These 6 Things is all about streamlining your practice so that you’re teaching smarter, not harder, and kids are learning, doing, and flourishing in ELA and content-area classrooms. In this essential resource, teachers will receive: Proven, classroom-tested advice delivered in an approachable, teacher-to-teacher style that builds confidence Practical strategies for streamlining instruction in order to focus on key beliefs and literacy-building activities Solutions and suggestions for the most common teacher and student “hang-ups” Numerous recommendations for deeper reading on key topics

    

    Each piece compels readers to rethink not only how they have arrived at their own personal beliefs but also the extent to which they share them with others. Featuring a well-known list of contributors--including Isabel Allende, Colin Powell, Gloria Steinem, William F. Buckley Jr., Penn Jillette, Bill Gates, and John Updike--the collection also contains essays by a Brooklyn lawyer; a part-time hospital clerk from Rehoboth, Massachusetts; a woman who sells Yellow Pages advertising in Fort Worth, Texas; and a man who serves on the state of Rhode Island's parole board. The result is a stirring and provocative trip inside the minds and hearts of a diverse group of people whose beliefs--and the incredibly varied ways in which they choose to express them--reveal the American spirit at its best.

    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

    They describe classroom environments that support all students and touch upon comprehension strategies and how to help children integrate them.This book is essential reading for all who work with struggling readers in any context and contains a wealth of resources, including a thorough explanation of all the sources of information readers use to solve words, examples and scenarios of teacher/student interactions, prompts to use with struggling readers, lessons on modeling, and assessment guidelines.

    This is why both teachers with struggling students and those with AP students have embraced the book through 15 printings. Each chapter is divided into two sections: concepts that show how professional writers develop their art and lesson strategies to implement these concepts in the classroom. New and expanded concepts in the second edition include:an introduction to grammatical chunksexpanded discussion of the five basic brush strokes and examination of advanced brush strokes presentation on the nonfiction modelexplanation of the character wheel-a visual aid that helps students to write both a nonfiction and fiction character sketch. Plus, the updated and expanded CD includes customizable files of the 60+ strategies; reproducible handouts; images and quotes for projection in the classroom; and dozens of weblinks.

    Best-selling novelists J. K. Rowling and Dan Brown, popular historians Doris Kearns Goodwin and Stephen Ambrose, Harvard law professor Charles Ogletree, first novelist Kaavya Viswanathan: all have rightly or wrongly been accused of plagiarism–theft of intellectual property–provoking widespread media punditry. But what exactly is plagiarism? How has the meaning of this notoriously ambiguous term changed over time as a consequence of historical and cultural transformations? Is the practice on the rise, or just more easily detectable by technological advances? How does the current market for expressive goods inform our own understanding of plagiarism? Is there really such a thing as “cryptomnesia,” the unconscious, unintentional appropriation of another’s work? What are the mysterious motives and curious excuses of plagiarists? What forms of punishment and absolution does this “sin” elicit? What is the good in certain types of plagiarism?Provocative, insightful, and extraordinary for its clarity and forthrightness, The Little Book of Plagiarism is an analytical tour de force in small, the work of “one of the top twenty legal thinkers in America” (Legal Affairs), a distinguished jurist renowned for his adventuresome intellect and daring iconoclasm.

    She argues that the US educational system is maintained by and profits from the suffering of children of color. Instead of trying to repair a flawed system, educational reformers offer survival tactics in the forms of test-taking skills, acronyms, grit labs, and character education, which Love calls the educational survival complex.To dismantle the educational survival complex and to achieve educational freedom--not merely reform--teachers, parents, and community leaders must approach education with the imagination, determination, boldness, and urgency of an abolitionist. Following in the tradition of activists like Ella Baker, Bayard Rustin, and Fannie Lou Hamer, We Want to Do More Than Survive introduces an alternative to traditional modes of educational reform and expands our ideas of civic engagement and intersectional justice.

    --Hanoi to Hoboken: a round trip ticket --Living with other women --Take a lesbian to lunch --The last straw --The shape of things to come --Roxanne Dunbar --Gossip --Leadership vs. stardom --The last picture show --A manifesto for the feminist artist --Love song for feminists from Flamingo Park --I am a woman --The good fairy --It's all Dixie cups to me --The lady's not for burning.

    It presents and discusses specific legal cases concerned with the multitude of issues facing the public school system-including teaching diverse student populations, teacher rights, and the role of the Federal government. There are over 1300 citations and excerpts of school law cases.

    The essays in this collection, which include her last writings and span the length of her extraordinary career, reveal Jordan as an incisive analyst of the personal and public costs of remaining committed to the ideal and practice of democracy. Willing to venture into the most painful contradictions of American culture and politics, Jordan comes back with lyrical honesty, wit, and wide-ranging intelligence in these accounts of her reckoning with life as a teacher, poet, activist, and citizen.

    But have you ever stopped to wonder where these peculiar terms actually came from? Most of those found in this book have their origins in the Medieval Books of Courtesy, among the earliest works to be published in this country. Despite originating as a form of social etiquette reserved for the gentry, many of these collective nouns have survived to become a curious feature of today's everyday language. This absorbing book tells the stories of these evocative phrases, many of which have stood the test of time and are still in use today. Entertaining, informative and fascinating, An Unkindness of Ravens is perfect for any history or language buff.

     into their ideal job   Each year tens of thousands of students will, after years of hard work and enormous amounts of money, earn their Ph.D. And each year only a small percentage of them will land a job that justifies and rewards their investment. For every comfortably tenured professor or well-paid former academic, there are countless underpaid and overworked adjuncts, and many more who simply give up in frustration.   Those who do make it share an important asset that separates them from the pack: they have a plan. They understand exactly what they need to do to set themselves up for success.  They know what really moves the needle in academic job searches, how to avoid the all-too-common mistakes that sink so many of their peers, and how to decide when to point their Ph.D. toward other, non-academic options.   Karen Kelsky has made it her mission to help readers join the select few who get the most out of their Ph.D. As a former tenured professor and department head who oversaw numerous academic job searches, she knows from experience exactly what gets an academic applicant a job. And as the creator of the popular and widely respected advice site The Professor is In, she has helped countless Ph.D.’s turn themselves into stronger applicants and land their dream careers.   Now, for the first time ever, Karen has poured all her best advice into a single handy guide that addresses the most important issues facing any Ph.D., including:   -When, where, and what to publish -Writing a foolproof grant application -Cultivating references and crafting the perfect CV -Acing the job talk and campus interview -Avoiding the adjunct trap -Making the leap to nonacademic work, when the time is right  The Professor Is In addresses all of these issues, and many more.

    This engaging introductory language/linguistics textbook provides more extensive coverage of issues of particular interest to English majors and future English instructors. It invites all students to connect academic linguistics to the everyday use of the English language around them. The book's approach taps students' natural curiosity about the English language. Through exercises and discussion questions about ongoing changes in English, How English Works asks students to become active participants in the construction of linguistic knowledge.

    . . in its own eccentric way, [The Owl and the Nightingale] is every bit as enticing as Gawain . . . it is arguably the greatest early Middle English poem we have. ProspectA graceful, elegant translation. GuardianFollowing his acclaimed translations of Sir Gawain and the Green Knight and Pearl, Simon Armitage shines light on another jewel of Middle English verse. In his highly engaging version, Armitage communicates the energy and humour of the tale with all the cut and thrust of the original. An unnamed narrator overhears a fierce verbal contest between the two eponymous birds, which moves entertainingly from the eloquent and philosophical to the ribald and ridiculous. The disputed issues still resonate - concerning identity, cultural habits, class distinctions and the right to be heard. Excerpts were featured in the BBC Radio 4 podcast, The Poet Laureate Has Gone to His Shed. Including the lively illustrations of Clive Hicks-Jenkins, this is a book for the whole household to read and enjoy.