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  • John Corey Whaley’s debut novel Where Things Come Back is the winner of the 2012 William C. Morris, and Michael L. Printz awards. The reader may struggle to see parallels between the different characters in the two stories, however, the plots eventually come to focus.
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    Putting Books to Work: Where Things Come Back

    by Judith A. Hayn, Karina R. Clemmons, Heather A. Olvey, and J. D. Wilson
     | Aug 21, 2014

    Putting Books to Work:  Where Things Come Back
    By Judith A. Hayn, Karina R. Clemmons, Heather A. Olvey, & J. D. Wilson

    Where Things Come Back (Atheneum, 2011)
    By John Corey Whaley
    Grades 7—12

    John Corey Whaley’s debut novel Where Things Come Back is the winner of the 2012 William C. Morris, and Michael L. Printz awards.  Cullen Witter is a typical teenage boy living in the small town of Lily, AR. This unique setting has a profound impact on the characters, almost acting as a personality itself.  Cullen has a close-knit circle of friends and family, and when his brother Gabriel goes missing at the same time as the first sighting of the believed-to-be-extinct Lazarus woodpecker, Cullen begins to freshly examine his life, the town, and all the people in it.  In alternating chapters, the reader is introduced to both Benton Sage and Cabot Searcy, whose fanatical searches for truth using The Book of Enoch as a guide lead them both down very dark paths.  The reader may struggle to see parallels between the different characters in the two stories other than the characters are all searching desperately for meaning, however, the plots eventually come to focus on the question of ultimate import to Cullen: Will Gabriel Witter come back, as everyone else who attempts to leave the small town of Lily inevitably does?

    Cross-Curricular Connections:  English language arts, Social Studies, Science

    Ideas for Classroom Use:

    Creating a Timeline of the Novel’s Events

    Discuss with the class the difficulty of understanding the novel’s events in linear order as the chapters in the book flip back and forth between different people’s stories.  As a class, ask students to contribute several important events in the story and add it to a timeline that is displayed. Assign students to groups of three or four, making sure each group has access to a computer or tablet. Assign each group to collaboratively fill an empty timeline with relevant events in the story using collaborative technology such as Dropbox.com or Google Docs. Students should integrate events from multiple characters, referring to the book if necessary. Each group should share their digital documents with the class for a class analysis and discussion of the novel’s events.

    Creating Titles of Possible Books Based on Students’ Own Lives

    Cullen creates fictitious book titles to indicate snapshots of his mental state at certain times in the novel. Whaley’s question in the Reading Group Guide in the back of his novel asks participants to create some of their own examples of book titles. As an extension, this activity allows students to connect their own lives with the book. Instruct students to flip through the novel and make a list of the possible book titles Cullen creates, along with the events that inspired them.  List the titles found on a master list as a class, and then assign students to individually make a list of several important events in their own lives.  Then have students write creative book titles corresponding to the life events. Give students the option to share their events and corresponding titles anonymously in small groups or anonymously by turning in their papers.

    Brown Bag Exam

    As an assessment activity, use Denise Ousley’s instructions for a brown bag exam based on Where Things Come Back.  In preparation, collect the following items and put each item separately into its own bag.  Close the bag, and give one bag to students, instructing them to wait until everyone has a brown bag before opening.  Once students open their bags and see their items, explain to students that they will be expected to list all the possible connections between the item and Where Things Come Back.  They should attempt to find correlations for plot, character, setting, theme, symbols, or events, however, every item will not fit into every category.  Once students have worked alone and answered question 1, allow them to work in triads, and add the group’s additions for 2.  Instruct students to individually find at least two passages in the book that connect the brown bag items to the text, and write the quotes and page numbers down for 3.  After answering 4, students can then share one idea about their item with the class as a whole.

                                                                Brown Bag Exam
    Brown Bag item:___________________________

    • Initial ideas connection item to novel (a bulleted list is fine)
    • Additional comments from small group discussion:
    • Passages:
    • Idea/Connection/Comment to share with the class:

    Items to place in brown bags:

    • Lily—This represents the small town in which this book is set.  It is an actual town in Arkansas that is located halfway between Little Rock and Memphis.  Lily plays an important part in the book as most of its inhabitants want or try to leave, but they inevitably come back.  It can also be a symbol of all of the Arkansas cities and town names the author uses as character names in the book.
    • The Bible—Benton Sage begins his journey doing missionary work in Ethiopia.  He is a Christian and fails to live up to his father’s perfectionist expectations.  Benton wants to bring the word of God to the people he meets in Ethiopia, and is unhappy with the result of simply feeding and caring for them.
    • Book of Enoch (can be made by covering a small notebook with the title)—A book in the Ethiopian Orthodox Bible that tells the story of Gabriel being sent by God to punish the Nephilim (children of the fallen angels) for giving humans too much knowledge.  After Cabot Searcy finds a quote from this book in Benton Sage’s journal, he becomes obsessed with finding the truth by using this book as a guide.
    • woodpecker—The Lazarus woodpecker was believed to have been extinct for over 60 years.  The believed sightings bring excitement to the small town of Lily, AR.
    • picture of a gas station— Cullen works in a gas station.  He interacts with many of the characters in the book there.
    • picture of a zombie – Cullen’s imagination tends to drift toward creating zombie stories in his mind when confronting stressful events in the book.  Cullen has a list of titles of possible books he might write someday, and many of titles include zombies.
    • angel – This is representative of Gabriel’s character, since both the angel Gabriel and Gabriel Witter play such a prominent role in the book.  There is also much discussion of the Grigori and Nephilim, who are the fallen angels and their children.
    • copy of The Catcher in the Rye – Gabriel’s favorite book.  Cullen read it to his brother when he was 10, and Gabriel read it for the 11th time a week before he disappeared.

    Examining Where Things Come Back through Different Lenses of Literary Criticism

    Break the class into groups of three or four students and give them the following chart:

     

    Reader Response

    Feminist/Gender

    Marxist/Social Class

    Archetypal

    List at least two incidents that support this kind of reading.  (Examples)

    Cullen grew up in small town Arkansas.

    Cullen had a difficult time finding his path.

    Alma is told to follow traditional gender norms from her grandmother as well as others.

    Alma searches for a husband because she feels it is the “right” thing to do.

    Cabot's life becomes unraveled due to his allegiance to unwrapping the meaning of religious texts. These texts control him.

    Barling's celebrity show that people look for something to follow or believe in.

    Gabriel is kidnapped (death) but returns (resurrection).

    Cabot tries to convince Gabriel that he is God's left hand man.

    Interpret at least one character through this lens.

     

     

     

     

    If you look through this lens, what themes/issues emerge?

     

     

     

     

    What symbols do you see?

     

     

     

     

    Cite specific passages that support this kind of reading.

     

     

     

     

    Do you believe in this reading? Why or why not?

     

     

     

     

    Additional Resources and Activities:

    Whaley’s Playlist

    Whaley has created a playlist of songs that inspired him as he wrote this novel.  Play a selection from his list each discussion day in class to get students to consider possible connections.  Provide students with the playlist and have them create their own playlist that includes a caption for each choice.

    Where Things Come Back Study Guide

    BookRags has created a Summary and Study Guide that is available for purchase.  It offers a summary and analysis of each chapter followed by an analysis of characters and objects and places, as well as themes that are found in the novel

    Additional Texts Dealing with Problems and Coming of Age:

    Anderson, M. T. (2012).  Feed. Candlewick.
    Booth, Coe (2013).  Bronxwood.  Push.
    de la Peña, Matt (2010).  We Were Here.  Ember.
    Lockhart, E. (2014).  We Were Liars.  Delacorte Press.
    Page, Robin Epstein (2010).  God Is in the Pancakes.  Dial.
    Rowell, Rainbow (2013).  Eleanor & Park.  St. Martin’s Griffin.
    Sáenz, Benjamin Alire (2012).  Aristotle and Dante Discover the Secrets of the Universe.  Simon & Schuster.

    Judith A. Hayn, professor of Secondary Education, her colleague Karina Clemmons, associate professor of Secondary Education, and students in the Masters in Secondary English Education program at the University of Arkansas at Little Rock prepared these classroom suggestions.

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  • Students should start from a successful point and writing should increase in difficulty and rigor throughout the year. Each student will have individual starting points and individual growth, but class whole-group lessons will benefit all. Students may start with writing their names, progress to writing predicable text and repetitive sentences, to constructing stories at varying lengths.
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    Building a Foundation for Writing Success

    by Cathy Collier
     | Aug 19, 2014

    Every teacher knows the best plans in the world are only as valuable as the paper they are on, when asked to stand alone. Great lessons in the classroom are taught, reviewed, and practiced and writing isn't the exception. Students need clear, concise directions for writing that are consistent and deliberate. When writing is taught in this manner, students can thrive. 

    Students should start from a successful point and writing should increase in difficulty and rigor throughout the year. Each student will have individual starting points and individual growth, but class whole-group lessons will benefit all. Students may start with writing their names, progress to writing predicable text and repetitive sentences, to constructing stories at varying lengths.

    Teachers who have a plan for writing, can help their students plan, as well. Here is my year-long writing plan. For a breakdown in chart form with additional details, look here.

    September (month 1)

    Whole group writing: As a group, students need to know they can write a word, a sentence, a story. Even if they are not writing their name independently, a supported whole-group experience allows writing to be a safe place for success. Certain routines need to be introduced and practiced. In my class, we have a structure for writing stories called the Sentence Maker©. I have used in my classroom for years. Students are shown a poster-sized version of the method. It provides a clear path toward a story. The first sentence is a topic sentence using newly introduced or known wordwall words. The second sentence is a sentence describing the color of the topic. The third sentence is about the size and the final sentence describes where the topic is or the setting of the story.  This provides the structure for our weekly stories.

    Our routine is a story a week:    

    • Monday: Topic and Topic Sentence.
    • Tuesday: Color sentence.            
    • Wednesday: Size sentence.
    • Thursday: Setting Sentence.
    • Friday: Review, reread, illustrate.

    From the beginning, I introduce the concept of a topic and a topic sentence. The topic is pulled from a mentor text and we add our known words to create an opening sentence. We orally decide on the sentence. We count it on our fingers, one word at a time. As we count the words, we decide on the first word. We say the word, over and over, listening for the sounds in the word. The word is written one sound at a time. Typically, I write the letter or letters on a small dry erase board, while the students write it on the carpet and one child will write it on the paper. I provide oral reading and handwriting directions at the same time. After we write each word, we use our spacer as a pointer and read what we have written. Then, we start again. Repeat the whole sentence, count, fold our fingers and whisper words we have already written, and decide on the next sentence.

    Independent writing: If the word is on our wordwall for a week or so, one student will write the whole word. Another student is asked to find the word on the wordwall and shout the spelling to the writer. Students also work on writing names.

    October, November (months 2, 3)

    Whole group: Continue writing a story a week, in a whole group setting.

    Independent: During the writing center, a predictable sentence starter is provided. Students are asked to write sentences using the starter and the sound chart. They are introduced to The Big 3, the rubric for sentence mechanics. The students look for capitalization, spaces, and end marks. Students are also introduced to “The Squiggle Center” with the expectation they will write a sentence to describe their squiggle.

    December (month 4)

    Whole group: The class continues to write stories, but students are given paper and pencil to write the stories as we create it. At the end of December, they have a book for their parents for a holiday gift.

    Independent: Students are using the sentence starters and sound chart to make sentences.

    January (month 5)

    Whole group: Students are given a “Happy New Year” gift of a writing folder. This folder contains sheet protectors which include the sound chart, an individual wordwall word chart, a sentence starter chart and a personal Sentence Maker©. The front pocket is for incomplete stories and the back pocket is for completed stories. When students have four completed stories, they can use “fancy paper” (decorated computer paper or special themed paper) to publish a story. Published stories can be shared with family or read to special people in the building, such as the principal, the assistant principal, the guidance counselor, etc. Whole group writing becomes directed towards the science and social studies curriculum or interactive writing with reading skills, such as predicting or summarizing.

    Independent: More centers are added that require writing: “First, Then, Last” and “Read it, Write it, Draw it.”

    February–June (months 6—9)

    Student writing becomes more and more independent. They are expected to use the Sentence Maker© when they are writing, if they need it. If they outgrow it, they do not need to use it. They are given free rein on topic choice and story length. At the end of the day, completed stories are shared with the class. Children’s “requirements” are differentiated during writing conferences.

    By incorporating writing into every part of our day, I am thrilled to see students grow with writing skills. Before you know it, they enjoy writing time and call themselves “authors.”

    Cathy Collier is a reading specialist at Great Bridge Primary School in Chesapeake, Virginia with an additional 15 years as a kindergarten teacher. She has her B.S. in Special Education, a master’s degree in Special Education and a certified reading specialist. She is the immediate past president of the Virginia State Reading Association.

     
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  • The spread of apps on so-called ‘smartphones’ and other slightly larger handheld devices have enabled readers to view and read massive amounts of content online. But what about adolescent English language learners (ELLs), especially those emigrating and or fleeing from much poorer societies?
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    Hard-Copy Graphic Novels Are Vital for ESL Students

    by Christian W. Chun
     | Aug 14, 2014

    Five years ago I wrote “Critical literacies and graphic novels for English Language Learners: Teaching Maus,” for the Journal of Adolescent and Adult Literacy. Since that time, the increasing spread of apps on so-called ‘smartphones’ and other slightly larger handheld devices have enabled readers to view and read massive amounts of content online—at least those who have access to these expensive tools and their supporting infrastructure. These digital electronic devices make it much easier for readers to read their favorite books, all compiled, archived, and catalogued in an easily portable and quickly accessible form.

    But what about those who do not have such easy and immediate access to e-readers and apps, particularly adolescents? Will they continue to fall further behind their more affluent and privileged peers in reading levels and abilities? What about adolescent English language learners (ELLs), especially those emigrating and or fleeing from much poorer societies? What types of access do they have to this content, now at the literal fingertips of those who are much more fortunate?

    These days I see many a young reader immersed in their smartphones. Whether they’re walking down the street or riding the subways and buses, they’re playing Candy Crush or Farmville, texting their friends, watching the latest insipid Asian soap opera on YouTube, or incessantly checking their Facebook pages and the ‘likes’ they’ve garnered on their photo postings or status updates (but don’t we all?). I see few actually reading. Of course, this is not based on any scientific survey or careful ethnographic observation of a representative sample of adolescents over a period of time, merely anecdotal observations of their everyday behavior. When I do see teens and university-level students reading online content (other than their social media pages) on their devices, many are reading comic books and graphic novels in their digital forms.

    As much as I love my electronic devices and accompanying broadband access to read content posted from around the world—newspapers based in New York, Los Angeles, or London, or blogs written by anyone from anywhere on anything—when it comes to reading certain books, I am still what one might call “old school,” unashamedly and proudly so. I have read several popular books on a smartphone, but when I read what some call “serious” books. For example, I prefer to read academic tomes and works of literature in their physical manifestations as printed bound material, preferably in paperback for their lighter weight, as academic books tend to be much heavier due to their higher paper quality. And for books featuring elaborate and imaginative illustrations, colorful drawings, photos, and figures, this is a must for me. Why? I take seriously the sensual pleasures afforded by touching the cover, opening the book, turning the pages, and running my fingertips across a page feeling its particular fiber. These tactile sensations are not to be underestimated or discounted; indeed, they are central to the pleasures of reading in addition to the textually and visually-induced ones.

    The reader by now might be noting the perhaps unintended irony of this writer extolling the virtues of reading printed material on a website called Reading Today Online, but this is my point. As much as some of us entertain the notion that the Internet has connected us worldwide in countless ways, a sizable percentage of the global population does not have access to the Internet—one-third of the world, in fact. Included in this are the communities who cannot afford mobile electronic devices and broadband access in countries such as the United States and the U.K., where many immigrant ELLs reside.

    Thankfully, the institution of public libraries is still intact today. Go to one and look around. You will see people from diverse socioeconomic and cultural backgrounds all engaged with reading newspapers, magazines, books, and, yes, graphic novels. Graphic novels can be quite expensive to purchase and thus out of reach for families struggling to make ends meet, but with a library card, one can read many more graphic novels than one can afford to buy. This is still an important feature of any democratic society, or at least a society that proclaims itself to be one, the free public access to information through books written to inspire our imagination and creativity. In this, graphic novels in their printed forms are much more easily available to immigrant ELLs who don’t have the material resources for expensive electronic devices.

    For adolescent immigrant ELLs from these economically struggling families, graphic novels, as I argued in my 2009 article, can serve as a gateway to social networks and communities in high school that could enable them to adapt more easily to their new societies. But more than this, the availability of these graphic novels, tattered as they may be from numerous library borrowers turning those pages over and over, is of course an extremely important gateway to reading, and reading more. As I also argued, the interfaces between the visual images and illustrations of graphic novels and the textual, often sophisticated writing contained in those “speech balloons” help scaffold reading for ELLs. Additionally, reading about other immigrants struggling to adapt and live in their new societies, such as Maus and Persepolis, not only resonate with immigrant ELLs, but can also inspire them to find similar ways to survive and persist, and perhaps even triumph in small and large ways. Hasn’t that always been the aim of literature throughout the ages?

    Lastly, consider this: a child or adolescent having a smartphone back in 2005 or 2006 was most likely considered “cool” by her or his peers. Now? That’s so… 2005. Many (if not almost all) middle-class kids have not only one, but multiple electronic devices. An adolescent immigrant ELL student walking into the school cafeteria carrying not another iPhone or iPad but an actual graphic novel with its colorful images prominently displayed on the printed tattered cover? Now that’s cool.

    Christian W. Chun is an assistant professor in the Department of English at the City University of Hong Kong. Previously, he was on the faculty of the Rossier School of Education, University of Southern California. Drawing upon his extensive ESL teaching experience spanning nearly 20 years in Los Angeles, his research focuses on critical literacy approaches to English language education. His work has been published in Language Assessment Quarterly, Journal of Adolescent and Adult Literacy, Journal of English for Academic Purposes, and Research in the Teaching of English, and several edited volumes. His forthcoming book, Power and Meaning Making in an EAP Classroom: Engaging With the Everyday, will be published by Multilingual Matters in January 2015.

     
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  • Have you ever encountered a parent, a teacher, or a librarian who does not support graphic novels? I have. Whenever someone questions why I promote graphic novels, I pull one of the following resources out of my hat...
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    More Ways to Pitch Graphic Novels

    by John Schumacher
     | Aug 12, 2014

    More  Ways to Pitch Graphic NovelsBefore landing my dream job as a teacher-librarian, I taught third grade for four years. Every morning I placed a book and a short message on two or three students' desks. Sometimes the books and students matched, sometimes they did not. One morning a finicky reader found Amulet: The Stonekeeper on his desk. He usually ignored the note and shoved the book in his desk. Not that day. The cover caught his eye. And guess what? He started reading the words and studying the pictures. He finished it during recess. On the way back to the classroom, he handed me Amulet and said, "When are you going to buy the second book?" A graphic novel reader was born, and I became a staunch believer in the importance of graphic novels in every school classroom and library.

    Have you ever encountered a parent, a teacher, or a librarian who does not support graphic novels? I have. Whenever someone questions why I promote graphic novels, I pull one of the following resources out of my hat:

    Raising a Reader! How Comics & Graphic Novels Can Help Your Kids Love To Read

    I print out a dozen copies of this powerful document before parent-teacher conferences. It is a must-read for every educator and parent.

    Using Graphic Novels with Children and Teens: A Guide for Teachers and Librarians

    This colorful guide inspired one of my all-time favorite displays in my school library. It shares with everyone who enters our space why we support and promote graphic novels.

    The Association for Library Service to Children’s Graphic Novels Reading Lists

    Use this list to build or enhance your graphic novel collection.

    My Blendspace Lesson

    And here is something of my very own. I created a Blendspace lesson that highlights 14 graphic novels I regularly promote in my library.

    I hope you have a wonderful school year reading and promoting graphic novels.

    John Schumacher is a K-5 School Library Director in Oak Brook, IL. Read his popular blogs, Watch. Connect. Read. and Two Libraries One Voice for even more book suggestions. Follow him on Twitter at @mrschureads.

     
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  • Back-to-school is a wonderful time to reflect on what works for you as a teacher as well as what you would like to do differently this year.
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    • Quiet! Teacher in Progress

    Quiet! Teacher in Progress: Free Your Mind

    by Mrs. Mimi aka Jennifer Scoggin
     | Aug 07, 2014

    Being a teacher means embracing constant change. Yet all too often, teachers are told when, how, and why to change. In this monthly column, Mrs. Mimi takes on creating change for herself by rethinking old practices and redefining teaching on her own terms.

    Quiet! Teacher in Progress: Free Your Mind
    photo credit: Holtsman via photopin cc
    Back-to-school is upon us. Our return to the classroom is imminent and perhaps you have already spent time in your classrooms dutifully readying it for a new crop of little friends. As you know, this time of preparation is precious. For many of us we prepare voluntarily on our own schedule and therefore we use our hours as we see fit. Choosing a new color scheme for the bulletin boards, reorganizing the classroom library, revolutionizing how we deal with those &%$!! pesky unsharpened pencils. There are no forms to be filled out (yet!), assessments to be given (yet!), bathroom requests to deal with (yet!) or endless meetings filling our schedules (YET!).

     

    It is a wonderful time to reflect on what works for you as a teacher as well as what you would like to do differently this year. Of course, there are decisions you can't possibly make until your small fries walk in the door, but during these precious quiet pre-craziness moments, we can give some thought to what type of teacher we want to be this year. Might I make a suggestion?

    Expand your definition of what counts as "real reading." Just to lay my cards on the table, I believe real reading means children are actively engaged with text of their choice. Don't get me wrong, there are many children who become authentically engaged with texts assigned to them and there is a place for that type of reading. But I think we are all familiar with what it is like to assign a particular passage, an article or even an entire book for students to read. I am asking us to consider something beyond that.

    I work with a lot of wonderful teachers who love reading, have read many of the books in their classroom libraries and they are excited to share their love for many of these books with their students. Often these teachers, who are lovely, lovely people, offer their students an artificial choice between two very similar books that reflect the teacher's own reading preferences. Or, some teachers disregard books students bring from home, labeling them as too easy, too silly, or not classic literature. Again, these are fabulous teachers with the best of intentions, but they are inadvertently narrowing the choice for the student. Many students will dutifully complete the reading, but are they really reading? We might think it is "real" reading because the book is a classic, but if my many years of teaching reading have taught me anything, it is that children are amazing fakers. Some of them could win Tony Awards for the performances.

    Where is there time in your day for students to read texts of their choice? And what do students have to choose from? Are we validating these choices as "real" reading or subconsciously sending children the message that only certain types of texts count? If you are looking to expand the choices you offer to students, I know that can feel daunting, expensive, or just impossible. Consider these ideas:

    • Photo copy poems from favorite anthologies
    • Download digital texts on a tablet through a resource such as Scholastic's Storia
    • Offer access to reading-centric apps
    • Print out online articles from engaging sites such as National Geographic Kids or Wonderopolis
    • Laminate copies of song lyrics familiar to or popular with students
    • Snip articles from a variety of sections of the local paper
    • Collect maps of the world or menus from local restaurants
    • Put together a bin of magazines
    • Add graphic novels to your library
    • Offer a bin of photographs as wordless texts
    • Gather a variety of advertisements or other persuasive texts such as book reviews

     

    I am not saying to go anti-classics because my life would not be the same without The Trumpet of the Swans. I am merely suggesting we mix things up and prioritize the choices of our students as readers. Sometimes I just want to curl up with People magazine and put my latest The New York Times best seller down for a bit. And I am still a real reader despite my penchant for celebrity gossip.

    Mrs. Mimi, aka Jennifer Scoggin, is a teacher who taught both first and second grades at a public elementary school in New York City. She's the author of the upcoming Be Fabulous The Reading Teacher's Guide to Reclaiming Your Happiness in the Classroom and It's Not All Flowers and Sausages: My Adventures in Second Grade, which sprung from her popular blog of the same name. Mimi also has her doctorate in education from Teachers College, Columbia University.

     
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