Deborah S School

Missouri, 1847 When James first started school, his sister practically had to drag him there. The classroom was dark and dreary, and James knew everything outside was more exciting than anything he'd find inside. But his teacher taught him otherwise. "We make our own light here," Reverend Meachum told James. And through hard work and learning, they did, until their school was shut down by a new law forbidding African American education in Missouri. Determined to continue teaching his students, Reverend John Berry Meachum decided to build a new school-a floating school in the Mississippi River, just outside the boundary of the unjust law. Based on true events, Ron Husband's uplifting illustrations bring to life Deborah Hopkinson's tale of a resourceful, determined teacher; his bright, inquisitive students; and their refusal to accept discrimination based on the color of their skin.

Part-essay and part-memoir, 'This Little Art' is a manifesto for the practice of literary translation.

The story of a formative year in 12-year-old Franny Chapman's life, and the life of a nation facing the threat of nuclear war. Franny Chapman just wants some peace. But that's hard to get when her best friend is feuding with her, her sister has disappeared, and her uncle is fighting an old war in his head. Her saintly younger brother is no help, and the cute boy across the street only complicates things. Worst of all, everyone is walking around just waiting for a bomb to fall. It's 1962, and it seems that the whole country is living in fear. When President Kennedy goes on television to say that Russia is sending nuclear missiles to Cuba, it only gets worse. Franny doesn't know how to deal with what's going on in the world -- no more than she knows how to deal with what's going on with her family and friends. But somehow she's got to make it through. Featuring a captivating story interspersed with footage from 1962, award-winning author Deborah Wiles has created a documentary novel that will put you right alongside Franny as she navigates a dangerous time in both her history and our history.

What is the trouble with schools and why should we want to make ‘school trouble’? Schooling is implicated in the making of educational and social exclusions and inequalities as well as the making of particular sorts of students and teachers. For this reason schools are important sites of counter- or radical- politics. In this book, Deborah Youdell brings together theories of counter-politics and radical traditions in education to make sense of the politics of daily life inside schools and explores a range of resources for thinking about and enacting political practices that make ‘school trouble’. The book offers a solid introduction to the much-debated issues of ‘intersectionality’ and the limits of identity politics and the relationship between schooling and the wider policy and political context. It pieces together a series of tools and tactics that might destabilize educational inequalities by unsettling the knowledges, meanings, practices, subjectivities and feelings that are normalized and privileged in the ‘business as usual’ of school life. Engaging with curriculum materials, teachers’ lesson plans and accounts of their pedagogy, and ethnographic observations of school practices, the book investigates a range of empirical examples of critical action in school, from overt political action pursued by educators to day-to-day pedagogic encounters between teachers and students. The book draws on the work of Michel Foucault, Judith Butler, Ernesto Laclau and Chantel Mouffe, and Gilles Deleuze and Felix Guattari to make sense of these practices and identify the political possibilities for educators who refuse to accept the everyday injustices and wide-reaching social inequalities that face us. School Trouble appears at a moment of political and economic flux and uncertainty, and when the policy moves that have promoted markets and private sector involvement in education around the globe have been subject to intense scrutiny and critique. Against this backdrop, renewed attention is being paid to the questions of how politics might be rejuvenated, how societies might be made fair, and what role education might have in pursing this. This book makes an important intervention into this terrain. By exploring a politics of discourse, an anti-identity politics, a politics of feeling, and a politics of becoming, it shows how the education assemblage can be unsettled and education can be re-imagined. The book will be of interest to advanced undergraduate and postgraduate students and scholars in the fields of education, sociology, cultural studies, and social and political science as well as to critical educators looking for new tools for thinking about their practice.

"The word "finishing" fills many knitters, beginners and more experienced alike, with dread. Some even abandon projects at this stage, rather than complete the necessary steps to achieve beautiful, wearable garments. In Finishing School, master knitter and designer Deborah Newton, shares her expertise and love of (yes, love of) finishing with knitters of all skill levels. She takes them step by step through the ins and outs of blocking, seaming, edging and embellishments, giving knitting the confidence and skills needed to create professional-looking knitwear. In addition to in-depth instruction, the book includes patterns for 12 sweaters, jackets and scarves, many with variations"--

Soon after the fall of the Taliban, in 2001, Deborah Rodriguez went to Afghanistan as part of a group offering humanitarian aid to this war-torn nation. Surrounded by men and women whose skills–as doctors, nurses, and therapists–seemed eminently more practical than her own, Rodriguez, a hairdresser and mother of two from Michigan, despaired of being of any real use. Yet she soon found she had a gift for befriending Afghans, and once her profession became known she was eagerly sought out by Westerners desperate for a good haircut and by Afghan women, who have a long and proud tradition of running their own beauty salons. Thus an idea was born. With the help of corporate and international sponsors, the Kabul Beauty School welcomed its first class in 2003. Well meaning but sometimes brazen, Rodriguez stumbled through language barriers, overstepped cultural customs, and constantly juggled the challenges of a postwar nation even as she learned how to empower her students to become their families’ breadwinners by learning the fundamentals of coloring techniques, haircutting, and makeup. Yet within the small haven of the beauty school, the line between teacher and student quickly blurred as these vibrant women shared with Rodriguez their stories and their hearts: the newlywed who faked her virginity on her wedding night, the twelve-year-old bride sold into marriage to pay her family’s debts, the Taliban member’s wife who pursued her training despite her husband’s constant beatings. Through these and other stories, Rodriguez found the strength to leave her own unhealthy marriage and allow herself to love again, Afghan style. With warmth and humor, Rodriguez details the lushness of a seemingly desolate region and reveals the magnificence behind the burqa. Kabul Beauty School is a remarkable tale of an extraordinary community of women who come together and learn the arts of perms, friendship, and freedom.

It’s picture day, and the boy at the center of this charming story wants to make sure his picture is perfect. It seems as though everything’s going wrong for him—he has bedhead, a stained shirt, and a big scowl on his face. But when he goes up for his picture, he thinks about his terrible appearance, and he smiles—because he secretly wants his picture to be the worst ever taken! But just as he smiles, the photo is snapped, and his plan is ruined when he takes a totally adorable picture. Perfectly paired with the larger-than-life silliness of Dan Santat’s illustrations, this is a sweet and funny picture book about a classic school moment. Praise"The narrator’s over-the-top voice makes reading aloud a must . . . high-energy comedy that involves only minor destruction."— Publishers Weekly

The winner of the Coretta Scott King/John Steptoe New Talent Award, this work introduces a white boy living in the South of 1964, who recounts his first experience of racial prejudice--and his friendship with a black boy that defied it. Full color.