On May 4, 1970, National Guard troops opened fire on unarmed antiwar protesters at Kent State University in Ohio, killing four students and wounding nine others, including the author of this book. The shootings shocked the American public and triggered a nationwide wave of campus strikes and protests. To many at the time, Kent State seemed an unlikely site for the bloodiest confrontation in a decade of campus unrest—a sprawling public university in the American heartland, far from the coastal epicenters of political and social change.

Yet, as Thomas M. Grace shows, the events of May 4 were not some tragic anomaly but were grounded in a tradition of student political activism that extended back to Ohio's labor battles of the 1950s. The vast expansion of the university after World War II brought in growing numbers of working-class enrollees from the industrial centers of northeast Ohio, members of the same demographic cohort that eventually made up the core of American combat forces in Vietnam. As the war's rising costs came to be felt acutely in the home communities of Kent's students, tensions mounted between the growing antiwar movement on campus, the university administration, and the political conservatives who dominated the surrounding county as well as the state government.

The deadly shootings at Kent State were thus the culmination of a dialectic of radicalization and repression that had been building throughout the decade. In the years that followed, the antiwar movement continued to strengthen on campus, bolstered by an influx of returning Vietnam veterans. After the war ended, a battle over the memory and meaning of May 4 ensued. It continues to the present day.

You can open up a world of imagination and learning for children when you encourage the expression of ideas through writing. Kids Have All the Write Stuff: Revised and Updated for a Digital Age shows you how to support children's development as confident writers and communicators, offering hundreds of creative ways to integrate writing into the lives of toddlers, preschoolers, and elementary school students—whether at home or at school.

You'll discover:
· how to implement writing as a part of daily life with family and friends;
· processes and invitations fit for young writers;
· strategies for connecting writing to math and coding;
· writing materials and technologies; and
· creative and practical writing ideas, from fiction, nonfiction, and videos to blogs and emails.

In order to connect writing to today's digital revolution, veteran educators Sharon A. Edwards, Robert W. Maloy, and Torrey Trust reveal how digital tools can inspire children to write, and a helpful companion website brings together a range of resources and technologies. This essential book offers enjoyment and inspiration to young writers!

Born into a family of attorneys, Dickinson absorbed law at home. She employed legal terms and concepts regularly in her writings, and her metaphors grounded in law derive much of their expressive power from a comparatively sophisticated lay knowledge of the various legal and political issues that were roiling nineteenth-century America. Dickinson displays interest in such areas as criminal law, contracts, equity, property, estate law, and bankruptcy. She also held in high regard the role of law in resolving disputes and maintaining civic order. Toward the end of her life, Dickinson cited the Spartans' defense at Thermopylae as an object lesson demonstrating why societies should uphold the rule of law.

Yet Dickinson was also capable of criticizing, even satirizing, law and lawyers. Her poetic personae inhabit various legal roles including those of jurymen, judges, and attorneys, and some poems simulate courtroom contests pitting the rights of individuals against the power of the state. She was keenly interested in legal matters pertaining to women, such as breach of promise, dower, and trusts. With her tone ranging from subservient to domineering, from reverential to ridiculing, Dickinson's writings reflect an abiding concern with philosophic and political principles underpinning the law, as well as an identification with the plight of individuals who dared confront authority.

A Kiss from Thermopylae reveals a new dimension of Dickinson's writing and thinking, one indicating that she was thoroughly familiar with the legal community's idiomatic language, actively engaged with contemporary political and ethical questions, and skilled at deploying a poetic register ranging from high romanticism to low humor.

The rich slice of Americana found in minor league baseball presents a contradictory culture. On the one hand, the minors are filled with wholesome, family-friendly entertainment-fluffy mascots, kitschy promotions, and earnest young men signing autographs for wide-eyed Little Leaguers. On the other, they comprise a world of cutthroat competition in which a teammate's failure or injury can be the cause of quiet celebration and 90 percent of all players never play a single inning in the major leagues.

In Knocking on Heaven's Door, award-winning sportswriter Marty Dobrow examines this double-edged culture by chronicling the lives of six minor leaguers-Brad Baker, Doug Clark, Manny Delcarmen, Randy Ruiz, Matt Torra, and Charlie Zink-all struggling to make their way to "The Show." What links them together, aside from their common goal, is that they are all represented by the same team of agents-Jim and Lisa Masteralexis and their partner Steve McKelvey-whose own aspirations parallel those of the players they represent.

The story begins during spring training in 2005 and ends in the fall of 2008, followed by a brief epilogue that updates each player's fortunes through the 2009 season. Along the way Dobrow offers a revealing, intimate look at life in minor league baseball: the relentless tedium of its itinerant routines and daily rituals; the lure of performance-enhancing drugs as a means of gaining a competitive edge; the role of agents in negotiating each player's failures as well as his successes; and the influence of wives, girlfriends, and family members who have invested in the dream.

Scholars no longer see Jonathan Edwards as the fire-and-brimstone preacher who deemed his parishioners "sinners in the hands of an angry god." Edwards now figures as caring and socially conscious and exerts increased influence as a philosopher of the American school of Protestantism. In this study, he becomes the progenitor of an alternative tradition in American letters.

In Knowing, Seeing, Being, Jennifer L. Leader argues that Edwards, the nineteenth-century poet Emily Dickinson, and the twentieth-century poet Marianne Moore share a heretofore underrecognized set of religious and philosophical preoccupations. She contends that they represent an alternative tradition within American literature, one that differs from Transcendentalism and is grounded in Reformed Protestantism and its ways of reading and interpreting the King James Bible and the natural world. According to Leader, these three writers' most significant commonality is the Protestant tradition of typology, a rigorous mode of interpreting scripture and nature through which certain figures or phenomena are read as the fulfillment of prophecy and of God's work. Following from their similar ways of reading, they also share philosophical and spiritual questions about language, epistemology (knowing), perception (seeing), and physical and spiritual ontology (being). In connecting Edwards to these two poets, in exploring each writer's typological imagination, and through a series of insightful readings, this innovative book reevaluates three major figures in American intellectual and literary history and compels a reconsideration of these writers and their legacies.