Best Selling Books by Nancy Lane

Nan''s story is of a young woman desiring to connect with a mother she never knew, bringing the stories of Nan''s short lived life to a realty she can understand. Nan''s story is of an unfilled, unconditional love of a mother.

When Sarah went to sleep,she stopped breathing the dream was her transient phase. Pata and Kira waited on the Other Side to take her to her final destination. A journey we will all make one day. This is Sarah''s journey. She did get to see all her love one that was already on the Other Side, they were the families in the courtyard.

This report, based on findings from The Elementary Arts Education Survey, 1994, looks at information regarding the general questions: (1) What art subjects are being taught in public schools? (2) How do schools and districts support arts education? (3) How have schools'' arts programs changed compared to 5 years ago. Survey responses indicate that the primary focus of public school arts education is music and visual arts, with music instruction receiving more commitment than visual arts. Creative writing is typically incorporated into the language arts curriculum. Dance instruction by a dance specialist is rare, and dramatic and theatre activities are most often used by classroom teachers to reinforce instruction in other subjects. Elementary students are receiving about the same amount of instruction time in music and visual arts, although classroom teachers are more likely to teach visual arts than music, which is taught predominantly by music specialists. Very little is being done to promote arts education through external resources. But school districts'' commitment to keeping arts education in the mainstream of basic education is evidenced by allocation of funds to arts education; developing and providing curriculum guidelines in arts subjects; and by employing an arts curriculum coordinator. An examination of changes in terms of arts programs as compared to 5 years ago indicates that increases in instructional time, number of arts staff, allocation of supplies and materials, funds for teachers'' classroom use, and use of museums, galleries, and performances are reported by 20 to 30 percent of the respondents. Forty-one percent of elementary schools and 62 percent of secondary schools reported increases in enrollment. About half of the schools reported an increase in the number of courses offered, while 39 percent reported that the number of courses had remained the same. Fifteen tables present survey data. The appendices present the following: "Survey Methodology and Data Reliability"; "Tables of Standard Errors"; and examples of survey forms. (MM)

An extensive literature on gender and housework has documented the fact that even when they are employed, women typically do two to three times the housework of their husbands. It''s also the case that women work many fewer employment hours, on average, than do men. So despite the growth of women in the labor force and the increasing tendency of men to participate in housework and childcare, traditional sex roles maintain a stubborn presence. One event in particular stands out as a powerful catalyst for sex-typing within a marriage: the arrival of children. With young children at home, women decrease their workplace hours and increase their housework hours. At the same time, children have little or no effect on the hours men spend either on employment or housework. Since social and material rewards aren''t evenly distributed across home and market labor, the investments that individual men and women make aggregate, at the level of social structure, to systematic gender differences in wealth and status. Because children have such a large effect on the way men and women divide labor, and because this division in turn has such a large effect on gender stratification, it is important to get at some of the underlying reasons that dual-earner couples “fall back” to more traditional roles after they have children. What factors are behind a couple''s redistribution of labor hours after they become parents? I come at this issue from two directions, considering first the rise in the proportion of housework hours women do, and then the drop on their proportion of employment hours. First, why don''t women resist a division of housework in which they do twice what their husbands do? And second, why do women choose to decrease their employment hours so dramatically while men''s hours register virtually no change? In chapter 2, I ask whether women employ a particular equity principle in judging whether the division of housework is fair—a principle in which men compensate for a smaller proportion of housework hours with a larger proportion of employment hours. I find that indeed women''s use of this principle can account for their lack of resistance to a much more sex-typed division of housework. In chapters 3 and 4 I tackle the issue of employment. In chapter 3, I explicitly test an explanation often taken for granted: that the decision to drop or not drop employment hours is rooted in a sex stratified labor market—in other words, that women stay home with children because they make less money than their husbands do. Having found that a comparative advantage in market labor can''t account for men''s and women''s employment decisions, in chapter 4 I ask what alternative reasons there might be. I test a psychological theory, asking whether a gender difference in work commitment underlies the gender difference in post-natal employment hours. I find that what might at first look like a gender difference in work commitment is better understood as a gender difference in felt responsibility for care of young children.

The Rev. Nancy Lane presents articles, an annotated bibliography, a course syllabus, and handouts on disability and spirituality. Much of the emphasis in this package is on the spiritual healing of wounds created within individuals by attitudes toward and discrimination against people with disabilities.

Dealing With the Drama is written for high school theatre students but also provides an excellent resource for parents and teachers. The guidebook serves as an overview for understanding the educational, psychological and social mechanics of an educational theatre environment. Students--provides a solid guidance throughout the high school experience and provides a sturdy bridge to developing a professional career. Parents--presents a fresh perspective and understanding of how to support a young artist. Teachers--when presented in the classroom, it promotes a strong, healthy and creative learning environment.