A Kick in the Head: An Everyday Guide to Poetic Forms by Paul Janeczko (Module 6; Book 1)

A Kick in the Head: An Everyday Guide to Poetic Forms Review by Elaine Alexander

BIBLIOGRAPHY
Janeczko, Paul B., and Christopher Raschka. A Kick in the Head: an Everyday Guide to Poetic Forms. Cambridge, MA: Candlewick, 2009. ISBN: 0763606626

SUMMARY
This illustrated collection features twenty-nine different forms of poetry by multiple popular writers in the genre. Not only does this book highlight the various formats and demonstrate the challenges of adhering to the rules, it also show how writers can creatively bend the rules within this art form in unique and clever ways.


ANALYSIS
While this book can serve as an excellent classroom resource to explain many different poetic forms, it also has strong appeal for upper elementary school students because a majority of the poems are humorous and make learning the structures an enjoyable, lighthearted experience. The selection of poems range from silly and whimsical, with an occasional more serious tone struck, such as the poem denoting the Vietnam Memorial. Overall, the language invites readers to have fun with words by playing within the rules and structures of different poetic expressions. One example is the Kristine O'Connell George's senryu that recounts a fresh new school year, with a "fossil...[of]...last June's cheese sandwich" (16) still tucked inside the student's backpack. Not only does the insertion of an old cheese sandwich make the senryu rather comical, but it also shows emerging writers that the format doesn't have to be serious in content. As long as it is be written in the 5-7-5 syllable structure and is about human nature, it counts as poetry!

This concept of playing with words and format is solidified in the introduction of this multi-author collection that prepares the reader for what they might find by suggesting that the rules of poetry are precisely what makes the art form more challenging and fun. Janeczko also points out that while the rules exist to provide structure and challenge, that a poet is not "a slave to every aspect...[and can]...break the rules and have fun doing so" (8). Instruction is suggested for making the most out of the experience in reading the book, to focus first on the poems, then on the explanation of the poetic form, before returning to the poem again for full enjoyment and comprehension. An example of how the format is bent for the sake of art is in Steven Herrick's limerick about a limerick called "Steven". Instead of strictly adhering to the rhyming structure of "aabba" the poet stops the rhyming sequence on the third line of the limerick in order to play up the comical message of the poem and emphasize how silly it is to have a limerick named Steven (Herrick 21). By breaking the rhyming structure, the poet shifts the emphasis on the silliness of the content, breaking the rules in favor of frivolity.

There are thoughtful teaching details throughout the layout. Each page of this collection has an instructive drawing at the top that tells what poetic form is being presented, along with a physical representation of the lines and meter. For example, on the page representing haiku, the corner drawing has three lines of flowers, each line representing the structure with a flower to indicate the individual syllables. This approach can help different types of learners, such as supporting visual learners by helping to reinforce how to count the syllables for a successful haiku. Further instruction is given regarding rhyming schemes. An explanation of the poetic form is at the bottom of each page. In addition, there is a progression in the difficulty level in the collection. The collection begins with the smallest poetic forms, the couplet, gradually moving into more complicated poetic forms, before ending on the most challenging form in the book, a pantoum. This layout would make the text an amazing classroom reference, with students moving through the book, continuing to be challenged by each new poetic form. Building in complexity over time is a sure method to help students embrace the formats and gain the confidence to try them out for themselves.


Use & Highlight Poem
Limericks are a fun form of poetry for kids to try their hand at. First, they are supposed to be humorous, so that makes them appealing. Second, the rhyming structure and rhythm of the format makes for a challenge that is perfect for beginning poets. Young writers can play with the format and ease into writing poems of their own, since they are light-hearted and meant to be fun.

For my highlight poem, I would choose the section that includes Edward Lear and Steven Herrick's limericks because it is such a great example of how to follow the format precisely and how to break the rules and grow as a poet. I would have the students read both examples and try their hand at modeling both the perfect representation of the limerick, with the aabba rhyming scheme, as well as an attempt similar to Herrick's, that bends the rules in favor of frivolity.

Limerick

There was an Old Lady whose folly
Induced her to sit in a holly;
Whereupon, by a thorn
Her dress being torn,
She quickly became melancholy.

Edward Lear


There once was a limerick called Steven
whose rhyme scheme was very uneven
it didn't make sense
it wasn't funny
and who'd call a limerick Steven anyway?

Steven Herrick

Walking on Earth & Touching the Sky: Poetry and Prose by Lakota Youth at Red Cloud Indian School (Module 6; Book 2)

Walking on Earth & Touching the Sky Edited by Timothy P. McLaughlin Review done by Elaine Alexander

BIBLIOGRAPHY
McLaughlin, Timothy P., S. D. Nelson, and Joseph Marshall. Walking on Earth & Touching the Sky: Poetry and Prose by Lakota Youth at Red Cloud Indian School. New York: Abrams Books for Young Readers, 2012. ISBN: 9781419701795

SUMMARY
A powerful collection of poems by students at the Lakota Youth at the Red Cloud Indian School, this book reveals the unique perspective of Native Lakota children, as they express their connections to the natural world, their culture and utilize poetry and prose to make sense of the larger world around them.

ANALYSIS
Although this collection of poems highlights Lakota students at the Red Cloud Indian School, many of the selections hold universal appeal since the selections from these young writers seek to honor nature, question the tragedies and truths of hardships and poverty, and seek to understand their place in the world. While some poems touch on innocence and reverence for the natural world and spiritual connectedness, others are raw and demonstrate the darkness of extreme poverty, drug use and death, as well as racism and ancestral loss. At times, this collection is difficult to read. The poems encompass the burden of generations of hardship and pain. Other times, there is such beauty and richness in the language that the reader truly feels the reverence the Lakota have for their tribe, their land, and the importance of preserving their way of life.

The layout of the book is broken into seven sections that cover topics of self-expression that reflect the Native American experience, with particular focus on the Lakota Tribe. There are a mix of poems that cover the core values of the tribe, such as respect, courage, and connection to tribal traditions and the spiritual world. But, there are also poems that reflect the hardships that are so prevalently experienced by the Lakota, such as extreme poverty, substance abuse, and death. Still, throughout the book, each section is prefaced by both a beautiful piece of artwork by S.D. Nelson and accompanied by an introduction to help readers have a full understanding of the circumstances of how the poems were written, the ways of the Lakota people, and of the culture that they represent.

The quality of the poetry was refreshingly honest, with candor and frankness that belies the ages of the writers. Many of the poems and prose were packed with emotion, touching on the importance of spiritual or natural connections, or exploring the frustration of the darker sides of poverty and despair. All the selections reflected a thoughtfulness and deep awareness of the past and present, as though each child writer carried the traditions and words of their ancestors with them into the uncertain future. There was truly a duality in the works. I was keenly aware that each student had one step in the past and another walking toward the unknown. This duality was visceral. I often felt the confidence of the entire Lakota people in the connections with nature and the past, yet when the poems covered modern times, that is when those shades of darkness and uncertainty cropped up. The poems were tremendously moving, but heavy in subject matter and tone. This collection of student poetry serves as a perfect example of why "own voices" need to be represented in literature for children and teens.

Last, the collection ends with an important author's note from Timothy McLaughlin, who edited this collection of student poems. This note discusses how McLaughlin, a non-Native, worked with the students through a volunteer program and how the experience not only led to the formation of the book, but also to an extensive career teaching in Native communities. He describes the student's initial reactions to his presence at school, their skepticism on whether he would last on the reservation and his persistence in developing trust and engaging students in a way that coaxed such meaningful and vividly descriptive writing.


Use & Highlight Poem
My selection for a highlight poems is Still I Dream. There is something about this poem that makes me think of Martin Luther King Jr.'s famous speech, "I Have a Dream" and it encompasses the ability of people to hope against odds for something more. I would pair this poem with a brief history of the Lakota Tribe and the Pine Ridge Reservation to put the words into perspective. Students could try their own hand at writing a poem based on their own heritage, or perhaps on challenges they might have overcome or dreams that they held onto, even in the face of overwhelming odds. Despite the dark aspects of this book, there is equal parts of light and hope. The true lesson for students and young writers is to look for that hope and find a way to connect to it.

Still I Dream

There are people putting drugs in their bodies
and trash all over the ground.
But still I dream good dreams.
There are people dying.
But still I dream about the past and how happy we were.
People are starving and have no home.
But still I dream all of us are a family,
and we have food and a home to live in.
--Chanelle Douville

Winter Bees & Other Poems of the Cold by Joyce Sidman and Rick Allen (Module 5; Book 3)

Winter Bees & Other Poems of the Cold Review by Elaine Alexander

BIBLIOGRAPHY
Sidman, Joyce, and Rick Allen. Winter Bees & Other Poems of the Cold. Boston: Houghton Mifflin Books for Children, 2014. ISBN:9780547906508.

SUMMARY
A single author collection of poems, this delightful book takes readers through a winter wonderland of nature as it highlights how different animals and wildlife -- from deciduous or evergreen trees to fox and moose -- survive in the northern winter months.


ANALYSIS
This book is a treat for children who love animals. Not only does it feature beautifully written poems, but each two page spread has stunning artwork, and is supported by a lengthy paragraph of fascinating facts. Beginning with a two page wordless spread showing a tree branch shedding its last fall leaves, as it reaches out into a snowy sky, the reader is immediately given the sense of the shift from fall to winter. Each poem moves through the timeline, pushing closer to spring and finally ending with the same branch extending out from the snow, with spring buds growing on the ends.

The poems make use of alliteration, evoking a sense of wonder about the mysteries of snowflakes or power of bees to work in a unified fashion to survive by cramming into a "sizzling ball" (Sidman 14) in their snug hive. As the reader moves through the poems and factual text -- as if they were walking alongside the playful fox out hunting -- they are treated to a sneak peak at busy beavers, the crafty escape of the vole, and the coordinated coexistence of ravens and wolves. The language sings the praises of nature, gives a nod to the way creatures adapt to weather the cold, and reminds us all that "winter doesn't last forever" (Sidman 25).

The layout echoes this push from the beginning frost to budding spring, alternating between animals or nature that evoke images of the sky, to beings found tucked beneath the earth or on its surface. The artwork reflects scenes that range from orange-browns associated with fall, to the snow whites and grays of winter, yet each page is visited by the splash of color of the orange fox that moves through the book, urging readers along their winter journey. Children will want to revisit the marvels of nature in this fascinating ode to the hardy animals that survive in harsh, northern climates.

Use & Highlight Poem
The highlight poem is Winter Bees which reflect the hive's reliance on teamwork to survive the harsh conditions of winter, as well as the protective measures they take to keep their queen safe. It would be fun to pair this poem with the construction of a mason bee hive. A simple and inexpensive hive could be constructed using an old coffee can and paper straws, or you could choose to swap paper straws for bamboo, for sturdier construction. If the house is constructed and placed out in late winter or early spring, near an early flowering bush, plant or tree, there would be ample time for a classroom to monitor the success of whether or not the readily made home was helpful in attracting pollinators.


Winter Bees

We are an ancient tribe,
a hardy scrum.
Born with eyelash legs
and tinsel wings,
we are nothing on our own.
Together, we are One.

We scaled a million blooms
to reap the summer's glow.
Now, in the merciless cold,
we share each morsel of heat,
each honeyed crumb.
We cram to a sizzling ball
to warm our queen, our heart, our home.

Alone, we would falter and drop,
a dot on the canvas of snow.
Together, we boil, we teem, we hum.

Deep in the winter hive,
we burn like a golden sun.

Water Sings Blue by Kate Coombs (Module 5; Book 2)

Water Sings Blue: Ocean Poems by Kate Coombs, Review by Elaine Alexander

BIBLIOGRAPHY
Coombs, Kate and Meilo So. Water Sings Blue: Ocean Poems. San Francisco: Chronicle Books LLC, 2012. ISBN: 9780811872843.

SUMMARY
This Lee Bennet Hopkins award winner takes readers on a trip to the beach, examining sun, sand, and sea life that make up our beautiful ocean ecosystems. From small pieces of driftwood and the screech of seagulls, to the power of the ocean waves, this book of ocean poems will feel like a restorative day at the beach.

ANALYSIS
Any ocean lover will enjoy this collection of nature poems. Appealing for its playful words and evocative imagery, this book also weaves factual information into the poems, such as "Sand's Story" that unfolds the grain of sand's journey from rocks that now "grind and grumble" (Coombs 7); reduced to small sizes by motion of the waves.

The language is both beautiful and imparts a visual representation of typical sea life and shoreline geology. This ode to the ocean is paired with beautiful watercolors that spill across the two page spreads. Poems are paired with striking seagulls in flight against skies of blue; colorful tide pools exposed on the sand; flaming coral under the sea; and a shy, inky octopus, leaving his "autographs" (Coombs 21) in the water. The language evokes descriptive images, helping a child to imagine the mindset of a wave, or the journey etched into a sea turtle's shell.

The arrangement of poems denotes a circular journey, beginning with a launch from shore, flitting from one ocean topic to another, from one creature or object associated with the sea, before finally ending back at the tideline at sunset. While the book does not have a table of contents or index, each poem title is either directly correlating to a sea creature or object you may associate with the ocean. Reading this single poet collection of ocean poems encapsulates a shared beach experience, hints at a poetic melody of the sea, and leaves the reader free to exercise their own imagination of the mystery and beauty of ocean life.


Use & Highlight Poem
I would select the closing poem for my highlight poem. Tideline is an excellent example of how Coombs uses of poetic word choices that evoke universal experiences that children can relate to. I would read this to children and have them try to write a similar poem about a day at the beach where they may have written in the sand or made a sand castle and watched the tide wash it away. This is a great opportunity to tie ocean study to writing and creative expression.

Tideline

Ocean draws on the sand
with trinkets of shell and stone,
the way I write on the sidewalk
with a stick of chalk at home.

She signs her name in letters
long and wavy and clear,
saying "Don't forget me --

I was here,
wasss h e r e
wasssss h e r e . . . "

You Read to Me, I'll Read to You by Mary Ann Hoberman (Module 5, Book 1)

You Read to Me, I'll Read to You Review by Elaine Alexander

BIBLIOGRAPHY

Hoberman, Mary Ann., and Michael Emberley. You Read to Me, Ill Read to You / Very Short Fairy Tales to Read Together (in Which Wolves Are Tamed, Trolls Are Transformed, and Peas Triumphant). New York: Little, Brown and Co., 2004. ISBN: 0316146110

SUMMARY
This book of poems features new spins on classic fairy tale characters. Each poem is told in two voices to make for a shared reading reading experience that is both unique and engaging. The book is part of a series, with this title focusing on familiar fairy tales, such as the Princess and the Pea, Jack and the Beanstalk, and Little Red Riding Hood. Although, the appeal of this collection is that it takes each classic story and rewrites it with a different ending, one that is much more fair and balanced. For example, the giant from Jack and the Beanstalk gets a chance to point out the unfairness of how his golden goose and magic harp were stolen by Jack. Each fairy tale character is given an opportunity to have their side of the story told in a back and forth exchange that is meant to be shared between two readers. The conversational tone of the book reads better when the classic stories are known to the readers, but the selection of tales chosen are highly recognizable favorites.

ANALYSIS

Tucked between an introduction that explains the way to read and approach the book and an ending that suggests further reading, this appealing book of poetry features a selection of rhymes that is perfect for ages 4-8 to read aloud. Whether it is an adult/child pair, or perhaps taking turns in a classroom setting, this book of poems has a clever use of alliteration and rhyme and is meant to be read and shared aloud.

This collection of fairy tale poems uses rhyming text, but the real draw and appeal is the fact that it is segmented into separate parts that can be read by two different narrators. In addition, there are some parts that are meant for both readers to read in tandem, making for a unique shared experience that is more like a mini-play. The text is color coded and placed on the page in a specific order. Orange text to the left for one speaking part, pink on the right for the second speaking part, and blue in the middle for text that is meant for readers to recite in unison. The language is playful and fun, mixing the parts of the stories that we know with the rewritten concepts, such as the indignant pea from The Princess and the Pea who explains that the princess isn't the only one who suffered in the bed overnight, as the pea could not rest when the princess's movements "the whole night through/squished and squashed" (Hoberman 8) resulting in a flattened pea. When the princess tries to dismiss the pea's complaints, that silly pea insists that "peas have feelings/just like you" (Hoberman 9). The result of the conversational dialog is that the pea gets its chance to tell its side of that fateful night and the princess gets the humbling she needs, as well as chance to rectify the original wrong. The last frame of illustration shows the pair snuggling into bed with a book and the happy refrain: "You read to me./I'll read to you." (Hoberman 9)

The illustrations for the book are peppered throughout the conversational poems and fully support the text, such as the argumentative scenes between Little Red Riding Hood and the Wolf who is trying to deny what's happened to Grandma at his hands. The drawings add to the text by showing Little Red's skeptical face, Cinderella's jealous step-sister's admitting their sabotage, or even the Big Bad Wolf sweating it out in a pot of hot water, his penalty for pig-eating misdeeds. The combination of the language and the colorful artwork lend a sense of humor to Hoberman's creative plot twists in the poems. While some fairy tales can lean a bit toward darker endings, this collection is light-hearted with a dash of modern sensibilities as characters work out endings that are more harmonious to both sides.

The author's note at the beginning of the book discusses her inspiration for the book series, which came about through her work with the Literacy Volunteers of America. The message is heartfelt, striking an important point on the necessity of promoting literacy and the value of listening to one another (Hoberman 4). Readers who pick up this book, will certainly be encouraged to do both!


Use & Highlight Poem
For the spotlight poem, I would chose Little Red Riding Hood and have students perform it to show poetry in action! You could also assign different poems in the book to groups and allow them to perform the poems in front of the class or do a quick reading to help build up their reading skills!

Drum Dream Girl by Margarita Engle; (Module 4; Book 3)

Drum Dream Girl by Margarita Engle; Review done by Elaine Alexander

BIBLIOGRAPHY
Engle, Margarita and Rafael Løpez. Drum Dream Girl: How One Girl's Courage Changed Music. New You: Houghton Mifflin Harcourt Publishing Company, 2015. ISBN: 9780544102293

SUMMARY
Inspired by the life of Millo Castro Zaldarriaga, who broke tradition to play the drums in an all girl band, this single poem book captures the bravery, hard work, and dedication that is often required to overcome obstacles and make your dreams a reality.

ANALYSIS
Between the alliteration and and dreamy illustrations, Drum Dream Girl takes readers on a magical journey where a young girl dreams passionately about the music inside herself, waiting to be released to the world. The appeal for child is two-fold. First, readers will be swept up by the language of the poem, which evokes the rhythm and language that captures the main character's desire to play the drums with the "quiet/secret/drumbeat/dreams" (Engle 10). Readers will instantly recognize the soul of a girl who has a dream too big to be contained. Second, the illustrations are filled with vivid images of mystical creatures, such as fiery dragons or dreamy mermaids. The proximity and playfulness on the page between the girl and these creatures seems to encapsulate the possibility that all things are possible, if you can dream them into existence. To further cement these images, the page spreads feature the main character flying with birds or tiptoeing up stacked drums through a starlit night sky as the moon smiles down. Words and art are truly paired together in this single poem picture book to stimulate the reader with maximum emotional impact and capture the persistence and beauty of following your dreams.

The story shows that twice she's told she can't play the drums, but each time, she's back playing them "dreaming/and drumming/alone" (Engle) to the delight of happy, colorful animals and smiling suns or moons. In one scene, Drum Dream Girl is floating in the clouds and her father must pull her back to earth with colorful tangles of ribbon. But it is this last time that her father relents, and offers to get her formal lessons, to "decide if her drums/deserved/to be heard." (Engle) It's such a pivotal moment in the poem, because while her father is pulling her back down to earth, his acquiesce shows that her perseverance has been worthwhile. Furthermore, readers will see the flight of butterflies and birds flowing across most of the page spreads, personifying the music stemming from this girl, that refuses to be contained.

Even the page with the startling reminder "that girls/on the island of music/had never played drums" (Engle) which is depicted by a caged drum with wings jutting out from the bars of the birdcage, the reader can sense the force of this girl's belief in herself and in the musical beat that flows through her. This is backed up by the cadence of the words that seems to mimic the sounds of drumming.

The book has a historical note in the back that details a brief biography of Millo Castro Zaldarriaga, a young girl of Chinese-African-Cuban decent who refused to accept the rules dictating that drumming was a male-only pursuit. She not only formed a band, but performed with her sisters, going on to become a famous musician, who once played for President Roosevelt. These details help to solidify the book's message and give additional emotional impact to the words.

Use & Highlight Poem

I'm including an except from the book, where Drum Dream Girl is finally able to convince her father to let her play and is sent to get lessons. According to the text, her persistence finally convinced her father to bring her to a music teacher to decide if her playing was good enough to warrant the lessons. This moment in the book holds such validation. In addition, it show that not only should you never give up on your dreams, but that hard work and practice is required to attain excellence.

Using this book for a poetry break would be an excellent moment to discuss the historic traditions that were not always favorable to females. Classes could talk about the unfairness of some rules. In addition, this is a great way to reinforce the importance of practice, of hard work, and of believing in yourself enough to overcome obstacles to achieving your dreams.


The drum dream girl's
teacher was amazed.
The girl knew so much
but he taught her more
and more
and more

and she practiced
and she practiced
and she practiced

until the teacher agreed
that she was ready
to play her small bongo drums
outdoors at a starlit cafe
that looked like a garden

where everyone who heard
her drum-bright music
sang
and danced
and decided
that girls should always
be allowed to play
drums

and both girls and boys
should feel free
to dream.

Wicked Girls by Stephanie Hemphill; (Module 4, Book 2)

Wicked Girls: A Novel of the Salem Witch Trials by Stephanie Hemphill; Review by Elaine Alexander

BIBLIOGRAPHY
Hemphill, Stephanie. Wicked Girls: A Novel of the Salem Witch Trials. New York: Balzer & Bray, 2010. ISBN: 9780061853289

SUMMARY
This fictionalized account of the Salem Witch Trials explores the group dynamics behind the accusations that split apart a community in the seventeenth century. Told in alternating points of view from the strongest voices in the group of "afflicted" young women, the book introduces the reader to Ann, the instigator; Mercy, the lowly servant with an axe to grind; and Margaret, a frivolous girl with a jealous streak. Throughout the novel's verses, the reader begins to see the manipulation and plotting that could likely have occurred when a group of girls begin accusing others of witchcraft and rise to power and prestige in the fervor that follows.

ANALYSIS
I believe this free verse novel will have great appeal for those teens interested in the power dynamic that might have led to the tragedy of the Salem Witch Trials. Although the story is deeply steeped in history, the repression that existed in this Puritan community, along with the peer pressure and jealousy that led the girls to fight among themselves are both timeless concerns that modern readers can relate to. In the beginning of then novel, we meet girls who have relatively little power or voice in their community. Though privileged and from a wealthy household, Ann is all but ignored by her mother and looked upon as a nuisance by their servant, Mercy. Similarly made to feel less, Margaret thinks of nothing but escaping her step-mother's insults and manipulating a marriage proposal out of Isaac. Last, there is Mercy, living as a servant and subjected to the stares and harassment of men, her powerless state is a constant frustration for her, as well as a danger to her safety. This book's appeal is in the examination of three girls with no power and voice, who are suddenly transformed and given overwhelming authority in the community. The shift in the power dynamic leads to inner fighting and eventually guilt, as their actions begin to result in deadly consequences for those accused. Modern readers will recognize the "mean girls" tropes that Hemphill models her novel in verse after and easily relate to to how this rigid Puritan society with a total lack of equality for women, combined with the elements of fear mongering and corruption, could have led these girls down this deadly path.

Hemphill does an excellent job cementing the roles these girls will play through her layout which features alternative viewpoints and a detailed historical account in the back which accounts for each victim accused of witchcraft, as well as each accuser, so that the reader can find out what happened after the trials were over. Hemphill's clever use of language to differentiate between these distinct characters is pivotal in the verse poems. Though Ann is only twelve years old, her manipulative tactics are as prominent as her reverence for Mercy. When she begins to gossip with Mercy about the first afflicted girls, Ann can see right away that she has captured Mercy's interest for the first time and she revels in it. "I look up at Mercy. / She drinks in my words,/ and they seem to light her / from the inside out. / I want to touch the glow / of her hair. I sit on my hands." (Hemphill 47). It is clear from Hemphill's verse that although Ann knows she has finally captured Mercy's interest, she is also keenly aware that she can't risk reaching out to touch Mercy, lest it all fall apart. Ann recognizes and strategizes how she can spin the web to draw Mercy much more deeply than cursory interest. Ann goes further to lure Mercy in, giving a physical demonstration of how Abigail is tortured by witches and telling Mercy that "all are in awe of it" (Hemphill 57) a statement that plants the seed in Mercy's mind that accuser's hold sway over then elders, and is heavy with suggestion of how they can use this event to their advantage.

Mercy immediately sees the change in how Ann's mother treats her daughter: "Missus looks at Ann / as though she is something / precious, / dear as her necklace / of gems. (Hemphill 68). That fixed change, combined with Mercy's undercurrent of anger at how the pious men of the community have treated and objectified her beauty propel her to join with Ann as they pretend to see specters and ghosts. When Mercy fakes a fit to claim she is tormented by witches, she remarks that "men study my every movement, / but this staring be reverent." (Hemphill 88). The language draws a sharp parallel between the lustful looks she is used to and the new power she has gained calling out false witches.

Margaret is bewitched in an entirely different way. Wishing to escape the drudgery of her home life that is filled with endless chores and a step-mother who insults her worth, Margaret sets her sights on Isaac and allows him liberties that she knows would be deemed sins. The language in Margaret's verses demonstrate her helpless state. Isaac is all she thinks about and when they have an encounter in the woods and begin kissing, the verses highlight her weaknesses and Isaac's aggression, describing his hands as "branches...[that] shake me loose" (Hemphill 59). A second encounter with Isaac shows him coercing Margaret into her bedroom, where "his finger covers my lips / and his other hand reach down / under my skirt" (Hemphill 218-219) as he tells her that she needs to show him how much she cares for him. The language shows her attempt to be pious, as she reminds him that what they are doing is for "the night of / our marriage" (Hemphill 219) but it also shows the oppression and unfairness of Puritan society. Margaret is expected to maintain purity, but men of the time are not held to the same level of accountability.

What makes this perspective of the Salem Witch Trials unique is that the focus is on the perpetrators, not the victims. It discusses their motivations and we follow the accounts from a perspective of why these girls might have taken things so far. Themes of victimization overwhelm the novel, but it isn't the expected 'victims' Hemphill zeroes in on. At the novel's end, we do see some of the girls regret their actions as more and more witches are hung. Yet, Hemphill's message to show how girls and women were silenced and victimized prevails. The undertones of a harsh society begin to shape a world where a girl like Mercy can be sexually harrassed, young Elizabeth can be repeatedly beaten, or Margaret can be a victim of sexual assault, all by perpetrators that will never punished. Hemphill's novel asks the bold question of how much of what the girls did lays squarely on an inequitable lifestyle that forces half the population to suffer in silence. Last, the reader will be left wondering if this rigid Puritan society was responsible for creating a mastermind like Ann, who saw an opportunity to bend people to her to her will, and seized it, consequences be damned.


Use & Highlight Poem
For the highlight poem, I chose "TALK OF WITCHES" from Mercy Lewis's point of view. This poem highlights the beginning of Mercy's awareness that the first "afflicted" girls are being revered and placed in positions of importance. Mercy is a servant and is keenly aware that women, especially those in lowly stations, have no voice in Puritan society. This poem shows the spark of recognition of the power these fits have upon the preachers and the temptation to seize some of that power for themselves.

I think that there are several ways this book could be used in a classroom setting. You could compare different versions of the story or the factual accounts against this fictional representation and decide whether or not the girls where truly afflicted or faking. A faux trial could be conducted using facts versus the book account of events.

Another way to use this text would be to discuss fear mongering, perhaps parallel today's news media and social media and the fear it creates with the actions of these girls in the community.

Last, I think this book makes a statement about the effects of bullying and the voicelessness, as well as sexual assault or sexual misconduct. Women in these rigid societies had no voice and were expected to be pillars of piety. Yet, they were also victims of unwanted physical contact or coercion. This book shows a group of girls, who are drawn to the power that their lies give them. But two of the girls, Margaret and Mercy, are both victims of sexual harassment. It is understandable that they would want to exercise some power in their lives. There is a great conversation to be had discussing how and why they went down this path, as well as the downfall and damage that they cause along the way.


TALK OF THE WITCHES
Mercy Lewis, 17

I sneak Ann into my room.
We crouch down by my bed
and whisper like sisters ear to ear
so not a sound escapes the air.
"Did your father truly see the bruises
appear upon Betty and Abigail?"

"Yes, and the girls called out
Tituba, their slave, saying she did teach them
folk magic. The girls also named
the beggar woman, Goody Good.
Tituba and Sarah Good are the witches
who've been tormenting the girls."

"Who be Sarah Good?" I ask.

"Sarah Good says only unholy words.
She frightens even the Reverend.
She has been accused before."
Ann smiles.

Wilson barks.
I quiet his mouth with my hand.
"And all did believe them?" I ask.

"All that Betty and Abigail say in fit
is listened to like it comes from the town council."
Ann's eyes double their size.

"It was not like this where I came from before."
I pace my room.
"When the children were bewitched, the preachers
tried always to stop them from fitting."

Ann bends to pet Wilson,
but he pulls back his head
like a riled tortoise.
"Not so with Betty and Abigail.
Father stays at the parsonage late
into the night watching them.
Many church members do.
They have chained Tituba up in jail."

I scratch my head.
"Men listening to the words of girls?
Are you certain, Ann?"

"Yes, 'tis true."

"If only ye could visit the parsonage
and see the girls."

"Oh, but I have seen Abigail
this very day. I saw exactly
how she does twitch and shake.
I know what the witches do to torture her."
Ann twists her torso tight as a rope,
then just her bones inside out.

Much as I might like to cover my eyes
as Ann cripples her body into a sailor's knot,
my arms hang at my sides.
My mouth droops open.

"They call it Affliction," Ann says.
"All are in awe of it."

A flash of mischief crosses Ann's eyes
as she watches me watching her,
like a torch that smokes
heaven's white edge.

Leaf Litter Critters by Leslie Bulion; (Module 4, Book 1)

Leaf Litter Critters by Leslie Bulion; Review by Elaine Alexander

BIBLIOGRAPHY
Bulion, Leslie and Robert Meganck. Leaf Litter Critters. Atlanta: Peachtree Publishers, 2018. ISBN: 9781561459506

SUMMARY

A homage to the tiny creatures that reside in the "leaf litter layer" and their important work in the cycle of decomposition! Each of the nineteen poems introduces readers to the science and ecosystem behind the fascinating creatures that make up "Earth's recycling crew" (Bulion 6) and is backed up with a note to explain each concept or organism in more detail. This clever book of poems is as much a treasure trove as the subject matter. As readers explore the content, there is a sense of pealing back layer upon layer of learning, to discover what is hid beneath the surface in this fun and informative book on decomposition.

ANALYSIS
Leaf Litter Critters has tremendous appeal for a classroom setting. Not only is the book colorful and inviting, it is packed with scientific facts, a glossary of terms, science notes for older readers, and a section breaking down each poetic form used, but it also has a activity guide in the back that is complete with a materials list and guide on what to do to perform litter critter investigations in the field.

While the poems are packed with science, there is a sense of playfulness that make the subject matter appear much more accessible. Several of the selections make use of rhyming text -- no easy feat with the scientific subject matter. The artwork supports the text in a way that accurately covers the concepts, but also brings a note of frivolity, too. Springtails appear to fly off the page, toothy mites menace over springtails, and worms pop their eyes at the sight of a hungry bird. The overall effect is a fusion of silly and science that make the idea of studying soil much easier to dig.

A surprising addition to this science text is the list of poetry notes next to the glossary. Each of the nineteen poems highlights a different poetic form and an explanation is given to readers, should they want to try their own hand at the various types of formats. More impressive still, is the activity list in the back to perform your own Litter Critter Investigations. There is a list of needed materials, suggestions for how to stay safe, as well as instructions for what to do both in the field and back in the lab to examine soil samples. There are two different options, one without special equipment and the other for those that have access to a microscope.

The book concludes with a chart showing the comparative sizes of each of the critters mentioned in the book, as well as a list of resources for those who want to take their investigations further.

Use & Highlight Poem
For the highlight poem, I would choose, Our Friend, the Earthworm and do a hands-on science activity with kids -- make worm habitats. A simple habitat can be made out of a 2-liter bottle. To help make sure that the worms tunnel close to the visible parts of the container, an empty paper towel tube could be placed in the center of the bottle to fill some of the space prior to putting in soil and worms. Make a dark paper sleeve that can be removed later when you want to observe the worms in action.

Our Friend, the Earthworm

This ecosystem engineer,
Who tills the soil its whole career,
Can stick its throat outside its mouth,
And make leaf litter disappear.

It vacuums up great gobs of duff,
(The deadish, brownish, leafy stuff)
And grinds it smaller, in its gut,
Where sand stands in for teeth -- that's rough!

And critters caught in each worm gulp,
Get pulverized to critter pulp,
Worm castings are the undigested
masterpieces all worms sculp.

Shout by Laurie Halse Anderson (Module 3, Book 3)

Shout Review by Elaine Alexander

BIBLIOGRAPHY
Anderson, Laurie Halse. Shout: a poetry memoir. New York: Viking, 2019. ISBN: 9780670012107

SUMMARY
This powerful novel in verse depicts the personal journey of teen author, Laurie Halse Anderson; recounting her formative years, the assault that silenced her, as well as her path back to finding her voice through therapy and writing one of the most influential novels in our time, Speak. Shout stemmed from Anderson's many school visits and encounters with victims of assault, the lack of proper education about consent, and her tireless passion to help give a voice to survivors.

ANALYSIS
This memoir from award-winning novelist and rape survivor, Laurie Halse Anderson, packs an emotional punch. The language is raw, visceral, and filled with moments that cut to heart of the painful journey survivors must make in order to heal. The book is divided into three sections. The first deals with Anderson's early life in a dysfunctional home and the assault that would impact her life so profoundly. The second touches on her life as an award-winning author and the numerous school visits that connected her with fellow survivors. The third wraps up her family history and provides encouragement for survivors to put themselves on a path to hope and healing.

This book stimulates emotional responses both for its content and direct candor. Anderson's words are direct, telling readers that "scars may look stronger than unwounded skin,/but they're not/ once broken, we're easily hurt again, or worse" (113). This book has strong appeal to fans of Speak, since the content covers the author's assault, her subsequent loss of her voice, and eventually how she came to write the character of Melinda. Speak borrows heavily from Anderson's own experiences, but Shout also covers the author's experiences in the twenty years she has spoken to teenagers on the subject of rape and consent. While each poem is Anderson's creation, her poems allow the reader to access the confessions from other victims and the ripple effect that her books have had to help victims begin to share their own stories. As the book progresses and more stories are shared, the concepts of confession, victim silence and shame, begin to emerge and shape themselves until the reader understands that a victim's silence is its own form of censorship. The shared experiences in the book allow that story to come forward and the victims to feel less silenced and alone. Anderson had never thought she would talk about her own rape, noting that she had learned as a child that "words/ had such power/some must never be spoken" (16). Yet, as the free verse poems share raw truths, Shout makes the point that censoring victim's stories means that we "failed and jailed/her happiness in a grave" (193), effectively preventing victims from recovering from the trauma they experience.

As the reader progresses through the book, the poems recounting assaults move from more matter-of-fact narration of events, to angry and biting in tone and word choice. The language is raw and unflinching, and the tone moves from speaking, to shouting. The anger and frustration that not much has changed in the twenty years since Speak was released is palpable. Poems that recount the censorship of Laurie Halse Anderson's books begin to equate that censorship with silencing victims and perpetuating the culture of violence that prevents or reduces assaults from occurring. Anderson had dedicated much of her time to speaking about sexual assault and educating teens, partnering with RAINN to try to bring awareness and change. No writer likes to be censored, but in Anderson's case where the content of her books are designed to give a voice to those who need one, banning her books mean that "the false innocence/you render for them/by censoring truth/protects only you" (193). In other words, censoring books to protect innocence not only means silencing victims, but it also means turning a blind eye from the uncomfortable reality -- that rapes and assaults don't stop by forbidding teens from reading about them.

Last, Anderson has several poems with the recurring images of trees. Trees are a central figure in Speak, as Melinda struggles to recreate one, over and over in art class. Trees denote a cycle of growth that recognize a dormant stage, and renewed life. Trees also have complicated root systems that support individual trees and connect to one another, effectively creating a network. In short, "trees take care of each other" (Anderson 285). The strength and hope at novel's end leave the reader with that image of connectedness, that survivors can share a network and reach out to each other for support and nurturing in order to survive and thrive.


Use & Highlight Poem
Since the negative effects of censorship and silencing victims are so prevalent in the book, I think selecting innocence for the spotlight poem would work really well with a discussion on both topics. Pair this with the author's YouTube talk on the novel and you could lead an important classroom discussion on both consent and censorship.

https://youtu.be/g6kthOSK-4c

innocence
censoring my books
in the name of "innocence"
will not build the fence you want,
it's to a defense
against danger or stranger,
the friend or foe
whose hands want to know
the feel of your child
your baby girl or maybe
your boy, a toy for their
yearning for violence, depravity
the gravity
of which will pull your child
into wild denial
her pain untamed
by your drugs prescribed,
or her drugs street-dirty...

nothing can offer relief
from the reality that you
failed and jailed
her happiness in a grave
too deep for forgiveness

the false innocence
you render for them
by censoring truth
protects only you

Long Way Down by Jason Reynolds; (Module 3, Book 2)

Long Way Down by Jason Reynolds Review done by Elaine Alexander

BIBLIOGRAPHY
Reynolds, Jason. Long Way Down. New York: Atheneum, 2017. ISBN: 9781481438261

SUMMARY
After his brother is killed, fifteen year old Will grabs his brother's gun, fully prepared to adhere to the code of conduct he's been taught and seek revenge for the slaying. As he rides the elevator down to commit the act, Will sees several ghosts he knows -- all victims of gun violence. These ghostly encounters lead him to question everything he thought to be true and to wonder if he has it in him to commit a violent, senseless act, as the rules dictate.


ANALYSIS
This is a gripping, fast-paced novel that will appeal to teens, packing a punch with its raw and gritty realism. The immediacy is visceral, escalated by the fact that the novel primarily takes place in the elevator ride to the lobby. The layout of the book is broken into chapters that begin on 7 and progress chronologically downward to mark the floors Will is descending in the elevator. The structure puts the reader on edge and increases the poignancy of Will's dilemma, whether or not to exercise revenge for the death of his brother. The ending is ambiguous with the final words directed to the narrator in the form of the question: "You coming?" (Reynolds 306) The reader is left to wonder and come to their own conclusions about Will's fate, hoping that the traumatic experience of seeing the ghosts of friends and loved ones will steer him away from the revenge slaying he had assumed he'd have to commit to honor the street code that perpetuates endless cycles of violence.

This collection of poems relies on brevity and straight talk. Words are not minced in the poems and the effect is to put the reader directly into the experiences of the main character, Will. The reader can sense exactly what life in this neighborhood is like. There is an emotional impact in the sentences that paint a picture of the moment where shots were fired and Will looks up "like we always do...to count the bodies. / This time there is only one./ Shawn." (Reynolds 11-12) Reynold's is similarly blunt when explaining the rules that Will and other young men in this community live by: no crying, no snitching, and be ready to get revenge. Even though the source of the rules can't be traced, the way that the poems highlight those rules in bold lettering suggest that it is inconceivable for anyone to consider breaking them. Readers will grasp the pressure these young men feel that compel to continue to honor those rules, even at their own detriment.

Reynolds employs spaces in his poems to emphasize the tough subject matter. For example, when equating Will's grief to an earthquake, the lines of poetry are arranged to show a fissure in the page. In addition, anagrams are scattered throughout the collection to highlight poignant words, such as "ALIVE = A VEIL" (Reynolds 88) which draw to the duality of the words and what they might mean in the context of the book. There is the surface reference, that one minute, Shawn was alive, the next he's covered with a shroud. But the anagram also draws a parallel to the rules that they live by, a thinly disguised veil that hides the true reality of the code they live and die by. The truth is revealed in Will's elevator ride, that sometimes revenge is taken on the wrong person and sometimes gun violence claims the lives of innocent bystanders. This duality forces the reader to see that living this life, isn't really living and that the path might ultimately claim their lives as well.

Even the title of the book, Long Way Down, is an oxymoron that is ripe for discussion, as is the choice of the main character's name -- Will. While the elevator ride is chronologically short, the appearance of multiple ghosts that force Will to deal with the realities of what he is about to do, make for a long, soul-searching journey. Will's name draws up comparison to free will, to choice and also to having the will of other's force upon you in the form of the rules. It also asks a big question, will Will follow his brother's course or will her chose a new path. It is brilliant word play that continues to invite us all into a worthwhile discussion on gun violence and the trauma on youth.


Use & Highlight Poem

Since the book ends on an ambiguous note, with the reader unsure what decision that Will has made -- to pursue revenge and adhere to the code or find a new path -- I think the final poem in the book would make a great classroom lesson for students. It's ripe with discussion as to what Will might choose and why young men in his neighborhood continue to fall victim to these cycles of violence. The author, Jason Reynolds has many Youtube discussions centered on the book, it's format and violence that youth face. Viewing one of those videos to talk context of the story and then moving on to discuss how students thought Will might choose to move forward would be a poignant and important discussion.

09:09:09 am

I WANT OUT.

The door opened slowly,
the clouds of smoke
rushing out of the elevator,
rushing out of me
like an angry wave.

I caught my breath as


Buck,
Dani,
Uncle Mark,
Pop,
Frick,
and
Shawn

chased behind it.

The L button
no longer lit.

I stood alone
in the empty box,
face tight from
dried tears,
jeans soggy,
a loaded gun
still tucked in my
waistband.

Shawn
turned back toward me,
eyes dull from death
but shining from tears,


finally spoke
to me.

Just two words,
like a joke he'd
been saving.



YOU COMING?

The Arrow Finds Its Mark: A Book of Found Poems by Georgia Heard (Module 3; Book 1)

The Arrow Finds Its Mark: A Book of Found Poems Edited by Georgia Heard Review by Elaine Alexander


BIBLIOGRAPHY
Heard, G., & Guilloppé Antoine. (2012). The Arrow Finds Its Mark: a Book of Found Poems. New York: Roaring Brook Press.

SUMMARY
This delightful collection of poems begins with an introduction to explain what a 'found' poem is, as well as the guidelines used by the poets to create their unique selections for this book. Found poems are pieces created from existing text and transformed into a poem through the poet's skill and imagination. Pieces for this anthology were collected from newspapers, dictionaries, calendars, and encyclopedias and given original titles to help shape a new work from language encountered in everyday life.


ANALYSIS
This poetry collection has high appeal for children because the unique idea of a "found" poem challenges youth to seek out something new and exciting in the mundane words we find all around us. The concept opens our eyes to the reality that art really is all around us and if we are willing to open our minds and play with words, we can craft a new poem out of just about anything.

The collection focuses on the concept of the 'found' poem and allows for a variety of styles and poetic forms to be utilized. Because of the nature of hunting for words, topics vary widely here, but familiar experiences like going to the zoo or the stress of school tests are balanced with poems crafted from less familiar texts, such as wild birds or exotic geographical references.

Whimsical pen and ink drawings on each page to support the poems and each selection has a line that tells the reader where the poem was 'found'. The overall format, mixed use of styles and locations where poets located the words for their poems, gives the anthology a scavenger hunt type of feel, which is intriguing and playful. The poems are light-hearted, some working in new twists to the words, such as the acrostic poem 'found' by Kristy Dempsey on the Publisher's Clearing House website that spells out the word "UNLIKELY" down the page. While the content of the poem has the familiar sweepstakes promises that every "Entry could / Become / The Big Winner." (Heard 14), the play on words, combined with the poem's title, Empty Promises successfully demonstrate the poet's intention to expose the long shot of winning such a contest. A clever twist that truly tests the strength of the poet's wordplay.



USE & HIGHLIGHT POEM
There is something so empowering in the idea that we can find poems and art in the mundane. This collection of poems would be great fun in a classroom or library setting to challenge the students to hunt for their own found poems, using text that is available to them. To make it even more challenging, you could set a time limit and allow students to share their 'found' poems with their peers. Or you could wage a friendly classroom contest and have small groups engage in the hunt for 'found' poems and share the results, perhaps voting for their favorite shared examples.


Found by Georgia Heard in The Oxford Thesaurus

FIND A POEM

Find v.
come across
chance upon
stumble on
discover
turn up
bring to light
unearth
locate
encounter
recover
retrieve
regain
get
realize
acquire
find:
find the cheese too strong
find out the truth
the arrow finds its mark

Poetrees by Douglas Florian (Module 2, Book 3)

Poetrees Review by Elaine Alexander

BIBLIOGRAPHY
Florian, Douglas. Poetrees. New York: Beach Lane Books, 2010. ISBN: 9781416986720

SUMMARY
Poetrees begins its ode to trees with the concrete poem entitled, The Seed. This poem is shaped in an infinity symbol, exhibiting the circular, unending journey a tree makes from its beginning of life, to its attempt at spreading new life through producing seeds. The book highlights known tree types and parts, as well as unusual trees in a way that is both informative and fun, supported by imaginative artwork that a sense of frivolity into the poems. In addition to the poems, the book provides informative information, including a "Glossatree" with interesting facts about each tree or tree-related term.


ANALYSIS
This book would have great appeal with younger audiences between the ages of 5-10, both in celebrating nature and in the accessible and sensory language. Florian has a knack with fresh ways to use language in his poems, such as stretching out words like "branch" to emphasize their length or weaving in a fun pun on the word "bark", equating it with a dog. The twist on the words are sure to draw children in and make the poem collection accessible and lighthearted, without sacrificing the deeper meaning in the words.

The artwork includes images of children and humans, showing a connectedness between humans and trees, a coexistence that is necessary and vital to our lives. The book is meant to be turned on its side to read, which effectively elongates the page spread and makes the images of the trees taller and more prominent on the page. There is also a concerted effort to use art mediums that include paper collage, artful twists of watercolor or thick crayon-like lines throughout the pages. The mix of different styles and mediums throughout the book are successful in representing the different types of trees, but they are done in such unique ways, such as the poem Roots that weaves brown watercolor roots with the image of a tree that also looks like a child. This personification of a tree, or hidden child in picture provides a parallel image that draws the reader to the conclusion that humans and trees share a deep and meaningful connection.



Use & Highlight Poem
This book would be an excellent way to celebrate Earth Day. It's got a great message of celebrating trees and gives an overall message of human connectedness toward trees and the preservation of the natural world. I also think it could be used in a lesson plan for a family tree. As the highlighted poem, Roots demonstrates, Florian has a gift for playing with words to imply dual messages. We see the root as a vital part of the tree, but we can also read this poem as a more abstract message of how humans are connected to our own families by our roots and that those connections ground us, too.

Echo Echo by Marilyn Singer (Module 2, Book 1)

Echo Echo by Marilyn Singer. Review by Elaine Alexander

BIBLIOGRAPHY
Singer, Marilyn. Echo Echo. New York: Dial Books, 2016. ISBN 9780803739925

PLOT SUMMARY

This book of “reverso” poems begins with a celebratory poem that introduces the concept of mythology and past civilizations and ends with another poem that encourages the reader to be avid listeners and active storytellers. Sandwiched in between are famous Greek Myths told in 'reverso' format, engaging the reader to look at the words from a new view, reading first down the page, and then in reverse order. As the reader mulls through the poems, they come into contact with Greek Myths and the duality of their conflicting stories. One by one, the poems give competing views and offer each character a chance to challenge former assumptions, see the see the weaknesses and strengths, and understand more about the human experience through storytelling.

ANALYSIS
This book of poetry would have high appeal among students who enjoy Greek mythology, but it will also draw in readers who enjoy the duality of conflicting viewpoints. The artwork effectively supports these opposing sides of each story, reflecting the duality between each way of seeing the story. The poems truly make the reader question who is the hero and who is the antagonist!

explores familiar figures from Greek Myths and asks the reader to look at each story in a unique way. The 'reverso' poems are mirror images, with one character reading the poem in forward and the other character in reverse. The effect is as though the words were echoed back, showing that there are two sides to every story. The artwork features split frames as an effective means of showing each perspective, such as an angry Athena with a woven tapestry next to a woeful Arachne, struck with spider arms and a web, her punishment for winning a contest with a goddess. Singer’s “reverso” poems are first presented in one form, and then the lines are put in reverse order for a totally unique meaning. Reading the famous tale of King Midas, the forward reading of the poem reflects the daughter's longing for her father to touch her. Yet, the second reading in reverse, shows King Midas's grief that he did touch his daughter, and the result was turning her to gold.


Each ‘reverso’ poem challenges the accepted norms for these characters from Greek Mythology and offers a different perspective. Singer’s format shows that how we view a situation can be turned completely upside down, if viewed from a different angle. The language is simple, yet the construction of a poem that can be read forwards and backwards is anything but simplistic. It is that clever play with order that gives this book of poems a unique spin. This structure, combined with looking at each familiar story through two points of view, make this collection of poems a new experience in the genre.

This book has a broad appeal because the unique structure makes the poems fun to read. Because the format literally flips the words of one character upside down, it can challenge readers to shift their scope and realize that no one character is entirely good or entirely bad -- that those qualities reside in each of us, in equal measure.


Use and Highlight Poem

The spotlight poem in this anthology is Icarus and Daedalus, the familiar story of a father and son that escape imprisonment. The poem is filled with the promise of flight, but the caution of letting impulse take over and sway common sense. When Icarus fails to listen to Daedalus's wise warning, his moment of glory ends in a disastrous descent into the sea. In the reverso poem, we see that Daedalus is mournful, lamenting his son's decision to fly too high, along with the inevitable death and "bright heaven" (Singer 23) that is to come. For Daedalus, the "dark sea below" (Singer 23) is sadness. For his son, the same line means something he is leaving behind as he ascends into flight. The flip sides of this tragic tale are an excellent example of why the book is so powerful. This would be a fun exercise for students to read the poems in class, enacting the different perspectives for their peers.

Another idea for studying the reverso poem structure is to gather Marilyn Singer’s other reverso poetry books:

• Singer, Marilyn. Mirror Mirror.
• Singer, Marilyn. Follow, Follow.

Use Singer’s Reverso poem structure for a lesson plan for elementary school children on poetry and role reversal. I also think that the reverso poem structure might be adapted to a children's theater or even a classroom exercise to practice reading aloud poetry. Characters could recite the poems and solidify the examples of how different and powerful the perspectives can really be.

Yum! ¡MmMm! ¡Que´ Rico! Americas' Sproutings Haiku by Pat Mora (Module 2, Book 2)

Yum! ¡MmMm! ¡Que´ Rico! Americas' Sproutings Haiku by Pat Mora; Review by Elaine Alexander

BIBLIOGRAPHY:
Mora, Pat and Rafael Løpez. Yum! ¡MmMm! ¡Que´ Rico! Americas' Sproutings. New York: Lee & Low, 2007. ISBN:978160060892650995

SUMMARY
This book of poetry focuses on the visual and sensory appeal of different foods from the Americas. Each page includes a factual paragraph that describes the origin of the highlighted fruit or vegetable, and a haiku that captures the color, taste, emotional and sensory connections to the food. The artwork is vivid and full of whimsy. For example, in the pages dedicated to chocolate, there is a mix of celebration and dream-like qualities that encapsulate the way a bite of chocolate feels to a child.

ANALYSIS
This book has appeal on two fronts -- it gives factual and cultural information about fourteen different types of food from the Americas and it offers clever haikus to support the way these foods draw upon sensory and emotional memories connected to sharing these treats. The bold colors used in the artwork compliment the celebration of South American and Southwest culture, with sunset color schemes, peppered with bright blues and greens. The use of haiku make the poems more accessible for children because they bring a sense of fun and frivolity. Haiku poetry follows a simple pattern of five syllables, followed by seven, and finished with five. This short poetry form can be a great way to introduce children to try out their own haiku and poetry skills.

In addition to the informational text and the haiku format, the poems stimulate emotions that range from silly to joyful, as well as evacuating a sense of family or even magical connotations. Food has a transformative power in these poems. The items selected are both familiar and common, with some insertions of less common items, such as prickly pears. The collection has an overall ability to highlight our similarities through showing children the foods in which we share with our neighboring countries. By showing that the Americas are connected through these delicious foods, readers gain a sense of commonality and shared experiences that bring us all closer together.

The author ends the book with a letter to the reader, inviting children to join the foods introduced in the book with either a clapping or jumping rope rhyme. In addition, her letter goes on to discuss the variety we have in the world and how that variety is part of what makes the world an amazing place. It is a sweet way to end the collection and an important reminder to children to embrace the diversity in the the world around them.

Use & Highlight Poem

The collection on the whole could be used as a fantastic way to delve into a multicultural unit for a classroom or library. Any of the chosen poems could be used to introduce the haiku format and encourage the reader to try their own hand at this poetry form. In addition, students could be encouraged to share a food they love and find out the origins of that food to share with the group.

For a spotlight poem, I chose Chocolate because many people can easily connect to the joy of eating chocolate. In addition, I thought the artwork, depicting cakes and pies in the clouds, as well as a castle made of chocolate with a child gleefully running toward it, was such as fantastic example of how food can truly connect us to sensory experiences.

Chocolate

Fudge, cake, pie, cookies.
Brown magic melts on your tongue.
Happy, your eyes dance.

Rebound by Kwame Alexander (Module 1; Book 3)

Rebound Review by Elaine Alexander

BIBLIOGRAPHY
Alexander, Kwame. Rebound. New York: Houghton Mifflin Harcourt Publishing Company, 2018. ISBN 9780544868137

PLOT SUMMARY
This novel-in-verse tells the story of Charlie Bell as he struggles with the sudden passing of his father. Angry and withdrawn, Charlie is ‘benched’ from life, spending his days reading comics and avoiding basketball. Exasperated and unable to connect, his mother decides to send Charlie to spend the summer with his grandparents. Slowly, his grandfather and cousin pull Charlie into the game—basketball and life—giving him an opportunity to rebound, both on and off the court.

ANALYSIS
This novel-in-verse is written by Kwame Alexander, an author and poet with numerous prestigious awards, such as the Newbery Medal, the Lee Bennett Hopkins Poetry Award and the Coretta Scott King Award. Rebound is infused with imagery that will draw in sports fans, but will also appeal to those that can empathize with a boy trying express his loss over his father. The poems strike a cord, demonstrating this loss as Charlie describes his life "trapped in...[a]...Black Hole (Alexander 14-15). He's frozen between a time where he knew how his life would play out and this new life, stuck on the sidelines. In fact, it is poems like “Black Hole” that make the strongest emotional impact. It is clear that Charlie had idealized his father and his passing is akin to a cosmic explosion. The blunt lines hit hard and truthful. Charlie is drifting, avoiding participating in life so he “won’t have to pretend ... the center of [his] universe didn’t collapse” (Alexander 26).

The rhythm of the poems mimic the sounds of basketball. The poems are short, active in measure and always draw the reader back to the sport. While the poems in this novel are primarily chronological, carving out the story of Charlie dealing with his loss, avoiding his mother, and acting out because of his grief. Yet, there are poems that slip back, slowly unfolding what happened the day his father died. The progression of the poems show us a boy who likes superheroes, hides in the comics he likes to read and fantasizes about greatness -- all universal themes that any teen could relate to. The occasional cartoon is scattered throughout the collection, moving the narrative on and inserting a bit more of Charlie's personality into the story. There are also conversations with his mother in the beginning of the novel, sparsely written, but effectively inserted to show the breach in their relationship as they both deal with their grief in different ways.

The layout changes as Charlie's story is forced to spend the summer with his grandparents, strict disciplinarians who value hard work. As Charlie's grandfather passes on life wisdom, the more conversations are inserted and the poems begin to change, including livelier words, sports imagery and hope. As Charlie begins to play ball, he learns that even though he may not always win or make every shot, he can keep trying or rely on others –his backboard—to take that shot.


Use & Highlight Poem

The spotlight poem in this book is Rebound. It is an amazing moment that fuses the language and rhythm of the sport with a life analogy that anyone could relate to. In addition, this is the moment where Charlie begins to really understand that he has a backboard -- his family -- that he doesn't need superpowers or fancy moves to deal with what life's challenges because he can rely on those around him to give him the support he needs.

One great classroom activity could be to use the example poem, Rebound to try to create original poems in a measured rhythm. Another idea might be to compare and contrast the poems in one of the other books in the series, Crossover or Booked to compare the poems.

Rebound

We lean
against the hood

of his car
watch

a few planes
land, a

few more
take off.

He puts
his arms

around
me, pulls my

sobbing head
close to him.

You know, Chuck,
he says.
You're not always gonna swish.

...

You gonna miss some.
Heck, you gonna miss a lot.


That's the way the real world works.
But you gotta grab the ball and

keep shooting. You understand?
Yessir.

I'll tell you what, though,
you'll make a lot more


than you miss if
you're not always going for

the flash
and flair.

Try using
the backboard, son.

You got me.
You got your grandmother.
You got Roxie.
You got your mother.

You got all of us,
remember that!


Okay.
Now let's get on home.

'cause your momma
and Alice

probably worried
to death.

I'm sorry, Granddaddy.
Yeah me too, son. Me too.

Jumping Off Library Shelves by Lee Bennett Hopkins, Illustrated by Jane Manning (Module 1, Book 2; School Stories)

Jumping Off Library Shelves Review by Elaine Alexander

Bibliographic Citation:
Hopkins, Lee Bennett & Manning, J. 2015.Jumping Off Library Shelves: A Book of Poems. Honesdale, PA: WordSong. ISBN: 9781590789247

Poetic Elements:
This anthology of poetry celebrates the library and the magic of reading. The language is playful, comparing the words in the library with crumbs scavenged by mice, with the suggestion that words hold value as a means to nourish the soul. A portion of the book relies on concrete poetry to make circular patterns or mimic waves at sea. There is a sense of adventure in the collection that makes readers connect emotionally to the power of books and libraries to open readers to new ideas and experiences.


Appeal:
This collection of poems has appeal to a younger audience, ages 4-9, particularly because it is paired with imaginative artwork that fuses seamlessly with the powerful words. The experiences spark memories, such as the step of getting a new library card, reading to a friend, or the anticipation of finding a new book that you cannot wait to start. Several of the poems invite the reader to share the magical qualities of the library, as well as the journey young readers experience as they enjoy a new book. The poems garner a sense of anticipation and freedom that would be appealing to children and invite children to visit their own library -- if they are brave enough to dive into the adventure of it all.

Overall Quality:
This collection of poems stirs the reader with a sense of immediacy, that there is something incredibly exciting that they must be a part of. From the beginning line in the first poem, Breakfast Between the Shelves, where "morning pours spoons of sun" (Hopkins 7), the reader gets a sense that as soon as the sun rises, there is a dawn of new day and no time to waste to get to the library and find out what there is to offer. Each poem thereafter builds on this journey, from the library as a place of refuge, where magic and adventure are in the reader's grasp if they possess a library card. The artwork supports this magical imagery, with swirls of stories and waves of letters throughout the pages. Each poem expounds on the idea of the library and reading having both a shared connection, as well as an intimate experience between the words and the reader. The book ends in a mirror image of how it begins, coming back to the first poet, Rebecca Kai Dotlich. The first poem opened the library with a new day, full of anticipation, and the last closes at midnight with tiny mice getting their chance to share in the magic of a story.


The Poets:
Lee Bennett Hopkins selected poems from several prominent, award-winning authors for Children and Teen literature, such as Jane Yolen, Nikki Grimes and J. Patrick Lewis. Hopkins is renown in the field of Children's Literature, not only winning the NCTE Award for Excellence in Poetry for Children for the body of his work, but he also was distinguished with several awards named after him.

Layout:
The anthology has a table of contents to tag each poem and has beautiful illustrations to support the text. The poems begin with a new dawning day, a trek to the library, a child seizing their library card in a powerful pose, before moving on to images of exploring pages and being matched to the perfect book. There are odes to librarians who bring words to life, poems that honor specific types of books, therapy reading dogs, and cuddling with a loved one to share a story. The end comes full circle, with daylight dying and the library activity being carried out by mice who are enjoying the books.

Spotlight Poem:
I have a soft spot for this poetry collection and for the artwork in the page for Nikki Grimes poem because the artist, Jane Manning, featured the library I work in! There is a fabulous two page spread for the Deep River Public Library on this page and it is perfectly paired with Nikki Grimes' poem. In addition, the poem evokes an image of openness and anticipation that I connect with. You see a young child, racing to the library doors and the reader can easily share the feelings of possibility in the words.
Refuge by Nikki Grimes

My library comes into view.
Almost there!
I sprint the last few yards,
charge up the stone steps, breathless,
and push through the double doors,
smiling at the sweet kingdom of story
invite me in
to rest, to explore --
to dream.


Follow-up Activity:
I would invite children to think about how they feel about their own libraries and the power of a book to transport a reader anywhere. They might share their experiences of visiting the library or perhaps another place that gives them a sense of welcoming in a way captured by the words in the poem. Having access to a public library and to books is a pivotal part of a childhood experience. It is one of the first places that children are truly represented and have free choices in what they pick out to read. Participants can also discuss the significant impact a public library can have.

The Last Fifth Grade of Emerson Elementary by Laura Shovan (Module 1, Book 1; School Stories)

The Last Fifth Grade of Emerson Elementary Review by Elaine Alexander
Bibliographic Citation:
Shovan, Laura. 2016. The Last Fifth Grade of Emerson Elementary. New York: Wendy Lamb Books. ISBN: 9780553521375

Poetic Elements:
This novel-in-verse is a collection of poems by a fictional class of students, writing as a part of a proposed time capsule project to mark the school's last 5th grade class. The initial assignment is explained in early poems and it is made clear that poems are only read by their teacher, Ms. Hill, which sets up a type of diary of sorts. The diverse group of students all have unique voices, with a range of different backgrounds and experiences. This range of diversity casts a wide net, providing both universal emotions of how the children feel about their school closing, at the same time as it encapsulates intimate experiences, such as how one student is dealing with poverty, another with being an outsider, still another on a painful divorce. Although all the poems are written, by Shovan, the emotional impact of the book is keenly expressed in the way in which she uses seventeen different poetic styles to communicate the secrets and thoughts that each student is harboring, making for an intimate experience for the reader.

Appeal:
The appeal of this novel in verse is the variety in both the poetry forms and the variance in voices. The author describes her poems as "persona poems...[that]...try to make you laugh with a joke, tell you a sad story, or share a secret" (Shovan 231). The book uses language and experiences that will resonate with young readers. It challenges readers to try to step into the shoes of the characters in this fifth grade class and see themselves in the poems and become a part of the experience. The subject matter allows the students to express their feeling on the fate of their school, but along the way, students end up sharing details of their lives with universal subject matter, such as fitting in, feeling alone, dealing with frenemies, personal struggles, and sticking up for what you believe in.


Overall Quality:
The poems in this book communicate how the children see themselves and how they believe they are perceived by others. In addition to the moments of self-reflection, the students are engaged in the greater community due to the town's proposal to close the school. They also share their experiences as if they are writing poems in their own diary. Because the poems remain between the writer and the teacher, the children are candid, speaking honestly about their lives. The collection shows how individual students begin to grow as people, facing life challenges and stretching to understand those challenges by expressing them through figurative language and varied poetic structures. While Norah struggles with homesickness, living in a foreign land, and deciding whether or not she wants to wear a hajib, other students like Brianna are dealing with the realities of poverty, as she tries to jazz up an old dress for her mother. These are kids struggling to fit in -- all in their own way. Whether it is ADHD or autism, learning to speak up against bullies or to fight for their beliefs, these poems tell universal stories that are pertinent to kids today.

The collection also shows that, as a whole, students also begin to come together towards a common goal of saving their school. As the narrative comes to an end, we see that although they did not achieve the goal of saving the entire school, they were able to find a common ground to fight for what they believed in.

The Poets: The book is written from the perspectives of the eighteen students in Ms. Hill's fifth grade class, but the poems are actually all composed by Laura Shovan. The author of six books, Shovan is a a poet and novelist with a unique background that exposed her to different cultures and experiences. That diversity shows in her writing and the way in which she uses language and formats to communicate emotional intimacy with her readers. Shovan's books have received numerous award nominations and she has been been honored with a Cybil Award, as well as a Banks Street and a NCTE Notable for this book.

Layout:

The format is broken into quarters, mirroring the way a school year marks time. The poetic formats are as varied as the voices of the children, with students trying out different formats of poems as their voices grow and develop. Each new poem has a cartoon drawing of the author, along with the name, to keep the different personas straight. The book provides a detailed section in the back to discuss all the different types of poems used in the book, relating each form to a specific poet, and offering suggestions on how to experiment with each style to write your own. The prompts are written with questions designed to spark creativity and get the ideas flowing.


Spotlight Poem:

This spotlight poem shows the transformation of one student, but also exemplifies the way in which the kids may not have saved their school, but they did fight to retain a piece of it.

One Wall
by Rachel Chieko Stein

When fifth grade started,
I was sad.
A big part of my life was ending.
I couldn't believe anyone
would demolish this place.

When fifth grade started,
I was scared.
Certain people were mean.
I couldn't believe
the things they said to me.
Even though it was hard,
I learned to stand up for myself.

Now fifth grade is almost over.
I've been thinking,
what if we saved one wall?
One strong wall no bulldozers
can knock down.
One wall made of many bricks
held together, like our class.
We'll use it as a special place
to store the time capsule.
We can paint a mural
of all our faces.
One wall to say we were here. (Shovan, 205)

Follow-up Activity:
This book has a generous section in the back filled with ideas on follow up activities and ideas to inspire young poets. One of the many fabulous suggestions would make a great art challenge: Concrete Poems. The idea is to draw the outline of an object of importance, such as a lucky hat or favorite item of clothing. Fill in the shape by writing about that item, using language to describe why it is important.