Schools and Instruction Books

Leaves out Rosa Bonheur, Judith Leyster, Helen Frankenthaler completely, only a small space for Cassatt and Morisot.

As Frankenthaler is the creator of Stain painting, and Rosa Bonheur's "The Horse Fair" is in EVERY art history book, it is hard to believe this is an oversight.

"There is something in painting which cannot be explained, and that something is essential. You come to nature with your theories, and nature knocks them all flat." ~Pierre-Auguste Renoir

If I had not been reading this book, I may have never seen the little black cat standing at the end of the bed on the pictures of Olympia by Edouard Manet. The cat is almost invisible, blending in with the background and only visible when you realize those are two little eyes peering out at you.

Each chapter of this compact book on art is color-coded. The chapters include:

Materials and Means
Early Art (2000 BCE-1300 CE)
Gothic and Early Renaissance (1300-1500)
High Renaissance & Mannerism (1500-1600)
The Baroque Era (1600-1700)
From Rococo to Neoclassicism (1700-1800)
Romantic and Academic Art (1800-1900)
Modernism (1900-1970)
Contemporary Art (1970-Present)

Key symbols are used throughout to indicate birth and death dates, nationality, countries were the artist was active, principal media in which the artist worked, where to see main collections of an artist's work and record prices achieved at auctions.

Some of the beautiful pages in this book include Claude Monet's Waterlily Pond. Short descriptions of each artist is given and then you can do more research if an artist captures your attention. Perhaps you've always been intrigued by the convex mirror at the back of the Arnolfini Portrait by Jan van Eyck. Here we find Latin text on the wall, a bride in green and a stunningly detailed chandelier, shimmering with metallic luster. Isabella and the Pot of Basil by William Holman Hunt is equally magnificent and the painting is filled with symbols that are fun to unveil.

The "Forked Forest Path," a form of installation art has beautiful lighting effects glowing through a forest of natural wood. The interior of Abbey Church in Ottobeuren, Bavaria is stunning!

While looking at The Birth of Venus by William-Adophe Bouguereau, I noticed the same pose had been used in a painting for a book cover of romantic poetry I'd just reviewed. This book will not only inspire you to visit art museums more frequently, it teaches you about how to look at paintings in a deeper way. You may also feel inspired to go find a museum-quality reproduction, like The Kiss by Auguste Rodin.

The marble statues really caught my attention and if you have any interest in mythology, you may find yourself reading this book and then looking online for more information. I would have loved to have found more information on Cupid and Psyche, or even the mention of butterflies and the soul. Five pages could just have been dedicated to Antonio Canova alone, but we must then go buy another book to do more research and truly, I'm not complaining. ;)

"Art is the path to knowledge." ~Leonardo da Vinci

~The Rebecca Review

This is another fine entry in the "Eyewitness Companions" series. A lot of material is packed into each of the volumes. These publications cover the waterfront, such that the tradeoff is breadth of coverage at the cost of depth. But, whether the subject is beer, cheese, wine, cheese, opera--or art, the end result is a nice reference work.

Here, the focus is art. The author, Robert Cumming, begins by noting the four questions that he is so often asked about are (page10): ""What should I look for. . . . What is going on? What is the story?. . .What is its value?. . .Is it any good?" He goes on to note that (page 11) "I have tried to capture that kind of involvement [that his readers enjoy with art] and to address the four basic questions. . . ." The book begins, appropriately enough, with a discussion of what art is, and other interesting facets of the subject (record prices for artists' work, best art museums, etc.). Then, media and materials of art. This is followed by an historical organization of the history of art, from early art (3,000 BCE to 1300 CE) to contemporary art (1970-present).

Many have seen the art work associated with Tutankhamen's burial; this is one example from the era of early art. Within that larger category are displays of art work from ancient Egypt, the early Aegean world, classical Greece, and so on. Other eras of interest: Gothic and early Renaissance, Baroque era, romantic art, modernism, and contemporary art. Within each of these eras a selected group of artists is singled out, information about them presented, and examples of their work displayed.

Some of my favorite artists are included in this encyclopedia coverage, such as van Eyck and da Vinci (I still remember the thrill I got when I entered the gallery at the Louvre and saw for the first time his Mona Lisa). One of the nice features of this book is represented by the discussion of da Vinci, where Cumming speaks in an understandable way of the artist's life, his techniques, what to look for in his works, and so on. Many other artists are represented, from Brueghel to Rubens to Rembrandt to Delacroix to Courbet to Monet to Rodin to Chagall to Pollock to Kiefer to Lichtenstein to. . . .

All in all, a nice little book to curl up with when you want to just enjoy the fruits of the human artistic imagination.

Very basic book to reference painters. I bought it for use while traveling in Rome and Florence but when it came to packing--this little book is far too heavy. Too heavy to bring out for a day of sightseeing in another country when there is so much else to carry.
If you're into art history, it's good for a quick reference.

Like all books of this nature, this work is not the beginning nor the end all of all art books. It is though an absolute delight. I paint, granted, I do not paint well, but that is not really all that important. For me the study of art and the participation in art is a way of making my life richer and it causes me to become much more aware of all that is around me; shapes, colors, shades, details and the ability to observe all these things. This work helps greatly in these areas...it simply has made me more aware of just what is in any given painting and given me more of an appreciation for what I am looking at.

Robert Cumming has given us an insightful look at some of the greatest of our paintings and works of art and some of our greatest artist throughout history. Bruegel, El Greco, Caravaggio, Rubens, Rembrandt, Poussin, Steenwyck, Claude, Vermeer, Monet, Hunt, Picasso, Degas and quite a number of other. An example of each artist's work is shown and a detailed description is given along with a short history. Inset notes are abundant and point to items and parts of the painting that the normal observer might well overlook. I know I have been guilty of that time and time again. Techniques such as under painting, symbolism, composition, background details, the angle of a hand, the set of the eyes, color combinations and contrast, imagery, all are addressed and much more.

Now this book is not an advanced text suitable for the advanced student of art or even art history. It is not a guide book to be lugged around to help identify different paintings. It is not all conclusive as there are hundreds of artists, both male and female, who are not addressed. Good grief, that would take several thousand books and a life time of reading and study. What the book is, is a very good overview. It is something to stimulate, to cause you to look at art a bit differently, to be more observant, to motivate you to further study. Only 45 paintings or studies are given here, but I did like the selections the author choose. All of the paintings are in color and as true to the originals as it is possible to get with mere photography.

For an enjoyable and informative read, I cannot see how you can go wrong with this one. Just remember to place the book in its proper prospective, and do not expect to become an instant art expert after reading it. Do expect to learn and do expect to enjoy. I highly recommend this one.

In 1993-94, Ruhlman returned to his alma mater, University School in Cleveland, to explore the workings of an all-boys school and study its headmaster, the famously idiosyncratic Rick Hawley. In this context, I'd be hard-pressed to outline all my issues with Ruhlman's project, but his "fly on the wall" presentation of teachers and classes is consistently evocative--real, familiar, and true to the private school life I experience as a private school teacher. However, Ruhlman stumbles as he explains. When he tries to make something of his observations--to comment on what's distinctive about boys schools or what Rick Hawley represents or what anything adds-up to--he teeters on rationalization. If, as he says in the book, Ruhlman wanted his readers to "fulfill" the "dramas" he presented, he should have let them. Better yet, he might have left this task to someone who was not an alum of the school.

I am a University School alumnus and attended the school when many of the people described in this book (including Richard Hawley) were there. Ruhlman has definitely caputured the ethos of the place. I question, though, whether the portrait makes a compelling case for boys' schools. In reading the book, I was reminded of undercurrents of intolerance and "group thinking" that may be part of all adolescents but which seem particularly pronounced when boys are amongst themselves. The book also reminded me of how a provincial, almost smug muscular Episcopalianism is the school's unofficial culture (the school is theoretically non-sectarian). While these negatives came out, there was nothing presented that suggested anything positive about an all-male environment. We are given a case study with little analysis of the importance of the all male culture. As a result, one sees the merits of prep-school, i.e. resources, small classes and attentive faculty, but is left with no sense of why being all male is relevant. And one does see some demerits of not having a coed school.

Boys Themselves: A Return to Single-Sex Education by Michael Ruhlman

This book was written by Mr. Ruhlman before he gained fame with his "The Making of a Chef" and "The Soul of a Chef" combo; it was his first effort at reporting and writing a full length book. The method Ruhlman uses here is similar to the two later efforts; he spends the same amount of time as his subjects at their craft. In this case, that means he is present at University School, a boys only school in the Cleveland , OH area, from just prior to first class, day one, through graduation and a faculty party afterwards.

The difference in his approach in this effort is the lack of infiltration. Mr. Ruhlman is not posing as a student, or a faculty member; he has the Headmaster Richard Hawley's permission to wander as he wish, taking notes, asking questions, observing. This is completely different than the efforts Ruhlman takes to retain his anonymity from his subjects in "The Making of a Chef," and the first section of "The Soul of a Chef." One cannot help but wonder if a layer of two of self-consciousness wouldn't have been removed from some of the students and/or faculty members throughout if they were unaware of his intentions.

Another similarity is the writing itself; Ruhlman does a great job of taking real people and developing them as fully three dimensional characters throughout his books. We see development in students, faculty, and the headmaster as well as observations by the author himself which show his developing ideas regarding his topic. Through his eyes, Ruhlman makes these people become ones that you care about; you want to know what has happened to them since graduation day in the same sort of detail that he has given you with this school year.

In situations where there are large issues at the school, the problems are shown by every conceivable angle; student, faculty, parents, headmaster and occasionally his own thoughts. Philosophy and morality take up a great deal of time at the school. Some of the topics, as well as smaller issues amongst individuals, are followed throughout the book as they proceed and develop through the year.

The one problem I had was a slight lack of confidence Mr. Ruhlman had in his own writing sporadically throughout the book. He would follow up a well written paragraph with a blunt recap as if he felt he was perhaps too subtle in his descriptions. The full text of the book is reminiscent of this as well as we get 18 chapters of the school year, with wonderful descriptions of the differences between Single Sex and Co-Educational school systems. This is followed up by an explanational 19th chapter that wraps up his opinions on the topic.

This problem was a minor one however when compared to the lyrical writing, "character" development and subtle observations spread throughout the book.

3.5 Stars.

Ruhlman brings the complexities of prep school to life in a manner in which few writers have accomplished. I both attended and have worked within some of the country's most notable prep schools. After my first year as an Upper School Head, I sat down one day and read the book cover to cover. Ruhlman's protrait of the teachers and students is fascinating. He takes the time to develop characters, especailly the indefteabable head of school, Richard Hawley. Ruhlman goes beyond just reporting what he sees. He engages himself and others in a dialgue that constantly questions the ethos of the school. In one interesting scence, he describes how a senior speech got out of control. Ruhlman gives us the fallout from this display of "entitlement disorder" from all the angles; students, teachers and administrators. Ruhlman also takes the time to venture into the debate over single-sex education. He handles this challenge with grace. However, for me this book was more like an ethnography of a school. Ruhlman provides the reader with a fascinating behind the scences account of a most interesting school. The appeal of this book should be wider than prep school audieance. However, if you are interested in independent school education this is a must read. Bravo to Ruhlman for doing justice to such a complex subject.

I own both the paper-pack & hard-pack versions of this wonderful book. I was introduced to it by my PhotoReading instructor/co-developer, Patricia Danielson from New England, MA, during the early nineties. It is pertinent to mention that 'The Everyday Genius' is synonymous with PhotoReading, as far as the ultimate application is concerned. In fact, Peter Kline has contributed quite substantially to the early development of PhotoReading, according to the principal developer of the technology, Paul Scheele.

From my personal perspective, the principal theme is nurturing learners in the world. As such, it has great relevancy to parents (the primary audience) as well as to teachers & employers/bosses/managers in the workplace.

The author, a true learner himself, has an amazing gamut of practical ideas for developing & nurturing learners at home & in the workplace.

During the years I have owned a small bookstore from the early nineties up to mid-2004, this book happens to be one of my anchor books. I often recommend it to visiting parents to my store as well as to managers/bosses who are responsible for many people working under them. The feedback from them has always been tremendously positive. Many have returned to buy further copies to be given away as gifts.

There is an everyday genius in all of us. Sometimes, we need to rub the Aladdin lamp rigourously to get the genie out. This book, packed with insights, games, activities & exercises, can serve that purpose.

Yes, I must add that the book can be intellectually quite intense for some people to read. Neverthelesss, I strongly recommend reading it.

Let me conclude this review by recapitulating an observation made by John Naisbitt, a futurist/thought leader, many years ago, "In a world that is constantly changing, there is no one subject, or set of subjects, that can serve us for the foreseeable future, let alone for the rest of our lives. The most important thing for us is to learn, unlearn & relearn." I maintain that this book can definitely help to pave the way for all readers in the quest for learning.

[To Parents/Teachers who want more specific tools & strategies to help their kids/students in attaining school success, please get hold of the author's 'School Success: An Inside Story'. To Managers/Professionals, please get hold of the author's 'Ten Steps to a Learning Organisation.' These are excellent & insightful productions!

What an absolutely dreadful, boring, useless book. I bought it based on the reviews above, and boy am I mad that I did. As a teacher, I thought I would take away something, anything, from this book. Instead, my mind is slightly more numb because of it. This author says the same thing 800 different times in only slightly different ways. He could have pared the whole thing down to one inspiring quote. Instead, his repetitive rambling takes all inspiration out of his words. Truly, I love any book that inspires me or gives me ideas for working with children, but this book was AWFUL. The author also spends a lot of time tooting his own horn. I tend to roll my eyes when he does, because he makes ridiculous claims like, "I spoke with this child for ten minutes and he went from a high-school dropout to a brilliant doctor." I made that up, but that's the gist. He's full of it. Save yourself time & money and leave this book alone.

I sometimes forget to slow my life down enough to pay attention to the lessons that children can teach me about how to live my life. Every child that is born into this world is a laughing, singing, creative and powerful individual. Often it seems that by the time we reach adulthood we have lost the ability to laugh and sing. Peter Kline seriously addresses the process of learning from all angles. Extremely instructive to adults!!!

Some favorite passages:

"Creativity is a function of our whole personality and its interaction with the world, not something we turn on or off. The more we see ourselves as innovative and original thinkers, the more creative we tend to be"..."So whatever else we may say about creativity, these three things are essential to it: we must value our uniqueness, we must trust the worth of our experience, and we must be able to draw freely and widely on the full range of that experience, which is the content of our memory." P 190

"Experiencing disharmony between what we say and what we feel leads to a vague sense of anxiety and not being at home in the world - a sense that some philosophers assume is an inescapable part of the human condition. However, the origin of this anxiety is not human nature, it is in our withholding or even becoming unaware of what we really feel - in failing to live our lives fully. Accepting emotions helps us get beneath the surface in order to discover the rich and wonderful process of being." P 219

"Whenever you feel you are learning nothing from the person you are with, or the situation you are in, it is time to return again to whatever springs inspire in you the development of new learning skills, and drink as deeply as you can. Then you will be better able to discover that each person you meet has a fund of experinece so rich that no matter what thier differences in worldly accomplishments may be from yours, you can learn from them and they from you. Some of my own finest learning experiences have come from those who had lived long lives without the advantage of education or even literacy. Experience of any kind is always richly and uniquely instructive." P 252

As a student, I was assigned this reading. I found the latter half of the book to be the most useful. However, I thought that the first eleven chapters could have been revised to approximately three chapters. The most impressive part of this book is Kline's examples of his learning philosophies. These examples include games, activities, and exercises that are applicable in the home and classroom. Overall this read was intelligent and insightful. Kline has some truly amazing ideas.

I purchased this book after enjoying an exhibit of Hudson River School paintings. While the premise of the book is an interesting one, I couldn't get past the conservative politics! It was Newt Gingrich's quote & the mention of Lynne Cheney as a harbinger of moral change that pushed me over the edge. I was hoping to gain a further appreciation of the genre, but found myself too iritated by the modern day political commentary to keep reading. If you have BOTH an appreciation of the school & a conservative political outlook--this is probably the book for you. However, if you find conservative definitions of morality and cultural standards off-putting, don't bother with this one!

Anyone alarmed by the loss of cultural standards in America today will find this book fascinating. Mr. Cooper clearly demonstrates the relationship between culture and art. We are reminded of a time in our nations youth when the arts served to lift up and inspire, when truth, virtue and beauty were not doubted but sought after because they represented the very best of what we could be. Today much of our art points in the opposite direction, not celebrating what we aspire to be but pointing out the worst of what we are. As an artist in todays culture I can attest to the accuracy of Mr.Coopers observations concerning the role modern art has played in our cultural decline.I can also confirm the great hunger for art that lifts the spirit and inspires our hopes and dreams. I highly recommend this book for its insight into the importance of our creative endeavors and how we direct them. I hope it serves as an inspiration to all artists seeking to better the world through their gifts.

"Knights of the Brush" is a fascinating book on the Hudson River School landscape painters, but it is not (repeat not) by the novelist James Fenimore Cooper! The author, a distinguished art historian, is James F. Cooper and unlike the novelist is very much alive! That said, I find the book a little strange. Mr. Cooper analyses and discusses a wide range of Hudson River landscape paintings by painters such as Thomas Cole, Frederick Church, and Jasper Cropsey -- stressing their moral and religious intent and content in a way that should increase appreciation of their merit. The book is filled with attractive color reproductions of their works. But this is coupled with a sometimes repetitious jeremiad against current "post-modern" culture and ethics and apparently everything else to do with contemporary American culture. Somehow the art history and appreciation and the political pamphlet do not live happily with each other. Readers and art lovers can enjoy and appreciate "Knights of the Brush," and the author's passion for art, without necessarily accepting all his passion for turning back the cultural clock.

This is a book that post-modernists and deconstructionists can easily pass over. However, if you accept even a glimmer of Keats' insight:

Beauty is truth, truth beauty - that is all

Ye know on earth, and all ye need to know.

Ode on a Grecian Urn

Then you will find this a worthwhile book. Cooper begins with the argument that the aesthetic is the most highly developed aspect of a society. Once the aesthetic sense begins to fray, then society is on a slippery slope where the moral vision begins to lose focus and eventually, may collapse.

This is a classic story of decline and fall, and Cooper puts the Golden Age with the Hudson River School of American art. The book takes the moral values of the early 19th Century Americans, natives like Cropsey as well as immigrants like Thomas Cole, and illustrates their beliefs with representative, breathtaking paintings. Some of the strongest points are made in contrasting the moral vision which informs the Hudson River School with the altogether bleak view of the human condition which is seen in representative works from 20th century painters like Hopper and Andrew Wyeth.

Cooper does effectively demolish the canard that these artists were little more than shills for the new capitalist order. Given the view which these men held, that to truely view nature is the glimpse the hand of God on earth, if they had painted mills and factories, they would have clearly been less than worshipful of their subject.

However, Cooper's thesis becomes a little repetitive as each chapter keeps coming back to the same theme with slightly different wording.

In the end, the art is stunning, the commentary is thoughtful, but slightly tighter writing style would have won a fifth star.

Luker's structure for understanding the debate on sex in America (it's in the subtitle) is extremely limited. It's overwhelmingly (altho not exclusively) white, heterocentric (that is pretty much exclusively) and suburban/small town. If I thought she understood there was a problem with not discussing the treatment of homosexuality when discussing sex education in America (because she mostly ignores it), it might bother me less, but she's so focused on understanding the different gender roles, she's locked into the conservatives duality. As usual, as a sociologist, her lack of historical perspective undermines her argument. Worse, her assertion about the "original" definition of "hierarchy" is just wrong, and in bending over backwards to avoid words like "patriarchy" and "oppression", she signs off on previous generations' enforcement of cultural norms at the expense of minorities and other groups with little power.

If I thought I could trust the rest of the work, these might be issues I could work around. But there are instances of circular argument; she quotes conservative activists repeatedly without acknowledging bias without doing the same for liberals; she repeatedly misrepresents "sexual liberals" and persists in misunderstanding what her interviewees were telling her.

Her background and credentials suggests she's doing this to "prove" that she's being "fair" to the conservatives. In practice, I kept thinking that she'd be a conservative herself, except for the niggling little problem that she'd have to give up her position unless she could also magically become a man (because doing it through surgery would surely be unacceptable to the conservatives!).

I wish I knew of a better book on the topic.

I was pleasantly surprised by the generally fair presentation by Dr. Luker in "When Sex Goes to School". Given that she is a feminist sociologist at UC Berkeley, I had expected a very biased treatment of those holding traditional views of sexuality. However, she demonstrated a real understanding of the issues, particularly in how conservatives are not "anti-sex" (the typical liberal claim) but in actuality value sex very highly as something sacred. The whole battle stems from the two sides holding fundamentally different views of sexuality: something "natural" vs. something sacred.

The one thing that annoyed me about the book was Dr. Luker's stereotypes about conservative women. She portrays them all as less interested in education & career and believers in patriarchy. We may be traditional in certain areas, but that doesn't mean we're traditional in *everything*. We may be bright & ambitious, feel that men & women are equal (although not identical), and still hold that the proper place for sex is between a husband & wife.

Kristin Luker has chosen a curious method to produce a strange amalgam of a book: she talks to local extremists so she can use sex education as a prism for understanding sex in America.

While the political battles over sex education might deserve a book unto themselves, and while sex education certainly can't be divorced from our culture's shifting notions about sexuality, Luker's method leaves one wondering how much one has actually learned about either from reading the book.

As Luker acknowledges in passing, her method of choosing subjects to interview leaves out the entire sensible center, if such there be, on debates about sex education. And as she makes clear, passionate extremists on both sides of the fights generally have difficulty articulating their reasons clearly, and they generally don't understand each other very well. Luker provides on her interviewees' behalfs the articulation they can't provide for themselves. Curious research method, don't you think?

Luker offers that the warring camps fall into the "sacralists" versus the "secularists." I suspect readers will differ on how adequate they find these grossly simplified generalizations. I find some value, in sort of a quick-sketch-on-the-back-of-a-napkin sense, in drawing the contrasts as Luker draws them.

But I'm not entirely enthusiastic about Luker's belief that she's found a good prism for viewing sex in America. Local extremists all worked up about school curricula may not be the most representative sample on the broader issue of sex in our society.

This was an engaging book to read and it was also well researched. I had Kristen Luker as a professor and true to form, she is fair in her research and portrays both sides of an issue so that each makes sense to the reader. She is a very talented sociologist and unlike some sociologists, she's also manages to write an interesting book. I highly recommend this book to anyone interested in the debate over sex education.

I felt I should write this review after seeing the bad wrap it got from another reviewer. I am doing my thesis on classroom discipline and out of all the books I've read on the subject, this one gave me the best insight and critique of the history of discipline research as well as great ideas for teachers on how to go about creating their own classroom management plan. This book touched on all areas important to successful classroom management; I have not found everything covered here in any other single source. This book is a must for all new teachers who really want to succeed!

I was required to purchase this book for a class I am currently taking. While the content of the book could be useful, the manner in which it is written is laden with ridiculous run-on ideas that could be communicated much more clearly. Here is an example from page 28:

"Regardless of the extent to which teachers decide to adapt to the norms and parenting styles of their student's culture or systematically assists students in learning to adapt while maintaining their cultural values, the point is that as educators we are willing to examine our own beliefs and way of working with students in light of the contextual variables existing in the classroom, school and community."

To students who may be required to read this text: Good luck. Perhaps you can change classes before it is too late.

To professors who may add this book to their required reading list: Please, please, please pass on this text and choose something more relevant and tangible for your students.

To educators who may choose this book to answer questions or add to their professional library: choose something else. This book is useless. My advice is your time will be better spent going to talk to teachers who have been in the field rather than reading this book.

I had to buy and read this book for a classroom management class. It is a great book for comparing the most recent research available. However, you usually need to read five to ten pages of what could have been stated in a paragraph. I do feel that I really understand the material by the time I finish reading the book. I have also used many of the ideas in my classroom to try and improve my classroom management in my student teaching experience.

Ordered the Book and CD together, received the book, but now over one month later am still waiting for the CD. It would be nice if could have had the CD with the music book.

Part of the Suzuki Method relies on hearing the music about 8000 times before the child graduates the particular "book". If you (and your child) do the method properly, you will have this entire cd memorised and may even be sick of it by then. It is well done, nicely clear for advanced beginners and has a clear piano part.

We own this cd and, well, one can hardly comment on the music without 1st having experienced working with the Suzuki method of helping their child learn to play an instrument and read music.
The cd is most useful and my child learned very quickly by listening to this cd. There are other versions of the Suzuki books on cd and when your child advances you can see and hear the differences of each. The way your child plays, once having worked long enough, can reflect the style in which the artist plays. My son took to playing violin very quickly. And could choose which cd he wanted by book 3.
He still listens to the old cd,s (he added the music to his ipod, btw) for refreshing his memory and improving his critique of music. He is 16 and loves all music.
If you are considering this method for someone you love, remember musical literacy is a lifelong treasure and pleasure no matter what your talent level. You can't go wrong even if you just want to listen. Get the book if interested, because even if you want this for yourself you can read along and definitely help your own musical literacy skills.
It's a whole other language and nothing can beat hearing the language of music.

In this book Mike Farris tells a legally accurate and gripping story about the potential harm the U.N. can do if it improperly performs its role in the world. This book is a masterpiece of storytelling that holds your interest throughout the plot and contains refreshing views on society and the state of our world.

An intriguing story with a powerful message. What could have been a very complex and dreary subject--legal proceedings over the U.N. attempting to enforce a treaty regarding children supreceding the laws of the United States--is made alive and interesting. The author captures the real feel and attitudes of the kinds of people who are committed spiritually to Christian values while showing that the threat goes far beyond such people. The subplots are engaging and essential to humanize the characters. The role of the internet and chat rooms is both amusing and enlightening. The ultimate message of the book comes through vividly: there is a genuine and serious threat to American sovereignty by ratifying treaties that invade the personal lives of Americans.

Is there a way to give zero stars?

The good: a creative basic premise (a Supreme Court fight about the rights of children v. parents).

The bad:

1. Badly written. The prose itself is clunky. There appear to be about four completely unrelated books that were somehow glued together to make this monster.

2. Too preachy. I don't mind a message, but beating people over the head with your moralistic message makes for bad reading.

3. Stilted dialogue. I'm sorry, people just don't talk like this.

4. Cardboard characters. The bad guys are "all bad" and have no legitimate reasons for their point of view. The good guys are the beloved of God, and everything they do is for a righteous reason. These characters are one dimensional.

5. Long. Did I mention 450+ pages of this?

This is the book that inspired me to professionally side step the test-prep classroom environment of dull grade level anthologies and drill and kill worksheets in lieu of in-depth studies of engaging fiction and non-fiction texts and trade books.

Our recent foray into Island of the Blue Dolphins definitely revealed that my students' overall text comprehension, command of new and unique vocabulary, grasp of overlying literature themes, identification of major and minor plot lines, and awareness of the ever changing character traits of the individuals within the story was significantly enhance simply by my refreshed way of teaching.

Please refrain from purchasing this book simply to place it on your shelf of notable professional books, as How to Align Literacy Instruction, Assessment, and Standards deserves to be read, dog-eared, margin noted, and implemented daily into your classroom.

This book is a great book as it provokes thoughts that allow you to organize your instruction to a higer level. It allows to you examine what you do and why you do it. I believe the author really understands what a teacher goes through and makes the monster more efficient. The book offers information as well as practical support for all teachers.

Another school administrator writing a book about how to teach. No studies or research support any of the methods espoused in this book. It's all opinion based on anecdotal observations. She offers no statistical data to support her methods. I seriously doubted the efficacy of her methods and searched the California Department of Education's web pages to read test scores at the elementary school where she is the principal. Her school's reading test scores have gone consistently South since she's been the principal. I'm not hating on the writer; I'd just like to see curriculum based on research - not opinion.

I went through every page in this book twice, and believe it or not could not find a single things that I thought I would ever use. It was advertised as a book for grades 1-8, but I couldn't imagine ever using it with students older than, maybe, grade 5.

Even with my elementary kids, I couldn't imagine using this book. Most of the activities were either things I could have thought of myself, and/or just seemed plain "goofy." Actually, the book struck me (although it was not advertised this way) as a guide for substitutes who had little music background and didn't really know what to do when teaching a music class. Since that is not my situation, I found it vitually useless.

I use this a lot. Have not used eveything yet. It does not give a resource for recordings

If you don't already have this book, you need to get it! It has activities for special days throughout the year (even days you might have never known about). The material is well suited to any age and is well liked by the upper grades (which can sometimes be hard to find). The activities are easy to set up and usually fill up one class period. I highly reccommend investing in this book. It saved me my first year of teaching and I plan to use it for as many years as they'll let me teach