In the popular narrative teachers are cast as saints or slouches, heroes or zeros. They either forgo their material well-being for the reward of a higher calling, or they show movies, have too much time off, and are impossible to fire. Teacherland fills the gap between these two clichés with insight, humor, and conviction. How do you manage a room of energetic adolescents and ensure everyone is learning? What happens when some students begin with a distinct disadvantage while others have every opportunity? How do colleagues and friends help counteract the profession’s inherent isolation? What happens when you make embarrassing comments in class, or can’t use the bathroom when desired? How do you deal with Back to School Night and Open House, staff meetings and rallies and dances? These are but a few of the questions Teacherland considers, with the ultimate goal of improving our education system by humanizing the teaching profession. It aims to reframe the debate about what it means to teach and learn and to show—for real—what life is like behind the curtains of one of America’s most important occupations.
It was the first (and last) season of professional baseball in Israel. Aaron Pribble, twenty-seven, had been out of Minor League Baseball for three years while he pursued a career in education when, at his coach's suggestion, he tried out for the newly formed Israel Baseball League (IBL). Of Jewish descent (not a requirement, but definitely a plus) and former pro, Pribble was the ideal candidate for the upstart league. In many ways the league resembled the ultimate baseball fantasy camp with its unforgettable cast of characters: the DJ/street artist third baseman from the Bronx, the wildman catcher from Australia, the journeymen Dominicans who were much older than they claimed to be, and, of course, seventy-one-year-old Sandy Koufax, drafted in a symbolic gesture as the last player. After falling in love with a beautiful Yemenite Jew, enduring an alleged terrorist attack on opening day, witnessing a career-ending brain injury caused by improper field equipment, participating in a strike, and venturing into the West Bank despite being strongly advised against it, Pribble must decide whether to forgo a teaching career in order to become the first player from the IBL to sign a pro contract in the United States. His is a story of coming of age spiritually and athletically in one short season in the throes of romance, Middle Eastern politics, and the dreams of America's pastime far, far afield from home.
It was the first (and last) season of professional baseball in Israel. Aaron Pribble, twenty-seven, had been out of Minor League Baseball for three years while he pursued a career in education when, at his coach’s suggestion, he tried out for the newly formed Israel Baseball League (IBL). Of Jewish descent (not a requirement, but definitely a plus) and former pro, Pribble was the ideal candidate for the upstart league. In many ways the league resembled the ultimate baseball fantasy camp with its unforgettable cast of characters: the DJ/street artist third baseman from the Bronx, the wildman catcher from Australia, the journeymen Dominicans who were much older than they claimed to be, and, of course, seventy-one-year-old Sandy Koufax, drafted in a symbolic gesture as the last player. After falling in love with a beautiful Yemenite Jew, enduring an alleged terrorist attack on opening day, witnessing a career-ending brain injury caused by improper field equipment, participating in a strike, and venturing into the West Bank despite being strongly advised against it, Pribble must decide whether to forgo a teaching career in order to become the first player from the IBL to sign a pro contract in the United States. His is a story of coming of age spiritually and athletically in one short season in the throes of romance, Middle Eastern politics, and the dreams of America’s pastime far, far afield from home. Learn about Holy Land Hardball, a documentary on the Israel Baseball League.
Writing in the Social Studies is a practical guide for educators. On each page are strategies, tips, and takeaways for teachers to implement in their classroom, while every chapter concludes with helpful handouts to distribute directly to students. Beginning with a framework and pacing guide, Writing in the Social Studies examines foundational, academic, and real-world writing, concluding with a methodology for grading and a spirited plea for teachers to write themselves. Teachers who believe in teaching “skills through content” finally have a blueprint from which to work. Those who understand it is imperative students graduate with the ability to think critically and express a point of view now have a vehicle with which to achieve their goals. Writing in the Social Studies will be the first book to tackle this crucial yet neglected corner of the curriculum. There is a desperate need for professional development in this area, and therefore also tremendous opportunity. It is a professional imperative that social studies educators teach a variety of writing skills through content. As a result they should have access to a resource which clearly and engagingly shows them how. This is Writing in the Social Studies.
In the popular narrative teachers are cast as saints or slouches, heroes or zeros. They either forgo their material well-being for the reward of a higher calling, or they show movies, have too much time off, and are impossible to fire. Teacherland fills the gap between these two clichés with insight, humor, and conviction. How do you manage a room of energetic adolescents and ensure everyone is learning? What happens when some students begin with a distinct disadvantage while others have every opportunity? How do colleagues and friends help counteract the profession’s inherent isolation? What happens when you make embarrassing comments in class, or can’t use the bathroom when desired? How do you deal with Back to School Night and Open House, staff meetings and rallies and dances? These are but a few of the questions Teacherland considers, with the ultimate goal of improving our education system by humanizing the teaching profession. It aims to reframe the debate about what it means to teach and learn and to show—for real—what life is like behind the curtains of one of America’s most important occupations.
Writing in the Social Studies is a practical guide for educators. On each page are strategies, tips, and takeaways for teachers to implement in their classroom, while every chapter concludes with helpful handouts to distribute directly to students. Beginning with a framework and pacing guide, Writing in the Social Studies examines foundational, academic, and real-world writing, concluding with a methodology for grading and a spirited plea for teachers to write themselves. Teachers who believe in teaching “skills through content” finally have a blueprint from which to work. Those who understand it is imperative students graduate with the ability to think critically and express a point of view now have a vehicle with which to achieve their goals. Writing in the Social Studies will be the first book to tackle this crucial yet neglected corner of the curriculum. There is a desperate need for professional development in this area, and therefore also tremendous opportunity. It is a professional imperative that social studies educators teach a variety of writing skills through content. As a result they should have access to a resource which clearly and engagingly shows them how. This is Writing in the Social Studies.
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