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.

    One of the rare breed of teachers who do know this is Nancie Atwell. - The New York TimesReading this book can be revolutionary. . . . Atwell leads us to new understandings of teaching and learning in a workshop classroom. - Voices from the Middle When first published in 1987, this seminal work was widely hailed for its honest examination of how teachers teach, how students learn, and the gap that lies in between. In depicting her own classroom struggles, Nancie Atwell shook our orthodox assumptions about skill-and-drill-based curriculums and became a pioneer of responsive teaching. Now, in the long awaited second edition, Atwell reflects on the next ten years of her experience, rethinks and clarifies old methods, and demonstrates new, more effective approaches.The second edition still urges educators to "come out from behind their own big desks" to turn classrooms into workshops where students and teachers create curriculums together. But it also advocates a more activist role for teachers. Atwell writes, "I'm no longer willing to withhold suggestions and directions from my kids when I can help them solve a problem, do something they've never done before, produce stunning writing, and ultimately become more independent of me."More than 70 percent of the material is new, with six brand-new chapters on genres, evaluation, and the teacher as writer. There are also lists of several hundred minilessons, and scripts and examples for teaching them; new expectations and rules for writing and reading workshops; ideas for teaching conventions; new systems for record keeping; lists of essential books for students and teachers; and forms for keeping track of individual spelling, skills, proofreading, homework, writing, and reading.The second edition of In the Middle is written in the same engaging style as its predecessor. It reads like a story - one that readers will be pleased to learn has no end. As Atwell muses, "I know my students and I will continue to learn and be changed. I am resigned - happily - to be always beginning for the rest of my life as a teacher."

    The reality of being poor brings out a survival mentality, and turns attention away from opportunities taken for granted by everyone else. If you work with people from poverty, some understanding of how different their world is from yours will be invaluable. Whether you're an educator--or a social, health, or legal services professional--this breakthrough book gives you practical, real-world support and guidance to improve your effectiveness in working with people from all socioeconomic backgrounds. Since 1995 A Framework for Understanding Poverty has guided hundreds of thousands of educators and other professionals through the pitfalls and barriers faced by all classes, especially the poor. Carefully researched and packed with charts, tables, and questionnaires, Framework not only documents the facts of poverty, it provides practical yet compassionate strategies for addressing its impact on people's lives.

     This Fifth Edition of Peregoy & Boyle's best-selling book continues the strengths of the Fourth Edition with its comprehensiveness and accessibility, providing a wealth of practical strategies for promoting literacy and language development in ELLs (K-12). Unlike many books in this field, Reading, Writing and Learning in ESL takes a unique approach by exploring contemporary language acquisition theory (as it relates to instruction) and providing suggestions and methods for motivating ELLs’ English language, literacy and content area learning. The book highlights content-based instruction and features differentiated instruction for English language learners.

    If its purpose is to entertain or to provoke thought, it makes readers want to come back for more.Revised and updated, this guide covers four essential aspects of good writing:Individual words - spelling variations, hyphenation, frequently confused homonyms, frequently misused words and phrases, irregular plurals and negatives, and uses of capitalization and type style to add special meaningsPunctuation - the role of each mark in achieving clarity and affecting tone, and demonstration of how misuses can lead to ambiguitySyntax and structure - agreement of subject and verb, parallel construction, modifiers, tenses, pronouns, active versus passive voice, and moreStyle - advice on the less hard-and-fast areas of clarity and tone, including sentence length and order, conciseness, simplification, reading level, jargon and cliches, and subtletyFilled with self-test exercises and whimsical literary quotations, "Grammatically Correct" steers clear of academic stuffiness, focusing instead on practical strategies and intuitive explanations.Discussions are designed to get to the heart of a concept and provide a sufficient sense of when and how to use it, along with examples that show what ambiguities or misinterpretations might result if the rules are not followed. In cases where there is more than one acceptable way to do something, the approach is not to prescribe one over another but simply to describe the options.Readers of this book will never break the rules of language again - unintentionally."

    

    It is democratic, everchanging and ingenious in its assimilation of other cultures. English runs through the heart of the world of finance, medicine and the Internet, and it is understood by around two thousand million people across the world. It seems set to go on. Yet it was nearly wiped out in its early years.Embracing elements of Latin, French, Spanish, Italian, Portuguese, Arabic, Hindi and Gullah, this 1500-year story covers a huge range of countries and people. The Adventure of English is not only an enthralling story of power, religion and trade, but also the story of people, and how their day-to-day lives shaped and continue to change the extraordinary language that is English.

    It is for teachers who refuse to harden their hearts, because they love learners, learning, and the teaching life." - Parker J. Palmer [from the Introduction] Teachers choose their vocation for reasons of the heart, because they care deeply about their students and about their subject. But the demands of teaching cause too many educators to lose heart. Is it possible to take heart in teaching once more so that we can continue to do what good teachers always do -- give heart to our students?In The Courage to Teach, Parker Palmer takes teachers on an inner journey toward reconnecting with their vocation and their students -- and recovering their passion for one of the most difficult and important of human endeavors.

    

    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

    With the introduction of the rigorous Common Core State Standards, diverse classrooms need a proven framework for optimizing student engagement and facilitating deeper learningCulturally responsive pedagogy has shown great promise in meeting this need, but many educators still struggle with its implementation. In this book, Zaretta Hammond draws on cutting-edge neuroscience research to offer an innovative approach for designing and implementing brain-compatible culturally responsive instruction.The book includes:*Information on how one’s culture programs the brain to process data and affects learning relationships*Ten “key moves” to build students’ learner operating systems and prepare them to become independent learners*Prompts for action and valuable self-reflectionWith a firm understanding of these techniques and principles, teachers and instructional leaders will confidently reap the benefits of culturally responsive instruction.

    Teachers create intellectual environments that produce not only technically competent students, but also caring, secure, actively literate human beings.Choice Words shows how teachers accomplish this using their most powerful teaching tool: language. Throughout, Peter Johnston provides examples of apparently ordinary words, phrases, and uses of language that are pivotal in the orchestration of the classroom. Grounded in a study by accomplished literacy teachers, the book demonstrates how the things we say (and don't say) have surprising consequences for what children learn and for who they become as literate people. Through language, children learn how to become strategic thinkers, not merely learning the literacy strategies. In addition, Johnston examines the complex learning that teachers produce in classrooms that is hard to name and thus is not recognized by tests, by policy-makers, by the general public, and often by teachers themselves, yet is vitally important.This book will be enlightening for any teacher who wishes to be more conscious of the many ways their language helps children acquire literacy skills and view the world, their peers, and themselves in new ways.

    This anniversary paperback edition features a new introduction by Delpit as well as new framing essays by Herbert Kohl and Charles Payne.In a radical analysis of contemporary classrooms, MacArthur Award–winning author Lisa Delpit develops ideas about ways teachers can be better “cultural transmitters” in the classroom, where prejudice, stereotypes, and cultural assumptions breed ineffective education. Delpit suggests that many academic problems attributed to children of color are actually the result of miscommunication, as primarily white teachers and “other people’s children” struggle with the imbalance of power and the dynamics plaguing our system.A new classic among educators, Other People’s Children is a must-read for teachers, administrators, and parents striving to improve the quality of America’s education system.

    The eighth edition continues that tradition by offering greatly expanded coverage of writing and researching with computers, smaller chapters for large subjects such as the writing process and research writing, and in numerable improvements in all other material.

    The author covers research, policy and practical issues, all within a chronological framework.