Budge and William H. Parrett dispel harmful myths, explain the facts, and urge educators to act against the debilitating effects of poverty on their students. They share the powerful voices of teachers--many of whom grew up in poverty--to amplify the five classroom practices that permeate the culture of successful high-poverty schools: (1) caring relationships and advocacy, (2) high expectations and support, (3) commitment to equity, (4) professional accountability for learning, and (5) the courage and will to act.Readers will explore classroom-tested strategies and practices, plus online templates and exercises that can be used for personal reflection or ongoing collaboration with colleagues. Disrupting Poverty provides teachers, administrators, coaches, and others with the background information and the practical tools needed to help students break free from the cycle of poverty.

    Jackson, author of the best-selling Never Work Harder Than Your Students and Other Principles of Great Teaching.In this book for school leaders, Jackson presents a new model for understanding teaching as a combination of skill and will and explains the best ways to support individual teachers' ongoing professional development. Here, you'll learn how to meet your teachers where they are and help every one of them--from the raw novice to the savvy veteran, from the initiative-weary to the change-challenged to the already outstanding--develop the mindset and habits of master teachers. Real-life examples, practical tools, and strategies for managing time and energy demands will help you build your leadership capacity as you raise the level of instructional excellence throughout your school.To move your school forward, you must move the people in it. If you want a master teacher every classroom, you must commit to helping every teacher be a master teacher. That work begins here.

    Useful as a classroom resource, it includes sample responses for all the exercises.

    It's not enough to just "do projects." Today's projects need to be rigorous, engaging, and in-depth, and they need to have student voice and choice built in. Such projects require careful planning and pedagogical skill. The authors -- leaders at the respected Buck Institute for Education -- take readers through the step-by-step process of how to create, implement, and assess PBL using a classroom-tested framework.

    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

    Kids take a vacation from books and those with limited access to books lose ground to their peers. You may have thought there's nothing you can do about it, but there is. No More Summer-Reading Loss shows how to ensure that readers continue to grow year round.School-based practitioners Carrie Cahill and Kathy Horvath join with renowned researchers Anne McGill-Franzen and Dick Allington to help you make summer readers out of every student. You'll stop summer-reading loss as they help you:identify practices that inadvertently contribute to it understand the research on its implications and its prevention take research-based action with 8 instructional strategies. Building independence. Keeping kids on grade-level. Closing the achievement gap. These are just a few of the valuable outcomes that No More Summer-Reading Loss can support. Most importantly, it will help you pass on a love of reading that knows no season and gives readers confidence when they return in the fall. About the Not This, But That Series No More Summer-Reading Loss is part of the Not This, But That series, edited by Nell K. Duke and Ellin Oliver Keene. It helps teachers examine common, ineffective classroom practices and replace them with practices supported by research and professional wisdom. In each book a practicing educator and an education researcher identify an ineffective practice; summarize what the research suggests about why; and detail research-based, proven practices to replace it and improve student learning. Read a sample chapter from No More Summer-Reading Loss.

    The author explains what a classroom number talk is; how to follow students’ thinking and pose the right questions to build understanding; how to prepare for and design purposeful number talks; and how to develop grade-level specific thinking strategies for the operations of addition, subtraction, multiplication, and division. Number Talks includes connections to NCTM’s Principles and Standards for School Mathematics as well as reference tables to help you quickly and easily locate strategies, number talks, and video clips. Includes a Facilitator’s Guide and DVD.

    Maps tell you about the world: where various countries are located, where the jungles and deserts are, even how to find your way around your own hometown. If you take a fancy to any place on earth, you can go there today and still be home in time for dinner. So open a map, spin a globe. The wide world awaits you.Supports the Common Core State Standards

    But that does not even begin to convey what the Berger experience is: What makes these bestselling textbooks so distinctive is the unmistakable presence of KATHLEEN STASSEN BERGER on every page, in writing that continually draws on the author’s teaching and family life to demonstrate a remarkable understanding not just of the field, but of students’ questions, their concerns, and their lives.The distinctive, definitive BERGER touch is evident throughout her new textbook, Invitation to the Life Span. This brief, original, 15-chapter textbook was created from page 1 to address the challenges teachers and students face when covering the entire life span in a semester (or even a quarter!). The hallmark Berger qualities are all here—the relatable presentation of research, the inclusive approach to world cultures, the study help that builds critical thinking and observational skills, the outstanding media and supplements—and all held together with Berger’s skill in bringing students and the science together.

    Using easy instructions and simple objects such as beans, blocks, pennies, buttons, and string, parents and kids solve problems together. FAMILY MATH is a rich resource of math curriculum including number and estimation, logical thinking, probability and statistics, geometry, measurement, and calculators. The stimulating games, puzzles, and projects entice kids in playful ways to master math concepts. Because this book reinforces the basic school curriculum, it is also a must for teachers. The book has a step-by-step description of how to organize a FAMILY MATH class in your community. For families with children five to twelve years old. Grades K-8. 318 pp

    Discusses ways to improve the American educational system, arguing that the art of teaching is far more important than increased spending.

    Edited by the two leading experts on Hughes’s work, and illustrated by the brilliant Benny Andrews, this very special volume is one to treasure forever. A much-requested book that was years in the making…and well worth the wait. One of the central figures in the Harlem Renaissance—the flowering of black culture that took place in the 1920s and 30s—Langston Hughes captured the soul of his people, and gave voice to their concerns about race and social justice. His magnificent and powerful words still resonate today: that’s why it’s so important for young people to have access to his poems. Now they do, in a splendid volume edited and illustrated by a top-caliber team who are simply the best in their fields. The introduction, biography, and annotations come from Arnold Rampersad, a Professor and Dean at Stanford University, who has written The Life of Langston Hughes, and David Roessel, co-editor with Professor Rampersad of The Collected Poems of Langston Hughes and editor of the Langston Hughes collection in Knopf’s Everyman series. Benny Andrews—a painter, printmaker, and arts advocate whose work is in the permanent collection of the Metropolitan Museum, the Museum of Modern Art, and the Smithsonian, among others—has created gallery-quality illustrations that pulse with energy and add rich dimension to the poems. Among the anthologized poems are Hughes’s best-known and most loved works: “The Negro Speaks of Rivers”; “Aunt Sue’s Stories”; “Danse Africaine”; “Mother to Son”; “My People”; “Words Like Freedom”; “Harlem”; and “I, Too”—his sharp, pointed response to Walt Whitman’s earlier “I Hear America Singing.” Poetry for Young People: Langston Hughes is a publishing event for all to celebrate.A Selection of the Scholastic Book Club.

    It will knock the socks off this profession.-Harvey Daniels Author of Subjects Matter and Content-Area Writing The renaissance in comprehension instruction launched by Mosaic of Thought has led to changes in hundreds of thousands of classrooms, where teachers now model reading strategies, and students probe meaning more deeply. But no book in the field has satisfactorily answered the question: What does it really mean to comprehend? In To Understand, Ellin Oliver Keene not only explores this important question, but reveals what teachers can do to encourage all students to engage in deep understanding far more consistently than before.In discovering what's really behind comprehension, To Understand goes well beyond comprehension strategy instruction. Keene identifies specific Dimensions and Outcomes of Understanding-characteristics identified in readers with a highly developed ability to make sense of text-to help you rethink what comprehension is. She demonstrates how to leverage the Dimensions and Outcomes into relevant, provocative, memorable instruction. To Understand proposes a model that incorporates all aspects of literacy instruction-word learning and comprehension-and describes how teachers can focus on what matters most in literacy content. Keene shows that when teachers target the most essential content, they have the time to help every student engage more deeply with texts and discover a passion for reading and learning. The model is founded on four simple, but powerful concepts:Focus on what's important by teaching vital concepts in depth rather than skimming over nonessential skillsUse research-based teaching and learning strategies, including proven-effective comprehension and language-based strategies, then taking them further by showing students how the strategies lead them to a fuller understand of a textTeach the essential concepts over a long period of time so that children have an opportunity to learn not only a comprehension strategy, but to explore where that strategy leads in their understandingGive students numerous opportunities to apply the concepts in a variety of texts and contexts. With To Understand in hand, you'll find new ways to draw out the innate intellectual interest in every student and spark dramatic improvements in literacy learning and comprehension, even among students who struggle. You'll see that by rethinking what it means to understand-by teaching children the Outcomes and Dimensions of understanding-you can help students exceed expectations while broadening your vision of their abilities, their capacity, and their energy for learning. There's still more-much more-to learn about comprehension. Read To Understand, join Ellin Oliver Keene, and discover that what's at the very core of comprehension can not only reinvigorate your teaching but take your students to new, uncharted levels of learning.

    In a lively account filled with the stories and voices of people previously left out of the historical canon, Ronald Takaki offers a fresh perspective - a re-visioning - of our nation's past.