Theorists of child development, for the most part, have taken white, middle class, Euro-American children as the norm. These "typical" children, however, are exposed to two major enculturating influences that are by no means common across cultures: formal schooling and parents who consciously attempt to serve as teachers at home. Providing an important contribution toward a more universal understanding of child development, this book concentrates on children of the Kpelle-speaking people of West Africa, who grow up neither spending thousands of hours in quiet study nor receiving a heavy dose of parent tutelage. Acknowledging the centrality of play in children's lives, the Kpelle expect their children to play "on the mother ground," or open spaces adjacent to the areas where adults are likely to be working. Here, children observe the work that adults do as they engage in voluntary activities or "routines" that serve a clear enculturating function. With photographs and vivid first-hand description, the author demonstrates the impact of games, folklore, and other routines on early development among the Kpelle and in other non-Western cultures. He persuasively argues that such enduring routines for raising children as those observed in the Kpelle village are universal and not limited to rural societies, though they take a variety of forms depending on the society. Ethnographically rich and theoretically sophisticated, the book provides a sound empirical foundation for a practice-based theory of child development.

Elinor Bailey. One of the most inventive figures in today's fiber arts, Bailey has developed a way for virtually anyone to break through to his or her innermost self. By using a basic doll pattern and playing with its size, shape, hair, and attire, amateurs and pros alike will produce endlessly imaginative creations.

As seen on the Today Show: This true story of an unforgettable mother, her devoted daughter, and their life in the Detroit numbers of the 1960s and 1970s highlights "the outstanding humanity of black America" (James McBride). In 1958, the very same year that an unknown songwriter named Berry Gordy borrowed $800 to found Motown Records, a pretty young mother from Nashville, Tennessee, borrowed $100 from her brother to run a numbers racket out of her home. That woman was Fannie Davis, Bridgett M. Davis's mother. Part bookie, part banker, mother, wife, and granddaughter of slaves, Fannie ran her numbers business for thirty-four years, doing what it took to survive in a legitimate business that just happened to be illegal. She created a loving, joyful home, sent her children to the best schools, bought them the best clothes, mothered them to the highest standard, and when the tragedy of urban life struck, soldiered on with her stated belief: "Dying is easy. Living takes guts." A daughter's moving homage to an extraordinary parent, The World According to Fannie Davis is also the suspenseful, unforgettable story about the lengths to which a mother will go to "make a way out of no way" and provide a prosperous life for her family -- and how those sacrifices resonate over time.