The course in this volume asks the fundamental questions: What is writing (and what might it be for those entering the university), what are its possible uses (both inside and outside the academy), and how it might be valued (what makes
writing good, and good for what)? The course described in these pages was developed in the context of the distinctive and influential NYU writing program. And from within that program, Kristin Dombek and Scott Herndon have created an intriguing and compelling course, one they have designed and taught and presented to others, a course that negotiates the wonderful (and surprising) conjunction of grammar, theory, and popular culture. In the current academic market, books like this are few and far between. It is not a textbook, yet it is a book addressed to teachers
and students.

We all know that kids like video games, so why not help them learn course content in these virtual worlds? This guidebook will help teachers (grades 6–12) do exactly that. The authors provide a diverse collection of lively and engaging virtual spaces where students engage in role-based learning. The context might be a gigantic imaginary plant cell, where students learn the role of a biologist, or it might be a shallow valley where they learn to act like a geologist.

In its consideration of American Indian literature as a rich and exciting body of work, The Voice in the Margin invites us to broaden our notion of what a truly inclusive American literature might be, and of how it might be placed in relation to an international--a "cosmopolitan"--literary canon. The book comes at a time when the most influential national media have focused attention on the subject of the literary canon. They have made it an issue not merely of academic but of general public concern, expressing strong opinions on the subject of what the American student should or should not read as essential or core texts. Is the literary canon simply a given of tradition and history, or is it, and must it be, constantly under construction? The question remains hotly contested to the present moment.

When you were a learner driver, it might have seemed that driving was all about steering the car, changing gears, using the indicators and knowing the road rules. While these are important, to stay safe as a solo driver you also need to be able to detect and react to any hazards that might arise when you are driving.
A hazard is any possible danger that might lead to an accident. This includes pedestrians crossing the road, roadworks, broken-down vehicles and other cars stopping ahead of you or entering from side roads.
There are many hazards out there on the roads. Good and safe drivers know how to recognise and respond to hazards. They know how to spot them in time to take actions that will avoid accidents. They know these things because they have good hazard perception skills.
The Hazard Perception Handbook has been produced to assist you in developing your hazard perception skills and to drive more safely.

This is a collection of short stories (and jokes)  for kids.
Most of them are packed with exercises (both grammar and vocabulary), so you might find them useful for your classroom.