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At about half the price of other rhetorically arranged readers, 40 Model Essays: A Portable Anthology combines concise but thorough instruction in the methods of development with a well-chosen selection of classic and contemporary model readings for writers. The second edition features a fresh mix of new and current selections to complement class-proven favorites; new advice on forming a thesis statement; and a wealth of captivating new writing topics. This volume in the popular Bedford/St. Martin's series of Portable Anthologies and Guides offers a trademark combination of high quality and great value.
This Teacher Edition allows teachers to make transparencies to provide step by step instruction to students with focus on Narrative, Expository, and Persuasive sections. This book has a matching Student Edition available for purchase which uses cloze activities to keep students engaged during the lessons. Both books are downloadable at www.T123essays.com for easy transparency copying. Schools may also purchase packages and save thousands of dollars!
In Writing Without Teachers, well-known advocate of innovative teaching methods Peter Elbow outlines a practical program for learning how to write. His approach is especially helpful to people who get "stuck" or blocked in their writing, and is equally useful for writing fiction, poetry, and essays, as well as reports, lectures, and memos. The core of Elbow's thinking is a challenge against traditional writing methods. Instead of editing and outlining material in the initial steps of the writing process, Elbow celebrates non-stop or free uncensored writing, without editorial checkpoints first, followed much later by the editorial process. This approach turns the focus towards encouraging ways of developing confidence and inspiration through free writing, multiple drafts, diaries, and notes. Elbow guides the reader through his metaphor of writing as "cooking:" his term for heating up the creative process where the subconscious bubbles up to the surface and the writing gets good. 1998 marks the twenty-fifth anniversary of Writing Without Teachers. In this edition, Elbow reexamines his program and the subsequent influence his techniques have had on writers, students, and teachers. This invaluable guide will benefit anyone, whether in the classroom, boardroom, or living room, who has ever had trouble writing.
"A collection of ten short stories that all take place in the same day about kids walking home from school"--
This book uses a unique method created by the author to teach a very simple graphic organizer to students of any age. The main focus of this book is teaching the student to turn a prompt into a topic as well as pre-plan within a limited time frame. Students pre-plan using a structured consistent organizer. Once they master the technique, the student can write about any subject from a learned comfort level based on repetetive practice. The book allows teachers to copy the pages into transparencies to be used on an overhead. It includes unique peer edit pages that allow teachers, parents, and students to analyze their essays with regard to organizational structure, vocabulary, and sentence structure. This book can also be downloaded at www.lulu.com to make it easier for teachers to make transparency copies from the downloaded pages. Downloading the book also allows you to present the transparencies via multi media projector if you have one in your classroom.
Janet Angelillo introduces us to an entirely new way of thinking about writing about reading. She shows us how to teach students to manage all the thinking and questioning that precedes their putting pen to paper. More than that, she offers us smarter ways to have students write about their reading that can last them a lifetime. She demonstrates how students' responses to reading can start in a notebook, in conversation, or in a read aloud lead to thinking guided by literary criticism reflect deeper text analysis and honest writing processes result in a variety of popular genres--book reviews, author profiles, commentaries, editorials, and the literary essay. She even includes tools for teaching-day-by-day units of study, teaching points, a sample minilesson, and lots of student examples-plus chapters on yearlong planning and assessment. Ensure that your students will be readers and writers long after they leave you. Get them enthused and empowered to use whatever they read-facts, statistics, the latest book--as fuel for writing in school and in their working lives. Read Angelillo.
A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013
The revised Third Edition of this indispensable classic on Piaget and teaching features a new introduction, a new chapter on critical exploration in the classroom, and a renewed belief in the need to educate children about peace and social justice.