Below is a bibliography of all of the poetry books used for the poetry breaks and poetry book reviews listed on this blog for the LS 5663 course at Texas Woman's University:
Alarcon, Francisco X. 2005. POEMS TO DREAM TOGETHER = POEMAS PARA SONAR JUNTOS. Ill. by Paula Barragan. New York: Lee & Low Books Inc. ISBN 9781584302339
Bagert, Brod. 2008. SCHOOL FEVER. Ill. by Robert Neubecker. New York: Dial Books for Young Readers. ISBN 9780803732018
Cleary, Brian P. 2004. RAINBOW SOUP: ADVENTURES IN POETRY. Ill. by Neal Layton. Minneapolis, MN: Carolrhoda Books, Inc. ISBN 157505597X
Cyrus, Kurt. 2005. HOTEL DEEP: LIGHT VERSE FROM DARK WATER. New York: Harcourt, Inc. ISBN 0152167714
Florian, Douglas. 2000. MAMMALABILIA. San Diego, CA: Harcourt, Inc. ISBN 0152021671
Foxworthy, Jeff. 2009. SILLY STREET. Ill. by Steve Bjorkman. New York: HarperCollins Children’s Books. ISBN 9780061719196
Grimes, Nikki. 2007. WHEN GORILLA GOES WALKING. Ill. by Shane Evans. New York: Orchard Books. ISBN 9780439317702
Hopkins, Lee Bennett. 2002. HOOFBEATS, CLAWS & RIPPLED FINS: CREATURE POEMS. Ill. by Stephen Alcorn. New York: HarperCollins Publishers. ISBN 0688179428
Janeczko, Paul B., comp. 1990. THE PLACE MY WORDS ARE LOOKING FOR. New York: Bradbury Press. ISBN 0027476715
Janeczko, Paul B., comp. 2001. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS. Ill. by Chris Raschka. Cambridge, Mass.: Candlewick Press. ISBN 0763606618
Lowe, Ayana, ed. 2008. COME AND PLAY: CHILDREN OF OUR WORLD HAVING FUN / POEMS BY CHILDREN. Pictures from Magnum Photos. New York: Bloomsbury U.S.A. Children’s Books. ISBN 1599902451
Martin Jr., Bill, ed. 2008. THE BILL MARTIN JR BIG BOOK OF POETRY. New York: Simon & Schuster Books for Young Readers. ISBN 9781416939719
Schertle, Alice. 1999. A LUCKY THING. Ill. by Wendell Minor. San Diego, CA: Harcourt, Inc. ISBN 0152005412
Sidman, Joyce. 2005. SONG OF THE WATER BOATMAN AND OTHER POND POEMS. Ill. by Beckie Prange. New York: Houghton Mifflin Company. ISBN 9780618135479
Sidman, Joyce. 2007. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS. Ill. by Pamela Zagarenski. New York: Houghton Mifflin Company. ISBN 9780618616800
Thomas, Joyce Carol, ed. 2003. LINDA BROWN, YOU ARE NOT ALONE: THE BROWN V. BOARD OF EDUCATION DECISION. Ill. by Curtis James. New York: Hyperion Books for Children. ISBN 0786826401
Troupe, Quincy. 2000. TAKE IT TO THE HOOP, MAGIC JOHNSON. Ill. by Shane W. Evans. New York: Hyperion Books for Children. ISBN 0786824468
Woodson, Jacqueline. 2003. LOCOMOTION. New York: G.P. Putnam’s Sons. ISBN 0399231153
Saturday, April 25, 2009
Sunday, April 12, 2009
Module 6: Poetry Book Review - Poetry By Children
COME AND PLAY: CHILDREN OF OUR WORLD HAVING FUN / POEMS BY CHILDREN Edited by Ayana Lowe
(Lowe, Ayana, ed. 2008. COME AND PLAY: CHILDREN OF OUR WORLD HAVING FUN / POEMS BY CHILDREN. Pictures from Magnum Photos. New York: Bloomsbury U.S.A. Children’s Books. ISBN 1599902451)
In this unique poetry book edited by Ayana Lowe, 27 poems written by children are paired with incredible photographs of children playing around the world. Each double page features the poem in bright lettering on a black background on the left side and the accompanying photograph on the right side. The location and date of each photograph is also included, giving each poem a unique context. Individual authors are not named for each poem, giving the impression that the poems may have been the product of a collaborative effort among many children. Some of the poems rhyme and some do not, but each poem offers the refreshing perspectives of children. Sense imagery, emotional impact, onomatopoeia, and metaphorical language are among the various poetic elements that can be found in the poems. For example, the upbeat poem FUN IS A MOTION combines sense imagery, metaphorical language, and elated emotion:
FUN IS A MOTION
Fun is a motion.
Something that you really like.
Trying to fly, you feel a tingling
sensation inside of you.
Yippee!
While FUN IS A MOTION is an upbeat poem, many of the poems and photographs in the collection capture a range of emotions that children may feel while engaging in play activities. CAITLIN'S IDEA touches on the fear that children may feel when trying something new or challenging:
CAITLIN’S IDEA
It’s fun to jump.
Wheeee!
One of them is flying.
Her hair is waving.
The other one is holding on.
Why?
Maybe she’s scared.
This collection also includes an introductory poem written by Poet Laureate Rita Dove, information about each of the photographs, a world map depicting the locations showcased in each photograph, information about the writers and photographers, as well as an excerpt from Ayana Lowe on the amazing power of children’s play.
The 29 stunning photographs from Magnum Photos are the foundation for each of the children’s poems, and they capture the universal joys of childhood play with amazing clarity. With a mixture of both black and white as well as color photographs, the visuals in this collection are as unique and inspiring as the poems are. Additionally, the photographs from around the world range in date from 1951 to 2005, further emphasizing the universal and timeless nature of childhood play.
This poetry book is truly a celebration of children everywhere and the universal power of childhood play. The visual design of this book is extraordinarily appealing, and the fact that all of the poems are written by children might encourage other children to try writing poetry themselves. This beautiful collection could be a source of inspiration for children as well as a heartening reminder of the joys of childhood for adults. Just as the pleasures of childhood play are timeless and universal, this poetry collection has the potential to stand the test of time for both children and adults.
(Lowe, Ayana, ed. 2008. COME AND PLAY: CHILDREN OF OUR WORLD HAVING FUN / POEMS BY CHILDREN. Pictures from Magnum Photos. New York: Bloomsbury U.S.A. Children’s Books. ISBN 1599902451)
In this unique poetry book edited by Ayana Lowe, 27 poems written by children are paired with incredible photographs of children playing around the world. Each double page features the poem in bright lettering on a black background on the left side and the accompanying photograph on the right side. The location and date of each photograph is also included, giving each poem a unique context. Individual authors are not named for each poem, giving the impression that the poems may have been the product of a collaborative effort among many children. Some of the poems rhyme and some do not, but each poem offers the refreshing perspectives of children. Sense imagery, emotional impact, onomatopoeia, and metaphorical language are among the various poetic elements that can be found in the poems. For example, the upbeat poem FUN IS A MOTION combines sense imagery, metaphorical language, and elated emotion:
FUN IS A MOTION
Fun is a motion.
Something that you really like.
Trying to fly, you feel a tingling
sensation inside of you.
Yippee!
While FUN IS A MOTION is an upbeat poem, many of the poems and photographs in the collection capture a range of emotions that children may feel while engaging in play activities. CAITLIN'S IDEA touches on the fear that children may feel when trying something new or challenging:
CAITLIN’S IDEA
It’s fun to jump.
Wheeee!
One of them is flying.
Her hair is waving.
The other one is holding on.
Why?
Maybe she’s scared.
This collection also includes an introductory poem written by Poet Laureate Rita Dove, information about each of the photographs, a world map depicting the locations showcased in each photograph, information about the writers and photographers, as well as an excerpt from Ayana Lowe on the amazing power of children’s play.
The 29 stunning photographs from Magnum Photos are the foundation for each of the children’s poems, and they capture the universal joys of childhood play with amazing clarity. With a mixture of both black and white as well as color photographs, the visuals in this collection are as unique and inspiring as the poems are. Additionally, the photographs from around the world range in date from 1951 to 2005, further emphasizing the universal and timeless nature of childhood play.
This poetry book is truly a celebration of children everywhere and the universal power of childhood play. The visual design of this book is extraordinarily appealing, and the fact that all of the poems are written by children might encourage other children to try writing poetry themselves. This beautiful collection could be a source of inspiration for children as well as a heartening reminder of the joys of childhood for adults. Just as the pleasures of childhood play are timeless and universal, this poetry collection has the potential to stand the test of time for both children and adults.
Module 6: Poetry Book Review - Paul Janeczko Collection
A POKE IN THE I: A COLLECTION OF CONCRETE POEMS Selected by Paul B. Janeczko
(Janeczko, Paul B., comp. 2001. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS. Ill. by Chris Raschka. Cambridge, Mass.: Candlewick Press. ISBN 0763606618)
In this spectacular collection of thirty concrete poems, Janeczko puts together an appealing sampling of this visually stimulating form of poetry. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS begins with a table of contents and an explanation of concrete poetry in general. As Janeczko states, the unique arrangement of letters on the page along with the deliberate use of font size and space “add meaning to the poem beyond that contained in the actual words.”
As the definition of concrete poetry implies, the visual representation of each poem in this collection is as much a part of the poem as the words themselves. For example, Robert Froman’s A SEEING POEM states, “A seeing poem happens when words take a shape that helps them to turn on a light in someone’s mind.” As enlightening as the words alone are, their unique placement on the page in the shape of a hanging light bulb drives home the meaning of the poem in a visual way while increasing the appeal of the poem. Similarly, John Hegley’s poem, I NEED CONTACT LENSES, makes clever use of font size and space on the page to convey its meaning by arranging the letters of the poem in a way that resembles an eyesight testing chart:
(Janeczko, Paul B., comp. 2001. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS. Ill. by Chris Raschka. Cambridge, Mass.: Candlewick Press. ISBN 0763606618)
In this spectacular collection of thirty concrete poems, Janeczko puts together an appealing sampling of this visually stimulating form of poetry. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS begins with a table of contents and an explanation of concrete poetry in general. As Janeczko states, the unique arrangement of letters on the page along with the deliberate use of font size and space “add meaning to the poem beyond that contained in the actual words.”
As the definition of concrete poetry implies, the visual representation of each poem in this collection is as much a part of the poem as the words themselves. For example, Robert Froman’s A SEEING POEM states, “A seeing poem happens when words take a shape that helps them to turn on a light in someone’s mind.” As enlightening as the words alone are, their unique placement on the page in the shape of a hanging light bulb drives home the meaning of the poem in a visual way while increasing the appeal of the poem. Similarly, John Hegley’s poem, I NEED CONTACT LENSES, makes clever use of font size and space on the page to convey its meaning by arranging the letters of the poem in a way that resembles an eyesight testing chart:
I NEED CONTACT LENSES
By John Hegley
I
N E E D
C O N T A C T
L E N S E S
like I need a poke in the eye
Each concrete poem selected by Janeczko is incredibly unique compared to the next poem. Some of the poems make excellent use of poetic elements such as sound and sense imagery to convey their meaning. For example, the poem POPSICLE by Joan Bransfield Graham makes great use of rhyme, consonance, and sense imagery in a fun, tongue-twisting way: “Popsicle / Popsicle / tickle / tongue fun / licksicle / sticksicle / please / don’t run / dripsicle / slipsicle / melt, melt / tricky / stopsicle / plopsicle/ hand all / sticky.” Adding to the fun of this poem is the fact that the words are arranged in the shape of an actual Popsicle, with the word “sticky” serving as the stick. Other poems in this collection manage to stand out and make an impact with a single word, such as STOWAWAY by Robert Carola. Children are sure to enjoy finding the hidden “intruder” in Reinhard Dohl’s PATTERN POEM WITH AN ELUSIVE INTRUDER, which features the word “Apfel” repeated over and over again in the shape of an apple with the single word “Wurm” hidden among the numerous “Apfels.”
Despite the differences in the poems, nearly all of the poems in this collection are very playful and upbeat in tone and presentation, making the collection an appealing choice to share with children. Chris Raschka’s brightly colored and mesmerizing illustrations match the artistic quality of the poems highlighted in this book and add to the appeal of this stunning collection. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS is a perfect choice for introducing children to the form of concrete poetry, and this collection is also a great way to show both children and adults just how much fun (and visually appealing) this form of creative poetry can be.
Despite the differences in the poems, nearly all of the poems in this collection are very playful and upbeat in tone and presentation, making the collection an appealing choice to share with children. Chris Raschka’s brightly colored and mesmerizing illustrations match the artistic quality of the poems highlighted in this book and add to the appeal of this stunning collection. A POKE IN THE I: A COLLECTION OF CONCRETE POEMS is a perfect choice for introducing children to the form of concrete poetry, and this collection is also a great way to show both children and adults just how much fun (and visually appealing) this form of creative poetry can be.
Module 6: Poetry Break - Serious Poem
SPEECH CLASS By Jim Daniels
(Found in: Janeczko, Paul B., comp. 1990. THE PLACE MY WORDS ARE LOOKING FOR. New York: Bradbury Press. ISBN 0027476715)
This touching and serious poem exposes the struggles and embarrassment that children with speech problems can face. The author does an excellent job conveying his emotions in a way that both children and adults can easily sympathize with. The poem includes a photograph of Jim Daniels and an excerpt that discusses why he writes poetry as well as the childhood speech struggles that inspired this poem. Daniels openly discusses being rendered speechless whenever someone would make fun of his speech and lying in bed at night practicing his speech sounds. In discussing his poetry writing at an early age, Daniels says that poetry became “the paper that didn’t make fun of what I said or how I said it.” Daniels’ eye-opening poem offers adults and children a personal look at the struggles that many children face.
INTRODUCTION: Ask students to think about what it would be like to have a difficult time forming words and communicating with others. Then, ask them to write a short diary entry from the point of view of a person who has a difficult time communicating. Students can discuss how they would feel about their difficulty, what would be frustrating about it, and ways that they could compensate for their communication difficulty.
SPEECH CLASS
(FOR JOE)
By Jim Daniels
We were outcasts –
you with your stutters,
me with my slurring –
and that was plenty for a friendship.
When we left class to go to the therapist
we hoped they wouldn’t laugh –
took turns reminding the teacher:
“Me and Joe have to go to shpeesh clash now,”
or “M-m-me and J-Jim ha-have to go to
s-s-speech now.”
Mrs. Clark, therapist, was also god, friend, mother.
Once she took us to the zoo on a field trip:
“Aw, ya gonna go look at the monkeys?”
“Maybe they’ll teach you how to talk.”
We clenched teeth and went
and felt the sun and fed the animals
and we were a family of broken words.
For years we both tried so hard
and I finally learned
where to put my tongue and how to make the sounds
and graduated,
but the first time you left class without me
I felt that punch in the gut –
I felt like a deserter
and wanted you
to have my voice.
EXTENSION: After reading the poem, discuss how common speech problems are for children (somewhere around 10% of children might experience some type of speech difficulty). Ask children to discuss how the author felt about his speech problems and brainstorm ways that people around the author might have made him feel less embarrassed about his situation. Finally, remind children that the author was able to overcome his struggles and ended up becoming very successful despite his initial difficulties with speech.
(Found in: Janeczko, Paul B., comp. 1990. THE PLACE MY WORDS ARE LOOKING FOR. New York: Bradbury Press. ISBN 0027476715)
This touching and serious poem exposes the struggles and embarrassment that children with speech problems can face. The author does an excellent job conveying his emotions in a way that both children and adults can easily sympathize with. The poem includes a photograph of Jim Daniels and an excerpt that discusses why he writes poetry as well as the childhood speech struggles that inspired this poem. Daniels openly discusses being rendered speechless whenever someone would make fun of his speech and lying in bed at night practicing his speech sounds. In discussing his poetry writing at an early age, Daniels says that poetry became “the paper that didn’t make fun of what I said or how I said it.” Daniels’ eye-opening poem offers adults and children a personal look at the struggles that many children face.
INTRODUCTION: Ask students to think about what it would be like to have a difficult time forming words and communicating with others. Then, ask them to write a short diary entry from the point of view of a person who has a difficult time communicating. Students can discuss how they would feel about their difficulty, what would be frustrating about it, and ways that they could compensate for their communication difficulty.
SPEECH CLASS
(FOR JOE)
By Jim Daniels
We were outcasts –
you with your stutters,
me with my slurring –
and that was plenty for a friendship.
When we left class to go to the therapist
we hoped they wouldn’t laugh –
took turns reminding the teacher:
“Me and Joe have to go to shpeesh clash now,”
or “M-m-me and J-Jim ha-have to go to
s-s-speech now.”
Mrs. Clark, therapist, was also god, friend, mother.
Once she took us to the zoo on a field trip:
“Aw, ya gonna go look at the monkeys?”
“Maybe they’ll teach you how to talk.”
We clenched teeth and went
and felt the sun and fed the animals
and we were a family of broken words.
For years we both tried so hard
and I finally learned
where to put my tongue and how to make the sounds
and graduated,
but the first time you left class without me
I felt that punch in the gut –
I felt like a deserter
and wanted you
to have my voice.
EXTENSION: After reading the poem, discuss how common speech problems are for children (somewhere around 10% of children might experience some type of speech difficulty). Ask children to discuss how the author felt about his speech problems and brainstorm ways that people around the author might have made him feel less embarrassed about his situation. Finally, remind children that the author was able to overcome his struggles and ended up becoming very successful despite his initial difficulties with speech.
Friday, April 3, 2009
Module 5: Poetry Break - Favorite Newer Poem (since 2008)
THE BIGGEST TREE HOUSE By Jeff Foxworthy
(Found in: Foxworthy, Jeff. 2009. SILLY STREET. Ill. by Steve Bjorkman. New York: HarperCollins Children’s Books. ISBN 9780061719196)
Children will easily relate to the imaginative quality of this poem. This rhyming poem captures the magic of childhood by describing the adventures a child could have in the biggest tree house imaginable. Steve Bjorkman’s colorful illustration of dozens of children frolicking, swinging, and playing in a gigantic tree house stretching high in the sky will certainly capture young children’s attention.
INTRODUCTION: As a group, ask students to help you draw and design “the ultimate tree house” for children. Lay out a large piece of butcher paper on the floor and allow students to work together to design one large tree house complete with the coolest features imaginable. As students are working, ask volunteers to share their ideas of what features would make the tree house fun.
THE BIGGEST TREE HOUSE
By Jeff Foxworthy
On the side of the street
In a fabulous tree
Is the biggest tree house
You ever will see.
You are welcome to climb
Clear up to the sky.
Wave the flag at the top
‘Cause you’re higher than high.
You could meet with your club,
Yell hello to your friends,
‘Cause in the great tree house
The fun never ends.
You can wave to the birds,
You can sing really loud,
And on the right day
You can hide in a cloud.
EXTENSION: Since this poem wraps up its imaginative quality with hiding in a cloud, it opens the door to a fun discussion of clouds and their various shapes. Read the story LITTLE CLOUD by Eric Carle to spark even more interest in clouds and the power of imagination. Then, keep the creative juices flowing by taking children outside to gaze at the clouds to see where their imaginations can take them! Children could even create artwork (using paint or even cotton balls to form clouds) that showcases the various shapes that can be seen in the clouds.
(Found in: Foxworthy, Jeff. 2009. SILLY STREET. Ill. by Steve Bjorkman. New York: HarperCollins Children’s Books. ISBN 9780061719196)
Children will easily relate to the imaginative quality of this poem. This rhyming poem captures the magic of childhood by describing the adventures a child could have in the biggest tree house imaginable. Steve Bjorkman’s colorful illustration of dozens of children frolicking, swinging, and playing in a gigantic tree house stretching high in the sky will certainly capture young children’s attention.
INTRODUCTION: As a group, ask students to help you draw and design “the ultimate tree house” for children. Lay out a large piece of butcher paper on the floor and allow students to work together to design one large tree house complete with the coolest features imaginable. As students are working, ask volunteers to share their ideas of what features would make the tree house fun.
THE BIGGEST TREE HOUSE
By Jeff Foxworthy
On the side of the street
In a fabulous tree
Is the biggest tree house
You ever will see.
You are welcome to climb
Clear up to the sky.
Wave the flag at the top
‘Cause you’re higher than high.
You could meet with your club,
Yell hello to your friends,
‘Cause in the great tree house
The fun never ends.
You can wave to the birds,
You can sing really loud,
And on the right day
You can hide in a cloud.
EXTENSION: Since this poem wraps up its imaginative quality with hiding in a cloud, it opens the door to a fun discussion of clouds and their various shapes. Read the story LITTLE CLOUD by Eric Carle to spark even more interest in clouds and the power of imagination. Then, keep the creative juices flowing by taking children outside to gaze at the clouds to see where their imaginations can take them! Children could even create artwork (using paint or even cotton balls to form clouds) that showcases the various shapes that can be seen in the clouds.
Module 5: Poetry Book Review - Favorite New Book (since 2005)
THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS by Joyce Sidman
(Sidman, Joyce. 2007. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS. Ill. by Pamela Zagarenski. New York: Houghton Mifflin Company. ISBN 9780618616800)
In this unique book of apology poems, Joyce Sidman writes poems from the perspective of a class of sixth grade students. The book begins with an introduction written from the perspective of Anthony K., a sixth grader in Mrs. Merz’s class. The introduction explains the unusual “sorry poem” premise of the book, including the fact that the book also includes the response poems written by the people who received the original apology poems. The book is divided into two parts, apologies and responses, and a table of contents makes locating the poems and their corresponding responses easy. The book also quotes William Carlos Williams’ poem THIS IS JUST TO SAY, giving him credit for inspiring the project.
The poems are written in a variety of formats and emotions, including a funny poem about stealing jelly doughnuts from the teachers’ lounge (THIS IS JUST TO SAY) as well as a serious and heartbreaking poem about having to put a dog to sleep (IT WAS QUIET). Despite the vast range of poems and emotions covered in this book, Sidman manages to write in ways that will draw children in, especially upper elementary and middle school students who will certainly relate to many of the topics covered in the poems. Any child who has ever gotten carried away in a fight with a sibling will likely relate to THE BLACK SPOT, which describes the lingering remorse of a young girl after stabbing her sister in the hand with a pencil long ago:
THE BLACK SPOT
(By Joyce Sidman)
That black spot on your palm.
It never goes away.
So long ago
I can hardly remember,
I stabbed you with a pencil.
Part of the lead, there,
still inside you.
And inside me, too,
something small and black.
Hidden away.
I don’t know what to call it,
the nugget of darkness,
that made me stab you.
It never goes away.
Both marks, still there.
Small black
reminders.
by Alyssa
Both children and adults will appreciate the humor in the poem DEAR THOMAS, written in response to the apology made by the student who stole the jelly doughnuts from the teachers’ lounge:
DEAR THOMAS
(By Joyce Sidman)
Thank you for your poem.
You do have a way with you, Thomas.
Smiling, asking me how I’m doing today,
talking a mile a minute.
Slipping in and out (yes, I see you!)
stealing our hearts, and our doughnuts, too.
A nice boy like you can really
get on in the world
if he doesn’t let his fingers run away with him.
Of course I forgive you.
But I still have to call your mother.
by Mrs. Garcia (in the office)
While each apology poem and response poem are unique and endearing in their own way, it is the book as a whole that is truly an exceptional book of poetry to share with children. Capturing the spirit and emotions of childhood in a clever and unique way, Sidman offers a fascinating look at the complexity of human relationships and how we treat others. Additionally, Pamela Zagarenski’s interesting and colorful collage illustrations add to the appeal of the book. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS looks like a book that children will pick up, and the charming poems have the power to really hook children in.
(Sidman, Joyce. 2007. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS. Ill. by Pamela Zagarenski. New York: Houghton Mifflin Company. ISBN 9780618616800)
In this unique book of apology poems, Joyce Sidman writes poems from the perspective of a class of sixth grade students. The book begins with an introduction written from the perspective of Anthony K., a sixth grader in Mrs. Merz’s class. The introduction explains the unusual “sorry poem” premise of the book, including the fact that the book also includes the response poems written by the people who received the original apology poems. The book is divided into two parts, apologies and responses, and a table of contents makes locating the poems and their corresponding responses easy. The book also quotes William Carlos Williams’ poem THIS IS JUST TO SAY, giving him credit for inspiring the project.
The poems are written in a variety of formats and emotions, including a funny poem about stealing jelly doughnuts from the teachers’ lounge (THIS IS JUST TO SAY) as well as a serious and heartbreaking poem about having to put a dog to sleep (IT WAS QUIET). Despite the vast range of poems and emotions covered in this book, Sidman manages to write in ways that will draw children in, especially upper elementary and middle school students who will certainly relate to many of the topics covered in the poems. Any child who has ever gotten carried away in a fight with a sibling will likely relate to THE BLACK SPOT, which describes the lingering remorse of a young girl after stabbing her sister in the hand with a pencil long ago:
THE BLACK SPOT
(By Joyce Sidman)
That black spot on your palm.
It never goes away.
So long ago
I can hardly remember,
I stabbed you with a pencil.
Part of the lead, there,
still inside you.
And inside me, too,
something small and black.
Hidden away.
I don’t know what to call it,
the nugget of darkness,
that made me stab you.
It never goes away.
Both marks, still there.
Small black
reminders.
by Alyssa
Both children and adults will appreciate the humor in the poem DEAR THOMAS, written in response to the apology made by the student who stole the jelly doughnuts from the teachers’ lounge:
DEAR THOMAS
(By Joyce Sidman)
Thank you for your poem.
You do have a way with you, Thomas.
Smiling, asking me how I’m doing today,
talking a mile a minute.
Slipping in and out (yes, I see you!)
stealing our hearts, and our doughnuts, too.
A nice boy like you can really
get on in the world
if he doesn’t let his fingers run away with him.
Of course I forgive you.
But I still have to call your mother.
by Mrs. Garcia (in the office)
While each apology poem and response poem are unique and endearing in their own way, it is the book as a whole that is truly an exceptional book of poetry to share with children. Capturing the spirit and emotions of childhood in a clever and unique way, Sidman offers a fascinating look at the complexity of human relationships and how we treat others. Additionally, Pamela Zagarenski’s interesting and colorful collage illustrations add to the appeal of the book. THIS IS JUST TO SAY: POEMS OF APOLOGY AND FORGIVENESS looks like a book that children will pick up, and the charming poems have the power to really hook children in.
Wednesday, April 1, 2009
Module 5: Poetry Break - Poem With Refrain
ONCE UPON A TIME by Bill Martin Jr. and Michael Sampson
(Found in: Martin Jr., Bill, ed. 2008. THE BILL MARTIN JR BIG BOOK OF POETRY. New York: Simon & Schuster Books for Young Readers. ISBN 9781416939719)
This mesmerizing poem captures the amazing ability of storytellers to entertain people from all walks of life. Just as storytellers have the ability to draw people in, this rhyming and rhythmic poem will capture children’s attention easily. The refrain used in this selection is: “Tell it again, Storyteller, / Tell it again, / Onceupona / Onceupona / Onceuponatime, / Tell it again, Storyteller / Tell it again.” Additionally, David Gordon’s illustration of a variety of individuals, such as a mummy, a witch, and several children, all huddled around a campfire while listening intently to a storyteller matches the entrancing nature of the poem well.
INTRODUCTION: Prior to reading this poem aloud, write the phrase “once upon a time” on the board. Ask students to share what they think that phrase means. Then, as a group, brainstorm the thoughts and images that come to mind whenever “once upon a time” is heard. Students will likely state that “once upon a time” evokes images of fairy tales and imaginative stories that take place in faraway lands. Briefly remind students of the power of great stories to take people and their imaginations to amazing places.
ONCE UPON A TIME
By Bill Martin Jr. and Michael Sampson
The storyteller came to town
To share his gifts sublime,
Tell it again, Storyteller,
Tell it again,
Onceupona
Onceupona
Onceuponatime,
Tell it again, Storyteller
Tell it again,
Doors flew open to him,
Kings begged him not depart,
And children tucked his stories
In the pockets of their heart,
Tell it again, Storyteller
Tell it again,
Onceupona
Onceupona
Onceuponatime,
Tell it again, Storyteller
Tell it again,
He told of scary ghosts
And of witches who became toast,
Of knights of old
And outlaws bold,
Oh
Onceupona
Onceupona
Onceuponatime,
Tell it again, Storyteller,
Tell it again.
EXTENSION: After sharing the poem, briefly share a story that you remember being shared with you as a child (for me personally, I remember hearing “The Three Little Pigs” story being told to me by my parents from memory). Then, allow student volunteers to share a few stories that are a part of their families’ storytelling traditions. Close the poetry break with a quick reminder of how exciting both listening to and telling stories can be for people of all ages.
(Found in: Martin Jr., Bill, ed. 2008. THE BILL MARTIN JR BIG BOOK OF POETRY. New York: Simon & Schuster Books for Young Readers. ISBN 9781416939719)
This mesmerizing poem captures the amazing ability of storytellers to entertain people from all walks of life. Just as storytellers have the ability to draw people in, this rhyming and rhythmic poem will capture children’s attention easily. The refrain used in this selection is: “Tell it again, Storyteller, / Tell it again, / Onceupona / Onceupona / Onceuponatime, / Tell it again, Storyteller / Tell it again.” Additionally, David Gordon’s illustration of a variety of individuals, such as a mummy, a witch, and several children, all huddled around a campfire while listening intently to a storyteller matches the entrancing nature of the poem well.
INTRODUCTION: Prior to reading this poem aloud, write the phrase “once upon a time” on the board. Ask students to share what they think that phrase means. Then, as a group, brainstorm the thoughts and images that come to mind whenever “once upon a time” is heard. Students will likely state that “once upon a time” evokes images of fairy tales and imaginative stories that take place in faraway lands. Briefly remind students of the power of great stories to take people and their imaginations to amazing places.
ONCE UPON A TIME
By Bill Martin Jr. and Michael Sampson
The storyteller came to town
To share his gifts sublime,
Tell it again, Storyteller,
Tell it again,
Onceupona
Onceupona
Onceuponatime,
Tell it again, Storyteller
Tell it again,
Doors flew open to him,
Kings begged him not depart,
And children tucked his stories
In the pockets of their heart,
Tell it again, Storyteller
Tell it again,
Onceupona
Onceupona
Onceuponatime,
Tell it again, Storyteller
Tell it again,
He told of scary ghosts
And of witches who became toast,
Of knights of old
And outlaws bold,
Oh
Onceupona
Onceupona
Onceuponatime,
Tell it again, Storyteller,
Tell it again.
EXTENSION: After sharing the poem, briefly share a story that you remember being shared with you as a child (for me personally, I remember hearing “The Three Little Pigs” story being told to me by my parents from memory). Then, allow student volunteers to share a few stories that are a part of their families’ storytelling traditions. Close the poetry break with a quick reminder of how exciting both listening to and telling stories can be for people of all ages.
Sunday, March 22, 2009
Module 4: Poetry Book Review - Biographical Poetry
TAKE IT TO THE HOOP, MAGIC JOHNSON By Quincy Troupe
(Troupe, Quincy. 2000. TAKE IT TO THE HOOP, MAGIC JOHNSON. Ill. by Shane W. Evans. New York: Hyperion Books for Children. ISBN 0786824468)
In this poetic picture book, Quincy Troupe pays tribute to an athletic icon, Magic Johnson. In catchy and dazzling language, Troupe captures the “magic” of Magic Johnson through a series of seamlessly interconnected and untitled poems. Carefully selected descriptions, such as “neon name,” “electric space,” and “sho-nuff spaceman,” will easily capture readers’ attention and draw them into the magical world of this amazing basketball superstar. Troupe also does an amazing job of capturing Magic Johnson’s incredible movements through unique poetic action words such as “juke & dazzle,” “Shake ‘n Bake,” and “herk & jerk.” The majority of the poems do not rhyme, and it is the distinctive and magnetic language of the poems that will surely appeal to children as they dribble, shoot, and fly through space along with Magic Johnson.
An example of this captivating word choice can be seen in the following poem:
“magic” johnson, nicknamed “Windex”
way back in high school
‘cause you wiped the glass backboards so clean,
where you first juked & shook,
wiled your way to glory
The following poem also adds a bit of emotional impact to capture the glory surrounding a star as bright as Magic Johnson:
(Troupe, Quincy. 2000. TAKE IT TO THE HOOP, MAGIC JOHNSON. Ill. by Shane W. Evans. New York: Hyperion Books for Children. ISBN 0786824468)
In this poetic picture book, Quincy Troupe pays tribute to an athletic icon, Magic Johnson. In catchy and dazzling language, Troupe captures the “magic” of Magic Johnson through a series of seamlessly interconnected and untitled poems. Carefully selected descriptions, such as “neon name,” “electric space,” and “sho-nuff spaceman,” will easily capture readers’ attention and draw them into the magical world of this amazing basketball superstar. Troupe also does an amazing job of capturing Magic Johnson’s incredible movements through unique poetic action words such as “juke & dazzle,” “Shake ‘n Bake,” and “herk & jerk.” The majority of the poems do not rhyme, and it is the distinctive and magnetic language of the poems that will surely appeal to children as they dribble, shoot, and fly through space along with Magic Johnson.
An example of this captivating word choice can be seen in the following poem:
“magic” johnson, nicknamed “Windex”
way back in high school
‘cause you wiped the glass backboards so clean,
where you first juked & shook,
wiled your way to glory
The following poem also adds a bit of emotional impact to capture the glory surrounding a star as bright as Magic Johnson:
so “bad” you cartwheel the crowd
toward frenzy, wearing now your
electric smile, neon as your name
in victory, we suddenly sense your
glorious uplift, your urgent need to be
champion
& so we cheer with you,
rejoice with you for this
quicksilver, quicksilver,
quicksilver moment of fame
Bold fonts in varying sizes also draw the readers' attention to certain important words and phrases throughout the poems. For example, the word "champion" is written in larger text than the other words in the poem above. Additionally, Troupe repeats the phrase "so put the ball on the floor again, "magic"' in a very large font size on two separate pages, giving emphasis to this particular phrase.
The placement of the text on the page is also important in several of the poems, with the words mimicking the actions of dribbling, passing, and shooting. An example of this is the phrase "slide the dribble behind your back" being written at an angle from the top left corner of the page to the bottom right corner, imitating the ball's path.
Shane W. Evans’s vibrant drawings will also appeal to children. The colorful illustrations capture Johnson’s spectacular movements well, and Magic Johnson appears to almost fly off the page with a basketball in hand in a few of the illustrations. The high interest theme of this poetic book will appeal to sports fans of all ages.
Thursday, March 19, 2009
Module 4: Poetry Book Review - Curriculum Connection (Science)
HOTEL DEEP: LIGHT VERSE FROM DARK WATER by Kurt Cyrus
(Cyrus, Kurt. 2005. HOTEL DEEP: LIGHT VERSE FROM DARK WATER. New York: Harcourt, Inc. ISBN 0152167714)
This poetry book offers a unique assortment of poems centered around the theme of a lost sardine exploring the fascinating and mysterious depths of the sea as it searches for its lost school of sardines. As the lonely little sardine searches for the place it belongs, it encounters a variety of strange, amazing, and frightening creatures. The fact that the poems in this book are untitled coupled with the sardine’s placement on every double page give this poetry book a story-like feel.
The book opens with an enchanting poetic invitation for readers to explore the underwater “hotel” of the sea:
(Cyrus, Kurt. 2005. HOTEL DEEP: LIGHT VERSE FROM DARK WATER. New York: Harcourt, Inc. ISBN 0152167714)
This poetry book offers a unique assortment of poems centered around the theme of a lost sardine exploring the fascinating and mysterious depths of the sea as it searches for its lost school of sardines. As the lonely little sardine searches for the place it belongs, it encounters a variety of strange, amazing, and frightening creatures. The fact that the poems in this book are untitled coupled with the sardine’s placement on every double page give this poetry book a story-like feel.
The book opens with an enchanting poetic invitation for readers to explore the underwater “hotel” of the sea:
At the crossroads of the deep,
A place to sleep. A place to hide.
A place to keep your eyes wide open.
Yes, we’re open! Come inside.
Cyrus uses carefully selected descriptive language and rhyming text to easily draw readers into the underwater world while extending their knowledge of the creatures that live there. Carefully chosen words in many of the poems allow the reader to experience the motion and activities of the sea in fresh and unique ways. For example, in describing the frantic movements of the school of sardines as a marlin makes its presence known, Cyrus refers to the “blur of sardines” as a “quicksilver blizzard.” Additionally, phrases such as “swirling seaweed curtain” and “the doorways of the sea“ will help readers visualize the ocean in new ways.
Several of the poems utilize unique placement of words on the page through rolling, spinning, crawling, and darting text to further solidify readers’ connection with the movements of the sea. For example, looping and spiraling text is used in a poem about a scared calico scallop that snaps it shell shut and takes a looping and swooping spiral journey back to the bottom of the sea.
Cyrus also cleverly uses the sounds of words to add interest to some of the poems. For example, children will enjoy hearing the sounds of the words in the following tongue twisting poem involving sea anemones:
Several of the poems utilize unique placement of words on the page through rolling, spinning, crawling, and darting text to further solidify readers’ connection with the movements of the sea. For example, looping and spiraling text is used in a poem about a scared calico scallop that snaps it shell shut and takes a looping and swooping spiral journey back to the bottom of the sea.
Cyrus also cleverly uses the sounds of words to add interest to some of the poems. For example, children will enjoy hearing the sounds of the words in the following tongue twisting poem involving sea anemones:
The angulated wentletrap, in alabaster white,
Is one of many enemies to any sea anemone.
If it sees anemones, it always takes a bite.
(Anemones regenerate, so everything’s all right.)
Is one of many enemies to any sea anemone.
If it sees anemones, it always takes a bite.
(Anemones regenerate, so everything’s all right.)
Not only are Kurt Cyrus’s poems captivating, but the intricate paintings accompanying the poems also reveal amazing pieces of the underwater story. Children will enjoy examining the colorful and lifelike paintings, and spotting the lone sardine hidden in each painting will add to their delight.
HOTEL DEEP would tie in perfectly with a science lesson focusing on ocean life or underwater habitats. The poems could serve as excellent springboards for future study of a variety of fascinating ocean creatures and the interesting relationships between them. Also included at the back of the book is an illustrated glossary of the various sea life presented through the book.
HOTEL DEEP would tie in perfectly with a science lesson focusing on ocean life or underwater habitats. The poems could serve as excellent springboards for future study of a variety of fascinating ocean creatures and the interesting relationships between them. Also included at the back of the book is an illustrated glossary of the various sea life presented through the book.
Module 4: Poetry Break - Spring Poem
LISTEN FOR ME by Joyce Sidman
(Found in: Sidman, Joyce. 2005. SONG OF THE WATER BOATMAN AND OTHER POND POEMS. Ill. by Beckie Prange. New York: Houghton Mifflin Company. ISBN 9780618135479)
With the season of spring in full swing, LISTEN FOR ME is a great spring poem to share with children. This poem vividly describes the emergence of spring peepers (tree frogs) from the winter chill and their distinctive sound, which is one of the earliest signs of spring. The rich language, carefully selected descriptive words, and sense imagery used throughout the poem allow readers to experience the fresh and invigorating sights and sounds of the beginning of spring as if they were right there on the pond with the spring peepers on a warm night. Beckie Prange’s beautiful hand-colored woodcut illustration of several spring peepers in a dark nighttime pond depicts the text of the poem perfectly. Additionally, some factual information about spring peepers is also included with the poem, making it an ideal poem to pair with a science lesson.
INTRODUCTION: Prior to reading this poem, play an audio clip of spring peepers (for easy access to an audio clip of this sound, try http://www.naturesound.com/frogs/pages/peeper.html). Tell students that today you are going to read a spring poem to them, and you would like for them to be thinking about what they think the noise they just heard might be. To avoid giving the answer away, delay showing students the illustration until after the extension activity (listed below poem).
LISTEN FOR ME
By Joyce Sidman
Listen for me on a spring night,
on a wet night,
(Found in: Sidman, Joyce. 2005. SONG OF THE WATER BOATMAN AND OTHER POND POEMS. Ill. by Beckie Prange. New York: Houghton Mifflin Company. ISBN 9780618135479)
With the season of spring in full swing, LISTEN FOR ME is a great spring poem to share with children. This poem vividly describes the emergence of spring peepers (tree frogs) from the winter chill and their distinctive sound, which is one of the earliest signs of spring. The rich language, carefully selected descriptive words, and sense imagery used throughout the poem allow readers to experience the fresh and invigorating sights and sounds of the beginning of spring as if they were right there on the pond with the spring peepers on a warm night. Beckie Prange’s beautiful hand-colored woodcut illustration of several spring peepers in a dark nighttime pond depicts the text of the poem perfectly. Additionally, some factual information about spring peepers is also included with the poem, making it an ideal poem to pair with a science lesson.
INTRODUCTION: Prior to reading this poem, play an audio clip of spring peepers (for easy access to an audio clip of this sound, try http://www.naturesound.com/frogs/pages/peeper.html). Tell students that today you are going to read a spring poem to them, and you would like for them to be thinking about what they think the noise they just heard might be. To avoid giving the answer away, delay showing students the illustration until after the extension activity (listed below poem).
LISTEN FOR ME
By Joyce Sidman
Listen for me on a spring night,
on a wet night,
on a rainy night.
Listen for me on a still night,
For in the night, I sing.
That is when my heart thaws,
my skin thaws,
my hunger thaws.
That is when the world thaws,
and the air begins to ring.
I creep up from the cold pond,
the ice pond,
the winter pond.
I creep up from the chill pond,
to breathe the warming air.
I cling to the green reeds,
the damp reeds,
the muddy reeds.
I cling to the slim reeds;
my brothers are everywhere.
My throat swells with spring love,
with rain love,
with water love.
My throat swells with peeper love;
my song is high and sweet.
Listen for me on a spring night,
on a wet night,
on a rainy night.
Listen for me tonight, tonight,
and I’ll sing you to sleep.
EXTENSION: After reading the poem aloud, begin a discussion about the sounds students heard before the poem as well as what sound the poem is asking them to listen for. Once students begin guessing that the sounds must come from some type of frog, ask students to point out words from the poem that helped them reach this conclusion (such as “pond,” “reeds,” and “throat swells”). Since many young students may not be aware of what a peeper is, it might be necessary to explain that a spring peeper is a tree frog. Follow up this activity by showing students the poem’s illustration and reading the factual information on spring peepers that is included with the poem.
Listen for me on a still night,
For in the night, I sing.
That is when my heart thaws,
my skin thaws,
my hunger thaws.
That is when the world thaws,
and the air begins to ring.
I creep up from the cold pond,
the ice pond,
the winter pond.
I creep up from the chill pond,
to breathe the warming air.
I cling to the green reeds,
the damp reeds,
the muddy reeds.
I cling to the slim reeds;
my brothers are everywhere.
My throat swells with spring love,
with rain love,
with water love.
My throat swells with peeper love;
my song is high and sweet.
Listen for me on a spring night,
on a wet night,
on a rainy night.
Listen for me tonight, tonight,
and I’ll sing you to sleep.
EXTENSION: After reading the poem aloud, begin a discussion about the sounds students heard before the poem as well as what sound the poem is asking them to listen for. Once students begin guessing that the sounds must come from some type of frog, ask students to point out words from the poem that helped them reach this conclusion (such as “pond,” “reeds,” and “throat swells”). Since many young students may not be aware of what a peeper is, it might be necessary to explain that a spring peeper is a tree frog. Follow up this activity by showing students the poem’s illustration and reading the factual information on spring peepers that is included with the poem.
Thursday, March 5, 2009
Module 3: Poetry Break - Poem That Does Not Rhyme
INVITATION FROM A MOLE By Alice Schertle
(Found in: Schertle, Alice. 1999. A LUCKY THING. Ill. by Wendell Minor. San Diego, CA: Harcourt, Inc. ISBN 0152005412)
INVITATION FROM A MOLE is an amazing poem that really capitalizes on the power of sense imagery. This poem does not rhyme, but readers will be hooked immediately by language that allows them to practically see, hear, taste, smell, and feel a mole’s world simply by reading the words of the poem. For example, readers will “smell / the sweet damp feet of mushrooms” and feel “the cold face of a stone” pressing against their cheeks with ease. Schertle uses no capitalization or punctuation in this poem, allowing readers to quietly focus on the strong sensory images evoked by the words. Also, Schertle cleverly utilizes line breaks and spaces to help convey meaning and draw the reader’s attention to important images. Wendell Minor provides a captivating painting of a mole, a worm, and a pencil in the dirt to accompany the poem. While Minor does a good job portraying the earthy world of a mole, the language of the poem itself is powerful enough that readers will have their own images from a mole’s perspective in mind.
INTRODUCTION: Since all kids love going outside, take them outside and tell them that today they are going to explore dirt and mud! Bring along shovels, rakes, and smocks or aprons to protect clothing and ask students to start digging and studying the earth. If the dirt is dry, try adding some water to it to see how it changes the way the dirt feels. Tell students to uses their senses to pay attention to what they see, feel, hear, and smell as they play with the dirt and mud. After students are cleaned up, write down what the students observed as a group and briefly discuss. Then tell them to close their eyes as you read the poem to them.
INVITATION FROM A MOLE
By Alice Schertle
come on down
live among worms awhile
taste dirt
on the tip of your tongue
smell
the sweet damp feet of mushrooms
listen to roots
reaching
deeper
press your cheek against
the cold face of a stone
wear the earth like a glove
close your eyes
wrap yourself in darkness
see
what you’re missing
EXTENSION: Since moles may be somewhat unfamiliar to students, this poem could launch an interesting investigation into moles and their characteristics and habitats. Additionally, the illustration that accompanies this poem appears to be of a unique type of mole called a star-nosed mole. Children will most likely be very curious about this mole’s distinctive nose, and they may enjoy reading further about this type of mole and exploring real photographs of star-nosed moles online. Pictures of star-nosed moles can easily be found online (such as the images on the following websites: http://www.livescience.com/imageoftheday/siod_050207.html and http://en.wikipedia.org/wiki/Star-nosed_mole). Finally, after listening to INVITATION FROM A MOLE, children may be motivated to write their own unique animal poems following the “Invitation from a ______” format. For example, students may choose to write invitation poems from a hummingbird’s perspective or a sloth’s perspective. Children might really enjoy writing poems from interesting animals’ perspectives, and listening to everyone’s poems to “see what you’re missing” could be a lot of fun!
(Found in: Schertle, Alice. 1999. A LUCKY THING. Ill. by Wendell Minor. San Diego, CA: Harcourt, Inc. ISBN 0152005412)
INVITATION FROM A MOLE is an amazing poem that really capitalizes on the power of sense imagery. This poem does not rhyme, but readers will be hooked immediately by language that allows them to practically see, hear, taste, smell, and feel a mole’s world simply by reading the words of the poem. For example, readers will “smell / the sweet damp feet of mushrooms” and feel “the cold face of a stone” pressing against their cheeks with ease. Schertle uses no capitalization or punctuation in this poem, allowing readers to quietly focus on the strong sensory images evoked by the words. Also, Schertle cleverly utilizes line breaks and spaces to help convey meaning and draw the reader’s attention to important images. Wendell Minor provides a captivating painting of a mole, a worm, and a pencil in the dirt to accompany the poem. While Minor does a good job portraying the earthy world of a mole, the language of the poem itself is powerful enough that readers will have their own images from a mole’s perspective in mind.
INTRODUCTION: Since all kids love going outside, take them outside and tell them that today they are going to explore dirt and mud! Bring along shovels, rakes, and smocks or aprons to protect clothing and ask students to start digging and studying the earth. If the dirt is dry, try adding some water to it to see how it changes the way the dirt feels. Tell students to uses their senses to pay attention to what they see, feel, hear, and smell as they play with the dirt and mud. After students are cleaned up, write down what the students observed as a group and briefly discuss. Then tell them to close their eyes as you read the poem to them.
INVITATION FROM A MOLE
By Alice Schertle
come on down
live among worms awhile
taste dirt
on the tip of your tongue
smell
the sweet damp feet of mushrooms
listen to roots
reaching
deeper
press your cheek against
the cold face of a stone
wear the earth like a glove
close your eyes
wrap yourself in darkness
see
what you’re missing
EXTENSION: Since moles may be somewhat unfamiliar to students, this poem could launch an interesting investigation into moles and their characteristics and habitats. Additionally, the illustration that accompanies this poem appears to be of a unique type of mole called a star-nosed mole. Children will most likely be very curious about this mole’s distinctive nose, and they may enjoy reading further about this type of mole and exploring real photographs of star-nosed moles online. Pictures of star-nosed moles can easily be found online (such as the images on the following websites: http://www.livescience.com/imageoftheday/siod_050207.html and http://en.wikipedia.org/wiki/Star-nosed_mole). Finally, after listening to INVITATION FROM A MOLE, children may be motivated to write their own unique animal poems following the “Invitation from a ______” format. For example, students may choose to write invitation poems from a hummingbird’s perspective or a sloth’s perspective. Children might really enjoy writing poems from interesting animals’ perspectives, and listening to everyone’s poems to “see what you’re missing” could be a lot of fun!
Module 3: Poetry Book Review - Verse Novel
LOCOMOTION by Jacqueline Woodson
(Woodson, Jacqueline. 2003. LOCOMOTION. New York: G.P. Putnam’s Sons. ISBN 0399231153)
In this touching verse novel, Jacqueline Woodson tells an incredible story through a series of poems written from the perspective of a fictional young African American boy. The fictional young poet, Lonnie Collins Motion, is struggling to cope with the death of his parents, separation from his younger sister, a new foster family, tumultuous relationships with peers, and his own budding talent as a poet in school. While the story revealed through Lonnie’s poems can be overwhelmingly tragic and heartbreaking at times, an underlying current of hope and promise of good things to come is also revealed. An example of the sadness shared in this book comes from the poem titled EPITAPH POEM:
(Woodson, Jacqueline. 2003. LOCOMOTION. New York: G.P. Putnam’s Sons. ISBN 0399231153)
In this touching verse novel, Jacqueline Woodson tells an incredible story through a series of poems written from the perspective of a fictional young African American boy. The fictional young poet, Lonnie Collins Motion, is struggling to cope with the death of his parents, separation from his younger sister, a new foster family, tumultuous relationships with peers, and his own budding talent as a poet in school. While the story revealed through Lonnie’s poems can be overwhelmingly tragic and heartbreaking at times, an underlying current of hope and promise of good things to come is also revealed. An example of the sadness shared in this book comes from the poem titled EPITAPH POEM:
EPITAPH POEM
By Jacqueline Woodson
for Mama
Liliana C. Motion
Born in October
died in December
But that’s not all
that I remember.
Balancing this sadness is an element of hope that develops throughout the poems. The following lines from Woodson’s poem LILI’S NEW MAMA’S HOUSE are a great example of this optimism: “God’s in this room, I whisper to Lili. / She looks at me a minute without saying anything. / Then she smiles. / God is everywhere, I say. / And with the sun coming in the room that way / and my sister smiling so big and the plate / of cookies there if you want them, just take one / at a time and chew it slow / I feel Him, right there beside us.”
Another major theme present in LOCOMOTION is Lonnie’s developing poetic talent. Lonnie frequently talks about Ms. Marcus, a teacher who attempts to nurture his talent, and he describes his thoughts about writing poetry as well as explaining many different forms of poetry in his writing. The poem titled LINE BREAK POEM shows readers what Lonnie is learning about poetry:
Another major theme present in LOCOMOTION is Lonnie’s developing poetic talent. Lonnie frequently talks about Ms. Marcus, a teacher who attempts to nurture his talent, and he describes his thoughts about writing poetry as well as explaining many different forms of poetry in his writing. The poem titled LINE BREAK POEM shows readers what Lonnie is learning about poetry:
LINE BREAK POEM
By Jacqueline Woodson
Ms. Marcus
says
line breaks help
us figure out
what matters
to the poet
Don’t jumble your ideas
Ms. Marcus says
Every line
should count.
By Jacqueline Woodson
Ms. Marcus
says
line breaks help
us figure out
what matters
to the poet
Don’t jumble your ideas
Ms. Marcus says
Every line
should count.
The poems in LOCOMOTION are mostly sequenced in order of occurrence in Lonnie’s life, with some of the poems flashing back to pivotal moments in his young life. The majority of poems do not rhyme, although some do. Lonnie uses numerous different forms of poetry, including haiku, free verse, sonnet, epistle poem, and a list poem. Figurative language is also present in some of the poems, and an example of figurative language can be found in the following lines of the poem POEM BOOK: “But when Miss Edna’s voice comes on, the ideas in my / head go out like a candle and all you see left is this little / string of smoke that disappears real quick / before I even have a chance to find out / what it’s trying to say.”
All in all, LOCOMOTION does an outstanding job illuminating both the good and bad realities of life. Children will be able to relate to Lonnie’s poetry, whether the poems cover serious topics or a child’s everyday experiences with school and peers. Since Lonnie does such a great job of describing his thoughts and feelings about writing poetry in a manner with which children can relate to, LOCOMOTION is an excellent choice for young aspiring writers and poets. Not only does LOCOMOTION tell a young boy’s riveting tale in a unique way, but it also serves as an excellent example for children of how poetry can offer healing and solace during difficult times.
All in all, LOCOMOTION does an outstanding job illuminating both the good and bad realities of life. Children will be able to relate to Lonnie’s poetry, whether the poems cover serious topics or a child’s everyday experiences with school and peers. Since Lonnie does such a great job of describing his thoughts and feelings about writing poetry in a manner with which children can relate to, LOCOMOTION is an excellent choice for young aspiring writers and poets. Not only does LOCOMOTION tell a young boy’s riveting tale in a unique way, but it also serves as an excellent example for children of how poetry can offer healing and solace during difficult times.
Wednesday, February 25, 2009
Module 3: Poetry Break (Unusual Form) - Limerick
IRISH PEACE TALKS by Brian P. Cleary
(Found in: Cleary, Brian P. 2004. RAINBOW SOUP: ADVENTURES IN POETRY. Ill. by Neal Layton. Minneapolis, MN: Carolrhoda Books, Inc. ISBN 157505597X)
Children and adults alike will need to prepare themselves for some serious laughs prior to reading the poem IRISH PEACE TALKS. Brian Cleary includes this hilarious limerick in an interesting and comical poetry collection that also offers helpful descriptions and information about the various forms of poetry used throughout the book. According to Cleary, a limerick is a five-line verse that is usually funny and follows a specific rhyme pattern (Cleary 2004, 38). The rhythmic feel of limericks combined with the hysterical meaning of this poem are sure to appeal to readers of all ages. Cleary’s careful word choice and skillful manipulation of words and sounds add to the rhythm and readability of the poem. For example, readers will notice the sounds and cadence of the words “scrapin’” and “offa” as they read the poem aloud. Adding to the charm of IRISH PEACE TALKS is Neal Layton’s hilarious sketch-like drawing, which depicts a large and aggressive looking schoolgirl with pigtails intimidating a humorously tiny boy in a school hallway. The drawing is done almost entirely in black and white. The green clothes and bows on the frightening schoolgirl offer the only color in the illustration, drawing even more attention to the girl’s comically mean look. The cartoon, doodle-like quality of the illustration will undoubtedly intensify the appeal of this poem for children.
INTRODUCTION: Prior to sharing this poem with students, ask students if they know what a limerick is. Use Brian Cleary’s explanation of a limerick from RAINBOW SOUP or another source to inform students of the rhyming structure and humorous quality of limericks. After a simple and brief explanation of limericks, tell students that you are going to share a funny limerick with them today. This is an excellent poem for the reader to really act out with facial expressions and tone of voice, so have fun when you read this one!
IRISH PEACE TALKS
By Brian P. Cleary
There once was a schoolgirl from Galway,
Who said to her lad on a fall day,
“If I find you starin’
At Maggie or Erin,
They’ll be scrapin’ you offa the hallway.”
EXTENSION: After the students stop laughing, consider allowing them to write limericks of their own. The Giggle Poetry website (http://www.gigglepoetry.com/) offers Bruce Lansky's excellent directions for how to write a limerick at http://www.gigglepoetry.com/POETRYCLASS/limerickcontesthelp.html. Neal Layton’s sketch-like illustration of IRISH PEACE TALKS may also inspire students to attempt illustrating their own limericks as well. Additionally, since humorous poems have the potential to really grab students’ attention, sharing a poem like IRISH PEACE TALKS with children is an excellent way to open the door to the world of poetry for them. Once children realize how much fun poetry can be, finding and sharing great poetry with them can be enjoyable for everyone. Direct students to the poetry section of the library and challenge them to find and share more limericks that they enjoy.
(Found in: Cleary, Brian P. 2004. RAINBOW SOUP: ADVENTURES IN POETRY. Ill. by Neal Layton. Minneapolis, MN: Carolrhoda Books, Inc. ISBN 157505597X)
Children and adults alike will need to prepare themselves for some serious laughs prior to reading the poem IRISH PEACE TALKS. Brian Cleary includes this hilarious limerick in an interesting and comical poetry collection that also offers helpful descriptions and information about the various forms of poetry used throughout the book. According to Cleary, a limerick is a five-line verse that is usually funny and follows a specific rhyme pattern (Cleary 2004, 38). The rhythmic feel of limericks combined with the hysterical meaning of this poem are sure to appeal to readers of all ages. Cleary’s careful word choice and skillful manipulation of words and sounds add to the rhythm and readability of the poem. For example, readers will notice the sounds and cadence of the words “scrapin’” and “offa” as they read the poem aloud. Adding to the charm of IRISH PEACE TALKS is Neal Layton’s hilarious sketch-like drawing, which depicts a large and aggressive looking schoolgirl with pigtails intimidating a humorously tiny boy in a school hallway. The drawing is done almost entirely in black and white. The green clothes and bows on the frightening schoolgirl offer the only color in the illustration, drawing even more attention to the girl’s comically mean look. The cartoon, doodle-like quality of the illustration will undoubtedly intensify the appeal of this poem for children.
INTRODUCTION: Prior to sharing this poem with students, ask students if they know what a limerick is. Use Brian Cleary’s explanation of a limerick from RAINBOW SOUP or another source to inform students of the rhyming structure and humorous quality of limericks. After a simple and brief explanation of limericks, tell students that you are going to share a funny limerick with them today. This is an excellent poem for the reader to really act out with facial expressions and tone of voice, so have fun when you read this one!
IRISH PEACE TALKS
By Brian P. Cleary
There once was a schoolgirl from Galway,
Who said to her lad on a fall day,
“If I find you starin’
At Maggie or Erin,
They’ll be scrapin’ you offa the hallway.”
EXTENSION: After the students stop laughing, consider allowing them to write limericks of their own. The Giggle Poetry website (http://www.gigglepoetry.com/) offers Bruce Lansky's excellent directions for how to write a limerick at http://www.gigglepoetry.com/POETRYCLASS/limerickcontesthelp.html. Neal Layton’s sketch-like illustration of IRISH PEACE TALKS may also inspire students to attempt illustrating their own limericks as well. Additionally, since humorous poems have the potential to really grab students’ attention, sharing a poem like IRISH PEACE TALKS with children is an excellent way to open the door to the world of poetry for them. Once children realize how much fun poetry can be, finding and sharing great poetry with them can be enjoyable for everyone. Direct students to the poetry section of the library and challenge them to find and share more limericks that they enjoy.
Friday, February 20, 2009
Module 2: Poetry Break - Douglas Florian
THE GORILLA by Douglas Florian
(Found in: Florian, Douglas. 2000. MAMMALABILIA. San Diego, CA: Harcourt, Inc. ISBN 0152021671)
This humorous poem can be found in a collection of short poems and paintings all about various mammals. Children will love the simple rhyming text of this poem, and Florian’s ability to create his own catchy words, such as the word “stilla,” give the poem a rhythmic feel that helps the words flow off the tongue with ease. Florian also skillfully utilizes line breaks and pauses in this poem to deliver the words at just the right time to be both humorous and easy to read. Both young and old readers will enjoy the poem’s abrupt transition from a serious reflection on gorillas to a comical warning about the dangers of gorillas. Additionally, Florian’s accompanying painting of a menacing gorilla pointing to the reader in a human-like fashion matches the poem perfectly and will add to the reader’s delight.
INTRODUCTION: Since young students love riddles and guessing games, ask them the following riddle prior to reading THE GORILLA to them: “What mammal lives in Africa, can weigh more than 400 pounds, loves to eat fruit, and might use its fists to beat on it chest whenever its upset?” As the students begin to guess that the answer is a gorilla, tell them that they are in for a treat because they are going to hear an excellent and funny poem about a gorilla.
(Found in: Florian, Douglas. 2000. MAMMALABILIA. San Diego, CA: Harcourt, Inc. ISBN 0152021671)
This humorous poem can be found in a collection of short poems and paintings all about various mammals. Children will love the simple rhyming text of this poem, and Florian’s ability to create his own catchy words, such as the word “stilla,” give the poem a rhythmic feel that helps the words flow off the tongue with ease. Florian also skillfully utilizes line breaks and pauses in this poem to deliver the words at just the right time to be both humorous and easy to read. Both young and old readers will enjoy the poem’s abrupt transition from a serious reflection on gorillas to a comical warning about the dangers of gorillas. Additionally, Florian’s accompanying painting of a menacing gorilla pointing to the reader in a human-like fashion matches the poem perfectly and will add to the reader’s delight.
INTRODUCTION: Since young students love riddles and guessing games, ask them the following riddle prior to reading THE GORILLA to them: “What mammal lives in Africa, can weigh more than 400 pounds, loves to eat fruit, and might use its fists to beat on it chest whenever its upset?” As the students begin to guess that the answer is a gorilla, tell them that they are in for a treat because they are going to hear an excellent and funny poem about a gorilla.
THE GORILLA
By Douglas Florian
A gentle giant
Blessed with grace…
It’s stilla
Gorilla—
Don’t get in its face.
EXTENSION: The rhythmic qualities of this poem make it a perfect poem to have students read out loud as a group, perhaps with drums or clapping hands to keep the beat (a slower beat for the first two lines, then a faster beat for the remainder of the poem). Also, this poem would pair very well with either a nonfiction book about gorillas, such as GORILLAS by Seymour Simon, or a picture book about gorillas, such as GORILLA! GORILLA! by Jeanne Willis. Both of these books mention the potentially softer side of gorillas in addition to their fearsome qualities, which might lead to a good discussion about how scary (or not so scary) gorillas really are. Of course, students might like to paint their own versions of a menacing gorilla, too!
Module 2: Poetry Book Review – Multicultural
POEMS TO DREAM TOGETHER by Francisco X. Alarcon
(Alarcon, Francisco X. 2005. POEMS TO DREAM TOGETHER = POEMAS PARA SONAR JUNTOS. Ill. by Paula Barragan. New York: Lee & Low Books Inc. ISBN 9781584302339)
NIGHTMARES
By Francisco X. Alarcon
sometimes
dreams
that ignore
or exclude
the dreams
of others
become
nightmares
In NIGHTMARES, Alarcon displays his talent to make readers truly examine the world they live in. On the other hand, he is also skillful at conveying the lighter and more humorous side of dreams in DAYDREAMING:
DAYDREAMING
By Francisco X. Alarcon
daydreaming –
another way
of brainstorming
The poems do not rhyme, and Alarcon carefully arranges the words of the poems into small sections of text, using spaces between sections that help contribute to the meaning of the poems. Interestingly, Alarcon uses capital letters and punctuation marks very sparingly throughout the book, allowing the reader to really focus in on the small chunks of text without distraction.
The use of figurative language is also present in some of the poems as Alarcon compares people to his surroundings in nature. For example, a simile is the perfect way to celebrate individual differences in THE SAME:
THE SAME
By Francisco X. Alarcon
we are all
the same
like pebbles
in a riverbed
each of us
so different
Sense imagery is also prevalent throughout the collection, with Alarcon’s words evoking rich images of nature, food, and life. In FAMILY GARDEN, readers can almost smell the mint herbs and feel the earth in their hands as Alarcon describes his family’s garden where “the sun shines green smiles.”
Paula Barragan’s vibrant and joyful illustrations capture the loving and comforting essence of the poems. The colors used throughout the book are enchantingly bright and cheerful, and Barragan does an amazing job of portraying the contagious peace and comfort brought about by Alarcon’s poetic dreams. This is a collection that will appeal to dreamers of all ages.
(Alarcon, Francisco X. 2005. POEMS TO DREAM TOGETHER = POEMAS PARA SONAR JUNTOS. Ill. by Paula Barragan. New York: Lee & Low Books Inc. ISBN 9781584302339)
In this amazing bilingual collection of 17 poems shared in both English and Spanish, Hispanic American poet Francisco X. Alarcon offers readers of all ages comfort, peace, and a strong message of the importance of dreams and family through the emotional world of poetry. The poems center around the theme of dreams and range in emotion from serious and thoughtful to silly and funny. For example, one of the more thought-provoking and insightful poems of the collection is NIGHTMARES:
NIGHTMARES
By Francisco X. Alarcon
sometimes
dreams
that ignore
or exclude
the dreams
of others
become
nightmares
In NIGHTMARES, Alarcon displays his talent to make readers truly examine the world they live in. On the other hand, he is also skillful at conveying the lighter and more humorous side of dreams in DAYDREAMING:
DAYDREAMING
By Francisco X. Alarcon
daydreaming –
another way
of brainstorming
The poems do not rhyme, and Alarcon carefully arranges the words of the poems into small sections of text, using spaces between sections that help contribute to the meaning of the poems. Interestingly, Alarcon uses capital letters and punctuation marks very sparingly throughout the book, allowing the reader to really focus in on the small chunks of text without distraction.
The use of figurative language is also present in some of the poems as Alarcon compares people to his surroundings in nature. For example, a simile is the perfect way to celebrate individual differences in THE SAME:
THE SAME
By Francisco X. Alarcon
we are all
the same
like pebbles
in a riverbed
each of us
so different
Sense imagery is also prevalent throughout the collection, with Alarcon’s words evoking rich images of nature, food, and life. In FAMILY GARDEN, readers can almost smell the mint herbs and feel the earth in their hands as Alarcon describes his family’s garden where “the sun shines green smiles.”
Paula Barragan’s vibrant and joyful illustrations capture the loving and comforting essence of the poems. The colors used throughout the book are enchantingly bright and cheerful, and Barragan does an amazing job of portraying the contagious peace and comfort brought about by Alarcon’s poetic dreams. This is a collection that will appeal to dreamers of all ages.
Thursday, February 19, 2009
Module 2: Poetry Break – NCTE Award Poet
DESEGREGATION by Eloise Greenfield
(Found in: Thomas, Joyce Carol, ed. 2003. LINDA BROWN, YOU ARE NOT ALONE: THE BROWN V. BOARD OF EDUCATION DECISION. Ill. by Curtis James. New York: Hyperion Books for Children. ISBN 0786826401)
This serious and touching poem is found in a collection of stories, poems, and personal reflections surrounding the Supreme Court decision to desegregate public schools in 1954. The language of this poem is thoughtful and moving, allowing the reader to easily empathize with the speakers in the poem. Eloise Greenfield’s word choice is very significant throughout the poem. For example, the word “nightmare” is used as an adjective to describe the faces and voices confronting the speakers as they enter the school. Additionally, Greenfield’s powerful message of the children saving the country will resonate with both children and adults. Line breaks and pauses are skillfully used throughout the poem, such as the word “now” being isolated at the very end of the poem. The separation of the word “now” from the rest of the text seems to emphasize the significance of this time in history as well as the crucial and immediate need for change. Curtis James’ illustration accompanying this poem is done in beautiful pastel artwork and depicts a small group of young African American children huddled together, concern flowing from their facial expressions. Like Greenfield’s carefully chosen words, James’ artwork does a good job depicting the weight of the situation as well as the isolation these students must have felt entering a desegregated public school for the first time. Amazingly, just as Greenfield portrays hope in the final lines of the poem, James also manages to portray the comfort and strength these students must have gathered from each other in his illustration.
DESEGREGATION
By Eloise Greenfield
We walk the long path
lined with shouting
nightmare faces,
nightmare voices.
Inside the school,
there are eyes that glare
and eyes that are distant.
We wish for our friends.
We wish for our old,
laughing selves.
We hold our heads up,
hold our tears in.
The grown-ups have said
we must be brave,
that only the children
can save the country
now.
EXTENSION: After reading the poem, define the word “desegregation” as a group and discuss. Lead students in a discussion of how the poem made them feel, and ask students to make connections between the poem and the diary entries or pictures they created prior to listening to the poem. Additionally, this poem would be an excellent poem to have students read chorally as a group. Hearing the poem read out loud by the whole group may have a very powerful effect on students and may help drive the meaning of the poem home for them.
(Found in: Thomas, Joyce Carol, ed. 2003. LINDA BROWN, YOU ARE NOT ALONE: THE BROWN V. BOARD OF EDUCATION DECISION. Ill. by Curtis James. New York: Hyperion Books for Children. ISBN 0786826401)
This serious and touching poem is found in a collection of stories, poems, and personal reflections surrounding the Supreme Court decision to desegregate public schools in 1954. The language of this poem is thoughtful and moving, allowing the reader to easily empathize with the speakers in the poem. Eloise Greenfield’s word choice is very significant throughout the poem. For example, the word “nightmare” is used as an adjective to describe the faces and voices confronting the speakers as they enter the school. Additionally, Greenfield’s powerful message of the children saving the country will resonate with both children and adults. Line breaks and pauses are skillfully used throughout the poem, such as the word “now” being isolated at the very end of the poem. The separation of the word “now” from the rest of the text seems to emphasize the significance of this time in history as well as the crucial and immediate need for change. Curtis James’ illustration accompanying this poem is done in beautiful pastel artwork and depicts a small group of young African American children huddled together, concern flowing from their facial expressions. Like Greenfield’s carefully chosen words, James’ artwork does a good job depicting the weight of the situation as well as the isolation these students must have felt entering a desegregated public school for the first time. Amazingly, just as Greenfield portrays hope in the final lines of the poem, James also manages to portray the comfort and strength these students must have gathered from each other in his illustration.
INTRODUCTION: Prior to reading the poem, ask students to create a diary entry or draw a picture of a time when they felt isolated (such as moving to a new school or going someplace where they do not know anyone). Allow volunteers (only those students who are comfortable doing so) to share their experiences and discuss how they felt in these scary situations.
DESEGREGATION
By Eloise Greenfield
We walk the long path
lined with shouting
nightmare faces,
nightmare voices.
Inside the school,
there are eyes that glare
and eyes that are distant.
We wish for our friends.
We wish for our old,
laughing selves.
We hold our heads up,
hold our tears in.
The grown-ups have said
we must be brave,
that only the children
can save the country
now.
EXTENSION: After reading the poem, define the word “desegregation” as a group and discuss. Lead students in a discussion of how the poem made them feel, and ask students to make connections between the poem and the diary entries or pictures they created prior to listening to the poem. Additionally, this poem would be an excellent poem to have students read chorally as a group. Hearing the poem read out loud by the whole group may have a very powerful effect on students and may help drive the meaning of the poem home for them.
Thursday, February 5, 2009
Module 1: African American Poetry Book Review- Nikki Grimes
WHEN GORILLA GOES WALKING by Nikki Grimes
(Grimes, Nikki. 2007. WHEN GORILLA GOES WALKING. Ill. by Shane Evans. New York: Orchard Books. ISBN 9780439317702)
Nikki Grimes offers a good mix of many different types of poems in this poetry book about a girl named Cecilia and her beloved cat, Gorilla. The nineteen poems included in this book seem to be arranged in chronological order, following Cecilia’s journey from first getting Gorilla through a series of adventures and experiences with the cat. The poems vary in both length and style, and while many of the poems rhyme, not all of them do. For example, the poem IN THE MIRROR packs a powerful punch in a short poem that does not rhyme:
(Grimes, Nikki. 2007. WHEN GORILLA GOES WALKING. Ill. by Shane Evans. New York: Orchard Books. ISBN 9780439317702)
Nikki Grimes offers a good mix of many different types of poems in this poetry book about a girl named Cecilia and her beloved cat, Gorilla. The nineteen poems included in this book seem to be arranged in chronological order, following Cecilia’s journey from first getting Gorilla through a series of adventures and experiences with the cat. The poems vary in both length and style, and while many of the poems rhyme, not all of them do. For example, the poem IN THE MIRROR packs a powerful punch in a short poem that does not rhyme:
IN THE MIRROR by Nikki Grimes
Gorilla gazes
into a puddle. Does she
know she’s beautiful?
into a puddle. Does she
know she’s beautiful?
Many of the poems in this book convey Cecilia’s love and affection for her cat in a way that animal lovers of all ages will easily relate to. Grimes skillfully uses a combination of rhythmic language and imagery in some of the poems. For example, in the poem GORILLA, Grimes states, “She has no tail./ She’s rain-cloud gray./ I love that cool cat/ more each day.” Some of the poems are humorous and upbeat like the poem JEALOUS, in which the jealous and demanding nature of Gorilla is described so perfectly that cat lovers of all ages will laugh out loud. On the other hand, some of the poems take on a significantly more emotional and sad tone, such as COMFORT, which describes the day Cecilia’s best friend (also named Cecilia) moves away:
COMFORT by Nikki Grimes
My best friend
packed my heart
and moved away.
Gorilla raised a paw
and pet me.
I think I cried
a dozen times
that day.
Gorilla drank my tears
and let me.
packed my heart
and moved away.
Gorilla raised a paw
and pet me.
I think I cried
a dozen times
that day.
Gorilla drank my tears
and let me.
Grimes also injects a hint of culture into some of the poems by describing Gorilla’s collar that is painted like an African flag in PAINTED COLLAR and mentioning Gorillas’ affinity for “soul food” in LITTLE MISS FUSSY.
Shane Evans’ colorful illustrations will engage children and offer a variety of humorous depictions of Gorilla and her emotions. The illustrations skillfully offer readers entertaining visual extensions of the poetry without overpowering the language in the poems. The front cover of the book, which features a close-up illustration of Gorilla with shiny silver whiskers and a shiny silver tag on her collar announcing the title of the book, will attract readers to pick up and explore the book.
WHEN GORILLA GOES WALKING would make a perfect introductory book to poetry for children due to the variety of poems included in the book and the fact that it will appeal to the millions of children who enjoy reading books about pets. The poems are basic enough to be accessible to even young children, yet the word choice leaves room for many layers of meaning. Cecilia’s love for Gorilla can easily be felt throughout all of the poems in the book. However, as young readers read and reread the poems in this book, they might also discover that Cecilia’s descriptions of her cat could also be reflections of some of Cecilia’s own qualities.
INTRODUCTORY ACTIVITIES:
*Prior to reading this poetry book, invite children to write or draw what they like about their own pets or pets they wish they could have. As a group, discuss pets and why they can be important to their owners.
*Ask children to brainstorm a list of qualities about cats and to share personal stories and experiences they've had with cats. Then, tell them that they are about to meet a very cool cat named Gorilla before sharing the poetry with them.
EXTENSION ACTIVITIES:
*Have children create a card for a pet they know (either their own pet, a friend’s pet, or a class pet). Encourage children to use words in their cards (possibly in the form of poems) that convey how they feel about the pet.
EXTENSION ACTIVITIES:
*Have children create a card for a pet they know (either their own pet, a friend’s pet, or a class pet). Encourage children to use words in their cards (possibly in the form of poems) that convey how they feel about the pet.
*Ask children why they think Cecilia named her cat Gorilla. Discuss as a group why Gorilla might be a fitting name (or even a not-so-fitting name) for this cat (refer back to the poems as needed for descriptions of Gorilla's qualities).
Wednesday, February 4, 2009
Module 1: Poetry Book Review - Hopkins Anthology
HOOFBEATS, CLAWS & RIPPLED FINS: CREATURE POEMS edited by Lee Bennett Hopkins
(Hopkins, Lee Bennett. 2002. HOOFBEATS, CLAWS & RIPPLED FINS: CREATURE POEMS. Ill. by Stephen Alcorn. New York: HarperCollins Publishers. ISBN 0688179428)
In this unique anthology, Lee Bennett Hopkins compiles 14 poems inspired by Stephen Alcorn’s fascinating animal portraits. Alcorn’s illustrations are highly detailed with intricate details and borders. The artwork makes use of a unique technique that incorporates astounding detail, begging readers to intently pore over the amazing representations of some of children’s favorite animals. Paired with the intense illustrations are engaging and equally intense poems. In fact, this anthology offers readers of all ages an interesting combination of poetry and art. The illustrations could stand alone to tell each animal’s story, but so could the poems. Together, the language and art make a powerful statement that will captivate readers.
Each double page offers a poem paired with a corresponding illustration for a specific animal. Each double page uses a different rich, earthy color as a background for the poem’s text. This anthology includes poems by some of the more familiar children’s poets, such as Kristine O’Connell George and Karla Kuskin. Some of the poems rhyme and some do not, contributing to a good mix of different styles of poetry. There does not appear to be any particular order to the arrangement of the poems, but a table of contents at the beginning of the book offers some organization.
The language focuses on the animal’s movements and qualities, making the poems deeper and more complex than some other animal poems. The moods of the poems vary from lighthearted in HERE’S FROG to more thoughtful in FULL MOON AND OWL. Some of the poems make interesting and playful use of the layout of the words on the page. For example, HERE’S FROG uses arches to arrange the words on the page, resembling either the rounded back of a frog or the arch he makes when hopping. Similarly, the poem PORCUPINE playfully displays its words in the shape of sharp quills. Font sizes also play a role in many of the poems, with larger fonts emphasizing and giving more power to important words. For example, in CAMEL, the words “lumpy,” “bumpy,” “fantastical,” and “bombastical” are typed with a larger font size. Additionally, the color of the text and the separation of text into columns make an interesting visual representation of an indecisive cat’s movements and behaviors in IN AND OUT. Sophisticated descriptions of the animals’ movements are consistent throughout the anthology and will have readers feeling the experience as if they are the animal they are reading about.
The unique look of this anthology combined with its high interest animal poems will appeal to children and adults alike. The poems are generally easily understood, yet the language used is interesting enough to captivate children and entice them to read and reread this collection.
INTRODUCTORY ACTIVITIES:
*Before sharing the poem with children, select one of Stephen Alcorn’s animal portraits to show them. Ask the children to help you brainstorm a list of characteristics for that animal, striving for a variety of interesting words and phrases.
*Or, spark children’s interest by playing an animal guessing game prior to sharing the poems. Call out one word characteristics of an animal one at a time until students guess which animal you are thinking of. Give children a turn to think of their own animals for others to guess, too!
EXTENSION ACTIVITIES:
*After sharing the book with children and reading the poems out loud, have students select a favorite animal. Invite students to draw portraits of their own favorite animals and brainstorm a list of words and phrases that could describe the movements and qualities of their favorite animals. Students could then be encouraged to transform the words they chose into their own poems. Volunteers could share their creations with the class.
*Each individual animal poem in this anthology would also pair well with a nonfiction book about each specific animal. For example, the poem EASY LIVING would pair well with a book about cows, such as Julie Murray’s COWS. Or, the poem SHE LIKES TO HIDE would pair well with Adele Richardson’s FISH. After reading and discussing a poem, children might like to learn more about that particular animal and compare the poem’s representation of the animal’s qualities with actual facts about the animal.
*Since this anthology can leave readers feeling like they are the animals in the poems, it might be fun to encourage young children to create physical movements to represent some of the animals portrayed in the book. For example, children could try strutting like a rooster or ambling like a camel, using the words in the poems as guides!
(Hopkins, Lee Bennett. 2002. HOOFBEATS, CLAWS & RIPPLED FINS: CREATURE POEMS. Ill. by Stephen Alcorn. New York: HarperCollins Publishers. ISBN 0688179428)
In this unique anthology, Lee Bennett Hopkins compiles 14 poems inspired by Stephen Alcorn’s fascinating animal portraits. Alcorn’s illustrations are highly detailed with intricate details and borders. The artwork makes use of a unique technique that incorporates astounding detail, begging readers to intently pore over the amazing representations of some of children’s favorite animals. Paired with the intense illustrations are engaging and equally intense poems. In fact, this anthology offers readers of all ages an interesting combination of poetry and art. The illustrations could stand alone to tell each animal’s story, but so could the poems. Together, the language and art make a powerful statement that will captivate readers.
Each double page offers a poem paired with a corresponding illustration for a specific animal. Each double page uses a different rich, earthy color as a background for the poem’s text. This anthology includes poems by some of the more familiar children’s poets, such as Kristine O’Connell George and Karla Kuskin. Some of the poems rhyme and some do not, contributing to a good mix of different styles of poetry. There does not appear to be any particular order to the arrangement of the poems, but a table of contents at the beginning of the book offers some organization.
The language focuses on the animal’s movements and qualities, making the poems deeper and more complex than some other animal poems. The moods of the poems vary from lighthearted in HERE’S FROG to more thoughtful in FULL MOON AND OWL. Some of the poems make interesting and playful use of the layout of the words on the page. For example, HERE’S FROG uses arches to arrange the words on the page, resembling either the rounded back of a frog or the arch he makes when hopping. Similarly, the poem PORCUPINE playfully displays its words in the shape of sharp quills. Font sizes also play a role in many of the poems, with larger fonts emphasizing and giving more power to important words. For example, in CAMEL, the words “lumpy,” “bumpy,” “fantastical,” and “bombastical” are typed with a larger font size. Additionally, the color of the text and the separation of text into columns make an interesting visual representation of an indecisive cat’s movements and behaviors in IN AND OUT. Sophisticated descriptions of the animals’ movements are consistent throughout the anthology and will have readers feeling the experience as if they are the animal they are reading about.
The unique look of this anthology combined with its high interest animal poems will appeal to children and adults alike. The poems are generally easily understood, yet the language used is interesting enough to captivate children and entice them to read and reread this collection.
INTRODUCTORY ACTIVITIES:
*Before sharing the poem with children, select one of Stephen Alcorn’s animal portraits to show them. Ask the children to help you brainstorm a list of characteristics for that animal, striving for a variety of interesting words and phrases.
*Or, spark children’s interest by playing an animal guessing game prior to sharing the poems. Call out one word characteristics of an animal one at a time until students guess which animal you are thinking of. Give children a turn to think of their own animals for others to guess, too!
EXTENSION ACTIVITIES:
*After sharing the book with children and reading the poems out loud, have students select a favorite animal. Invite students to draw portraits of their own favorite animals and brainstorm a list of words and phrases that could describe the movements and qualities of their favorite animals. Students could then be encouraged to transform the words they chose into their own poems. Volunteers could share their creations with the class.
*Each individual animal poem in this anthology would also pair well with a nonfiction book about each specific animal. For example, the poem EASY LIVING would pair well with a book about cows, such as Julie Murray’s COWS. Or, the poem SHE LIKES TO HIDE would pair well with Adele Richardson’s FISH. After reading and discussing a poem, children might like to learn more about that particular animal and compare the poem’s representation of the animal’s qualities with actual facts about the animal.
*Since this anthology can leave readers feeling like they are the animals in the poems, it might be fun to encourage young children to create physical movements to represent some of the animals portrayed in the book. For example, children could try strutting like a rooster or ambling like a camel, using the words in the poems as guides!
Tuesday, February 3, 2009
Module 1: Poetry Break - School/Library/Books
GOT THE POWER by Brod Bagert
(Found in: Bagert, Brod. 2008. SCHOOL FEVER. Ill. by Robert Neubecker. New York: Dial Books for Young Readers. ISBN 9780803732018)
This lighthearted and rhythmic poem tells the story of a young child's journey into chapter books and the search for the perfect book. The poem takes the child full circle, from fear of chapter books to sheer joy at finding an exciting chapter book that begs to be read. This poem is fairly simple, yet it is perfect for young children who will easily identify with the fear of trying new things and expanding their reading selections. Brod Bagert's careful word choice will evoke images of books that children may have read before (such as "magic bean" and "evil queen"), further personalizing the poem for them. Additionally, kids will love Neubecker's colorful illustration of a child reading a book on a fire-breathing dragon's back, and this illustration adds to the imaginative quality of the poem.
INTRODUCTION: As students come into the library, tell them that the "perfect" book is hidden somewhere on the library shelves. Ask them to think about what they think the perfect book would be for them, and possibly encourage them to write down (or illustrate for younger students) what the perfect book would be (or would look like). As a group, brainstorm some qualities that would make the perfect book (expect a variety of responses since everyone's tastes are different).
(Found in: Bagert, Brod. 2008. SCHOOL FEVER. Ill. by Robert Neubecker. New York: Dial Books for Young Readers. ISBN 9780803732018)
This lighthearted and rhythmic poem tells the story of a young child's journey into chapter books and the search for the perfect book. The poem takes the child full circle, from fear of chapter books to sheer joy at finding an exciting chapter book that begs to be read. This poem is fairly simple, yet it is perfect for young children who will easily identify with the fear of trying new things and expanding their reading selections. Brod Bagert's careful word choice will evoke images of books that children may have read before (such as "magic bean" and "evil queen"), further personalizing the poem for them. Additionally, kids will love Neubecker's colorful illustration of a child reading a book on a fire-breathing dragon's back, and this illustration adds to the imaginative quality of the poem.
INTRODUCTION: As students come into the library, tell them that the "perfect" book is hidden somewhere on the library shelves. Ask them to think about what they think the perfect book would be for them, and possibly encourage them to write down (or illustrate for younger students) what the perfect book would be (or would look like). As a group, brainstorm some qualities that would make the perfect book (expect a variety of responses since everyone's tastes are different).
GOT THE POWER
by Brod Bagert
Last year I thought I had it made
But now I’m just a bit afraid,
The biggest step I ever took—
I’m going to read a chapter book.
But now the problem’s plain to see,
I need a book just right for me,
It’s sitting somewhere on this shelf,
I’ll have to find it by myself.
Here’s one about a cattle ranch.
Here’s one about an avalanche.
Here’s one about a magic bean.
Here’s one about an evil queen.
I’ve searched this bookshelf through and through
And here it is! Can this be true?
A dragon book! A flying beast!
This book is going to be a feast!
Yes, now I’ve really got it made,
And I am not a bit afraid.
I’VE GOT THE POWER! Yes-sir-ee.
I found the perfect book for me.
EXTENSION: After reading the poem out loud to students and discussing the poem, follow up with a discussion on what makes the perfect book (remind students that everyone might have completely different perfect books). Share your own personal perfect book and tell students why it is the perfect book for you. Then, tell students, "You've got the power!" as you challenge them to go to the library shelves to find their own perfect books today!
Tuesday, January 20, 2009
Introduction
The purpose of this blog is to meet course requirements for the following TWU course: LS 5663.20 (Poetry for Children). Throughout the semester, I will post a variety of poetry reviews. I look forward to learning more about poetry and posting again soon!
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