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.