.

    Suggests ways to overcome the problems teachers face when teaching the classics--length, challenging vocabulary, complex syntax, and alien times and settings--and lists suggested titles.

    How do we create learning conditions where kids can ask the questions they want to ask, muddle through how to say the things they are thinking, and have tough conversations? How can we be proactive and take steps to engaging in the types of conversations where risk is high but the payoff could be even greater?Being the Change is based on the idea that people can develop skills and habits to serve them in the comprehension of social issues. Sara K. Ahmed identifies and unpacks the skills of social comprehension, providing teachers with tools and activities that help students make sense of themselves and the world as they navigate relevant topics in today's society.Each chapter includes clear, transferrable lessons and practical strategies that help students learn about a targeted social comprehension concept. From exploring identity and diversity to understanding and addressing biases and microaggressions, Sara demonstrates how to address real issues honestly in the classroom while honoring and empowering students.Dealing with social issues is uncomfortable and often messy, but you can build habitats of trust where kids and adults can make their thinking visible and cultivate empathy; where expression, identity, and social literacy matter. There is no magic formula for making the world a better place. It happens in the moments we embrace discomfort and have candid conversations.****I am convinced that every class of kids I work with is filled with change agents who will make this world the one we teach toward. I believe that my students will carry the work of doing right by this world into their own lives.I'll bet you believe this about your kids, too.-Sara K. Ahmed

    Rich, original passages illuminate the intricacies of character, setting, point of view, and theme, and deeply engaging activities framed by inquiry enable students to transfer what they learn to new reading situations as well as to the way they think through problems and live their lives.

    Through their adventures, Ripley discovers startling truths about how attitudes, parenting, and rigorous teaching have revolutionized these countries’ education results.In The Smartest Kids in the World, Ripley’s astonishing new insights reveal that top-performing countries have achieved greatness only in the past several decades; that the kids who live there are learning to think for themselves, partly through failing early and often; and that persistence, hard work, and resilience matter more to our children’s life chances than self-esteem or sports.Ripley’s investigative work seamlessly weaves narrative and research, providing in-depth analysis and gripping details that will keep you turning the pages. Written in a clear and engaging style, The Smartest Kids in the World will enliven public as well as dinner table debates over what makes for brighter and better students.

    Use technology to focus on your students!In this step-by-step guide, teacher and education blogger Catlin Tucker outlines the process for integrating online discussion with face-to-face instruction in a way that empowers teach

    "They are in the center of it. I believe that writing is a basic skill that will help them both understand that emergency and work to change it." This practical, inspirational book offers essays, lesson plans, and a remarkable collection of student writing, all rooted in an unwavering focus on language arts teaching for justice.

    Efforts to define and then assess the key qualities of writing have helped pinpoint what outcomes matter most and how to measure them, yet they threaten to become an end in themselves. Meanwhile, high-quality instruction seeks to create a safe environment that applauds risk taking by supporting students through strategies that are not readily measured. In this landmark book, Vicki Spandel takes on the immeasurable, opening an exciting discussion about the conditions writers need to achieve their full potential and offering practical applications for any writing classroom.In The 9 Rights of Every Writer Spandel invites nine published authors into a discussion of what makes writing work. Well-known novelists, researchers, science writers, and teacher-writers join this dynamic conversation, and together they draw vital conclusions about teaching strategies that both lead to growth in craft and allow good teaching to flourish. Join Spandel and friends in discovering the personal and instructional importance of:reflecting finding personally important topics going off topic personalizing the writing process writing badly to unearth and clarify meaning observing other writers at work assessing constructivelyand well experiencing structural freedom unearthing the power of each writer's voice. As you will discover, The 9 Rights of Every Writer weaves the philosophical into the practical, offering powerful, ready-to-use lessons that jumpstart the progress of the writers in your classroom and help them reach writing standards. Harness your passion for writing instruction, let go of rigid practices, and balance the needs of maturing writers with today's classroom realities. Read The 9 Rights of Every Writer, learn to trust your teaching instincts, and concentrate on what matters most: creating an instructional setting where writers can achieve success that soars beyond what can be measured.