"Schoolyard rhymes are catchy and fun. They are easy to remember. In fact, they stick in the mind like bubble gum to a shoe." writes Judy Sierra in her introduction to this lively collection of traditional playground chants. Included are more than 50 verses ranging from the familiar jump rope rhyme about the mythical lady with the alligator purse to less familiar counting-out ones, from funny rhymes for ball-bouncing and hand-clapping games to "Liar, liar, pants on fire, nose as long as a telephone wire" and other choice insults of children. Melissa Sweet includes bright, colorful fabric swatches in her watercolor-and-pencil collages to perfectly capture the spirit of these funky, street-smart verses that children love to recite and chant.

Winner of the 2022 Opie Prize Jeanne Pitre Soileau vividly presents children’s voices in What the Children Said: Child Lore of South Louisiana. Including over six hundred handclaps, chants, jokes, jump-rope rhymes, cheers, taunts, and teases, this book takes the reader through a fifty-year history of child speech as it has influenced children’s lives. What the Children Said affirms that children's play in south Louisiana is acquired along a network of summer camps, schoolyards, church gatherings, and sleepovers with friends. When children travel, they obtain new games and rhymes and bring them home. The volume also reveals, in the words of the children themselves, how young people deal with racism and sexism. The children argue and outshout one another, policing their own conversations, stating their own prejudices, and vying with one another for dominion. The first transcript in the book tracks a conversation among three related boys and shows that racism is part of the family interchange. Among second-grade boys and girls at a Catholic school, another transcript presents numerous examples in which boys use insults to dominate a conversation with girls, and girls use giggles and sly comebacks to counter this aggression. Though collected in the areas of New Orleans, Baton Rouge, and Lafayette, Louisiana, this volume shows how south Louisiana child lore is connected to other English-speaking places: England, Scotland, Ireland, Australia, and New Zealand, as well as the rest of the United States.

How can we build a strong literacy foundation for children? This book appreciates that learning and language development start with the play episodes, oral language practices, wordplay activities, print encounters, reading events, and writing experiences that children engage in during the early years of life. Filled with rich language activities, The Cornerstones to Early Literacy shows teachers how to create active learning experiences that are essential to building early literacy. This comprehensive handbook is organized around the following topics: Play Experiences - Understanding the early stages of learning and all aspects of the play-literacy connection ; Oral Language - Supporting opportunities for child talk with suggested conversation starters and events that involve personal timelines and storytelling ; Language Awareness and Word Play - Creating a balanced approach to language learning using games and activities that involve literature, music, choral speaking, sound games, and more ; Print Encounters - Discovering, reproducing, and creating all forms of environmental print ; Reading Events - Integrating read-aloud and shared book experiences with proven strategies for supporting and observing young readers ; Writing Experiences - Identifying early writing characteristics and techniques for moving children along in their writing.

Can a bully become a friend? Because Little Red only speaks in verse, it's tough for her to make friends. The schoolyard bully, Big Brad Wolf, is always picking on her. One day, her grandma shows her a flyer for a poetry contest, and Little Red thinks it could be her big chance to make a friend. But on the day of the contest, Big Brad Wolf sneaks up on Little Red and scares the rhyme right out of her—and into him! How will they rhyme their way out of this dilemma?

This book focuses on building knowledge and skills through extensive projects that explore various literary genres and themes.

Child language is a subject in which everyone is an expert. All parents study their children's language carefully, if undeliberately, and every family has its precious memories of the unique verbal improvisations of childhood. For writers who continually struggle with and revel in the mysteries of language, the language of children holds a special attraction. Everyday Magic looks at the way Canadian writers have written through, as distinct from for or about, children, at the ways they have used 'child language' and children's models of perception to achieve various literary effects. It describes how texts might be shaped by child usage and speculates that adult artists often find themselves surprised and informed by the child language they seek to create. Ricou examines how the distinctive features of child language described by psycholinguists intersect with the written languages used by writers to suggest, not only a child language, but also the way a child sees and organizes an understanding of the world. The book's subtitle, putting the term 'child language' into the plural, points out that not one, but many written interpretations of the child's perspectives are possible. In order to emphasize this plurality and indicate that there are any number of child languages, the author has organized his study as a series of closely related essays. Each chapter considers the work of a Canadian author or authors, with the book as a whole moving from the more conventional writers to those who step outside the bounds of convention. Ricou proposes analogies with Wordsworth and Dylan Thomas, Proust and Dickens, but he finds his principal subject in the inherent interest of, for example, the Piagetian scheme that W.O. Mitchell seems to adopt in Who Has Seen the Wind; the obsessions with similes in Ernest Buckler; the variations on the Bildungsroman in Margaret Laurence and Alice Munro; and the persistent experiments with presymbolic language in bill bissett. For these and other writers such as Clark Blaise, Emily Carr, Dennis Lee, Dorothy Livesay, P.K. Page, James Reaney, and Miriam Waddington, Ricou illuminates the particular literary languages appropriate to each author's subject. The result is a fascinating and unique approach to Canadian literature.

The original three-volume anthology The Graphic Canon presented the world's classic literature--from ancient times to the late twentieth century--as eye-popping comics, illustrations, and other visual forms. In this follow-up volume, young people's literature through the ages is given new life by the best comics artists and illustrators. Fairy tales, fables, fantastical adventures, young adult novels, swashbuckling yarns, your favorite stories from childhood and your teenage years . . . they're all here, in all their original complexity and strangeness, before they were censored or sanitized.

This book explores the musical interest and needs of children in their daily lives. Based upon their expressed thoughts and actual "musicking" behaviors, this text examines the songs they sing, the rythyms they make, and the roles that music plays for them. Blending standard education field experiences with ethnographic techniques, Dr. Campbell demonstrates how music is personally and socially meaningful to children and what values they place on particular musical styles, songs, and functions. He explores musical behaviors in various contextual settings, and presents in notated and narrative forms some of the "songs in their heads," balancing music learned with music "made," and intentional, purposeful music with natural musical behavior. Songs in Their Heads is a vivid and engaging book that bridges the disciplines of music education, musicology, ethnomusicology, and folklore. Designed as a text or supplemental text in a variety of music education method courses, as well as a reference for music specialists and classroom teachers, this book will also appeal to parents interested in understanding and enhancing music making in their children.