Goodnight Ipad

A parody of the children's classic and a hilarious gift for anyone that finds modern life funny and absurd. In a bright buzzing room, in the glow of the moon-and iPhones and Androids and Blackberries too-it is time to say goodnight... Modern life is abuzz. There are huge LCD WiFi HD TVs and Facebook requests and thumbs tapping texts and new viral clips of cats doing flips. Wouldn't it be nice to say goodnight to all that? Like the rest of us who cannot resist just a few more scrolls and clicks, you may find yourself ready for bed while still clinging to your electronics long after dark. This book, which is made of paper, is a reminder for the child in all of us to power down at the end of the day. This hilarious parody not only pokes loving fun at the bygone quiet of the original classic, but also at our modern plugged-in lives. It will make you laugh, and it will also help you put yourself and your machines to sleep. Don't worry, though. Your gadgets will be waiting for you, fully charged, in the morning.

Mediocre writers borrow. Great writers steal. --T.S. EliotWriting thieves read widely, dive deeply into texts, and steal bits and pieces from great texts as models for their own writing. Author Ruth Culham admits to being a writing thief'sand she wants you and your students to become writing thieves, too! In The Writing Thief: Using Mentor Texts to Teach the Craft of Writing, Culham demonstrates a major part of good writing instruction is finding the right mentor texts to share with students. Within this book, you'll discover more than 90 excellent mentor texts, along with straight-forward activities that incorporate the traits of writing across informational, narrative, and argument modes. Chapters also include brief essays from beloved writing thieves such as Lester Laminack, David L. Harrison, Lisa Yee, Nicola Davies, Ralph Fletcher, Toni Buzzeo, Lola Schaefer, and Kate Messner, detailing the reading that has influenced their own writing. Culham's renowned easy-going style and friendly tone make this a book you'll turn to again and again as you coach your students to reach their full potential as deep, thoughtful readers and great writers. There's a writing thief in each of us when we learn how to read with a writer's eye!

Children's literature isn't just for children anymore. This original study explores the varied forms and roles of children's literature—when it's written for adults. What do Adam Mansbach's Go the F**k to Sleep and Barbara Park's MA! There's Nothing to Do Here! have in common? These large-format picture books are decidedly intended for parents rather than children. In No Kids Allowed, Michelle Ann Abate examines a constellation of books that form a paradoxical new genre: children's literature for adults. Distinguishing these books from YA and middle-grade fiction that appeals to adult readers, Abate argues that there is something unique about this phenomenon. Principally defined by its form and audience, children's literature, Abate demonstrates, engages with more than mere nostalgia when recast for grown-up readers. Abate examines how board books, coloring books, bedtime stories, and series detective fiction written and published specifically for adults question the boundaries of genre and challenge the assumption that adulthood and childhood are mutually exclusive.

The last thirty years have witnessed one of the most fertile periods in the history of children's books: the flowering of imaginative illustration and writing, the Harry Potter phenomenon, the rise of young adult and crossover fiction, and books that tackle extraordinarily difficult subjects. The Oxford Companion to Children's Literature provides an indispensable and fascinating reference guide to the world of children's literature. Its 3,500 entries cover every genre from fairy tales to chapbooks; school stories to science fiction; comics to children's hymns. Originally published in 1983, the Companion has been comprehensively revised and updated by Daniel Hahn. Over 900 new entries bring the book right up to date. A whole generation of new authors and illustrators are showcased, with books like Dogger, The Hunger Games, and Twilight making their first appearance. There are articles on developments such as manga, fan fiction, and non-print publishing, and there is additional information on prizes and prizewinners. This accessible A to Z is the first place to look for information about the authors, illustrators, printers, publishers, educationalists, and others who have influenced the development of children's literature, as well as the stories and characters at their centre. Written both to entertain and to instruct, the highly acclaimed Oxford Companion to Children's Literature is a reference work that no one interested in the world of children's books should be without.

How communication technologies meant to empower people with speech disorders—to give voice to the voiceless—are still subject to disempowering structural inequalities. Mobile technologies are often hailed as a way to “give voice to the voiceless.” Behind the praise, though, are beliefs about technology as a gateway to opportunity and voice as a metaphor for agency and self-representation. In Giving Voice, Meryl Alper explores these assumptions by looking closely at one such case—the use of the Apple iPad and mobile app Proloquo2Go, which converts icons and text into synthetic speech, by children with disabilities (including autism and cerebral palsy) and their families. She finds that despite claims to empowerment, the hardware and software are still subject to disempowering structural inequalities. Views of technology as a great equalizer, she illustrates, rarely account for all the ways that culture, law, policy, and even technology itself can reinforce disparity, particularly for those with disabilities. Alper explores, among other things, alternative understandings of voice, the surprising sociotechnical importance of the iPad case, and convergences and divergences in the lives of parents across class. She shows that working-class and low-income parents understand the app and other communication technologies differently from upper- and middle-class parents, and that the institutional ecosystem reflects a bias toward those more privileged. Handing someone a talking tablet computer does not in itself give that person a voice. Alper finds that the ability to mobilize social, economic, and cultural capital shapes the extent to which individuals can not only speak but be heard.

Some books start at point A, take you by the hand, and carefully walk you to point B, and on and on. This is not one of those books. This book is about mood, and how it works in and with us as complicated, imperfectly self-knowing beings existing in a world that impinges and infringes on us, but also regularly suffuses us with beauty and joy and wonder. You don’t write that book as a linear progression—you write it as a living, breathing, richly associative, and, crucially, active, investigation. Or at least you do if you’re as smart and inventive as Mary Cappello. What is a mood? How do we think about and understand and describe moods and their endless shadings? What do they do to and for us, and how can we actively generate or alter them? These are all questions Cappello takes up as she explores mood in all its manifestations: we travel with her from the childhood tables of “arts and crafts” to mood rooms and reading rooms, forgotten natural history museums and 3-D View-Master fairytale tableaux; from the shifting palette of clouds and weather to the music that defines us and the voices that carry us. The result is a book as brilliantly unclassifiable as mood itself, blue and green and bright and beautiful, funny and sympathetic, as powerfully investigative as it is richly contemplative. “I’m one of those people who mistrusts a really good mood,” Cappello writes early on. If that made you nod in recognition, well, maybe you’re one of Mary Cappello’s people; you owe it to yourself to crack Life Breaks In and see for sure.

Contemporary popular culture has created a slew of stereotypical roles for girls and women to (willingly or not) play throughout their lives: The Princess, the Nymphette, the Diva, the Single Girl, the Bridezilla, the Tiger Mother, the M.I.L.F, the Cougar, and more. In this book Ames and Burcon investigate the role of cultural texts in gender socialization at specific pre-scripted stages of a woman's life (from girls to the "golden girls") and how that instruction compounds over time. By studying various texts (toys, magazines, blogs, tweets, television shows, Hollywood films, novels, and self-help books) they argue that popular culture exists as a type of funhouse mirror constantly distorting the real world conditions that exist for women, magnifying the gendered expectations they face. Despite the many problematic, conflicting messages women receive throughout their lives, this book also showcases the ways such messages are resisted, allowing women to move past the blurry reality they broadcast and toward, hopefully, gender equality.

Bringing together prominent scholars, this book shows how 21st-century research and theory can inform everyday instructional practices in early childhood classrooms (PreK-3). Coverage includes foundational topics such as alphabet learning, phonological awareness, oral language development, and learning to write, as well as cutting-edge topics such as digital literacy, informational texts, and response to intervention. Every chapter features guiding questions; an overview of ideas and findings on the topic at hand; specific suggestions for improving instruction, assessment, and/or the classroom environment; and an engrossing example of the practices in action.