This is the only book to seriously treat the intriguing linguistic and cultural phenomenon of the intimate contact between Yiddish and English over the past 120 years.

Yiddish arrived in America as the mother tongue of millions of Jewish immigrants from eastern Europe. Not only did this language without a homeland survive in the great American melting pot, it infiltrated the majority language, English, with a wide variety of new words and expressions and helped to establish a new ethnic language called "Jewish English." New Yorkers, in particular, have adopted a long list of Yiddish words, including the well-known "kosher," "chutzpah," "klutz," "yenta," "nosh," "mavin," "schlep," and "shmo."

Yiddish had first developed from language sharing as Jews of northern France and northern Italy migrated into the German-speaking region of the Rhine Valley in the Middle Ages. Sol Steinmetz traces the development of such words as bonhomme from the Old French meaning "good man" to the Yiddish of bonim, or shul for synagogue derived from the German schuol, meaning "school," which had come originally from the Latin schola, for example. With a rich collection of quotations from literature and the press, Steinmetz documents the unusually high lexical, semantic, and intonational exchanges between Yiddish and English in America. He offers more than 1,200 Yiddish words, expressions, idioms, and phrases that have melted into the English vernacular.

Yiddish and English is important for Judaica collections with its two appendixes-one on the romanization of Yiddish and another of Yiddish-origin words, a Jewish-English glossary, a selected bibliography, and an index. But this slim volume is so entertaining and informative for the general reader that it is recommended for anyone who delights in word derivations and language.

Lucille M. Schultz's The Young Composers: Composition's Beginnings in Nineteenth-Century Schools is the first full-length history of school-based writing instruction. Schultz demonstrates that writing instruction in nineteenth-century American schools is much more important in the overall history of writing instruction than we have previously assumed.

Drawing on primary materials that have not been considered in previous histories of writing instruction—little-known textbooks and student writing that includes prize-winning essays, journal entries, letters, and articles written for school newspapers—Schultz shows that in nineteenth-century American schools, the voices of the British rhetoricians that dominated college writing instruction were attenuated by the voice of the Swiss education reformer Johann Heinrich Pestalozzi. Partly through the influence of Pestalozzi's thought, writing instruction for children in schools became child-centered, not just a replica or imitation of writing instruction in the colleges.

It was also in these nineteenth-century American schools that personal or experience-based writing began and where the democratization of writing was institutionalized. These schools prefigured some of our contemporary composition practices: free writing, peer editing, and the use of illustrations as writing prompts. It was in these schools, in fact, where composition instruction as we know it today began, Schultz argues.

This book features a chapter on the agency of textbook iconography, which includes illustrations from nineteenth-century composition books as well as a cultural analysis of those illustrations. Schultz also includes a lengthy bibliography of nineteenth-century composition textbooks and student and school newspapers.

Drawing on his own experience in the profession, veteran English professor and internationally renowned scholar Jerome Klinkowitz sorts out the wrong ways of teaching literature before devising a new, successful method. Specifically, he concludes that a historically based “story of English” is precisely the wrong narrative approach to making sense of what literature does. Instead, Klinkowitz proposes a new method focused not on the product of literary writing but on the process of writing. Long involved with the making of contemporary literature, Klinkowitz shows how his classroom approach draws on the same strengths and inspirations writers use in the creation of literature. He involves students in the literary work as production.