Anabel Garza: No school board would have put her forward as a model principal. Pregnant and alone at sixteen, widowed by twenty-five, Anabel got along teaching English to Mexican immigrants, raising her son, and taking night school classes.But then no model candidate would have taken the job at John H. Reagan High School. Once known to sports fans across Texas as the great champion Big Blue, Reagan was collapsing. The kids were failing the standardized tests, failing on the basketball court, failing even to show up. Teenage pregnancy was endemic. If the test scores and attendance did not improve, the school was set to close at the end of the 2009-10 school year.Anabel took the assignment. Her first work was triage. She cruised the malls for dropouts. She fired ten teachers, including one who produced a ruler to bemoan the distance from the parking lot to her classroom door. She listened to angry lectures from union officials and angrier ones from black ministers. She kept going. She tailored each student's tutoring to the standardized tests. The numbers started to come up.But with the state education commissioner threatening to close the school, the real work began. Anabel set out to re-create the high school she remembered, with plays and dances, yearbooks and clubs, teachers who brought books alive and crowded bleachers to cheer on the basketball team. She reached out to the middle schools, the neighborhoods, and the churches. She gave good teachers free rein. She mixed love and expectations.The circumstances facing Reagan High are playing out all over the country. The get-tough crowd of education reformers, led by Obama's secretary of education, are redoubling their efforts to replace public schools with charter companies. But what happens when the centerpiece of a community is threatened? And what happens when one person just won't quit?For the first time, we can tally the costs of rankings and scores. In this powerful rejoinder to the prevailing winds of American education policy, Michael Brick examines the do-or-die year at Reagan High. Compelling, character-driven narrative journalism, Saving the School pays an overdue tribute to the great American high school and to the people inside.

    The core content of the major GCSE specifications in this subject is covered through explanation and carefully-selected course material. The most popular options or depth studies from each specification are covered in detail. There are questions, activities and focus tasks throughout to: deepen understanding of the content; develop evaluative and investigative skills; help students become more independent learners; and support examination preparation.

    Award-winning teacher and best-selling author Debbie Silver explains motivational theory and provides down-to-earth—often humorous—real life examples that demonstrate what to say when giving feedback to students.

    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

    Rather than a set of fixed lessons, Visible Thinking is a varied collection of practices, including thinking routines, small sets of questions or a short sequence of steps as well as the documentation of student thinking. Using this process thinking becomes visible as the students' different viewpoints are expressed, documented, discussed and reflected upon. Helps direct student thinking and structure classroom discussion.Can be applied with students at all grade levels and in all content areas. Includes easy-to-implement classroom strategies.The book also comes with a DVD of video clips featuring Visible Thinking in practice in different classrooms.

    This book is aimed at helping teachers implement quality Common Core instruction around this principle. -Gretchen Owocki The quality of instruction is the most important factor in helping students meet the Common Core Standards. That's why Gretchen Owocki's Common Core Lesson Book empowers teachers with a comprehensive framework for implementation that enhances existing curriculum and extends it to meet Common Core goals. Children, writes Gretchen (author of The RTI Daily Planning Book), need teachers who believe in the power of meaningful reading as a context for instruction. She breaks the CCSS reading standards into manageable chunks that emphasize engaged, authentic reading and differentiated teaching. For each standard, she offers: a clear description of what it asks from students an instructional decision tree that connects assessment to planning instructional strategies that gradually release responsibility to students techniques for intensifying instruction when readers need more support. In implementing the standards, writes Gretchen, we want children to deeply engage with multiple forms of reading. I wrote this book to offer encouragement to stay grounded in meaningful instruction, and to offer a set of strategies that emphasize meaningful reading. Respond to the Common Core with The Common Core Lesson Book-you'll help students meet the standards, and so much more.

    Willingham on educational neuroscience? Written for busy teachers, trainers, managers and students, this dip-in dip-out guide makes theories of learning accessible and practical. It explores over 100 classic and contemporary learning theorists in an easy-to-use, bite-sized format with clear relevant illustrations on how each theory will benefit your teaching and learning.Each model or theory is explained in less than 350 words, many with accompanying diagrams, and the 'how to use it' sections, in less than 500 words. Every entry includes:Do it steps in order to apply the theory or modelReflection points & challenges to develop your understanding of how to apply itAnalogies & metaphors from which understanding and meaning can be drawnTips for the classroomFurther reading if you want to explore a theory in greater depth. More titles by Bob Bates: Educational Leadership Simplified A Quick Guide to Special Needs and Disabilities

      An exceptional pedagogical package that ties the textbook to online MyDevelopmentLab study tools complements the student-centered approach of the book and offers students the benefit of frequent self-assessment.

    The Black Book doesn't include any vocabulary lists, and doesn't advise its readers to rely on math formulas.Instead, The SAT Prep Black Book teaches readers to approach the test the same way that Barrett trains his students. Barrett sees the SAT as a standardized instrument with a specific objective, and reasons that the test must observe certain design guidelines that follow from that unique objective. So this book explains to students how different types of SAT questions are actually written, from the perspective of the College Board: for each question type, Barrett explains the "big secret" of that question type, the rules and patterns that all questions of that type will follow, and, most importantly for readers, exactly how to attack the question type based on the inherent weaknesses of its particular rules and patterns.The book includes over 250 example solutions that demonstrate Barrett's approach against real SAT questions written by the College Board. In order to follow along, students will want a copy of the College Board's book "The Official SAT Study Guide," the source of the questions whose solutions appear in the Black Book.The overall lesson of the SAT Prep Black Book is that the SAT tests very basic concepts in very strange ways, so students should learn the unique habits of the test rather than cramming definitions and formulas. At 330 pages, the book is thorough and detailed in its analysis of the SAT.

    In this new edition, new studies have been incorporated and the evaluation sections in each chapter have been expanded, ensuring that the book remains as fresh, engaging and useful as the day it was first published.

    Alphabetically organized and easy to use, its nearly 400 entries provide guidance for the most common types of business documents and correspondence, from brochures, press releases, and résumés, to executive summaries, proposals, and reports. Abundant sample documents and visuals throughout the book demonstrate effective business communication, reflecting current practices for formatting documents and using e-mail. In addition, advice on organizing, researching, writing, and revising complements thorough treatment of grammar, usage, style, and punctuation to provide comprehensive help with writing skills. This edition has been thoroughly revised to include expanded advice for analyzing the context of different writing situations, using and integrating visuals, and dealing with ethical concerns in business writing, including plagiarism. Entries throughout have been revised, updated, consolidated, and streamlined to provide the most accurate and accessible information. Comprehensive yet concise, The Business Writer’s Handbook remains the quick reference faithful users have come to appreciate.

    Concepts illustrate how writers use image grammar to develop their art, while strategies provide classroom-tested lessons, as offered on the CD-ROM.

    Written in an accessible, conversational style, Johnson links theory with engaging examples in ways that enable readers to see the underlying nature and consequences of privilege and their connection to it. This extraordinarily successful book has been used across the country, both inside and outside the classroom, to shed light on issues of power and privilege.Allan Johnson has worked on issues of social inequality since receiving his Ph.D. in sociology from the University of Michigan in 1972. He has more than thirty years of teaching experience and is a frequent speaker on college and university campuses. Johnson has earned a reputation for writing that is exceptionally clear and explanations of complex ideas that are accessible to a broad audience.Instructors and students can now access their course content through the Connect digital learning platform by purchasing either standalone Connect access or a bundle of print and Connect access. McGraw-Hill Connect(R) is a subscription-based learning service accessible online through your personal computer or tablet. Choose this option if your instructor will require Connect to be used in the course. Your subscription to Connect includes the following:- SmartBook(R) - an adaptive digital version of the course textbook that personalizes your reading experience based on how well you are learning the content.- Access to your instructor's homework assignments, quizzes, syllabus, notes, reminders, and other important files for the course.- Progress dashboards that quickly show how you are performing on your assignments and tips for improvement.- The option to purchase (for a small fee) a print version of the book. This binder-ready, loose-leaf version includes free shipping.Complete system requirements to use Connect can be found here: http: //www.mheducation.com/highered/platform...

    But studies show that when educators empower students to address and correct misbehavior among themselves, positive results are longer lasting and more wide reaching. In Better Than Carrots or Sticks, longtime educators and best-selling authors Dominique Smith, Douglas Fisher, and Nancy Frey provide a practical blueprint for creating a cooperative and respectful classroom climate in which students and teachers work through behavioral issues together. After a comprehensive overview of the roots of the restorative practices movement in schools, the authors explain how to * Establish procedures and expectations for student behavior that encourage the development of positive interpersonal skills; * Develop a nonconfrontational rapport with even the most challenging students; and * Implement conflict resolution strategies that prioritize relationship building and mutual understanding over finger-pointing and retribution.Rewards and punishments may help to maintain order in the short term, but they're at best superficially effective and at worst counterproductive. This book will prepare teachers at all levels to ensure that their classrooms are welcoming, enriching, and constructive environments built on collective respect and focused on student achievement.

    This modern section has been overhauled to reflect the diversity of American writing since 1945. A section on 19th-century women's writing is included.