After tasting the warm, rusty water from the fountain designated for African- Americans, a young boy questions why he cannot drink the cool, refreshing water from the "Whites Only" fountain. Based on a true experience co-author Michael S. Bandy had as a boy. 15,000 first printing.
Based on the true story of one family’s struggle for voting rights in the civil rights–era South, this moving tale shines an emotional spotlight on a dark facet of U.S. history. Life on the farm with Granddaddy is full of hard work, but despite all the chores, Granddaddy always makes time for play, especially fishing trips. Even when there isn’t a bite to catch, he reminds young Michael that it takes patience to get what’s coming to you. One morning, when Granddaddy heads into town in his fancy suit, Michael knows that something very special must be happening—and sure enough, everyone is lined up at the town hall! For the very first time, Granddaddy is allowed to vote, and he couldn’t be more proud. But can Michael be patient when it seems that justice just can’t come soon enough? This powerful and touching true-life story shares one boy’s perspective of growing up in the segregated South, while beautiful illustrations depict the rural setting in tender detail.
On his first train ride, Michael meets a new friend from the “whites only” car—but finds they can hang together for only part of the trip—in the last story in a trilogy about the author’s life growing up in the segregated South. Michael and his granddaddy always stop working to watch the trains as they rush by their Alabama farm on the way to distant places. One day Michael gets what he’s always dreamed of: his first train journey, to visit cousins in Ohio! Boarding the train in the bustling station, Michael and his grandma follow the conductor to the car with the “colored only” sign. But when the train pulls out of Atlanta, the signs come down, and a boy from the next car runs up to Michael, inviting him to explore. The two new friends happily scour the train together and play in Bobby Ray’s car—until the conductor calls out “Chattanooga!” and abruptly ushers Michael back to his grandma for the rest of the ride. How could the rules be so changeable from state to state—and so unfair? Based on author Michael Bandy’s own recollections of taking the train as a boy during the segregation era, this story of a child’s magical first experience is intercut with a sense of baffling injustice, offering both a hopeful tale of friendship and a window into a dark period of history that still resonates today.
For a long time, many American educators and educational stakeholders have drawn their ideas for educational reforms from ideas generated in Europe and Asia for the changing demographics of America’s diverse classrooms. This book is therefore motivated by a bold attempt at advocating for the revision of existing pedagogic fora and the creation and addition of new fora that would provide for the inclusion of thoughts, perspectives and practices of African traditional oral literature in the pedagogical tools of content area classrooms especially in North America. The articles that are presented in this book provide theoretical frameworks for using African traditional oral literature and its various tenets as teaching tools. They bring together new voices of how African literature could be used as helpful tool in classrooms. Rationale for agitating for its use as ideal for pedagogic tool is the recurrent theme throughout the various articles presented. The book explores how educators, literacy educators, learners, activists, policy makers, and curriculum developers can utilize the powerful, yet untapped gem of African oral literature as pedagogical tools in content area classrooms to help expand educators repertoire of understanding beyond the ‘conventional wisdom’ of their pedagogic creed. It is a comprehensive work of experienced and diverse scholars, academicians, and educators who have expertise in multicultural education, traditional oral literature, urban education, children’s literature and culturally responsive pedagogy that have become the focus of U.S. discourses in public education and teacher preparation. This anthology serves as part of the quest for multiple views about our ‘global village’, emphasizing the importance of linking the idea of diverse knowledge with realities of global trends and development. Consequently, the goal and the basic thrust of this anthology is to negotiate for space for non-mainstream epistemology to share the pedagogical floor with the mainstream template, to foster alternative vision of reality for other knowledge production in the academic domain. The uniqueness of this collection is the idea of bringing the content and the pedagogy of most of the genres of African oral arts under one umbrella and thereby offering a practical acquaintance and appreciation with different African cultures. It therefore introduces the world of African mind and thoughts to the readers. In summary, this anthology presents an academic area which is now gaining its long overdue recognition in the academia.
After tasting the warm, rusty water from the fountain designated for African- Americans, a young boy questions why he cannot drink the cool, refreshing water from the "Whites Only" fountain. Based on a true experience co-author Michael S. Bandy had as a boy. 15,000 first printing.
Michael Brown has played the background as a freelance comedy writer. Hulu, Peacock, Netflix and Comedy Central are familiar with his work. Actors perform his material in front of an audience at the Kennedy Center in Washington, D.C. It's raw, uncut and no edit. For the first time you get to read his short stories like: What OJ Simpson told me, COVID-19-End My Marriage and pilot screenplays such as: Rick and Casualty. This was all done while he was in prison.
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