A popular collection of memories and recollections from people who learned at and taught in one-room schools in Wisconsin, including former pupil Jerry Apps, the book’s author.

From the winner of the 2004 Caldecott Medal comes a memorable new work, a novel of singular insight and imagination that transports readers to the Old Country, where "all the fairy tales come from, where there was magic -- and there was war." There, Gisella stares a moment too long into the eyes of a fox, and she and the fox exchange shapes. Gisella's quest to get her girl-body back takes her on a journey across a war-ravaged country that has lost its shape. She encounters magic, bloodshed, and questions of power and justice -- until finally, looking into the eyes of the fox once more, she faces a strange and startling choice about her own nature. Part adventure story and part fable; exciting, beautifully told, rich in humor and wisdom, The Old Country is the work of an artist and storyteller at the height of his powers.

Focusing on the lives and work of women teachers in two rural California counties from 1850 to 1950, Country Schoolwomen explores the social context of teaching, seeking to understand what teaching meant to women teachers, what it provided them, and how it shaped their categories of experience. The women we meet in this study taught in isolated one- and two-room schoolhouses and in the migrant schools of the Depression years; many of them witnessed the profound upheavals brought about by the two world wars. Through the lens of their lives, the author examines the growth of state control over schools, the irrevocable impact of powerful economic and political changes on small-town life, and the patterns of racism that have divided California from the time of the earliest European settlement. This study challenges a number of assumptions about the lives and work of women teachers. It is often assumed, for example, that the work of women in schools has always been controlled by men--that education has, with rare exceptions, remained a patriarchal space in which women care for children in classrooms while men hold positions of authority, define issues, and set policy. Country Schoolwomen introduces us to a network of women educators who occupied positions of power at the state level, who supported one another, and who defined an alternative, far more positive image of the woman teacher. The work of these women put forth a vision of classroom teaching as a serious and stimulating profession. And for many of the women in this study, teaching clearly did provide material resources and intellectual satisfaction. The historical record thus suggests that rather than signaling their subjugation, teaching has afforded women a potential source of power; it has offered them respect, autonomy, and financial independence. But women have had to struggle--not always successfully--to claim this potential, which male educators have often sought to deny or disregard. In addition, both university experts and local communities have persisted in viewing classroom teaching as "women's work" and have consequently been slow to acknowledge competing perspectives on the profession. This study ultimately reveals, then, not a homogeneous tradition but a dense ideological landscape, one in which representations of "the woman teacher" were often caught among contradictory and contested visions.

This project contributes to our understanding of rural Midwesterners and farm newspapers at the turn of the century. While cultural historians have mainly focused on readers in town and cities, it examines Midwestern farmers. It also contributes to the "new rural history" by exploring the ideas of Hal Barron and others that country people selectively adapted the advice given to them by reformers. Finally, it furthers our understanding of American farm newspapers themselves and offers suggestions on how to use them as sources.

In 1895, East Topsham's Charles Ross Taggart set his sights on becoming a traveling musical humorist. His uproarious ventriloquist and musical performances brought rave reviews in his Vermont community. He was soon thrust into the world of the lyceum and Chautauqua circuits, journeying far and wide across North America. His forty-three-year career spanned some of America's most exciting and most difficult times, and his folk performances--especially his beloved "Old Country Fiddler"--brought smiles to all who experienced them. He was also an innovator in the entertainment industry, recording his music and humor, as well as appearing in one of the first "talkie" films. Discover the remarkable story of "The Man from Vermont" who helped Americans forget their troubles when they needed it most with his mimicry, stories and fiddling.

Annotation One- and two-room schools represent a paradoxical time in Texas history when school played second fiddle to family duties but still served as the focus of community life. Luther Bryan Clegg's The Empty Schoolhouse provides a direct link to the past through interviews with students who attended these schools and teachers who taught in this area between Fort Worth and Odessa and the Hill Country and Amarillo. Former students share stories describing Friday afternoon "literary societies, " dead snakes in desk drawers, pranks, fires, travel to and from school, and discipline. Drawing on historical and sociological data as well as interviews, Clegg presents intriguing accounts of rural life, preserving the uniqueness of the "olden days."

Basing his study on extensive archival research, including findings from eight midwestern states - Illinois, Indiana, Wisconsin, Iowa, Nebraska, Minnesota, North Dakota, and South Dakota - Theobald neither condemns nor lauds the one-room school experience. Providing an objective evaluation, he examines rural school records, correspondence of early school officers, contemporary texts, and diaries and letters of rural students and teachers.