This new report, A Nation Empowered: Evidence Trumps the Excuses Holding Back America's Brightest Students builds on the momentum of the 2004 report, A Nation Deceived: How Schools Hold Back America's Brightest Students. A Nation Deceived initiated a critical dialogue about academic acceleration, an under-used intervention. A Nation Deceived exposed to the nation the inconsistencies between research and practice and brought acceleration to prominence in the field.

Volume 1 and 2 of A Nation Empowered: Evidence Trumps the Excuses Holding Back America's Brightest Students equips students, families, and educators with facts to refute biased excuses. A Nation Empowered shifts the impetus from conversation to action. Empowerement  galvanizes determination with evidence. Volume 1 portrays the determination of students, educators, and parents to strive for excellence. Volume 2 reveals the evidence that trumps the excuses that hold bright students back.

This new report, A Nation Empowered: Evidence Trumps the Excuses Holding Back America's Brightest Students builds on the momentum of the 2004 report, A Nation Deceived: How Schools Hold Back America's Brightest Students. A Nation Deceived initiated a critical dialogue about academic acceleration, an under-used intervention. A Nation Deceived exposed to the nation the inconsistencies between research and practice and brought acceleration to prominence in the field.

Volume 1 and 2 of A Nation Empowered: Evidence Trumps the Excuses Holding Back America's Brightest Students equips students, families, and educators with facts to refute biased excuses. A Nation Empowered shifts the impetus from conversation to action. Empowerement  galvanizes determination with evidence. Volume 1 portrays the determination of students, educators, and parents to strive for excellence. Volume 2 reveals the evidence that trumps the excuses that hold bright students back.
 

With a boldness of vision that might overwhelm a lesser talent, Joseph Campana gives us a collection guided by a focused intelligence and yet containing wonderment and awe at its heart. By turns ferocious and charming, contemporary and mythic, grief-stricken and funny, the poet’s voice is always original, direct, and pitch-perfect. The poems in this book are a wonder.

In this reflective account of life in the tropics, Alexander Skutch offers readers both his observations and his interpretations of what he has experienced. In the many chapters about birds and their behavior, he describes a dove that defends its nest with rare courage, castlebuilders who create elaborate nests of interlaced twigs, oropendolas that cluster long woven pouches in high treetops, and an exceptionally graceful hummingbird who fails to pay for its nectar by pollinating the flowers that yield it. Skutch also describes curious plants and their flowers, including a birthwort that holds its pollinating flies captive and fern fronds that twine high up trunks in the rain forest.

With penetrating clarity, Skutch considers the significance of all this restless activity: he examines the origins of beauty and our ability to appreciate it, the foundations of tropical splendor, the factors that help us feel close to nature or alienated from it, and the possibility of consciousness and emotion in animals. He also addresses the quandary of the biologist contemplating painful experiments on animals rather than learning by direct observation, and he asserts that our capacity to care for the world around us is the truest criterion of our evolutionary advancement.

Skutch brings a thoughtful, unequaled voice to the description of the world he has grown to know and understand, a world considered forbidding by most northerners and still largely unexplored.

Nearly 30 million acres of the Northern Forest stretch across New York, Vermont, New Hampshire, and Maine. Within this broad area live roughly a million residents whose lives are intimately associated with the forest ecosystem and whose individual stories are closely linked to the region’s cultural and environmental history. The fourteen engaging essays in Nature and Culture in the Northern Forest effectively explore the relationships among place, work, and community in this complex landscape. Together they serve as a stimulating introduction to the interdisciplinary study of this unique region.
      Each of the four sections views through a different lens the interconnections between place and people. The essayists in “Encounters” have their hiking boots on as they focus on personal encounters with flora and fauna of the region. The energizing accounts in “Teaching and Learning” question our assumptions about education and scholarship by proposing invigorating collaborations between teachers and students in ways determined by the land itself, not by the abstractions of pedagogy. With the freshness of Thoreau’s irreverence, the authors in “Rethinking Place” look at key figures in the forest’s literary and cultural development to help us think about the affiliations between place and citizenship. In “Nature as Commodity,” three essayists consider the ways that writers from the nineteenth and early twentieth centuries thought about nature as a product and, thus, how their conclusions bear on the contemporary retailing of place.
     The writers in Nature and Culture in the Northern Forest reveal the rich affinities between a specific place and the literature, thought, and other cultural expressions it has nurtured. Their insightful and stimulating connections exemplify adventurous bioregional thinking that encompasses both natural and cultural realities while staying rooted in the particular landscape of some of the Northeast’s wildest forests and oldest settlements.

In 1925 Earl May began broadcasting KMA Radio-960 from Shenandoah, Iowa, to boost his fledgling seed business. The station aired practical information designed to help with the day-to-day activity in midwestern farmhouse kitchens. Before long KMA was a trusted friend throughout the wide listening area, offering inspiration, companionship, and all manners of domestic counsel. Hosting the daily radio programs—Home Hour, the Stitch and Chat Club, and the KMA Party Line—and the live cooking demonstrations that drew thousands to the KMA auditorium was a changing roster of personable, lively women who quickly became known as the KMA Radio Homemakers.

Now, in Neighboring on the Air, we can hear the voices of the KMA homemakers and sample their philosophy and—best of all—cooking. Through recipes, biographies, and household advice we get to know such enduring women as "The Little Minister," the Reverend Edythe Stirlen, and Leanna Driftmier and the whole Kitchen-Klatter family, part of the longest-running homemaker program in the history of radio. Learn how to make Sour Cream Apple Pie from "The Farmer's Wife," Florence Falk; Varnished Chicken from the first long-term KMA Radio Homemaker, Jessie Young; and E.E.E. Missouri Dessert (nobody can remember what the "E.E.E." stands for) from the indomitable host of the Edith Hansen Kitchen Club. This endearing scrapbook of people, places, and foods charts the continuing adventure of the KMA homemakers as they broadcast into the 1990s. Neighboring on the Air is an enchanting piece of Americana. Anyone interested in cooking, cultural history, or the Midwest will want to own and use this book.

Bringing together noted scholars in the fields of literary, cultural, gender, and race studies, this edited volume challenges us to reconsider our understanding of the Cold War, revealing it to be a global phenomenon rather than just a binary conflict between U.S. and Soviet forces. Shining a spotlight on writers from the war’s numerous fronts and applying lenses of race, gender, and decolonization, the essayists present several new angles from which to view the tense global showdown that lasted roughly a half-century. Ultimately, they reframe the Cold War not merely as a divide between the Soviet Union and the United States, but between nations rich and poor, and mostly white and mostly not. By emphasizing the global dimensions of the Cold War, this innovative collection reveals emergent forms of post-WWII empire that continue to shape our world today, thereby raising the question of whether the Cold War has ever fully ended.

Networks of Modernism offers a new understanding of American modernist aesthetics and introduces the idea that networks were central to how American moderns thought about their culture in their dramatically changing milieu. While conventional wisdom holds that the network rose to prominence in the 1980s and 1990s in the context of information technologies, digitization is only the most recent manifestation of networks in intellectual history. Crucial developments in modern America provide another archive of network discourses well before the advent of the digital age. The rise of the railroad recast the American landscape as an assortment of interconnected hubs. The advent of broadcast radio created a decentralized audience that was at once the medium’s strength and its weakness. The steady and intertwined advances of urbanization and immigration demanded the reconceptualization of community and ethnic identity to replace the failing “melting pot” metaphor for the nation. Indeed, the signal developments of the modern era eroded social stratification and reorganized American society in a nodal, decentralized, and interpenetrating form—what today we would label a “distributed” network that is fully flattened and holds no clustered centers of power.

In this ferment of social upheaval and technological change, the moderns found what we would today term “the network,” though they did not have the vocabulary for it that we do now, to be a versatile model for their aesthetic experiments in representing social space and social relations. Whether they used the figuration of the network as a kind of formal experiment to negotiate the tensions between dispersal and unity, fragment and totality, or took the network as a subject in itself, as seen when dealing with crowds or public spaces, the network was a way for writers and artists to conceptualize and explore their rapidly changing society. Through readings of the works of Randolph Bourne, Jean Toomer, Anita Loos, John Dos Passos, and Nathanael West, Networks of Modernism positions the network as the defining figure of American modernist aesthetics and explores its use as a conceptual tool used to think through the rapid changes in American society.

 A writer of wide experience, Ruth Suckow nevertheless remained focused on small-town life; one could even call her the Jane Austen of small-town America. Many of her characters were the “sparrows of Iowa,” ordinary folks whom she made extraordinary by writing about them. In her 1942 novel about the little community of New Hope, written during the desperate days of World War II, life is marked by unusual optimism, openness, mutual care, trust, communal spirit, democracy, and above all light.

Life in New Hope recaptures a feeling of youth that would seem overly idealistic if it were not for Suckow's unflinching realism. As seen through the eyes of its Edenic main characters—Clarence Miller, son of the town's banker and chief booster, and Delight Greenwood, daughter of the Congregational minister who serves New Hope during the two years of the novel—the town itself is the protagonist. Death, crime, and heartbreak intervene, but a sense of freedom and possibility, “where all were to share equally in the boundlessness of light and hope,” always illuminates the town. This sunlit novel, with its blend of romance and reality, reintroduces a regional writer whom H. L. Mencken called “unquestionably the most remarkable woman …writing stories in the republic.”

Night in Erg Chebbi and Other Stories spans the globe, taking us from Belfast to Brazil, Morocco to Manhattan. The teenaged daughter of an IRA assassin flees Northern Ireland only to end up in Baby Doc’s terrifying Haiti. An American woman who’s betrayed her brother only to lose him to a Taliban bullet comes face to face with her demons during a vacation in Morocco. A famed photojournalist must find a way to bring her life’s work to closure before she goes blind, a quest that changes her understanding of the very physics of light.

By turns innocent and canny, the characters of Night in Erg Chebbi and Other Stories must learn to improvise—quickly—when confronted with stark choices they never dreamed they’d have to make. Lyrical, immaculately constructed and deeply felt, these nine stories take us far beyond our comfort zones and deep into the wilds of the human heart.

Upon its first release in 1998, Nola won ForeWord’s Book of the Year Award for biography/memoir, the Washington State Book Award for biography/memoir, and the Independent Press Book Award for autobiography/memoir. 

There are many field guides to birds of the United States. Refer to one if you want to know which colors go exactly where on these thirty-three precisely drawn illustrations. Or create your own fantastic ornithological kingdom by using the brightest shades and patterns you can imagine. It’s almost impossible to improve upon the natural colors of the abstract-art-themed wood duck or the well-named painted bunting, but there’s no reason not to give the American robin a makeover.

The birds are arranged in order of their evolutionary history so that you can see the relationships among species and families. Some of them, like the northern cardinal, are familiar backyard friends; some, like the mountain quail and American bittern, are wary denizens of brushlands and marshes; and some, like the great horned owl, are seldom seen in daylight. One, unfortunately, is extinct—the bright and raucous Carolina parakeet, which once ranged widely in huge noisy flocks. All are waiting for you to bring them to life with your own vibrant colors. 
 

From a lightning death on an isolated peak to the intrigues of a small town orchestra, the glimmering stories in this debut collection explore how nature—damaged, fierce, and unpredictable—worms its way into our lives. Here moths steal babies, a creek seduces a lonely suburban mother, and the priorities of a passionate conservationist are thrown into confusion after the death of her son. Over and over, the natural world reveals itself to be unknowable, especially to the people who study it most. These tales of scientists, nurses, and firefighters catalog the loneliness within families, betrayals between friends, and the recurring song of regret and grief.

In the summer of 1903, just before he turned twenty-four, Wallace Stevens joined a six-week hunting expedition to the wilderness of British Columbia. The adventure profoundly influenced his conceptions of language and silence, his symbolic geography, and his sensibilities toward wild nature as nonhuman “other.” The rugged western mountains came to represent that promontory of experience—“green's green apogee”—against which Stevens would measure the reality of all his later perceptions and conceptions and by which he would judge the purpose and value of works of the human imagination. Notations of the Wild views his poetry as a radical reimagining of the nature/culture dialectic and a reinstatement of its forgotten term—Nature.

Gyorgyi Voros focuses on three governing metaphors in Stevens' poems—Nature as house, Nature as body, and Nature as self. She argues that Stevens' youthful wilderness experience yielded his primary subject—the relationship between human beings and nonhuman nature—and that it spurred his shift from a romantic to a phenomenological understanding of nature. Most important, it prompted him to reject his culture's narrow humanism in favor of a singular vision that in today's terms would he deemed ecological.

Carrine Gafkjen was, as her daughter remembers, at once the most liberated and unliberated of women. If she had considered the subject at all she would have thought it a waste of time. She firmly believed in destiny; what fate planned for her she dealt with head-on.

In the early 1900s the twenty-five-year-old Gafkjen boarded a train from Minneapolis to claim a homestead for herself on the western North Dakota prairies. She lived alone in her claim shack, barred her door at night against the coyotes, existed on potatoes and salt, and walked five miles to the nearest creek to wash her clothes. A decade later she had, by her own ingenuity, doubled her landholdings and became a secure women of property. Then, at an age when most other women would have been declared spinsters, Carrine Gafkjen married Sever Berg and had six children.

Nothing to Do but Stay tells the story of this uncommon woman with warmth and good humor. It gives testimony to the lasting spirit of our pioneer heritage and, in these uncertain times, to the staying power of family and tradition. This book will appeal to all those with an interest in the settlement of the West, the history of the Great Plains, women's studies, and the perseverance of the early-twentieth-century farmers.

The first collection of critical essays to focus specifically on the fiction produced by American novelists of the Depression era, The Novel and the American Left contributes substantially to the newly emerging emphasis on twentieth-century American literary radicalism. Recent studies have recovered this body of work and redefined in historical and theoretical terms its vibrant contribution to American letters. Casey consolidates and expands this field of study by providing a more specific consideration of individual novels and novelists, many of which are reaching new contemporary audiences through reprints.

The Novel and the American Left focuses exclusively on left-leaning fiction of the Depression era, lending visibility and increased critical validity to these works and showing the various ways in which they contributed not only to theorizations of the Left but also to debates about the content and form of American fiction. In theoretical terms, the collection as a whole contributes to the larger reconceptualization of American modernity currently under way. More pragmatically, individual essays suggest specific authors, texts, and approaches to teachers and scholars seeking to broaden and/or complicate more traditional “American modernism” syllabi and research agendas.

The selected essays take up, among others, such “hard-core"” leftist writers as Mike Gold and Myra Page, who were associated with the Communist Party; the popular novels of James M. Cain and Kenneth Fearing, whose works were made into successful films; and critically acclaimed but nonetheless “lost” novelists such as Josephine Johnson, whose Now in November (Pulitzer Prize, 1936) anticipates and complicates the more popular agrarian mythos of Steinbeck’s The Grapes of Wrath.

This volume will be of interest not only to literary specialists but also to historians, social scientists, and those interested in American cultural studies.

In each of the stories in Robert Oldshue’s debut collection, the characters want to be decent but find that hard to define.

In the first story, an elderly couple is told that delivery of their Thanksgiving dinner has been canceled due to an impending blizzard. Unwilling to have guests but nothing to serve them, they make a run to the grocery, hoping to get there and back before the snow, but crash their car into the last of their neighbors. In “The Receiving Line,” a male prostitute tricks a closeted suburban schoolteacher only to learn that the trick is on him. In “The Woman On The Road,” a twelve-year-old girl negotiates the competing demands of her faith and her family as she is bat mitzvahed in the feminist ferment of the 1980s. The lessons she learns are the lessons learned by a ten-year-old boy in “Fergus B. Fergus,” after which, in “Summer Friend,” two women and one man renegotiate their sixty-year intimacy when sadly, but inevitably, one of them gets ill. “The Home Of The Holy Assumption” offers a benediction. A quadriplegic goes missing at a nursing home. Was she assumed? In the process of finding out, all are reminded that caring for others, however imperfectly—even laughably—is the only shot at assumption we have.

In upstate New York, a November storm is one that comes early in the season. If it catches people off-guard, it can change them in the ways Oldshue’s characters are changed by different but equally surprising storms.