"Amira, look at me," Muma insists.She collects both my hands in hers."The Janjaweed attack without warning.If ever they come-- run." Finally, Amira is twelve. Old enough to wear a toob, old enough for new responsibilities. And maybe old enough to go to school in Nyala-- Amira's one true dream. But life in her peaceful Sudanese village is shattered when the Janjaweed arrive. The terrifying attackers ravage the town and unleash unspeakable horrors. After she loses nearly everything, Amira needs to dig deep within herself to find the strength to make the long journey-- on foot-- to safety at a refugee camp. Her days are tough at the camp, until the gift of a simple red pencil opens her mind-- and all kinds of possibilities. New York Times bestselling and Coretta Scott King Award-winning author Andrea Davis Pinkney's powerful verse and Coretta Scott King Award-winning artist Shane W. Evans's breathtaking illustrations combine to tell an inspiring tale of one girl's triumph against all odds.

This engaging and important book is a critique of American education wrapped in a memoir. Drawing on his fifty years as teacher, principal, researcher, professor, and dean, Theodore R. Sizer identifies three crucial areas in which policy discussion about public education has been dangerously silent. He argues that we must break that silence and rethink how to educate our youth. Sizer discusses our failure to differentiate between teaching and learning, noting that formal schooling must adapt to and confront the powerful influences found outside traditional classrooms. He examines the practical as well as philosophical necessity for sharing policy-making authority among families, schools, and centralized governments. And he denounces our fetish with order, our belief that the familiar routines that have existed for generations are the only way to bring learning to children. Sizer provides alternatives to these failed routines—guidelines for creating a new educational system that would, among other things, break with wasteful traditional practice, utilize agencies and arrangements beyond the school building, and design each child’s educational program around his or her particular needs and potential.

Winner of the C. Hugh Holman Award A central figure in twentieth-century American literature, Robert Penn Warren (1905–1989) was appointed by the Library of Congress as the first Poet Laureate of the United States in 1985. Although better known for his fiction, especially his novel All the King’s Men, it is mainly his poetry—spanning sixty years, fifteen volumes of verse, and a wide range of styles—that reveals Warren to be one of America’s foremost men of letters. In this indispensable volume, John Burt, Warren’s literary executor, has assembled every poem Warren ever published (with the exception of Brother to Dragons), including the many poems he published in The Fugitive and other magazines, as well as those that appeared in his small press works and broadsides. Burt has also exhaustively collated all of the published versions of Warren’s poems—which, in some cases, appeared as many as six different times with substantive revisions in every line—as well as his typescripts and proofs. And since Warren never seemed to reread any of his books without a pencil in his hand, Burt has referred to Warren’s personal library copies. This comprehensive edition also contains textual notes, lists of emendations, and explanatory notes. Warren was born and raised in Guthrie, Kentucky, where southern agrarian values and a predilection for storytelling were ingrained in him as a young boy. By 1925, when he graduated from Vanderbilt University, he was already the most promising of that exceptional set of poets and intellectuals known as the Fugitives. Warren devoted most of the 1940s and 1950s to writing prose and literary criticism, but from the late 1950s he composed primarily poetry, with each successive volume of verse that he penned demonstrating his rigorous and growing commitment to that genre. The mature visionary power and technical virtuosity of his work in the 1970s and early 1980s emanated from his strongly held belief that “only insofar as the work [of art] establishes and expresses a self can it engage us.” Many of Warren’s later poems, which he deemed “some of my best,” rejoice in the possibilities of old age and the poet’s ability for “continually expanding in a vital process of definition, affirmation, revision, and growth, a process that is the image, we may say, of the life process.”