Amy Wu would love to welcome the new student in her class, but Lin has just come from China and does not speak much English, so with the help of her family Amy tries to work out a way to bridge the language gap.

Rethink the way you approach writing in this “honest, useful craft book that all fledgling writers need” (Kirkus Reviews, starred review) from fourteen diverse authors that demystifies craft and authorship based on their experiences as writers of color—perfect for fans of Fresh Ink and Our Stories, Our Voices. So, you’re thinking of writing a book. Or, maybe you’ve written one, and are wondering what to do with it. What does it take to publish a novel, or even a short story? If you’re a writer of color, these questions might multiply; after all, there’s a lot of writing advice out there, and it can be hard to know how much of it really applies to your own experiences. If any of this sounds like you, you’re in the right place: this collection of essays, written exclusively by authors of color, is here to encourage and empower writers of all ages and backgrounds to find their voice as they put pen to page. Perhaps you’re just getting started. Here you’ll find a whole toolkit of advice from bestselling and award-winning authors for focusing on an idea, landing on a point of view, and learning which rules were meant to be broken. Or perhaps you have questions about everything beyond the first draft: what is it really like being a published author? These writers demystify the process, sharing personal stories as they forged their own path to publication, and specifically from their perspectives as author of color. Every writer has a different journey. Maybe yours has already started. Or maybe it begins right here. Contributors include: Julie C. Dao, Chloe Gong, Joan He, Kosoko Jackson, Adiba Jaigirdar, Darcie Little Badger, Yamile Saied Méndez, Axie Oh, Laura Pohl, Cindy Pon, Karuna Riazi, Gail D. Villanueva, Julian Winters, and Kat Zhang.

At the present time, schools in many places have found themselves in the midst of a culture war. While interest from teachers in having critical conversations with students is growing, they nonetheless face challenges. These tensions reflect a larger world of social and political unrest, where our nation’s schools are often caught in the middle.This work aims to equip educators with tools to facilitate critical conversations with students - to question what they read, consume, and hear. Reading to Belong: Identity, Perspective and Advocacy in the Elementary Grades bridges the gap between research and practice by sharing snapshots of conversations happening in real classrooms. The language of mirrors and windows anchors discussions as students deepen an understanding of themselves, experience different perspectives, and ultimately use this knowledge to change their world for the better.

How are the far-away, invisible landscapes where materials come from related to the highly visible, urban landscapes where those same materials are installed? Reciprocal Landscapes: Stories of Material Movements traces five everyday landscape construction materials – fertilizer, stone, steel, trees, and wood – from seminal public landscapes in New York City, back to where they came from. Drawing from archival documents, photographs, and field trips, the author brings these two separate landscapes – the material’s source and the urban site where the material ended up – together, exploring themes of unequal ecological exchange, labor, and material flows. Each chapter follows a single material’s movement: guano from Peru that landed in Central Park in the 1860s, granite from Maine that paved Broadway in the 1890s, structural steel from Pittsburgh that restructured Riverside Park in the 1930s, London plane street trees grown on Rikers Island by incarcerated workers that were planted on Seventh Avenue north of Central Park in the 1950s, and the popular tropical hardwood, ipe, from northern Brazil installed in the High Line in the 2000s. Reciprocal Landscapes: Stories of Material Movements considers the social, political, and ecological entanglements of material practice, challenging readers to think of materials not as inert products but as continuous with land and the people that shape them, and to reimagine forms of construction in solidarity with people, other species, and landscapes elsewhere.