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Archive for the 'Poetry' Category

Poetry Hangman

Wednesday, April 2nd, 2008


Poetry Hangman To what purpose, April, do you return again?” wrote Edna St. Vincent Millay. Today, of course, we know the answer: it’s to celebrate National Poetry Month! I’m planning to blog about poets, poems, and teaching poetry a little more often than usual this month, and I’d like to start with something completely offbeat: Poetry Hangman.

You teach poetry terms to your kids, but just how well do you know them yourself? Here’s a chance to find out.

It works like the game of Hangman that got us all through boring classes when we were students (and maybe through the occasional faculty meeting now). Select from the letters at the base of the scaffold. Get it right, and the definition of the term appears as reinforcement. Hang yourself, however, and a frowny face scowls down from the scaffold.

The database is limited to about 15 fairly basic words. I’d like to see them add more words for figures of speech or for metrical feet. But if your kids have 5 minutes at the end of class and Web access, this would make a great sponge activity!

Robert Frost

Wednesday, March 26th, 2008


Robert Frost, one of America’s best-known poets, was born on this date in 1874. He lived in San Francisco until he was 11, when his family moved to Lawrence, Massachusetts.

He finished his education, married, and tried to combine writing and farming. In 1912, unable to find a publisher for his poetry, Frost, his wife and family moved to Great Britain. His first collection, A Boy’s Will, was published in 1913. He returned to the United States in 1915, and in 1916 he began teaching at Amherst College. For much of his career he also taught at the Bread Loaf School of English of Middlebury College. He continued to write and was awarded the Pulitzer Prize for Poetry 4 times.

Robert Frost, Kennedy inauguration

Frost at the inauguration of President John F. Kennedy, 1961

Best known for poems like “The Road not Taken” and “Stopping by Woods,” Frost also wrote several quotable one-liners:

“Happiness makes up in height for what it lacks in depth.”

“Poetry is a way of taking life by the throat.”

“A bank is a place where they lend you an umbrella in fair weather and ask for it back when it begins to rain.”

“The father is always a Republican to his son, and the mother’s always a Democrat.”

“A jury consists of twelve persons chosen to decide who has the better lawyer.”

“By working faithfully eight hours a day you may eventually get to be a boss and work twelve hours a day.”

“In three words I can sum up everything I’ve learned about life — it goes on.”


(Special thanks to Dr. Mardy’s Quotes of the Week!)

Poetry reading: Li-Young Lee and David Kirby

Tuesday, March 18th, 2008

The Library of Congress sponsored a poetry reading in February featuring poets Li-Young Lee and David Kirby. A webcast of the event is available for download. It’s 85 minutes long, but clips might be appropriate for the classroom. It’s an example of tax dollars at work that teachers can really support.

If more students could see and hear real poets reading their work, we might be able to demystify poetry for kids — make it less a matter of rhythm and rhyme and more a matter of meaning. Who knows what poets sit in our classrooms now, waiting for just the right model or encouragement?

Langston Hughes

Monday, February 4th, 2008

Black History Month is a good time to celebrate African-American writers. (Actually, ANY time is a good time to celebrate writers and writing, but I’ll save that for another time.)

The Academy of American Poets
has an audio file of Langston Hughes reading “The Negro Speaks of Rivers.” Hughes discusses his inspiration for this early poem, written while he was traveling.
Langston Hughes
I found myself wondering whether this poem might work as a mentor text or as a model to encourage students to think beyond poetry as a strict rhythm-and-rhyme experience. The process would be the same simple and profound experience Hughes had, taking the impulse of the moment and making connections to something greater, moving from the concrete to the abstract. Each student could find something to help them make the connection.

Younger students:

I’ve known puppies … My soul has run like a puppy.
I’ve known trees … My family is strong, like trees.
I’ve known crayons … My friends are different, like crayons.

Older students:

I’ve known books …
I’ve known snow …
I’ve known lockers …

Athletes:

I’ve known basketballs …
I’ve known shoes…
I’ve known coaches …

Teachers:

I’ve known classrooms …
I’ve known chalkboards …
I’ve known students …

Bloggers:

I’ve known keyboards …

If you try this, I’d love to hear how it works for you!

Spoon River Anthology

Tuesday, December 11th, 2007

I wanted my American Lit students to understand the mindset of American writers in the years just prior to World War I. I asked them to work in small groups and find some related poems in the Spoon River Anthology by Edgar Lee Masters. They were to decide how the poems connected, then memorize and present them. I also required simple props of some kind.

The activity went well, although there was some “discussion” about having to memorize poems. After seeing all of the presentations, students grasped the bleakness that pervaded the zeitgeist, and they carried that understanding with them as we read T. S. Eliot and F. Scott Fitzgerald.

Spoon River Anthology: the definitive online edition presents the poetry for future readers. From the site:

Edgar Lee Master’s Spoon River Anthology was an immediate commercial success when it was published in 1915. Unconventional in both style and content, it shattered the myths of small town American life. A collection of epitaphs of residents of a small town, a full understanding of Spoon River requires the reader to piece together narratives from fragments contained in individual poems.

Here’s one of my favorites:

“Fiddler Jones”

THE earth keeps some vibration going
There in your heart, and that is you.
And if the people find you can fiddle,
Why, fiddle you must, for all your life.
What do you see, a harvest of clover?
Or a meadow to walk through to the river?
The wind’s in the corn; you rub your hands
For beeves hereafter ready for market;
Or else you hear the rustle of skirts
Like the girls when dancing at Little Grove.
To Cooney Potter a pillar of dust
Or whirling leaves meant ruinous drouth;
They looked to me like Red-Head Sammy
Stepping it off, to “Toor-a-Loor.”
How could I till my forty acres
Not to speak of getting more,
With a medley of horns, bassoons and piccolos
Stirred in my brain by crows and robins
And the creak of a wind-mill–only these?
And I never started to plow in my life
That some one did not stop in the road
And take me away to a dance or picnic.
I ended up with forty acres;
I ended up with a broken fiddle–
And a broken laugh, and a thousand memories,
And not a single regret.

Special thanks to David Dillard and the Net-Gold list for this heads-up!

Why do we have to learn this stuff?

Tuesday, November 20th, 2007

Tessa was having a tough day, and the poetry of Emily Dickinson just wasn’t making sense to her. Finally in exasperation she blurted out, “Why do we have to learn this stuff? I’ll never use any of this in college or on the job. This is a waste of time.” She slammed her book shut, leaned back in her chair, and crossed her arms in the classic, “Don’t mess with me” pose.

To all the Tessas of the world, a few thoughts:

1. No one knows what you’ll do in college.
We can’t be sure what specific assignments your profs will be sending your way. We can be sure, however, that you will be asked to read and understand challenging material. You will be expected to think about issues. You will have to write clearly. You will probably also participate in group work, take notes, give speeches, present slide shows, and take essay tests. If you can handle our lesson for today, you’ll be able to handle that, too.

2. No one knows what your future job will require.
It’s true that getting a job will probably not be dependent upon your knowledge of the poetry of Emily Dickinson. The ability to analyze what you read, however, will help you get ahead. If you can analyze a poem (or essay or novel), you’ll be able to handle the standard business report.

3. No one knows what civic life will require.
You can be sure that advertisers and politicians will spend big bucks trying to find the words and images that will persuade you to agree with them. Will you be able to separate empty rhetoric from genuine conviction? Will you recognize the point at which an argument becomes specious? Will you be able to tell when someone is asking the wrong question? That’s what we’re working on here, all wrapped up in “Because I could not stop for Death.”

I realize this sounds suspiciously close to the answer I got in 1968 when I asked why I had to learn algebra. OK, Mr. White, you were right.

One-hit wonder — Ernest, not Casey

Tuesday, August 14th, 2007

Ernest Lawrence Thayer, born August 14, 1863, grew up to edit the Harvard Lampoon and to write a humor column for the San Francisco Examiner. His final contribution to the Examiner, a poem about a baseball player who strikes out, proved to be his most noteworthy. Because it lends itself so well to dramatic reading, the poem was very popular on the vaudeville circuit. (By coincidence, it was first performed on Thayer’s 25th birthday.) From there it entered into literary immortality, oft-anthologized, oft-quoted, oft-parodied.

“Casey at the Bat”
by Ernest Lawrence Thayer

The Outlook wasn’t brilliant for the Mudville nine that day:
The score stood four to two, with but one inning more to play.
And then when Cooney died at first, and Barrows did the same,
A sickly silence fell upon the patrons of the game.

A straggling few got up to go in deep despair. The rest
Clung to that hope which springs eternal in the human breast;
They thought, if only Casey could get but a whack at that -
We’d put up even money, now, with Casey at the bat.

But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a lulu and the latter was a cake;
So upon that stricken multitude grim melancholy sat,
For there seemed but little chance of Casey’s getting to the bat.

But Flynn let drive a single, to the wonderment of all,
And Blake, the much despis-ed, tore the cover off the ball;
And when the dust had lifted, and the men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.

Then from 5,000 throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It knocked upon the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.

There was ease in Casey’s manner as he stepped into his place;
There was pride in Casey’s bearing and a smile on Casey’s face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt ’twas Casey at the bat.

Ten thousand eyes were on him as he rubbed his hands with dirt;
Five thousand tongues applauded when he wiped them on his shirt.
Then while the writhing pitcher ground the ball into his hip,
Defiance gleamed in Casey’s eye, a sneer curled Casey’s lip.

And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped-
“That ain’t my style,” said Casey. “Strike one,” the umpire said.

From the benches, black with people, there went up a muffled roar,
Like the beating of the storm-waves on a stern and distant shore.
“Kill him! Kill the umpire!” shouted someone on the stand;
And its likely they’d a-killed him had not Casey raised his hand.

With a smile of Christian charity great Casey’s visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the spheroid flew;
But Casey still ignored it, and the umpire said, “Strike two.”

“Fraud!” cried the maddened thousands, and echo answered fraud;
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn’t let that ball go by again.

The sneer is gone from Casey’s lip, his teeth are clenched in hate;
He pounds with cruel violence his bat upon the plate.
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey’s blow.

Oh, somewhere in this favored land the sun is shining bright;
The band is playing somewhere, and somewhere hearts are light,
And somewhere men are laughing, and somewhere children shout;
But there is no joy in Mudville - mighty Casey has struck out.

At the Bar-D Ranch

Tuesday, July 31st, 2007

Cowboy poetry speaks for a unique segment of American life. The Web site Western and Cowboy Poetry, music and more at the Bar-D Ranch offers a glimpse of poetry that reflects a lifestyle that is fading.

  • Don’t miss Wallace McRae’s humorous classic, “Reincarnation.”
  • “Lariat Laureate” Brenda “Sam” DeLeeuw’s poem “Spring” depicts the arrival of the season in the desert.
  • Other collections of poems, including cowboy toasts and poems about chuckwagons, are also available.

Visitors can also subscribe to a newsletter. Don’t miss this great collection of poems about the Great American West!

Juneteenth

Tuesday, June 19th, 2007

Life Every Voice and Sing
by James Weldon Johnson

Lift ev’ry voice and sing,
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the list’ning skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us;
Facing the rising sun of our new day begun,
Let us march on till victory is won.

“Juneteenth” has been celebrated since June 19, 1865, when Major General Gordon Granger read aloud the Emancipation Proclamation in Galveston, Texas. This public proclamation came more than two and a half years after the Emancipation Proclamation had taken effect elsewhere in the United States. It had little demonstrable effect on people’s lives, but it was a clear sign of what was to come. Slavery was abolished by law December 18, 1865, after the end of the Civil War.

Today the holiday is officially recognized in 14 states and unofficially recognized throughout the United States and internationally with parades, parties, food, and music.

James Weldon Johnson’s poem, “Lift Ev’ry Voice and Sing,” was set to music by his brother, the composer and singer J. Rosamond Johnson. It was first performed as part of a celebration of President Abraham Lincoln’s birthday. The song became so popular that eventually it was entered into the Congressional Record as “The African American National Anthem.” The singing of this song is a traditional part of Juneteenth celebrations and a great example for our students of the convergence of poetry, history, and life.

Stony the road we trod,
Bitter the chastening rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered,
We have come, treading our path through the blood of the slaughtered,
Out from the gloomy past,
‘Til now we stand at last
Where the white gleam of our bright star is cast.
God of our weary years,
God of our silent tears,
Thou who has brought us thus far on the way;
Thou who has by Thy might
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, our God, where we met Thee,
Lest, our hearts drunk with the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God,
True to our native land.

Ben & Verse

Wednesday, June 13th, 2007

We ask our students to respond to their reading in a variety of ways: journals, double-column response guides, posters, dioramas, book reports. When John McCall started working with Poor Richard’s Almanack, however, he found himself responding to Benjamin Franklin’s proverbs in verse.

Thus Franklin’s “Cunning proceeds from Want of Capacity” became

Those unable
Tilt the table.

“I should say that I put my work online in order to bring the spirit of Ben Franklin to the greatest possible audience — at absolutely no charge. Although that certainly is what I should say, it might be better to tell the truth. The truth is that if I tried to get [a] book in print, … I might possibly get questions on Franklin and his works – two subjects I know nothing about. I’ll never know who got electrocuted where.” So McCall created Ben & Verse instead.

Leo Lemay, who according to McCall “has the most authentic source anywhere,” generously granted permission for McCall to quote from Benjamin Franklin: Writings. McCall hopes “to keep on squeezing dollops of Franklin’s profundity and ‘updating’ them in rhyme” for as long as possible.

“I average half a dozen revisions, two or three of them picky,” for each proverb, McCall says. “I rate rhymes on such things as closeness to the original thought and the liveliness and consistency of the metaphor.”

“Rhyme has worked effectively on the human psyche for a long time,” McCall states. “I doubt that the needs of the psyche have changed as drastically and quickly as the incidence of rhyming in literature.” Besides, he adds, “I just like juvenile jingles.”

McCall’s humor helps bring Franklin’s thought to the present:

“He is not well bred, that cannot bear Ill-Breeding in others.” [1748]

Crude Dude
Snubs Rude.

“There is much money given to be laught at, though the purchasers don’t know it; witness A’s fine horse, & B’s fine house.”[1737]

“Big sticker”
Earns snicker.

“‘Tis easier to build two Chimneys, than maintain one in Fuel.” [1757]

Gizmo’s free,
But battery …

Ben & Verse is licensed under a Creative Commons Attribution license. McCall’s collection will be available as a downloadable e-book on the Gutenberg Project by September. Look for Ben & Verse: Is Franklin Cursed? His Prose has been Versed.

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