A Quote by Nikki Giovanni

Language instruction should start in the first grade. Writing, also. — © Nikki Giovanni
Language instruction should start in the first grade. Writing, also.
The principal lesson of Emacs is that a language for extensions should not be a mere "extension language". It should be a real programming language, designed for writing and maintaining substantial programs. Because people will want to do that!
I almost flunked first grade and also the second, third, forth, and fifth; but my younger brother was in the grade behind me and he was a brain and nobody wanted to have me be in the same grade as him, so they kept passing me. I never learned how to spell, graduated from eighth grade counting on my fingers to do simple addition, and in general was not a resounding academic success.
Also, they don't understand - writing is language. The use of language. The language to create image, the language to create drama. It requires a skill of learning how to use language.
Children, of course, don't understand at first that they are being cheated. They come to school with a degree of faith and optimism, and they often seem to thrive during the first few years. It is sometimes not until the third grade that their teachers start to see the warning signs of failure. By the fourth grade many children see it too.
When you speak a foreign language, you become someone else. If you aren't used to speaking a language, and you start speaking it again, for the first few sentences you'll find yourself in very strange shape, because you're still the person who was speaking the first language. But if you keep speaking that language, you will become the person who corresponds to it.
Differentiated Instruction is a teaching philosophy based on the premise that teachers should adapt instruction to student differences. Rather than marching students through the curriculum lockstep, teachers should modify their instruction to meet students' varying readiness levels, learning preferences, and interests. Therefore, the teacher proactively plans a variety of ways to 'get it' and express learning.
I can always tell when I'm about to start writing. I go through cycles in reading. When I'm beginning to start to write something, I start reading what I think of as good literature. I read things with wonderful language.
With my students I give them lots and lots of guided writing. Part of it is as simple as writing a lot but not toward anything. The mind floats. Then I help them see where the language has heat. If we do this a lot in class, students eventually relax into this writing practice and enjoy it. Even just that - writing pleasure without the anxiety of "audience" or "grade" or "success" - is a kind of impetus toward the unfamiliar.
Public instruction should be the first object of government.
You have to keep writing. It's almost like practice, almost like tennis, that actually after a few days of not writing, first of all it makes you slightly depressed and uneasy, but it also affects the style when you start up again. You need to get the show on the road.
I believe that part of what propels science is the thirst for wonder. It's a very powerful emotion. All children feel it. In a first grade classroom everybody feels it; in a twelfth grade classroom almost nobody feels it, or at least acknowledges it. Something happens between first and twelfth grade, and it's not just puberty. Not only do the schools and the media not teach much skepticism, there is also little encouragement of this stirring sense of wonder. Science and pseudoscience both arouse that feeling. Poor popularizations of science establish an ecological niche for pseudoscience.
A book, at the same time, also has to do with what I call a buzz in the head. It's a certain kind of music that I start hearing. It's the music of the language, but it's also the music of the story. I have to live with that music for a while before I can put any words on the page. I think that's because I have to get my body as much as my mind accustomed to the music of writing that particular book. It really is a mysterious feeling.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
When I met Judd Apatow, he told me I should start writing screenplays. They'd be really bad at first, but the more I did it, the better I'd get.
I've been writing plays since the third grade. The biggest difference now is that professionals act in them rather than eight year olds...and the language is a bit more "colorful".
Instead of doing a B or C grade Hindi film, I would much rather do an A grade regional language film.
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