history as revealed through the experiences of all Americans, both ordinary and extraordinary. With a thought-provoking and rich presentation, the authors explore the complex lives of Americans of all national origins and cultural backgrounds, at all levels of society, and in all regions of the country. A vibrant four-color design and compact size make this book accessible, convenient, and easy-to read.

    It is about where art in the widest sense comes from. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. Free Play is directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity. Filled with unusual quotes, amusing and illuminating anecdotes, and original metaphors, it reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured by certain unavoidable facts of life, and how finally it can be liberated - how we can be liberated - to speak or sing, write or paint, dance or play, with our own authentic voice. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. It brings us into direct, active contact with boundless creative energies that we may not even know we had.

    From granular concerns, such as sentence structure and grammar, to big-picture issues, such as adhering to genre patterns for successful research and publishing and developing productive and rewarding writing habits, Hayot helps ambitious students, newly minted Ph.D.'s, and established professors shape their work and develop their voices.Hayot does more than explain the techniques of academic writing. He aims to adjust the writer's perspective, encouraging scholars to think of themselves as makers and doers of important work. Scholarly writing can be frustrating and exhausting, yet also satisfying and crucial, and Hayot weaves these experiences, including his own trials and tribulations, into an ethos for scholars to draw on as they write. Combining psychological support with practical suggestions for composing introductions and conclusions, developing a schedule for writing, using notes and citations, and structuring paragraphs and essays, this guide to the elements of academic style does its part to rejuvenate scholarship and writing in the humanities.

    This is the second edition of the groundbreaking book by Rena Palloff and Keith Pratt and has been completely updated and expanded to include the most current information on effective online course development and delivery. A practical, hands-on guide, this resource is filled with illustrative case studies, vignettes, and examples from a wide variety of successful online courses. The authors offer proven strategies for handling challenges that include: Engaging students in the formation of an online learning community. Establishing a sense of presence online. Maximizing participation. Developing effective courses that include collaboration and reflection. Assessing student performance. Written for faculty in any distance learning environment, this revised edition is based on the authors many years of work in faculty development for online teaching as well as their extensive personal experience as faculty in online distance education. Rena M. Palloff and Keith Pratt share insights designed to guide readers through the steps of online course design and delivery.

    Marzano provides an in-depth exploration of what he calls one of the most powerful weapons in a teacher's arsenal. An effective standards-based, formative assessment program can help to dramatically enhance student achievement throughout the K-12 system, Marzano says. Drawing from his own and others' extensive research, the author provides comprehensive answers to questions such as these:* What are the characteristics of an effective assessment program?* How can educators use national and state standards documents as a basis for creating a comprehensive, topic-based assessment system?* What types of assessment items and tasks are best suited to measuring student progress in mastering information, mental procedures, and psychomotor procedures?* Why does the traditional point system used for scoring often lead to incorrect conclusions about a student's actual knowledge?* What types of scoring and final grading systems provide the most accurate portrayal of a student's progress along a continuum of learning?In addition to providing teachers with all the tools they need to create a better assessment system, Classroom Assessment and Grading That Work makes a compelling case for the potential of such a system to transform the culture of schools and districts, and to propel K-12 education to new levels of effectiveness and efficiency.

    In 10 Things Every Writer Needs to Know, Jeff Anderson focuses on developing the concepts and application of ten essential aspects of good writing—motion, models, focus, detail, form, frames, cohesion, energy, words, and clutter.Throughout the book, Jeff provides dozens of model texts, both fiction and nonfiction, that bring alive the ten things every writer needs to know. By analyzing strong mentor texts, young writers learn what is possible and experiment with the strategies professional writers use. Students explore, discover, and apply what makes good writing work. Jeff dedicates a chapter to each of the ten things every writer needs to know and provides mini-lessons, mentor texts, writing process strategies, and classroom tips that will motivate students to confidently and competently take on any writing task.With standardized tests and Common Core Curriculum influencing classrooms nationwide, educators must stay true to what works in writing instruction. 10 Things Every Writer Needs to Know keeps teachers on track—encouraging, discovering, inspiring, reminding, and improving writing through conversation, inquiry, and the support of good writing behaviors.

    In its pages, Dr. John, the alchemist of New Orleans psychedelic funk, tells his story, and what a story it is: of four decades on the road, on the charts, in and out of trouble, but always steeped in the piano-based soulful grind of New Orleans rhythmn & blues of which he is the acknolwedged high guru. From childhood as a prodigal prodigy among 1950s legends from Little Richard and Fats Domino to sesssions with the Rolling Stones and the Band; from recording studio to juke joint to penitentiary to world tours; from Mac Rebennack to Dr. John the Night Tripper, this is the testament of our funkiest rock storyteller. Full of wit and wordplay, tales of hoodoo saints and high-living sinners, Under a Hoodoo Moon casts a spell as hard to resist as Mardi Gras itself.

    We have Mindstorms to thank for that. In this book, pioneering computer scientist Seymour Papert uses the invention of LOGO, the first child-friendly programming language, to make the case for the value of teaching children with computers. Papert argues that children are more than capable of mastering computers, and that teaching computational processes like de-bugging in the classroom can change the way we learn everything else. He also shows that schools saturated with technology can actually improve socialization and interaction among students and between students and teachers.

    Noddings argues that such emphasis shortchanges not only the noncollege-bound whose interests are almost ignored, but even those who are preparing for college. The latter receive schooling for the head but little for the heart and soul. Noddings counteracts this condition, insisting that our aim should be to encourage the growth of competent, caring, loving and lovable persons, a moral priority that our educational system ignores. She argues that liberal education dictates what areas of pedagogy are socially acceptable - ignoring a student's wider range of abilities - and undervalues skills, attitudes and capacities traditionally associated with women. Contrarily, it is precisely the competence for caring, Nodding posits, that will prepare our students for the environment of the school, the world of work, the realm of ideas, and ultimately, for each other.

    The Inclusive Classroom: Strategies for Effective Instruction provides a wealth of practical and proven strategies for successfully including students with disabilities in general education classrooms. The text is unique for its three-part coverage of fundamentals of teaching students with special needs (including legal and professional issues, and characteristics of students with special needs); effective general teaching practices (including such topics as strategies for behavior management, improving motivation, increasing attention and memory, and improving study skills); and inclusive practices in specific subject areas (including literacy, math, science and social studies, vocational and other areas). This approach allows readers to understand students with special learning needs, effective general practices for inclusive instruction, and content-specific strategies. The overall approach is one of effective instruction, those practices that are most closely aligned with academic success.

    Because of this balance, the Seventh Edition of Microbiology is appropriate for microbiology majors and mixed majors courses. The new authors have focused on readability, artwork, and the integration of several key themes (including evolution, ecology and diversity) throughout the text, making an already superior text even better.

    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

    KEY TOPIC: Features lesson plans and teaching strategies for the classroom teacher. MARKET: Written for K-12 teachers working with English language learners.

    Sounds simple enough, right? Unfortunately, rubrics are commonly misunderstood and misused.The good news is that when rubrics are created and used correctly, they are strong tools that support and enhance classroom instruction and student learning. In this comprehensive guide, author Susan M. Brookhart identifies two essential components of effective rubrics: (1) criteria that relate to the learning (not the tasks) that students are being asked to demonstrate and (2) clear descriptions of performance across a continuum of quality. She outlines the difference between various kinds of rubrics (for example, general versus task-specific, and analytic versus holistic), explains when using each type of rubric is appropriate, and highlights examples from all grade levels and assorted content areas. In addition, Brookhart addresses* Common misconceptions about rubrics;* Important differences between rubrics and other assessment tools such as checklists and rating scales, and when such alternatives can be useful; and* How to use rubrics for formative assessment and grading, including standards-based grading and report card grades.Intended for educators who are already familiar with rubrics as well as those who are not, this book is a complete resource for writing effective rubrics and for choosing wisely from among the many rubrics that are available on the Internet and from other sources. And it makes the case that rubrics, when used appropriately, can improve outcomes by helping teachers teach and helping students learn.

    The Complete Home Learning Sourcebook not only covers basic academic subjects--the three R's--but also addresses interests that are off the beaten path of public school curricula, such as paleontology and meteorology. Thorough and up-to-date, this invaluable resource reviews all possible learning tools: Arranged by subject, including " Philosophy, " " Life Skills, " and " Electronic Media, " the sourcebook's organization and succinct and insightful entries make it a breeze to use. Icons next to the entries denote the format and intended age group of each resource. Whether readers are looking for the best way to explain relativity or Egyptian mummification, The Complete Home Learning Sourcebook opens the door to a whole new universe for teaching and learning. BooksVideosMagazinesCatalogsTimelinesKitsHands-on activities Board gamesCD-ROMsEducational Web sites