Drawing lessons from writers of all ages and writing across genres, a distinguished teacher and writer reveals the enduring importance of writing for our time In this new contribution to Yale University Press’s Why X Matters series, a distinguished writer and scholar tackles central questions of the discipline of writing. Drawing on his own experience with mentors such as John Updike, John Gardner, and James Baldwin, and in turn having taught such rising stars as Jesmyn Ward, Delbanco looks in particular at questions of influence and the contradictory, simultaneous impulses toward imitation and originality. Part memoir, part literary history, and part analysis, this unique text will resonate with students, writers, writing teachers, and bibliophiles.

The epigraphy of 1st-millennium-BCE Italy has been studied for many years, but these studies have largely concentrated on the languages encoded in the inscriptions and their semantic meanings. This book takes a more holistic approach that looks not only at content, but also the archaeological contexts of the inscriptions and the materiality of their 'supports': the artefacts and monuments on which the inscriptions occur. The first writing in Italy was not a local invention, but was introduced by the Phoenicians and Greeks in the 9th–8th centuries BCE. It was taken up by number of indigenous communities over the subsequent centuries to write their own languages, before these were eventually submerged by the spread of Latin. In a series of theoretical, methodological and interpretative essays, Ruth Whitehouse explores what can be learned about how writing was used by these communities and what it meant to them. The bodies of data considered relate to Venetic and Raetic (the northeast), Lepontic (the northwest), Messapic (the southeast) and Etruscan (west central Italy, extending also into Campania in the south and the Po plain in the north). While not a comprehensive survey, there are enough different groups to allow a comparative approach to be adopted. Analysis of the datasets is able to reveal the similarities and differences between them, as well as identify features that were widespread in 1st-millennium-BCE Italy and others that were more idiosyncratic and specific to particular cultural groups. Placing materiality at the centre of study allows a reconsideration of the roles writing played in the lives of the individuals and groups who occupied Italy in the 1st millennium BCE.

The author states that the purpose of his book is to teach anyone to write legibly and fluently from a movement point of view. It is not concerned with grammar or style but with penmanship itself.

Uncertainty is a fact of life. You can never know enough to make perfect decisions. Understanding this helps us balance an awareness of our tendency towards overconfidence with an acceptance of our own fallibility. The book discusses two opposed models of school improvement: the deficit model (which assumes problems are someone’s fault) and the surplus model (which assumes problems are unintended systemic flaws). By aligning ourselves to a surplus model we can create a system of Intelligent Accountability. The principles that make this possible are trust, accountability and fairness. While we thrive when trusted, unless someone cares about – and is holding us to account – for what we do, we’re unlikely to be our best. Some teachers deserve more trust and require less scrutiny than others, but in order to satisfy the demands of equality we end up treating all teachers as equally untrustworthy. The more we trust teachers, the more autonomy they should be given. To pursue a system of fair inequality we must accept that autonomy must be earned.

What is English as a school subject for? What does knowledge look like in English and what should be taught? Making Meaning in English examines the broader purpose and reasons for teaching English and explores what knowledge looks like in a subject concerned with judgement, interpretation and value. David Didau argues that the content of English is best explored through distinct disciplinary lenses – metaphor, story, argument, pattern, grammar and context – and considers the knowledge that needs to be explicitly taught so students can recognise, transfer, build and extend their knowledge of English. He discusses the principles and tools we can use to make decisions about what to teach and offers a curriculum framework that draws these strands together to allow students to make sense of the knowledge they encounter. If students are going to enjoy English as a subject and do well in it, they not only need to be knowledgeable, but understand how to use their knowledge to create meaning. This insightful text offers a practical way for teachers to construct a curriculum in which the mastery of English can be planned, taught and assessed.

This book brings together the work of scholars from around the world – UK, Pakistan, US, South Africa, Hungary, Korea, Mexico – to illustrate and celebrate the many ways in which Roz Ivanič has advanced the academic study of writing. Focusing on writing in different formal contexts of education, from primary through to further and higher education in a range of national contexts, the twenty one original contributions in the book critically engage with theoretical and empirical issues raised in Ivanič’s influential body of work. In their exploration of writers’ struggles with the demands of dominant literacy the authors significantly extend understandings of writing practices in formal institutions. Organized around three themes central to Ivanič’s work – creativity and identity; pedagogy; and research methodologies – the twelve chapters and nine personal and scholarly reflections reveal the powerful ways in which Ivanič’s work has influenced thinking in the field of writing and continues to open up avenues for future questioning and research.

Whether you're teaching novice writers, older children or adults, you'll benefit from Julie Bennett's enthusiasm and expertise. She presents handwriting as both an art and a science. Either way, it can be mastered. Julie covers all bases: teaching, improving and troubleshooting handwriting. Starting with the basics - seating, posture, paper and writing implements - she then fixes the goalposts with a handwriting checklist. This is the reference point for remedying a range of common problems (e.g. uneven spacing between words and letters or inconsistent slope and slant) using Julie's multi-sensory 'Key Notes' method. A chapter on teaching beginner writers moves through the stages of writing from pre-literate to fluency, and a section on solving handwriting problems (e.g. for left-handers or those with dysgraphia or arthritis) is followed by a treasure trove of resources: schemes, aids, software, websites and books. Sign up for your copies now!

The future of handwriting is anything but certain. Its history, however, shows how much it has affected culture and civilization for millennia. In the digital age of instant communication, handwriting is less necessary than ever before, and indeed fewer and fewer schoolchildren are being taught how to write in cursive. Signatures--far from John Hancock’s elegant model--have become scrawls. In her recent and widely discussed and debated essays, Anne Trubek argues that the decline and even elimination of handwriting from daily life does not signal a decline in civilization, but rather the next stage in the evolution of communication. Now, in The History and Uncertain Future of Handwriting, Trubek uncovers the long and significant impact handwriting has had on culture and humanity--from the first recorded handwriting on the clay tablets of the Sumerians some four thousand years ago and the invention of the alphabet as we know it, to the rising value of handwritten manuscripts today. Each innovation over the millennia has threatened existing standards and entrenched interests: Indeed, in ancient Athens, Socrates and his followers decried the very use of handwriting, claiming memory would be destroyed; while Gutenberg’s printing press ultimately overturned the livelihood of the monks who created books in the pre-printing era. And yet new methods of writing and communication have always appeared. Establishing a novel link between our deep past and emerging future, Anne Trubek offers a colorful lens through which to view our shared social experience.