Monday, April 17, 2017

Newspaper Blackout Poems -- A Bonus Post!

As a big "thank you" to all of our contributors this year -- fifteen teachers from around the country in all -- I'd like to close out this year's blog with a video demonstration from Austin Kleon, author of Newspaper Blackout and Steal Like an Artist, on how to create newspaper blackout poetry. If you have never done this before, your students will love it!

Would you like to be a writer for Go Poems next year?  Posts resume on March 15, 2018.  Read submission guidelines here.  It is not to early to start a draft!  Shoot me an email at bvogelsinger at gmaildotcom if you are interested in writing for the blog. Enjoy the rest of National Poetry Month, especially Poem in Your Pocket Day!

Further Reading: 

Thursday, April 13, 2017

Go Poem #30 -- Song Lyrics Mash-up

by Penny Kittle

Some students resist writing poetry because they struggle to find words to contain their ideas. Poetry feels Important, Serious, and Literary. It is. But it is also simple, playful, and found in the everyday. In fact, that is its Superpower.

To help my students learn to play, I spend days on found poetry.  We use words we find in an editorial, news article, school hallway, book, or in this case, songs to compose our own poems. The rules are simple: you can't add your own words; you use what you find.  This takes pressure off and opens possibility.

My writer's notebook was open and under the document camera at the start of class one day.  I had strips of lyrics to three songs from the Lumineers piled on two empty pages.  I placed one line, then another, searched for phrases to repeat, and then added those between emerging stanzas. The beauty was in the clean, efficient revising: I lifted lines from my emerging draft and returned them to the word pile or cut a phrase into smaller parts and played with the power of line breaks to slow down my reading.  I searched for consonants to repeat and unlikely combinations that led my poem to new ideas.

“Can we get started?” students asked.

Yes, please.

Penny Kittle is a high school English teacher and writer from North Conway, New Hampshire.  You can follow her work on Twitter @pennykittle.

Further Reading:

Wednesday, April 12, 2017

Go Poem #29 -- Parallel Lines

by Brett Vogelsinger

The repetition of grammatical structures, known as parallelism, works especially well for poets because it establishes rhythm and momentum in a piece of writing.  Any writer is concerned with the "flow" of a piece, how it moves, and parallelism is a key skill to acquire for our students as writers.

Joy Harjo's poem "Remember" employs parallelism on two levels.  The repetition of the word "remember" to introduce new ideas couples with the similar structure in the clauses that follow give this poem its remarkable sense of music.

After our first reading of the poem, I ask students to hypothesize the cultural background of the poet from the imagery in the poem.  Most classes are able to conclude the poet is writing from a Native American background using the personification of earth, moon, and stars and the reference to dance in the closing lines as their primary clues.  We briefly discuss how Native American cultures view man's relationship with the earth and how this differs from other cultures.

Just before the second read, I introduce the concept of parallelism, relating it to the simpler term repetition. How does repetition/parallel structure enhance this poem? After a second read, kids are quick to pick out that the structure adds to the rhythm, giving the poem a songlike quality.

As an extension, it can also be rewarding to write together as a class based on this poem.  I have kids write their own "Remember . . . " lines on sentence strips.  On my magnetized board, we attach them and work them into our own collaborative "Remember" poem reorganizing for greater music and momentum as we go. In writing this poem, we have used, listened to, and revised parallel structure.  

Two other poems that work well as alternates for a similar mini-lesson:  "The Delight Song of Tsoai-talee" by N. Scott Momaday or "Famous" by Naomi Shihab Nye.

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.

Further Reading:

Tuesday, April 11, 2017

Go Poem #28 -- Burning The Old Year

by Brett Vogelsinger

Naomi Shihab Nye's poem "Burning the Old Year" showed up in my inbox on January 2, 2017, thanks to the amazing poetry teaching resources from The Academy of American Poets, available here and searchable via #poetryclassroom.  The email included some classroom activities, which are excellent for starting a new calendar year, but as all teachers are wont to do, I began thinking about how to modify or adapt the listing idea so that this poem could have relevance any time of the year.

Ultimately, the poem is about what things perish quickly -- "lists of vegetables, partial poems" -- and what lasts -- "so little is a stone."

In their notebooks, I have my students sketch a fire for one minute while thinking about what aspects of life survive the "orange swirling flames of days" and what aspects do not.  Then we make two lists.  What things do we quickly relinquish in life, and what do we manage to cling to, sometimes despite wishing to let go.  What is "paper" in our life and what is "stone?"

These two lists can provide rich ideas for later writing topics, so students can nurture this seed into their own creative writing if they wish.

Also, don't miss Naomi Shihab Nye's excellent speech about teaching poetry:

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.

Further Reading:

Monday, April 10, 2017

Go Poem #27 -- Wreck This Poem

by Brett Vogelsinger

As teachers of poetry, we have likely all spoken about the value of each word in a poem.  It is no hyperbole to say that each word in a poem carries more weight than each word in an essay, short story, or novel.  But to make this fact have a bit more impact, and in the spirit of Keri Smith's wildly successful creative journal series, it can be fun to experiment with "wrecking" a poem.

Anne Porter's Poem "Wild Geese Alighting on a Lake" is a poem that students can easily identify as tranquil in its mood.  I challenge students to wreck the poem in their Writer's Notebooks by drastically altering its mood.  They must do this by changing only five words.

Fair warning: if you try this in class, a fair amount of students will kill off those geese.  Nonetheless, the outcomes are remarkable.  A poem that is nearly the same can be so, so, incredibly different when the writer (student) alters just five of the writer's (poet's) words.  Your class is guaranteed a few laughs along the way, and we can only hope that Anne Porter would forgive and maybe even applaud the kids' irreverent ingenuity.

An interesting extension might include a discussion of the connotations of those five changed words, for it is the associations of the individual words that help to craft the mood in a poem.

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.

Further Reading:

Living Things: Collected Poems by Anne Porter

Sunday, April 9, 2017

Go Poem #26-- Paraphrasing A Rebuttal

by Brett Vogelsinger

Any strong argument can be countered in a rebuttal, and Taylor Mali's "Like totally whatever, you know?" from yesterday's post is no exception.  Melissa Lozada-Olivia answers Mali's attack on our lackadaisical use of language not with excuses but with powerful commentary on what voices with a lack of conviction might say about society at large.

I explain to my students that today's poem will be a poetic rebuttal to yesterday's poem.  No further introduction is required. 

It's fascinating to see that in my classes, the students invariably become defensive of Mali's argument. "He didn't mean it that way!" they cry, "She sounds too angry!" they judge.  To be honest, as a Taylor Mali fan (after all, what teacher doesn't love Taylor after hearing "What Teachers Make") I kind of relate.  But I invite my students to step back from their initial emotional reaction and consider the same question as yesterday: What is her central claim?  What is she arguing in this poetic response? 

This argument is somewhat trickier, but we eventually whittle it down to something like "People speak without conviction because they are used to being overlooked an unheard" or "Judging people based on how they speak will not help them speak with greater conviction."  We discuss whether this is in polar opposition to Mali's argument or just a different perspective on the same issue.  Do both poets believe people have the capacity to speak with greater conviction?  Is there any common ground here? 

The clever repurposing of Mali's own wording here is also worth noting.  Imitation, after all, is not always the sincerest form of flattery.  

When I shared this pair of poems with a colleague in my school district, she pointed out that the rap battle pieces between Thomas Jefferson and Alexander Hamilton from Hamilton (Original Broadway Cast Recording) would make excellent argument/rebuttal poems for discussion as well. 

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.

Saturday, April 8, 2017

Go Poem #25 -- Paraphrasing An Argument

by Brett Vogelsinger

Taylor Mali's  poem "Totally like whatever, you know?" is so much fun partially because it pokes fun at something that is so incredibly true, you know, the way we, like, clutter our speech with totally needless words.  Kids identify with this because they are accustomed to teachers and parents pointing out their superfluous interjections and asking them to work on it.

After watching this poem in the kinetic typography rendition, I ask kids to look at the complete text of the poem on the screen and ask them to consider the piece again less as a poem and more as a piece of argument writing.  If this whole poem is an argument, what is Mali's central claim?  How can you tell?

Many students come up with something like "People need to speak with more conviction."

Then we can consider in a whole-class discussion how he uses details in other lines of the poem as evidence to support this claim and build a strong argument.

Tune in tomorrow to see another poet's rebuttal to this argument which is sure to provoke a response from your students.

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.

Further Reading:

Friday, April 7, 2017

Go Poem #24 -- Sketch This Poem

by Brett Vogelsinger

We read the poem "Little Citizen, Little Survivor" by Hayden Carruth about a rat living in a woodpile, observed by a man starved of the natural environment he knew well as a boy.  The only direction I give is "You now have three minutes to sketch this poem in your Writer's Notebooks.  I will do the same in mine.  Your time begins now."

Part of the fun of this challenge is its impossibility. There is too much to possibly sketch in three minutes, so each reader must decide where to focus, what images are at the crux of this poem.  Moreover, they assume a certain perspective from which to view the poem.  Sometimes I see a long view of the house with the woodpile; the rat is too small to be seen.  Others sketch the rat's tiny nose from bird's-eye view as it peeks out from the woodpile.  Some ignore the woodpile altogether.  I once had a student sketch a bird feeder, zooming in on the detail that this speaker craves interaction with nature.

Sharing these sketches give us a natural entry point to identify what stands out to us in the poem and why, how we visualize as readers, and what matters most in this piece.  I encourage you to enter this activity without too many scripted questions, but rather watch as the kids interpret visually and then explain their thinking.  Questions and ideas emerge organically from these drawings. 

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.

Further Reading: