Old Schools marks out a modernist countertradition. The book makes sense of an apparent anachronism in twentieth-century literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in progressive pedagogical theories. Advocates of progressive education turned against Latin in particular. The dead language—taught through time-tested means including memorization, recitation, copying out, and other forms of repetition and recall—needed to be updated or eliminated, reformers argued, so that students could breathe free and become modern, achieving a break with convention and constraint. Yet McGlazer’s remarkable book reminds us that progressive education was championed not only by political progressives, but also by Fascists in Italy, where it was an object of Gramsci’s critique. Building on Gramsci’s pages on the Latin class, McGlazer shows how figures in various cultural vanguards, from Victorian Britain to 1970s Brazil, returned to and reimagined the old school. Strikingly, the works that McGlazer considers valorize this school’s outmoded techniques even at their most cumbersome and conventional. Like the Latin class to which they return, these works produce constraints that feel limiting but that, by virtue of that limitation, invite valuable resistance. As they turn grammar drills into verse and repetitious lectures into voiceovers, they find unlikely resources for critique in the very practices that progressive reformers sought to clear away. Registering the past’s persistence even while they respond to the mounting pressures of modernization, writers and filmmakers from Pater to Joyce to Pasolini retain what might look like retrograde attachments—to tradition, transmission, scholastic rites, and repetitive forms. But the counter-progressive pedagogies that they devise repeat the past to increasingly radical effect. Old Schools teaches us that this kind of repetition can enable the change that it might seem to impede.

Train Up a Child explores how private schools in Old Order Amish communities reflect and perpetuate church-community values and identity. Here, Karen M. Johnson-Weiner asserts that the reinforcement of those values among children is imperative to the survival of these communities in the modern world. Surveying settlements in Indiana, Michigan, Ohio, Pennsylvania, and New York, Johnson-Weiner finds that, although Old Order communities have certain similarities in their codes of conduct, there is no standard Old Order school. She examines the choices each community makes—about pedagogy, curriculum, textbooks, even school design—to strengthen religious ideology, preserve the social and linguistic markers of Old Order identity, and protect their own community's beliefs and values from the influence of the dominant society. In the most comprehensive study of Old Order schools to date, Johnson-Weiner provides valuable insight into how variables such as community size and relationship with other Old Order groups affect the role of these schools in maintaining behavioral norms and in shaping the Old Order's response to modernity.

It's 1960, in America, at a prestigious boys' public school, a place of privilege that places great emphasis on its democratic ideals. A teenage boy in his final year, on a scholarship, has learned to fit in with his adoptive tribe while concealing as much as possible about himself and his background. Class is ever present, but the only acknowledged snobbery is a literary snobbery. These boys' heroes are writers - Fitzgerald, Cummings, Kerouac. They want to be writers themselves, and the school has a tradition whereby once a term big names from the literary world are invited to visit. A contest takes place with the boys admitting a piece of writing and the winner having a private audience with the visitor. When it is announced that Hemingway will be the next to come to the school, competition among the boys is intense, and the morals the school and the boys hold dear - honour, loyalty and friendship - are tested. No one writes more astutely than Wolff about the process by which character is formed, and here he illuminates the irresistible strength, even the violence, of the self-creative urge. This is a novel that, in its power and its beauty, in its precision and its humanity, is at once contemporary and timeless.

First published in 1968. At the time when the English Grammar Schools were most flourishing, namely the 17th century, they subserved a practical national aim. Puritan England, by no means concerned with the teaching of the Classics per se, looked to the Grammar Schools for that subsidiary help which the study of Latin, Greek and Hebrew afforded to the intensive study of the Scriptures and pietas literata. The question this study looks at is related to the loss of these classic subjects in Secondary schools and therefore to measure in the long-run, the value of our new ‘Secondary’ Schools relatively to the old Grammar Schools—rather than the comprehensiveness of the list of subjects included in the new curricula.

Inspired by true events, this story of strength, family, and culture shares the awe-inspiring resilience of Elder Betty Ross. Abandoned as a young child, Betsy is adopted into a loving family. A few short years later, at the age of 8, everything changes. Betsy is taken away to a residential school. There she is forced to endure abuse and indignity, but Betsy recalls the words her father spoke to her at Sugar Falls—words that give her the resilience, strength, and determination to survive. Sugar Falls is based on the true story of Betty Ross, Elder from Cross Lake First Nation. We wish to acknowledge, with the utmost gratitude, Betty’s generosity in sharing her story. A portion of the proceeds from the sale of Sugar Falls goes to support the bursary program for The Helen Betty Osborne Memorial Foundation. This 10th-anniversary edition brings David A. Robertson’s national bestseller to life in full colour, with a foreword by The Hon. Murray Sinclair, Chair of the Truth and Reconciliation Commission of Canada, and a touching afterword from Elder Betty Ross herself.