Formats for 2007 Poetry Project

Pre-project lesson
Heart Mapping

Week #1
Five W Poems

Week#2
Can You Imagine?

Week #3
I Am From . . . .

Week #4
Emotion Poems

Week #5
Rhetorical Questions

This is the official start of our Poetry Project! Yay! I always start with a quotation, and this year, I'm using one from Ted Scheu that I thought was very appropriate:

    "Arguably the greatest gift poetry can bring to the writing of children is opening them up to share what is in their hearts. When kids struggle to think of something (anything!) to write about (as they seemed perpetually to do in my own classrooms), it's usually because they are not accustomed to sharing feelings. "

We also want to get deeper than the "I like my ______." feelings. See if this activity helps students do that.

This is a modification of Georgia Heard's notes in the .pdf file for which I sent the url a couple of weeks ago. At some point between now and when you do the first format, it might be helpful to have your students make heart maps. The younger children will make less complete ones, and use pictures more than writing. Older students can be very detailed. I've attached a copy of the cover of her book, which I recommend. It gives an idea of one kind of heart map.

I suggest having a heart shape divided into 5 sections for the younger students. I think a graphic organizer might be more effective for older students, or let them draw it out in their own way. As always, model for them what you want by doing it yourself, in front of them. If we want children to share their hearts and innermost feelings, we must be willing to do the same.

If you provide an organizer, I suggest using heart shapes somehow in the map to remind students of the main idea of the activity. This NCREL site has some organizer examples. I could see using the Network Tree with a heart in the middle. A lot of our feelings do network from one area to another.

Jack Gantos did a similar thing in a workshop I attended. He called it a neighborhood map and used it to write Heads or Tails, and the following books about Jack, based on his childhood. Marissa Moss uses a diary, in fact tells the entire story through the diary with drawings, sayings, etc., in her Amelia books. This could be the bridge from the poetry unit into prose.

Here are some ideas from Georgia to get students going.

Heart Mapping

Purpose

    … To discover what things are important to you
    … To discover you inner poet's voice

Directions

Think about the things and people that are important to you. Use the following questions to help you uncover what is in your heart. Then begin your own heart map. Add your own important ideas and thoughts not covered by the questions.

Use the questions as a guide, not an absolute. This can be an ongoing process, added to whenever a new idea occurs to you. As we grow, we change, and so does the heart. (Remind them they aren't writing these stories right now, just making quick notes or pictures to help them remember later.)

    … What has really affected your heart?
    … What people have been important to you?
    … What are some experiences or central events that you will never forget?
    … What happy or sad memories do you have?
    … What secrets have you kept in your heart?
    … What small things or objects are important to you - a tree in your backyard, a trophy, a stuffed animal ?

Ask yourself:

    … Should some things be outside of the heart and some inside of it?
    … Do you want to draw more than one heart - good and bad; happy and sad; secret and open - and include different things inside each heart?
    … What's at the center of your heart?
    … What's outside around the edges?
    … Do different colors represent different emotions, events, relationships?

I think these questions *might* come before the others, but this is the order in which Georgia put them - feel first then organize? Rough draft answers to the questions and add your own - then make the map?

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Five W Poems

Judy Jarboe posted this on the Four Blocks mailring way back in 2001, and it's still a good format. It can be done as a whole class poem, or as small group poems (groups of 5, each person writes one line), or as individuals.

The poem is 5 lines long. Each line is one of the 5 W words so important in writing: who, what, where, when, why. What a great way for students to see the parallels between storytelling and poetry! It might be fun to expand the poems, another time, into a full descriptive memory or story.

Although the format involves the questions on the left, these are *not* part of the poem.

Example:

Who? (or what?)
Did What?
Where?
When?
Why?
 


My grandmother's cat
Stalking little gray birds
Under the pecan tree
Early in the morning.
Protecting the Early Worms!

Susan 4/3/02

Here's what a poem would actually look like:

Yellow and orange, African Daisies
Shake in the spring breeze
Near a brick wall
In the late afternoon sunlight.
Providing a sense of joy to the observer!

Susan 3/9/08

I look forward to seeing what your students do with this.

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Can You Imagine?

This week's format is from Ted Scheu and used with his permission.

This poem *does* rhyme. If your children have a hard time with the rhyming, let it go. (There will be an alternate choice later. I will put it on the website when I put this one up, rather than e-mail it.) One thing my students wanted to do was rhyme within each line, rather than at the ends of two lines. You may have that problem, or you may not. If it comes up, let them go with it.

Read several examples to the students. Take the poems apart and show them how they work. If you've worked all year on rhyming, and rimes, as many 4 Blocks teachers do in the younger grades, here is the perfect time for them to practice what they know.

Here's an example: (by an ELL learner from India)

Can You Imagine?
by Namitha
October 20, 2004
Can you imagine . . .
A cat without a tail?
A boat without a sail?
Black without white?
A day without night?
A school without floor?
A house without door?
Spring without birds?
Poems without words?
A face without a nose?
A feet without toes?

There are a couple of lines that could have used an article, and the birds-words line would have more impact at the end, but I asked her if she thought the lines were in the best possible order, and she said yes, so we went with it. =)

Ted had a discussion with children of things that go together. A good time to work on analogy lessons in conjunction with the poetry writing, in your words/phonics time. We made some lists of things that go together. He talked to them about the rhythm, and the fact that it worked best when the nouns were one syllable, no more than 2, and then he gave them the frame that looked like this:

Can You Imagine?
by ____________

_________ without _________?

_________ without _________?

_________ without _________?

_________ without _________?

He had about 10 pairs of lines on the page, and it was a handwritten format. You can easily make one, or make a large chart that students can view while writing. Students who had a lot of trouble wrote shorter poems. Students who were having a great time wrote longer ones. They weren't all perfect, but it was a format that some of my students continued to write for several weeks. One little boy wrote probably ten of them, and none were shorter than 20 pairs! Each one got better with the rhymes, and he's another ELL, so it was good practice for him to play with language this way.

Here's variation one - students who are exceptionally fast to catch on may want to chain the lines instead of rhyming them. For instance:

a dinosaur without teeth
teeth without a kitten

They can chain pairs of lines, or see how far the chain could go. For instance, the next line to go with these two might be: a kitten without a collar.

Variation two - students might think of things that *don't* go together. This is much harder than one might imagine! Sometimes it's good to do a little reverse thinking. I had a *very* hard time with this!

Can You Imagine...

A dog with a cat?
A horse with a hat?

A bee with no sting?
A gem with no bling? (I resorted to slang!)

A fly with good health?
A tramp with great wealth?

Susan, 2005

Trust me, that's tricky! And that's why it's short! =) That one is correctly punctuated and capitalized.

I'm sure your students will come up with other variations. I'm eager to see them.

Here are more student examples for you:

Can You Imagine?
by Crystal
October 26, 2004

Can you imagine . . .

black without white
light without sight
a kite without height
a knight without might
a dog without a bite?
a mailman without mail
a cat without a tail?
a bear without hair
a tear without care
a girl without hair!


Can You Imagine
by Kassandra
November 23, 2004

Can You Imagine . . .
Socks without sweat
A game without a bet
Recess without fights
Sun without light
A bear without honey
A person without money
Bees without stings
Kites without string
Trees without thorns
Popcorn without corn
Stars without flags
Cinderella without rags?


Imagine
by Esteban
October 28, 2004

Can you imagine . . .
a dog without a cat
a kid without a bat
rats without cheese
locks without keys
a name without a d
cold without some tea
a bear without hairs
a kid without dares
a kid without me
a frog without bees!

All of these need question marks at the end of each phrase after the ellipsis.

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The third week's poetry format is a new one. When I post this on the website, I cannot include the poem from George Ella Lyons, because I don't have permission to publish it on the web, even for this purpose. This is an article that might be helpful to read before doing week #3's format. This article is specifically about 8th graders, but I think the same kind of teaching works well with primary, and is the kind of thing I have done in the past.

NWP

I came across the idea on a friend's blog. I think it will be loved by some children, and difficult for others. That's why the format can be very open ended. To stay true to the theme of this poem, I think one only has to think about things that defined who one is. For a girl growing up in the 50s, it might be Dick and Jane readers, curly perms, piano lessons, Howdy Doody on the radio, milk at the door, peddlers sharpening knives and selling needles, and the Korean War. Whenever we grow up, there are definite icons of that time.

Helping students to define the things that have influenced them is really a matter of guiding a discussion about what they remember from earlier years, and family is a big part of that. You may have children from family situations that are less than perfect. Try to encourage them to think about their favorite things from earlier years - flavors of ice cream to colors of crayons. These don't have to be "happy" poems, and for some children, they might not be. You know your children best, and where to lead them in this discussion.

The ending is the trickiest part of this poem. The last stanza would have been fine without the final three lines, but the definitely add something. Help your children find the best line for the ending. This is a poem where lines can be shifted around and the poem will not suffer for it. This is definitely a poem that will benefit from revision. I revised mine several times, and used the thesaurus!

"Where I'm From" appears in George Ella Lyon's Where I'm From, Where Poems Come From, a poetry workshop-book for teachers and students, illustrated with photographs by Robert Hoskins and published by Absey & Co, Spring, Texas, 1999. The book can be purchased here. George Ella Lyons is an Appalachian author and poet with a long list of children's books to her credit.

Each of us is from a place that is more than a dot on the map. Every experience that we can recall has left its mark on who we are. Nobody is from Clorox, but can't you smell the laundry room at the poet's house as a little girl?

Read Where I'm From. Then, write your own version-- where you're from. There's a format at the end of this message, obviously meant for older children. However, I don't see why younger children couldn't do a version of this. Just reading some examples to them may help them get started. Brainstorm some things which your children might use as a jumping off place, such as product names, plants, kinds of food, personality traits, aphorisms, etc. Have children think about things their parents always say, oral history in the family, traditions the family has, places they've lived.

The poem does *not* have to include all the things in the format.

Here are a couple of examples from me.

I am from crab grass,
Green clippings begged from neighbors.
Planted and watered, tended
To make a lawn.
I am from coleus, fuschia and emerald,
From coxcomb, fuzzy and ticklish,
From zennias in the middle and
Hollyhocks in the back.

I am from Sunday School in pinafores,
From black patent Mary Janes,
From the Old Rugged Cross,
And Praise the Lord, Amen.
I am from Sunday solos in quavery voice,
From Vacation Bible School verses,
Learned and rewarded with plaster fruit,
And a zippered White Bible from Mama.

I am from Spic and Span,
From white gloves,
From scrub brushes
Used on hands and knees.
I am from the lumber business
And the bullwhip that cracked.
I am from a smoke house that burned
Taking everything with it.

I am from grandparents
Married in Mena, Arkansas,
From parents married in Texas
And buried there, too.
I am from sisters who were beautiful
When I wasn't,
And from brothers who were tall
To my short.

I am from farmers and lumbermen,
From native people and voyagers,
From canners and quilters,
And hard workers.
I am from memories and visions,
From Irish and Scots.
I am fulfillment
Of immigrant dreams.

Susan Nixon, March 21, 2008

Here's the sample from my friend's blog. She gave me permission to use it. You can see that she sticks to one influence in her life - sewing.

I am from spools of thread, from Singer and bobbins.
I am from the organized chaos of journals.
I am from cotton, linen, clothes and the store.
I am from looms and knitting, from mother and grandmothers and aunts.
I am from traditional and experimental, from patchwork and applique.
I am from functional utility, necessity and thriftiness.
I'm from creative urgency, needles and pins.
From quilting bee, the bunkhouse, and the feed sack dress.
I am from the closet, the cedar chest, the bed. . . .

Donna Royer

Simpler version:

I am from ham and sweet potatoes,
From pineapple cheesecake,
And chocolate bunnies
With no ears.

I am from California
From the mountains and the trees,
And the icy lakes
Filled with fish.

Susan Nixon, March 21, 2008

Longer version (don't think it has to be followed perfectly!)

I am from _______ (specific ordinary item), from _______ (product name) and _______.

I am from the _______ (home description... adjective, adjective, sensory detail).

I am from the _______ (plant, flower, natural item), the _______ (plant, flower, natural detail)

I am from _______ (family tradition) and _______ (family trait), from _______ (name of family member) and _______ (another family name) and _______ (family name).

I am from the _______ (description of family tendency) and _______ (another one).

From _______ (something you were told as a child) and _______ (another).

I am from (representation of religion, or lack of it). Further description.

I'm from _______ (place of birth and family ancestry), _______ (two food items representing your family).

From the _______ (specific family story about a specific person and detail), the _______ (another detail, and the _______ (another detail about another family member).

I am from _______ (location of family pictures, mementos, archives and several more lines indicating their worth).

This is a borrowed idea, not mine, but a great idea to get students moving into more of the heart zone of poetry. You might be surprised what you find as you rummage around in those dusty old trunks--your personality, your family history and traits, and the places you've called home--as you complete the poem with your own memories and facts.

Shorter version:

I am from ( favorite foods)
From (favorite dessert)
And (favorite other treat)
(Something about that treat).

I am from (state where born)
From (two things about the state)
And (third thing about the state)
(Something about that third thing).

You can see that you could make additional verses like this in other categories, if children wanted to.

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This week's format is also one we have not done before. The pattern is a poem I like very much, and cannot post on the website, because I do not have permission. It is "Alone" by Sara Holbrook, From I Never Said I Wasn't DifficultBoyds Mills Press ISBN 1-56397-639-0

For the youngest students, this may be difficult. First, brainstorm some emotions - make a list on chart paper, something that students can look at and think about for a day or so before writing their poems. It may not be the word we normally associate with the emotion. The emotion of loneliness is represented in Sara Holbrook's poem by the word 'alone,' for instance. Encourage your children to think a bit outside the box with these words.

After a day to think about it, ask if anyone wants to add any words, then have children pick a word on the list, or another word they prefer that fits the format. Share the Holbrook poem with them. (This is the perfect authentic time to study similes and metaphors!) Talk about the way she uses comparisons, sometimes by saying it is like something else, sometimes by saying it *is* something else. Model writing a poem, telling students out loud what your thinking is and how you are deciding what to write. 

Talk about this decision process. It's the most important part of writing, and one that often doesn't get verbalized or modeled for children. Why do we choose this word over that word, or this thought over that thought? There's really no right or wrong to this, but those decisions are the ones that make my poem different from yours, and yours different from some else's.

Finally, use this format.

___________
doesn't have to be______
like _________________. (simile)

___________
doesn't have to be______
like _________________. (simile)

___________
can be______
__________________
__________________. (metaphor)

___________
doesn't have to be______
_________________. (statement)

___________
doesn't have to be______
like _________________. (simile)

________ is _____________. (statement or metaphor)

You might leave Sara's poem on the overhead or a chart page for students to refer to as they write. The format is fine, but seeing the slight variation in Sara's poem may help students be a little looser in their interpretation and still stay on target.

Younger students might write just one pair of simile-metaphors and then the final statement.

Here's one I wrote when trying this out.

Happy
doesn't have to be laughing out loud
like someone watching circus clowns.

Happy
doesn't even have to be smiling
like the yellow happy face icon.

Happy
can be calm and quiet,
the first bite of chocolate-chip-cookie-dough ice cream
sliding down my throat,
knowing there's the waffle cone to follow.

Happy
doesn't have to be
a once-in-long-time delicacy.

Happy
doesn't have to laugh,
or show in an outside grin,
like having a birthday surprise
all the time.
Happy
is a mind-set.

Susan Nixon
3-30-08

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Rhetorical Questions:

Start your poem with a rhetorical question. A rhetorical question is one that you ask but do not expect an answer from your listener; you provide it yourself. Remind students there are no right or wrong answers. They are speculating - one of my favorite creative thinking activities! What do they suppose the answer might be? The answer will need several supporting details - a good time to tie this in with reading skills. =)

A writing skill to emphasize during revision might be word choice. See the second detail in my own poem. The choice of the words "can dress in" instead of the more common "turn" is an example of word choice that makes the line better.

The format might look like this (there should be at least 3 details - more are okay):

Title that sums up question

I wonder _________________________?
I suppose _________________________.
Detail
Detail
Detail
Detail.
Here's an example I wrote:

Autumn Leaves

I wonder if the leaves mind falling off the trees in Autumn?
I suppose it's alright with them.
They get to travel to new places on the wind.
They can dress in spectacular oranges, reds and browns.
Sometimes children gather them for art or science projects,
Or moms put them in table centerpieces.
They've served their life-continuing purpose.

---Susan Nixon
April 6, 2008

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