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Need creative ideas for moving UDL from theory to practice? Get this must-have quick guide, ready for any teacher to pick up and start using now. Whitney Rapp, co-author of the acclaimed Teaching Everyone, walks you step by step through 100 UDL strategies that strengthen student engagement, learning, and assessment. Based on the latest research (but still practical and fun!), these highly effective ideas will help you address diverse learning needs and increase all students' access to the general curriculum. Essential for every educator who wants to know what UDL really looks like, sounds like, and feels like—and how to use this proven approach to teach and reach all learners.

100 UDL STRATEGIES FOR:

• Classroom space and materials: The best uses of seating, lighting, bulletin boards, and more
• Classroom management: From smoother schedules and meetings to effective transition areas
• Technologies: Fresh ways to use blogs, videoconferencing, e-books, and more
• Content instruction: Teach academic content with tools like music, drawing, mnemonics, and humor
• Social interaction: Creative games and small-group activities that sharpen all kids’ social skills
• Executive functions: Great ideas for templates, rubrics, graphic organizers, timers, and web-based materials
• Transition to adulthood: Prepare students for the real world with charts, goal plans, and more
• Assessment: New ways kids can show what they know—from adapted tests to family projects

Click here to watch a recording of Dr. Rapp's webinar - Supporting Behavior in the Inclusive Class

• Sales Rank: #476956 in Books
• Published on: 2014-05-05
• Released on: 2014-05-05
• Original language: English
• Number of items: 1
• Dimensions: 11.25" h x 8.50" w x .50" l, 1.16 pounds
• Binding: Paperback
• 224 pages

Review
“A terrific resource for teachers who want to support all kinds of learners . . . covers supports for learning that increase engagement, and guides teachers in choosing alternative ways to present the curriculum.” (Sarah Wayland, Ph.D.)

About the Author

Dr. Whitney H. Rapp is an Associate Professor of Inclusive Education at St. John Fisher College in Rochester, New York, where she teaches courses on inclusive education pedagogy, assessment, classroom management, and diversity issues. She is currently serving as Associate Dean of the Ralph C. Wilson, Jr., School of Education. Dr. Rapp holds a B.A. in elementary education and psychology from the State University of New York at Potsdam and an M.A. and a Ph.D. in special education from Michigan State University. Prior to her 14 years of experience in teacher education programs, Whitney taught many different grade levels in a variety of settings, from fully inclusive classrooms to residential special education schools. All of these experiences reinforced her belief that all children can learn and that all children should learn together in inclusive settings. Whitney's current research interests include universal design for learning—particularly strategies to support executive functioning abilities. She presents often at local, state, and national conferences on differentiation of instruction and teacher education. Whitney's spare time is spent with her husband and three children, riding bikes, hiking, gardening, reading, watching movies, and enjoying Owasco Lake.

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An excellent resource for teachers

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[P579.Ebook] PDF Ebook Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk

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Suddenly, comics are everywhere: a newly matured art form, filling bookshelves with brilliant, innovative work and shaping the ideas and images of the rest of contemporary culture. In Reading Comics, critic Douglas Wolk shows us why and how. Wolk illuminates the most dazzling creators of modern comics-from Alan Moore to Alison Bechdel to Chris Ware-and explains their roots, influences, and where they fit into the pantheon of art. As accessible to the hardcore fan as to the curious newcomer, Reading Comics is the first book for people who want to know not just which comics are worth reading, but ways to think and talk and argue about them.

• Sales Rank: #1029671 in Books
• Published on: 2008-06-10
• Released on: 2008-06-10
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .94" w x 6.00" l, .99 pounds
• Binding: Paperback
• 416 pages

Amazon.com Review
Amazon Significant Seven, August 2007: With none of the bashful, "comics aren't just for kids any more!" throat-clearing that accompanies most mainstream writing on comics, Douglas Wolk's Reading Comics: How Graphic Novels Work and What They Mean leaps straight into smart, conversational talk about perhaps the liveliest medium going. His enthusiasms and criticisms are infectious and often surprising, and, most refreshingly, he treats the two often warring (or at least mutually ignorant) sides of comics--the superhero tradition and the art comics that have gained highbrow attention lately--without ignoring the differences between them. Reading Comics is an appealingly idiosyncratic tour of many of his favorite artists that doesn't hesitate to criticize some of the most revered names in the business (like Chris Ware and Will Eisner) or investigate some of its most forgotten genre byways (like the '70s series Tomb of Dracula) with serious enthusiasm. --Tom Nissley

Questions for Douglas Wolk

Amazon.com:What do comics--the writing and the pictures and the narrative combined--give us that other art forms don't?

Wolk: The most important thing comics give us, I think, is drawing that makes a story. What you're seeing when you look at a page of comics, you're not just looking at a bunch of images that represent a plot, you're looking at something that came from somebody's hand--a deliberately distorted world, changing over time, built by a particular artist, line by line.

Amazon.com: There is a great perceived divide in comics, between the superhero tradition and what you call art comics. One of the pleasures of your book is the way you happily work both sides of that divide without fuss. Do you think the divide is valid, or does it melt away the more attention you pay to individual artists?

Wolk: There's definitely a useful distinction to make--art comics are primarily about particular cartoonists' self-expression, and superhero comics are primarily about the characters and their shared fictional history. One's an ethos, the other's a genre. But I don't think individual artists have to stay in one camp or the other, and in any case an ethos and a genre can overlap. You can say that Mark Bagley and Hope Larson belong to totally different schools, but then somebody like Bill Sienkiewicz turns up and makes the idea of a binary opposition look ridiculous. In fact, the best genre comics almost always have a really strong sense of expressive style about them.

Amazon.com: One way you, by necessity, limit the range of your discussion is to leave out the newspaper-strip side of comics history. As someone who came to comics from that side of things, it was a little disconcerting to read a book on American comics that only made a single passing reference to Charles Schulz. What influence do you think newspaper strips have had on the development of art comics especially?

Wolk: One of the biggest breakthroughs I had in writing Reading Comics was realizing that not only did I not have to make it comprehensive, it'd be more interesting and useful if it didn't even pretend to be comprehensive! I didn't mention newspaper strips much because they mostly seem to me to be playing a slightly different game from narrative comics--at least, there hasn't been a lot of extended narrative in newspaper strips in a long time. (By their nature, they have to get in and get out in a few lines, and now that they're all postage-stamp-sized, there's really no way they can move a story forward.) What newspaper strips did contribute to art comics was the development of distinctive visual style--the idea that an artist's handiwork was at least as important as a strip's characters--but these days they're so tightly limited by their size and populism and every-third-panel punchlines that they sometimes seem like an arcane kind of microminiature. Everybody loves "Peanuts," but I don't know that there's even room for a new stylist as fresh as Schulz (or George Herriman or Milton Caniff or Winsor McCay) on the newspaper page now. On the other hand, "Calvin & Hobbes" wasn't so long ago.

Amazon.com: And for a reader like me who has pretty much bypassed the superhero tradition and become a Dan Clowes/Charles Burns/Chris Ware fan via Peanuts and literary fiction, where would you recommend I start reading on the superhero side of the divide, which, as you say, has become so self-referential that it can be hard to crack the code?

Wolk: I was talking with some friends recently about the common mistake of recommending Alan Moore and Dave Gibbons' Watchmen, as great as it is, as a starting point for superhero comics--as one of them put it, that's like recommending The Seventh Seal as someone's first movie! For pure, unencumbered superhero joycore, I love Grant Morrison and Frank Quitely's All-Star Superman--if you've heard of Clark Kent and Lois Lane, you know everything you need to know to enjoy it, and it deepens with repeated reading. Brian Michael Bendis and Michael Gaydos's cruelly witty Alias, about a self-loathing ex-superheroine-turned-P.I., has lots of Easter eggs for the continuity-obsessed, but it probably works even better as a stand-alone story. And if you're at all into Victorian literature and/or want to sample Moore's work, the two volumes of The League of Extraordinary Gentlemen (drawn by Kevin O'Neill) are hugely fun on their own, and also illustrate by analogy the way a lot of the best superhero comics and other pulp art work: providing metaphors to illuminate the central concerns of their moment.

Amazon.com: You're as prolific a writer about music as you are about comics. How do you compare writing about the two?

Wolk: They're hard to compare--it feels like different parts of my brain deal with music and comics. I suppose both of them present the risk of paying too much attention to the words and missing the really important stuff. There's also much more of a tradition of music criticism with a strong, personal voice, and a richer shared vocabulary for talking about what's happening in music. ("Musical," for instance, is a perfectly normal word; there's no word that means "comics-ish"...) Right now, people writing about comics (in English, anyway) are still making it up as we go along, which is risky but exciting.

Amazon.com: I'm a big fan of your little book on James Brown's Live at the Apollo, my favorite so far in that wonderful 33 1/3 series, and one thing that struck me, having read your two books now, is that one, the James Brown book, is super-tight (fitting its subject I guess), aphoristic and efficient, while the other, Reading Comics, seems purposefully loose, willing to take a stroll and maybe not come back. Is that a difference you thought about while writing the two books?

Wolk: It was! I thought of Live at the Apollo as one long essay, a way of diagramming how the 35 minutes of that album exploded outwards in time, and I stole a lot of its tone and technique from George W.S. Trow's tiny fireball of a book In the Context of No Context. I wanted Reading Comics to be more conversational--the idea was to open up as many arguments as I could, to try to broaden the way people talk about comics instead of codifying it.

From Publishers Weekly
As the graphic novel flourishes and gains legitimacy as an art form, serious comics criticism is an inevitable byproduct, and PW contributing editor Wolk's analytical discourse is a welcome starting point. The volume contains two sections: Theory and History, an explanation of comics as a medium and an overview of its evolution, and Reviews and Commentary, a diverse examination of creators and works. This section spans Will Eisner's pioneering efforts as well as the groundbreaking modern comics by the Hernandez brothers, Chris Ware and Alison Bechdel. Since there are decades worth of books already focusing on the superhero genre, the raw clay from which the comics industry was built, the relatively short shrift given to the spandex oeuvre's insular mythologies is a wise choice that allows the nonfan a glimpse into the wider range that comics commands. Wolk's insightful observations offer much to ponder, perhaps more than can be fully addressed in one volume, but the thoughtful criticism and knowledgeable historical overview give much-needed context for the emerging medium. B&w illus. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Wolk certainly knows the field of comics and has interesting things to say about a wide variety of them. Unfortunately, his first two chapters are so bogged down because of his arrogant and condescending style that it's hard to find any content. In later chapters, some of his excellent assessment of comics and what makes them work as both art and entertainment shines through. The book is not meant to be a canon of what comics are good; as he states, "I'm more interested in starting discussions (and arguments) about comics than settling them with any kind of self-appointed authority." His critiques and in-depth looks at comics creators whose works he finds particularly interesting to discuss certainly meet that goal—but only for readers already familiar with the artists he's discussing. Despite his insight, his overuse of the phrase "more on that later" (oftentimes leaving readers with little explanation until chapters after his first argument) and the extremely antagonizing first two chapters make the book a difficult read. It may find use in classrooms about comics as literature or the nature of criticism, but it will have a difficult time finding an audience anywhere else.—Alana Abbott, James Blackstone Memorial Library, Branford, CT
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Most helpful customer reviews

0 of 0 people found the following review helpful.
I want my money back. I bought this for ...
By Anonymous
I want my money back. I bought this for a college class and the teacher just lectured about how this isn't how to read comics.

35 of 39 people found the following review helpful.
A book that wants to be more than it is
By Blake Petit
This is rather a difficult book to review. While I definitely appreciate the fact that comics are being treated seriously as a scholarly work, I'm not really sure that this book is, in fact, what it claims to be. The first third of the book is ostensibly dedicated to a discussion of the format of comics and he potential of the medium, but Wolk constantly peppers the book with condescending commentary on mainstream books even as he purports to love them, going so far at one point as to suggest that there's something developmentally wrong with an adult who still enjoys a character he enjoyed as a child. While there's certainly nothing wrong with the heavy bias towards independent comics this book displays, he often paints most superhero comics with the same brush (except, of course, for perennial exceptions Watchmen, The Dark Knight Returns and a few others). In other words, he does quite a bit to perpetuate the same primitive attitudes about comics that this book supposedly works to dispel.

The rest of the book is essentially a recommended reading list, with chapters devoted to different comic creators and their work. This section, honestly, is rather predictable. He gushes over the work of Alan Moore (even the total derailment of Promethea), pretentiously assures us that it's "okay" to read Dave Sim and Steve Ditko though they display (horrors!) conservative ideas in their work, and talks about the mastery of Maus. Not to say this section is all bad. Even in his predictability, he provides a very strong analysis of the Hernandez brothers' work, that of Chris Ware, of Chester Brown, and several other names that a mainstream reader may never have heard of. Perhaps the best chapter in the book is his analysis of Grant Morrison's work, which has actually convinced me to give The Invisibles another try. (I was put off by the anarchist tone of the first volume, something that doesn't appeal to me, but the idea in the analysis that the intended readers of the comic are actually people who have already read it makes me think that it's worth trying again).

This isn't a bad book - there are a lot of interesting ideas and thoughtful insights into comics as a whole and several comics in particular. But in the end, Wolk suffers the same fate as a lot of people who have tried to analyze comics as an artform. Simply put, the book thinks it's more important than it actually is.

11 of 11 people found the following review helpful.
Needed an editor to really polish it
By Andrew Otwell
There's a lot to recommend this book. No matter how versed you are in comics (I'm not), you're sure to find something new here about an amazingly complex medium.

But it's got some annoying flaws. Particularly in the first third of the book, it can be seriously geeky when it should be introductory and welcoming. You may find yourself stumbling on what seems like fan jargon or expert knowledge. I didn't(and still don't) understand the stylistic differences between Jack Kirby's early and late work. But that's the kind of thing Wolk more or less assumes at times.

At best, the book has some wonderful visual analyses of comic panels and styles. That's good, because most of the arguments require you to trust the visual descriptions. For a book about comics there aren't nearly enough illustrations, and none in color. How about a companion website where readers could look at more than a few low-quality black and white reproductions?

But Wolk's writing style gets annoying at this length. The book's trying to be academic and authoritative, but do it with a casual writing style. It doesn't work. Wolk often writes like a smart blogger; in other words, like someone who *really* needs an editor with a sharp red pencil. For example, he'll use annoying terms like "wave at" or "poke at" to mean "show" and "examine." He has a short "interview" between himself and Mr. Straw Man which feels like a clumsy way of avoiding constructing actual prose. Or he'll discover a new ten-dollar word (like "somatic") and use it two or three times in as many pages. He uses cliched writing (calling someone "a god-awful hack") constantly.

Worst, nearly every page has at least two or three parenthetical phrases, which makes following arguments clunky. An editor would have deleted these as either truly side comments, or else rewritten them to be part of the argument.

You might not be bothered by these things, though I was. They get in the way of reading and following what's actually a pretty subtle and worked-out argument.

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[R915.Ebook] Free PDF Science A Closer Look,- Grade 5, Teacher's Edition, by Jay K. Hackett

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• Published on: 2010-12-17
• Binding: Spiral-bound

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0 of 0 people found the following review helpful.
Love this!
By Sandra
A very good tool for helping me teach my 5th grader about science with its student book and workbooks - which I purchased separately. It has great ideas for lesson plans and learning prompts as well as mentioning other resources available on the internet.

0 of 0 people found the following review helpful.
Five Stars
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Excellent... Everything goes well...

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Perfect!
By JESSICA
Excellent condition the products.

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Edited by Abel Debritto, the definitive collection of poems from an influential writer whose transgressive legacy and raw, funny, and acutely observant writing has left an enduring mark on modern culture.

Few writers have so brilliantly and poignantly conjured the desperation and absurdity of ordinary life as Charles Bukowski. Resonant with his powerful, perceptive voice, his visceral, hilarious, and transcendent poetry speaks to us as forcefully today as when it was written. Encompassing a wide range of subjects—from love to death and sex to writing—Bukowski’s unvarnished and self-deprecating verse illuminates the deepest and most enduring concerns of the human condition while remaining sharply aware of the day to day.

With his acute eye for the ridiculous and the troubled, Bukowski speaks to the deepest longings and strangest predilections of the human experience. Gloomy yet hopeful, this is tough, unrelenting poetry touched by grace.

This is Essential Bukowski.

• Sales Rank: #27794 in Books
• Published on: 2016-10-25
• Released on: 2016-10-25
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .91" w x 6.00" l, 1.42 pounds
• Binding: Hardcover
• 240 pages

From the Back Cover

The definitive collection from a writer whose transgressive legacy and raw, funny, acutely observant writing have left a vivid mark.

Illuminated by a resonant voice and conjuring the desperation and absurdity of being human, the perceptive poetry of Charles Bukowski transcends its particular moment to speak to us as forcefully today as when it was written. Taking on a wide range of subjects—from love to death to sex to writing—Bukowski’s unvarnished poetry touches on enduring concerns while remaining sharply aware of the day-to-day.

With his keen eye for the ridiculous and the troubling, Bukowski speaks to the deepest longings and strangest facets of the human experience. Granular yet expansive, this is tough, unrelenting poetry touched by grace.

This is the essential Bukowski.

About the Author

Charles Bukowski is one of America’s best-known contemporary writers of poetry and prose and, many would claim, its most influential and imitated poet. He was born in 1920 in Andernach, Germany, to an American soldier father and a German mother, and brought to the United States at the age of two. He was raised in Los Angeles and lived there for over fifty years. He died in San Pedro, California, on March 9, 1994, at the age of seventy-three, shortly after completing his last novel, Pulp.

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Our drug prohibition policy is hopeless, just as Prohibition, our alcohol prohibition policy, was before it. Today there are more drugs in our communities and at lower prices and higher strengths than ever before.

We have built large numbers of prisons, but they are overflowing with non-violent drug offenders. The huge profits made from drug sales are corrupting people and institutions here and abroad. And far from being protected by our drug prohibition policy, our children are being recruited by it to a lifestyle of drug use and drug selling.

Judge GrayOCOs book drives a stake through the heart of the War on Drugs. After documenting the wide-ranging harms caused by this failed policy, Judge Gray also gives us hope. We have viable options. The author evaluates these options, ranging from education and drug treatment to different strategies for taking the profit out of drug-dealing.

Many officials will not say publicly what they acknowledge privately about the failure of the War on Drugs. Politicians especially are afraid of not appearing tough on drugs. But Judge GrayOCOs conclusions as a veteran trial judge and former federal prosecutor are reinforced by the testimonies of more than forty other judges nationwide.

• Sales Rank: #5043295 in Books
• Published on: 2011-12-16
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .90" w x 6.00" l, 1.20 pounds
• Binding: Hardcover
• 301 pages

Review
"As provocative and topical as the film Traffic, here's a scathing jeremiad against the war on drugs, notable both for the author's position and for the sustained anger of its argument." -Publishers Weekly (starred review) "However harmful the ingestion of drugs are to their users, the attempt to prohibit drugs has made matters far worse, threatening our basic rights to life, liberty and property. That is Judge Gray's thesis in this important book and he cites overwhelming evidence to support it. His proposals to improve the situation do not go as far as I would like, but they are all feasible and in the right direction. If adopted, they would produce a major improvement." "The war on drugs cannot be a war on discussion of this problem. We can fight drug use and abuse and still explore viable options. Judge Gray illuminates options and in the process will promote necessary discussion of them." -George P. Shultz "It's all here! A stinging indictment of today's drug strategies and a rallying cry around new strategies for tomorrow." -Gary E. Johnson, Governor of New Mexico "It has been said that in public policy development we must distinguish between ideas that sound good and good ideas that are sound. In this book, Judge Gray provides sound ideas for a more effective national drug control policy. He recognizes that the War on Drugs needs new thinking for this new century." -Kurt L. Schmoke, Former Mayor of the City of Baltimore "Judge Gray's thorough and scholarly work, based as it is on his personal experience, should help considerably to improve our impossible drug laws. [His] book drives a stake through the heart of the failed War on Drugs and gives us options to hope for in the battles to come" -Walter Cronkite "...as engrossing and highly readable as its title is obvious. An encyclopedia of facts and figures underscoring our failed policies, together with a visionary path out of this mess. Gray's book catalogs the scandalous waste of resources that we continue to throw at the criminalization of a problem that a strong majority of Californians now understand is fundamentally a social and public health issue. Gray also makes good on his guarantee set forth in the Introduction: No one who reads the book will favor a continuation of our present drug policy, unless that person has a vested interest in the continuation of the policy. ...Gray's fine contribution to the subject provide[s] [an] important addition to the growing library of works that make the irrefutably strong case for the decriminalization of drugs. [The book] will hopefully become required reading for all policy-makers." -Christopher Mears, Orange County Metro "James P. Gray, a California Superior Court judge and a former Republican congressional candidate, has written perhaps the most convincing indictment ever that the war on drugs can never be won. ...Gray's careful, sobering book provides grounds for taking a fresh look at our national drug policies." -Philadelphia Inquirer

About the Author

James P. Gray is Judge of the Superior Court in Orange County in Southern California. He has served as former federal prosecutor in Los Angeles and as a criminal defense attorney as a member of the JAG Corps in the Navy. In 1998 he made an unsuccessful run for Congress as a Republican against Bob Dornan. Judge Gray has discussed issues of drug policy on more than one hundred radio and TV shows and numerous drug forums around the country.

Most helpful customer reviews

0 of 1 people found the following review helpful.
Five Stars
By Meemster
Book arrived as promised and in great condition

0 of 1 people found the following review helpful.
Four Stars
By Delando Watt
Book for daughters class came on time and there were no physical damage.

0 of 0 people found the following review helpful.
This book is very interesting and offers the unique perspective ...
By EKT414
This book is very interesting and offers the unique perspective of a Judge on important drug law policies and recommendations for "what works" for drug law reforms. If you are interested in learning more about the "war on drugs," this is a must read.

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•More than 3,000 ASL Sign Illustrations
•Fully Searchable Full-Color DVD Featuring Every Sign
•Special ASL Classifier Section
•Complete Index of English Synonyms for Every Sign

Created by an unparalleled board of experts led by renowned ASL linguist and poet Clayton Valli, The Gallaudet Dictionary of American Sign Language represents the culmination of more than five years of meticulous assessment and labor. More than 3,000 illustrations arrayed in this volume display the most useful selection of signs to be found in any single ASL reference resource. Each sign illustration, including depictions of fingerspelling when appropriate, incorporates a complete list of English synonyms. A full, alphabetized English index enables users to cross-reference words and signs throughout the entire volume.

The comprehensive introduction lays the groundwork for learning ASL by explaining in plain language the workings of ASL syntax and structure. It also offers examples of idioms and describes the antecedents of ASL, its place in the Deaf community, and its meaning in Deaf culture. This extraordinary reference also provides a special section unique to this volume on ASL classifiers and their use. Readers will find complete descriptions of the various classifiers and examples of how to use these integral facets of ASL.

The full-color DVD included with this dictionary features a diverse group of native ASL signers demonstrating how to form each of the 3,077 signs. Fully searchable, users can view a sign and quickly go to its synonyms. This and the many other exclusive features in The Gallaudet Dictionary of American Sign Language combine to make it the outstanding ASL reference for all instructors, students, and users of ASL.

• Sales Rank: #35779 in Books
• Brand: Harris Communications
• Published on: 2006-04-17
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x 1.60" w x 7.00" l, 4.00 pounds
• Binding: Hardcover
• 656 pages

Features

• Item Weight - 4 lbs.PC System Requirements:windows 98/2000ME/XP; Intel Pentium 2 or better;
• Package Quantity: 1
• Excellent Quality.
• Great Gift Idea.
• Satisfaction Ensured.

About the Author
Clayton Valli was Assistant Professor in the Master’s Interpreting Program at Gallaudet University, a renowned linguist who coauthored the Linguistics of American Sign Language, and also a gifted ASL poet. The Gallaudet Dictionary of American Sign Language is dedicated to his memory.

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6 of 6 people found the following review helpful.
BROKEN in Mac OS X Lion - BEWARE
By Tech Reader
I have both this video dictionary as well as the one from NTID/RIT. Upon getting a new Mac that has Lion, both were broken due to the discontinuation of support for PowerPC binaries in Lion. I wrote NTID and Gallaudet both, and NTID supplied the newest version free and it worked. Gallaudet responded that they have no plans to update the dictionary. I reminded them that their campus is FULL of Macs...

One star for it being broken in Lion as a warning for others. The book and the dictionary are both wonderful otherwise, and are a great addition to your collection! I just hope they issue a new version that is Mac-compatible.

19 of 19 people found the following review helpful.
Help for ASL Students
By R. Cogburn
I have been taking American Sign Language classes for almost two years now. Many of the "book" dictionaries try to illustrate the proper motions and facial expressions for ASL signs, but trying to show these signs in static two-dimensional images, even with descriptions, left me uncertain in many cases. I did use some online dictionaries that demonstrated ASL signs with video clips, but the online dictionaries I found did not provide an extensive number of signs. The DVD with the Gallaudet Dictionary of American Sign Language is outstanding! By typing in the sign you want to see, you can jump directly to a video demonstration for that sign (for more than 3,000 signs). The DVD, like the written portion of the dictionary, is also more up to date than many other ASL dictionaries. When you cannot practice ASL signs with others, observing video clips is the next best thing. This DVD dictionary is an excellent aid.

0 of 0 people found the following review helpful.
Learning Sign? Add this to your library!
By Reader Bailey
An excellent recourse for someone learning sign language or someone who is fluent in sign language. I speak sign language fluently. I had taken interpreting courses in the process of learning so I could move into interpreting if I chose to. This book is a must have for anyone learning or using sign language. It is an excellent resource. The DVD makes it an invaluable resource. If you cannot quite understand the signing with the pictures alone the DVD provides a person signing the sign. Mac or PC, no problem. If you are using Linux, there may be an issue. The disc only works in a computer, not a DVD drive.

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Winner of the Sillerman First Book Prize for African Poets, The Kitchen-Dweller’s Testimony asks: Whose testimony is valid? Whose testimony is worth recording? Osman’s speakers, who are almost always women, assert and reassert in an attempt to establish authority, often through persistent questioning. Specters of race, displacement, and colonialism are often present in her work, providing momentum for speakers to reach beyond their primary, apparent dimensions and better communicate. The Kitchen-Dweller’s Testimony is about love and longing, divorce, distilled desire, and all the ways we injure ourselves and one another.

• Sales Rank: #408187 in Books
• Brand: Osman, Ladan/ Dawes, Kwame (FRW)
• Published on: 2015-04-01
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .25" w x 5.98" l, .0 pounds
• Binding: Paperback
• 108 pages

Review
"In a world that too often plugs its ears to voices it thinks unworthy, Osman shows that it's actually more inappropriate to be decorous."—Kathleen Rooney, Chicago Tribune (Kathleen Rooney Chicago Tribune)

"Ladan Osman conveys a language and logic that is disturbingly fresh; it leaps from one observation to another and speaks familiarly yet obliquely enough to make us listen a little harder."—Wesley Rothman, Rain Taxi (Wesley Rothman Rain Taxi)

“I have rarely encountered a young poet whose work was so completely its own thing, was so little influenced by what trend might be elbowing itself forward on the writing campuses. Osman is a worldly and acutely sensitive writer who knows how to reach right through the sequined veil of fashion and put her hand squarely on the reader’s heart, with frank and candid expression, with unaffected wonder.”—from Ted Kooser’s preface to Ladan Osman’s chapbook, Ordinary Heaven
 
(Ted Kooser 2014-09-17)

“[Ladan Osman] writes out of a passion for language, out of a compelling pleasure and challenge in the potential of the voice to humanize us, or perhaps even better, to affirm our humanity. Osman is a warrior poet, and she is dangerous because she is especially gifted and disciplined about her craft, her technical facility with the poem. This collection offers numerous examples of this skillfulness.”—from the foreword by Kwame Dawes (Kwame Dawes 2014-09-17)

“True visionary poets are very rare. Ladan Osman is one. What she sees is extraordinary, and needful.”—Brigit Pegeen Kelly, author of Song and The Orchard (Brigit Pegeen Kelly 2014-11-24)

About the Author

Ladan Osman’s work has appeared in American Life in Poetry, Artful Dodge, Narrative Magazine, Prairie Schooner, RHINO, and Vinyl Poetry. Her chapbook, Ordinary Heaven, appears in Seven New Generation African Poets: A Chapbook boxed set. She lives in Chicago.

Most helpful customer reviews

0 of 0 people found the following review helpful.
This is a wonderful read, one that I would encourage all readers ...
By Fatimah
What a gift Ladan Osman has given us with her debut collection The Kitchen Dweller’s Testimony. Ladan is both of and above this earth: her poems float above us as they make observations about the situations and life she lays out, as well as deal with the very tangible reality of living on this earth as a woman of color and immigrant. Her work is inquisitive, gently exploring the world around her. Her language is also full of play, teasing, joyful, blending both the divine and the secular.

This is a wonderful read, one that I would encourage all readers to explore.

0 of 0 people found the following review helpful.
HARD-HITTING WINNER
By Michael Fredrick Geisser
This first published book of poetry is a winner. Osman spins from revolting against harmful African rituals; to diatribes against relationships in name only; to deeply moving poems about race, displacement and colonialism; and does it all with a firm hand and a strong heart. Revelations abound in this thin volume; Osman is a master of language and pulls no punches—when she wants to punch, she hits hard. I couldn't put this work down, and was sorry when I reached the end.

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