The book showcases the talents of a gifted fieldworker whose theoretically rich work sits on the cutting edge of a growing body of scholarship examining the social worlds of children. School officials, parents, and, most especially, a new generation of teachers will benefit from these lessons on race."-American Journal of Sociology"Instructors may recommend this book to students to whom the topic is surely vital and engrossing and for whom the text will be lively and engaging."-Contemporary Sociology"Lewis moves beyond traditional research methods used to examine achievement gaps and differences in test scores to look closely at the realities of schooling. I highly recommend this work for every person involved in teaching and learning."-Multicultural Review"Through eloquent case studies of three California elementary schools-a white-majority 'good' school, a mostly minority 'tough' school, and an integrated 'alternative' school-[Lewis] demonstrates that schools promote racial inequalities through their daily rituals and practices. Even the notion of a "color-blind" America-an especially popular ideal in the white school-perpetuates racism, Lewis argues, because it denies or dismisses the very real constraints that schools place on minorities. Lewis is nevertheless an optimist, insisting that schools can change ideas of race. . . . Highly recommended. Undergraduate collections and above."-Choice "In this pioneering ethnography in elementary schools, Lewis shows brilliantly how racism is taught and learned in the small places of everyday life."-Joe Feagin, University of Florida and author of Racist America"A wonderful and timely book. Ethnographically rich, theoretically sophisticated, and clearly written, this book addresses the ubiquitous issue of race in all its complexity."-Michèle Foster, author of Black Teachers on Teaching"A compelling ethnography of the racial landscape of contemporary schools."-Barrie Thorne, author of Gender Play: Girls and Boys in SchoolCould your kids be learning a fourth R at school: reading, writing, 'rithmatic, and race?Race in the Schoolyard takes us to a place most of us seldom get to see in action¾ our children's classrooms¾ and reveals the lessons about race that are communicated there. Amanda E. Lewis spent a year observing classes at three elementary schools, two multiracial urban and one white suburban. While race of course is not officially taught like multiplication and punctuation, she finds that it nonetheless insinuates itself into everyday life in schools.Lewis explains how the curriculum, both expressed and hidden, conveys many racial lessons. While teachers and other school community members verbally deny the salience of race, she illustrates how it does influence the way they understand the world, interact with each other, and teach children. This eye-opening text is important reading for educators, parents, and scholars alike.

    

    This text has invited more than 4 million students into the study of this dynamic and essential discipline.The authors have restructured each chapter around a conceptual framework of five or six big ideas. An Overview draws students in and sets the stage for the rest of the chapter, each numbered Concept Head announces the beginning of a new concept, and Concept Check questions at the end of each chapter encourage students to assess their mastery of a given concept. New Inquiry Figures focus students on the experimental process, and new Research Method Figures illustrate important techniques in biology. Each chapter ends with a Scientific Inquiry Question that asks students to apply scientific investigation skills to the content of the chapter.

    How many authors would travel coast to coast on a bus to get their book into as many hands as possible? Not many. But that's just what Ron Clark, author of The Essential 55, did to keep his book and message in the public eye. And it worked. After his Oprah appearance, sales skyrocketed: we've sold more than 850,000 copies in six months! The book sat tenaciously on the New York Times bestseller list for 11 weeks. Ron Clark was featured on the Today show, and in the Chicago Tribune, Good Housekeeping, and the New York Daily News--not to mention the calls we've received from teachers and parents who want to get their hands on Ron's guidelines for teaching children. Now in paperback, The Essential 55 will be the perfect book for parents and teachers to slip into their own backpacks, to read on the train or at lunch, and to highlight the sections that resonate for them. And with an author who is truly a partner in getting his message to the masses, we just can't lose.

    Acclaimed for its readability and presentation of current knowledge, this textbook's philosophy is that OB knowledge is for everyone, not just traditional managers. The new reality is that everyone - sales representatives, production employees, physicians - needs OB knowledge to successfully work in and around organizations. Organizational Behavior is unparalleled in its ability to engage students by bringing cutting edge OB concepts closer to reality through the 'theory-practice link' approach. McShane and Von Glinow help readers connect OB theories to emerging workplace realities through hundreds of fascinating real-life stories from across the United States and around the world. be the source of the hottest topics, such as: employee engagement, resilience, four-drive theory, blogs and wikis, psychological harassment, learning orientation, Schwartz's values model, separating socioemotional from constructive conflict, and much, much, more.

    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

    Good teaching, we believe, should be creatively tailored to the different learning styles of students and should use strategies that make learning easier. Make It Stick turns fashionable ideas like these on their head. Drawing on recent discoveries in cognitive psychology and other disciplines, the authors offer concrete techniques for becoming more productive learners.Memory plays a central role in our ability to carry out complex cognitive tasks, such as applying knowledge to problems never before encountered and drawing inferences from facts already known. New insights into how memory is encoded, consolidated, and later retrieved have led to a better understanding of how we learn. Grappling with the impediments that make learning challenging leads both to more complex mastery and better retention of what was learned.Many common study habits and practice routines turn out to be counterproductive. Underlining and highlighting, rereading, cramming, and single-minded repetition of new skills create the illusion of mastery, but gains fade quickly. More complex and durable learning come from self-testing, introducing certain difficulties in practice, waiting to re-study new material until a little forgetting has set in, and interleaving the practice of one skill or topic with another. Speaking most urgently to students, teachers, trainers, and athletes, Make It Stick will appeal to all those interested in the challenge of lifelong learning and self-improvement.

    Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. In What Editors Do, Peter Ginna gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere. Ironically for an industry built on words, there has been a scarcity of written guidance on how to actually approach the work of editing. This book will serve as a compendium of professional advice and will be a resource both for those entering the profession (or already in it) and for those outside publishing who seek an understanding of it. It sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text. This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing. What Editors Do shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever.

    Discover the core skills of effective thinking; then analyze your own thought processes, identify weaknesses, and overcome them. Learn how to translate more effective thinking into better decisions, less frustration, more wealth Ñ and above all, greater confidence to pursue and achieve your most important goals in life.

    Yet The Origin of Species (1859) is also a humane and inspirational vision of ecological interrelatedness, revealing the complex mutual interdependencies between animal and plant life, climate and physical environment, and—by implication—within the human world. Written for the general reader, in a style which combines the rigour of science with the subtlety of literature, The Origin of Species remains one of the founding documents of the modern age.

    Since no single or monolithic theoretical perspective orients this book, instructors with a wide range of views and approaches can use it effectively. The combination of brevity and readability make "Mirror for Humanity" a perfect match for cultural anthropology courses that use readings or ethnographies along with a main text.

    It is the standard work in the field. The text covers learning about children s literature, understanding children s responses to literature, the history of children s literature, beginning books, picture books and all of the genres (fantasy, poetry, realistic fiction, historical fiction, biography, and informational books), planning the literature program, and extending and evaluating children s understandings of literature."

    This internationally recognized standard provides the essential tools to practice project management and deliver organizational results.

    It shows teachers how to create an environment in which technology can effectively enhance learning. It contains a technology integration framework that builds on research and the TIP model.

    To illustrate the various theories, and to reveal their implications, important current issues such as abortion, euthanasia, the treatment of nonhuman animals, racial discrimination, and nuclear weapons are discussed in depth.