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.
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