A call to fundamentally reconfigure educational systems so that students can reach their full potential as responsible world citizens.
In this impressively researched work, Vevaina (English/Univ. of Mumbai, Bernice Banana, 2011, etc.) argues that educators must encourage students to peer inward and outward simultaneously, embracing individuality while also exploring interconnectedness with their surroundings—both immediate and global. According to the author, children should start learning about the power of language and the assignation of meanings at a very young age. Likewise, they should engage with authentic multicultural materials, including the study of a second language. In order to achieve a balance among different types of intelligence (rational/serial, emotional/associative, and spiritual/unitive), Vevaina recommends classroom use of poems, stories and myths. The only chapter that’s not entirely convincing addresses the work of Jean Shinola Bolen, who employs Greek mythological figures to create archetypes that represent certain personality traits, strengths and difficulties. Vevaina deflects any criticism of this approach and believes it’s a useful tool for understanding patterns of child behavior rather than an infallible guide, but some readers may prefer more concrete ideas like those in the final chapter, “Walking the Talk.” Here, for instance, the author demonstrates how her vision can be implemented to teach the concept of angles. This lesson plan includes a helpful assessment rubric and extends beyond mathematics to embrace science, nature, art, architecture, sports and cuisine. Overall, Vevaina displays a wide range of knowledge. Quotations of supportive material are well-chosen and illustrative yet sometimes overwhelming in their sheer volume. The result is a dense text that may hinder some readers. When Vevaina writes in her own voice, however, the prose is clear and persuasive: “If we pour fresh, deliciously flavoured milk into a pot which is full of curdled milk, it will surely curdle.” In other words, creative ideas alone will not make the required changes; a structural reconsideration of current educational norms and practices is necessary.
An inspiring blueprint that merits further elaboration.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)