This beautifully illustrated and practical treasure trove of climate lore will enlighten outdoorsmen, farmers, sailors, and anyone else who has ever wondered what a large halo around the moon means, why birds "sit it out" before a storm, and whether or not to take an umbrella when leaving the house.

    Each essay is written by an experienced teacher/scholar and describes one of the major pedagogies employed today: process, expressive, rhetorical, collaborative, feminist, critical, cultural studies, community service, and basic writing. Writing centers, writing across the curriculum, and technology and the teaching of writing are also discussed. The essays are composed of personal statements on pedagogical applications and bibliographical guides that aid students and new teachers in further study and research. Contributors include Christopher Burnham, William A. Covino, Ann George, Diana George, Eric H. Hobson, Rebecca Moore Howard, Susan C. Jarratt, Laura Julier, Susan McLeod, Charles Moran, Deborah Mutnick, Lad Tobin, and John Trimbur. An invaluable tool for graduate students and new teachers, A Guide to Composition Pedagogies provides an exceptional introduction to composition studies and the extensive range of pedagogical approaches used today.

    Time-tested and teacher endorsed, this comprehensive program is designed to lead the student systematcially through the fundamentals of the language itself and on to an appreciation of selected classic texts.

    But it will tell you what a lot of people think about pigs, robots, the tooth fairy, and more serious topics like God and right and wrong and what’s worth living for. You’ll meet a lot of people in this book, real ones, who have tried all kinds of lifestyles with all kinds of results. What they have in common is that they all, at one time or another, took a serious look at their lives and their worldviews. You’ll laugh and cry with these people. You’ll learn how you could end up a selfish pig and why you might not want to.

    This frustration led to Foster's first book, George Washington's World (1941). In her unique approach, Foster weaves a story of the world around her central character; rather than focusing exclusively on geo-political events, as most textbooks do; she includes stories of scientific discovery and invention, music, literature, art, and religion. She has a keen intuition for stories that will especially delight and amuse her youthful audience. In Augustus Caesar's World, Foster traces the seven major civilizations Rome, Greece, Israel, Egypt, China, India, and Persia from 4500 B.C. to the time of Augustus Caesar in 44 B.C. and culminating in 14 A.D. Within this timeframe readers will learn not only the stories of Julius Caesar, Cleopatra, and Marc Antony, but also the historian Livy and how Virgil came to write the Aeneid. Foster will then take her readers all over the world to learn what was happening at this same time in China, Persia, India and so on. Foster's detailed pen and ink drawings are fresh and appealing, and her illustrated timelines give a clear sense of chronology, enriching the engaging text. An all-time customer favorite!

    The ability to employ rhetoric successfully can enable the student, as an effective communicator, to reflect qualities of soul through argument. In that sense, rhetoric is much more than a technical skill. Crider addresses the intelligent university student with respect and humor. This short but serious book is informed by both the ancient rhetorical tradition and recent discoveries concerning the writing process. Though practical, it is not simply a "how-to" manual; though philosophical, it never loses sight of writing itself. Crider combines practical guidance about how to improve an academic essay with reflection on the final purposes—educational, political, and philosophical—of such improvement.

    Based on the author's 40 years of teaching experience and extensive publication, this time-tested, hands-on introduction to poetry, fiction, and drama writing addresses the dynamics of the creative process while providing a non-technical analysis of each genre.

    The figures of speech should not be learned the same way as the periodic table of elements. This is because figures of speech are not about hypothetical structures in things, but about real potentialities within language and within ourselves. The "figurings" of speech reveal the apparently limitless plasticity of language itself. We are inescapably confronted with the intoxicating possibility that we can make language do for us almost anything we want. Or at least a Shakespeare can. The figures of speech help to see how he does it, and how we might. Therefore, in the chapters presented in this volume, the quotations from Shakespeare, the Bible, and other sources are not presented to exemplify the definitions. Rather, the definitions are presented to lead to the quotations. And the quotations are there to show us how to do with language what we have not done before. They are there for imitation.

    These intellectuals have searched for instances of racism, sexism, and bigotry in our history while downplaying the greatness of America’s patriots and the achievements of “dead white men.” As a result, more emphasis is placed on Harriet Tubman than on George Washington; more about the internment of Japanese Americans during World War II than about D-Day or Iwo Jima; more on the dangers we faced from Joseph McCarthy than those we faced from Josef Stalin.A Patriot’s History of the United States corrects those doctrinaire biases. In this groundbreaking book, America’s discovery, founding, and development are reexamined with an appreciation for the elements of public virtue, personal liberty, and private property that make this nation uniquely successful. This book offers a long-overdue acknowledgment of America’s true and proud history.

    Chronological, Classical, Complete. This is a truly unique and remarkable new product! Written for 4th - 8th graders but adaptable for the whole family.

    Its nine chapters provide principles and strategies for working with diverse writers and assignments in a variety of contexts: college or high school, online or face-to-face, in the writing center and beyond. Visit the companion Web site for The Bedford Handbook, Eighth Edition (hackerhandbooks.com/bedhandbook) to find additional tools for tutors and writers including handouts on common writing, grammar, and punctuation problems; documentation help; links to tutoring resources; and an annotated bibliography.

    Rebekah Merkle knows which high school classes you like and which you roll your eyes at, which books you enjoy and which you kinda skim. That's because she went through this whole thing called classical education, too. Classical Me, Classical Thee is light-hearted and—most importantly for you busy students—very short. It has a simple goal: to explain why you students are doing what you do in class. (Spoiler: it's not because you'll use your knowledge of the Iliad Book 5 yearly until you die.) What you do in class is a drill—and nobody drills for the sake of the drill. You do drills so you can win the game. The real tragedy, though, would be if you didn't know you were doing drills . . . or didn't know there was a game at all.

    Its hands-on, completely accessible approach walks writers through each stage of the creative process, from the initial triggering idea to the revision of the final manuscript. It is unique in combing the three main aspects of creative writing instruction: process (finding inspiration, getting ideas on the page), craft (specific techniques like characterization), and anthology (learning by reading masters of the form). Succinct, clear definitions of basic terms of fiction are accompanied by examples, including excerpts from masterpieces of short fiction and essays as well as contemporary novels. A special highlight is Alice LaPlante's systematic debunking of many of the so-called rules of creative writing. This book is perfect for writers working alone as well as for creative writing classes, both introductory and advanced.

    It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.

    In the pages of The Poetry Home Repair Manual, Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets—aspiring or practicing—can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry’s ultimate purpose: to reach other people and touch their hearts. Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend—a friend who is willing to share everything he’s learned about the art he’s spent a lifetime learning to execute so well.