"Michael Abramson took these photographs with the full knowledge and consent of patrons in and outside five nightclubs on Chicago's South Side during the mid-1970s. Patricia Smith used these photographs four decades later as an inspiration for her poetry"--T.p. verso.

High school students embark on a crash course of friendship, female empowerment, and women's health issues in Lily Williams and Karen Schneemann's graphic novel Go With the Flow. Good friends help you go with the flow. Best friends help you start a revolution. Sophomores Abby, Brit, Christine, and Sasha are fed up. Hazelton High never has enough tampons. Or pads. Or adults who will listen. Sick of an administration that puts football before female health, the girls confront a world that shrugs—or worse, squirms—at the thought of a menstruation revolution. They band together to make a change. It’s no easy task, especially while grappling with everything from crushes to trig to JV track but they have each other’s backs. That is, until one of the girls goes rogue, testing the limits of their friendship and pushing the friends to question the power of their own voices. Now they must learn to work together to raise each other up. But how to you stand your ground while raising bloody hell?

This award-winning book continues to resonate with teachers and inspire their teaching because it focuses on the joy of reading and how it can engage and even transform readers. In a time of next-generation standards that emphasize higher-order strategies, text complexity, and the reading of nonfiction, “You Gotta BE the Book” continues to help teachers meet new challenges, including those of increasing cultural diversity. At the core of Wilhelm’s foundational text is an in-depth account of what highly motivated adolescent readers actually do when they read, and how to help struggling readers take on those same stances and strategies. His work offers a robust model teachers can use to prepare students for the demands of disciplinary understanding and for literacy in the real world. The Third Edition includes new commentaries and tips for using visual techniques, drama and action strategies, think-aloud protocols, and symbolic story representation/reading manipulatives. Book Features: A data-driven theory of literature and literary reading as engagement. A case for undertaking teacher research with students. An approach for using drama and visual art to support readers’ comprehension. Guidance for assisting students in the use of higher-order strategies of reading (and writing) as required by next-generation standards like the Common Core. Classroom interventions to help all students, especially reluctant ones, become successful readers. Online resources, including inquiry unit templates, tools for teaching with drama, and tips for using visual techniques.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Winner, 2017 Los Angeles Times Book Prize Finalist, 2018 Pulitzer Prize for Poetry Winner, NAACP Image Award for Outstanding Literary Work in the Poetry category Winner, 2018 Kingsley Tufts Poetry Award Winner, 2018 BCALA Best Poetry Award Winner, Abel Meeropol Award for Social Justice Finalist, Neustadt International Prize for Literature Winner, 2021 Ruth Lilly Poetry Prize One of the most magnetic and esteemed poets in today’s literary landscape, Patricia Smith fearlessly confronts the tyranny against the black male body and the tenacious grief of mothers in her compelling new collection, Incendiary Art. She writes an exhaustive lament for mothers of the "dark magicians," and revisits the devastating murder of Emmett Till. These dynamic sequences serve as a backdrop for present-day racial calamities and calls for resistance. Smith embraces elaborate and eloquent language— "her gorgeous fallen son a horrid hidden / rot. Her tiny hand starts crushing roses—one by one / by one she wrecks the casket’s spray. It’s how she / mourns—a mother, still, despite the roar of thorns"— as she sharpens her unerring focus on incidents of national mayhem and mourning. Smith envisions, reenvisions, and ultimately reinvents the role of witness with an incendiary fusion of forms, including prose poems, ghazals, sestinas, and sonnets. With poems impossible to turn away from, one of America’s most electrifying writers reveals what is frightening, and what is revelatory, about history.

A first-of-its-kind anthology of hip-hop poetica written for and by the people.

"Selections from the Richard Nickel Archive at the Ryerson and Burnham Archives of The Art Institute of Chicago. Mary K. Woolever, Art and Architecture Archivist; Joe Tallarico, Digital Imaging Photographer. With contributions from the personal collections of Tim Samuelson, Susan Nickel Brunson, Nancy Nickel, Donald and Harriet Nickel, Emily Eads"--Page 264.