Inglesagil Amazon Adventure

A 6 month language program located in Cali, Colombia, South America that uses recreational and vacational stay for adults and teaches New Americana values and speech for the new age of communication and information.

Friday, September 14, 2012

 



PROGRAMACIÓN
>> CONCIERTOS, DIÁLOGOS Y MÚSICAS
>> DIÁLOGO CON LAS ARTES VISUALES
>> ENCUENTROS, DIÁLOGOS Y PEDAGOGÍA
CONCIERTOS, DIÁLOGOS Y MÚSICAS
Jueves 6 de septiembre, 7:00pm

PEREIRA: CONCIERTO INTERNACIONAL
“Little Joe Mclerran band”

Museo de Arte de Pereira, Teatro don Juan María Marulanda
Av. Las américas # 19 – 88, Pereira - Risaralda

Sábado 22 de Septiembre, 7:00pm

BUGA: CONCIERTO INAUGURAL
“Little Joe Mclerran band”

Teatro Municipal Ernesto Salcedo Ospina
Calle 6 Cra 10 esquina, Buga - Valle

Domingo 23 de Septiembre, 4:00pm

PALMIRA: CONCIERTO INTERNACIONAL
“Little Joe Mclerran band”

Centro Comercial Llano Grande
Palmira - Valle

Martes 25 de Septiembre, 7:00pm

CONCIERTO: “INAUGURAL”
“Little Joe Mclerran band”

Universidad Javeriana
Calle 18 # 118 - 250, Auditorio Pontificia Universidad Javeriana Cali, Alfonso Borrero Cabal.
Cali - Valle

Miércoles 26 de Septiembre, 7:00pm

CONCIERTO: "BLUES MADE IN COLOMBIA"
Presenta a: “The Blue Turtles” (Cali) y “Blues Boy Trio” (Medellín)

La Fundación Hispanoamericana de Santiago de Cali presenta uno de los momentos musicales más sentidos del CALI BLUES FESTIVAL 2012: “BLUES MADE IN COLOMBIA", encuentro musical que busca resaltar el trabajo, la exploración y la producción de bandas nacionales y locales de nuestro país. Músicos de Bogotá, Medellín y Cali presentarán todo su talento a través de producciones nacidas bajo el interés del diálogo cultural, la historia y los matices del Blues entre otros géneros musicales relacionados.

“BLUES MADE IN COLOMBIA”, porque así suena el Blues en nuestro país!

Fundación Hispanoamericana Santiago de Cali
Avenida 3AC Norte # 35N-55, Cali - Valle
Entrada libre - Cupo limitado

Jueves 27 de Septiembre, 7:00pm

CONCIERTO: "GALA INTERNACIONAL"
Shaun Booker, Sean Carney y Little Joe Mclerran band

Con el sello característico de los mejores intérpretes del Blues Afroamericano, la cantante Shaun Booker introduce la audiencia a los matices vocales propios del Blues y sus orígenes musicales. Todo esto con el excepcional acompañamiento del Maestro del Blues Sean Carney y Little Joe Mclerran Band.

Auditorio Centro Cultural Comfandi
Calle 8 # 6-23, Cali - Valle
Entrada Libre - Cupo Limitado

Viernes 28 de Septiembre, 7:00pm

CONCIERTO: "BLUES & OUR AFRICAN ROOTS"

"BLUES & OUR AFRICAN ROOTS" se presentará en el Centro Cultural Comfandi de forma gratuita y abierta al público el Viernes 28 de Septiembre a las 7:00pm. El concierto tendrá un fuerte componente musical local en contraste con los ritmos angloparlantes de los Estados Unidos.

  • Carlos Reyes & La Killer band (Bogota)
  • Shaun Booker, Sean Carney, Little Joe McLerran band (Estados Unidos)
  • Esteban Copete y su Kinteto Pacifico (Cali)
  • La Percumotora (Cali)

Centro Cultural Comfandi
Calle 8 # 6-23, Cali - Valle
Entrada Libre - Cupo Limitado

^^ Subir
DIÁLOGO CON LAS ARTES VISUALES
Jueves 6 de septiembre, 7:00pm

EXPOSICIÓN FOTOGRÁFICA: “UNDER DE ROCK” FOTOGRAFÍAS DE LEONARDO GÓMEZ

Inauguración - Exposición abierta del 6 de septiembre hasta el 12 de octubre de 2012.

Galería de arte Humberto Hernandez
Centro Cultural Colombo Americano Cali
Calle 13 Norte #8-45 Barrio Granada

Lunes a viernes de 8:00am a 12:00m y de 2:00pm a 8:00pm
Sábados 9:00am a 12:00m y de 2:00pm a 6:00pm

Entrada libre

“Under the Rock”, un homenaje invisible en la música, el ejercicio íntimo y personal de un individuo o grupo que encuentra satisfacción desmedida; su rendición a las ondas sonoras que genera su instrumento y la complicidad de la banda. Es la música que desvanece la ausencia del privilegio y materializa por instantes una fama que toca la divinidad. Es un viaje personal y espiritual que en la mayoría de las veces solo la música logra entender. Somos espectadores, solo eso.

Ver más >>

Jueves 13 y jueves 20 de septiembre, 4:00pm

Ciclo audivosuales
Museo La Tertulia, cinemateca “lo que nuestros músicos ven en el blues”

Músicos caleños presentan su película favorita en diálogo con el blues y otros géneros musicales de los Estados Unidos.

Museo La Tertulia
Avenida Colombia # 5-105 Oeste
Entrada libre

12 al 28 de septiembre (de lunes a viernes), 2:00pm a 6:00pm

Proyecciones y audiciones:
Video conciertos y presentaciones legendarias del blues

Área de proyección y lectura de la Biblioteca Abraham Lincoln
Centro Cultural Colombo Americano, Sede norte

Calle 13N #8-45 Barrio Granada
Entrada libre

Sábado 22 de septiembre, 4:30pm

Sesión Club de Dibujo Cali:
“Me and the devil blues” - sesión 41

"Mitos y leyendas de la música/pactos mágicos: el blues y otras músicas tradicionales” con una puesta en escena que relata la interpretación de la canción "Me and the devil blues" de robert johnson, quien fue un músico de blues con corta vida, debido a que falleció a la edad de 27 años. su vida y su música influyeron en algunos de los músicos de los años 50 y 60; Algunos de los elementos más iconográficos de este músico son llevados al diálogo a través del dibujo.

Lugar a dudas
Calle 15 N #8-41
Entrada libre

^^ Subir
ENCUENTROS, DIÁLOGOS Y PEDAGOGÍA
Viernes 21 de septiembreMiércoles 26 de septiembre
Pereira:
Colegio Mundo Nuevo
Vereda Mundo Nuevo - Risaralda
Cali:
Tecnocentro Cultural Somos Pacífico
Comuna 21

CONOCIENDO EL BLUES CON LITTLE JOE MCLERRAN BAND “THE RECIPE FOR AMERICAN ROOT SOUP”

Un recorrido didáctico por la historia del blues y sus orígenes.

Sábado 22 de septiembre, 2:30pm a 4:30pmMartes 25 de septiembre, 2:30pm a 4:30pm
Buga:
Teatro municipal de Buga Ernesto Salcedo Ospina
Cupo limitado - Previa inscripción gratuita
Tel: 227-7074
Cali:
Pontificia Universidad Javeriana de Cali, sala de música
Cupo limitado - Previa inscripción gratuita
Tel. 321-8200 Ext. 8865/506
dcconcha@javerianacali.edu.co

DIALOGOS Y MUESTRA DE TRABAJO MUSICAL CON “LITTLE JOE MCLERRAN BAND”

Espacio para músicos amateur e interesados en explorar la historia del blues, su interpretación de la mano del galardonado embajador del Blues norteamericano Little Joe Mclerran, quien hará un recorrido musical breve de su técnica y principales influencias.

Martes 25 de septiembre, 3:00pm a 6:00pmJueves 27 de septiembre
Cali:
Pontificia Universidad Javeriana de Cali, sala de expresión corporal
Cupo limitado - Previa inscripción gratuita
Tel. 321-8200 Ext. 8865/506
dcconcha@javerianacali.edu.co
Cali:
Tecnocentro Cultural Somos Pacífico
Comuna 21

TALLER: AFRIKA 1492 “BAILES CANTAOS – CANTOS BAILAOS”
Con la Maestra Angélica Nieto

A través de la práctica del movimiento y la respiración consciente (empleando técnicas propias de la danza ritual afro-contemporánea y danzas en círculo) y de la escucha y el reconocimiento de música (folclore pacífico - Blues) este taller propone la estimulación del potencial creativo y la capacidad de auto-conocimiento, indagando en la apertura de la voz y la melodía vocal en conjunto.

Jueves 27 de septiembre, 12:00m a 1:00pm

CHARLA ACERCA DE ESTUDIOS DE MUSICA EN LOS ESTADOS UNIDOS
A cargo de la oficina de Education USA

Biblioteca Abraham Lincoln, Centro Cultural Colombo Americano - Sede norte
Calle 13N # 8-45 Barrio Granada
Entrada libre - Cupo limitado

Jueves 27 de septiembre, 2:30pm a 4:30pm

BLUES MASTER CLASS: LA VOZ DEL BLUES CON SEAN CARNEY Y SHAUN BOOKER

Espacio para músicos profesionales y amateur, interesados en explorar los matices y estilos de interpretación vocal del blues. la historia de dos de sus más importantes representantes con dos estilos marcados por una larga tradición cultural afro-americana.

Universidad del Valle, Auditorio Carlos Restrepo - Edificio Tulio Ramírez (316)
Cupo limitado - Inscripción gratuita
Tel. 321-2317

Viernes 28 de septiembre, 2:30pm - 4:30pm

FORO: MUSICAS TRADICIONALES “CULTURA Y EMPRENDIMIENTO”

Los músicos norteamericanos Little Joe Mclerran, Sean Carney y Shaun Booker comparten con el sector musical local sus experiencias desde la producción musical, su participación en festivales y retos de la industria en la promoción de músicas tradicionales en los Estados Unidos.

Hotel Aristí de Cali, Café bar La Central

^^ Subir




Entre el 6 y 28 de septiembre Cali, Pereira, Buga y Palmira reciben el CALI BLUES FESTIVAL 2012: “Encuentro Internacional de Músicas y Diálogos con el Arte” gracias a la participación de empresas, instituciones culturales, gobiernos internacionales, nacionales y municipales. Un evento que reúne diferentes expresiones musicales, las cuales evocan la exploración de sus raíces a través de referentes contemporáneos en la escena musical nacional e internacional del Blues y sus géneros relacionados como el Jazz, Góspel, R&B, Rock&Roll entre otros.

Este encuentro cultural presenta a lo largo de cuatro semanas: exposiciones, talleres, conciertos, conversatorios, ciclos audiovisuales y audiciones que permitirá a la comunidad dialogar e intercambiar saberes musicales y culturales con el Blues.



Tras seis años continuos de promoción y apoyo a espacios de difusión del género Blues, el Centro Cultural Colombo Americano mantiene su compromiso de crear un diálogo permanente entre la cultura de los Estados Unidos y Colombia.

Por eso, con el apoyo de la Embajada de los Estados Unidos se presentará en Cali, Pereira, Buga y Palmira a “Little Joe McLerran Band”, quienes han sido embajadores musicales de los Estados Unidos en todo el mundo. Little Joe McLerran es un músico galardonado por la organización “The Blues Foundation”, organización que se encuentra asociada al CALI BLUES FESTIVAL desde sus inicios.


CALI BLUES FESTIVAL también trabaja actualmente con el Festival de Blues de Medellín y otras regiones del país para llevar esta iniciativa artística a dimensiones únicas en su tipo, compartiendo el talento nacional e internacional en todo el país y destacando el evento no solo como un espectáculo de muchos escenarios, sino como un espacio para la formación y educación.


Entre los principales aliados y socios del Festival se destacan el Ministerio de Cultura a través de su programa nacional de concertación, Embajada de los Estados Unidos, Centro Cultural Comfandi, Fundación Hispanoamericana, las Secretarias de Cultura de Buga y Cali, Cámara de Comercio de Buga, Corporación Otro Cuento entre otros importantes aliados que apoyan la cultura y las artes en el país.


hotelboutiquesanantoni...
... Festival Mundial de Salsa 2011 que se realiza en nuestra ciudad de Cali ...
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lasalsoteka.blogspot.com
... del II Congreso Mundial de Salsa realizado recientemente en la capital.
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lasalsoteka.blogspot.com
El director calificó la propuesta de “Cali Salsa Show” como una oportunidad ...
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eltiempo.com
Por: REDACCIÓN CALI. 12:53 p.m. 28 de Abril del 2012. Salsa: ahora todos ...
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redescolombia.com
Una pareja del grupo Cali Salsa Festival ganó el primer lugar de la división ...
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entretenimiento.latam....
... de baile que pasaron hoy a la semifinal del Mundial del Salsa Open 2012, ...
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diariolaprimeraperu.com
Importantes exponentes de la salsa llegan a Lima como parte del Festival ...
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trendsvid.net
FESTIVAL MUNDIAL DE SALSA CALI 2008 ::: JHOAN Y ANGIE PAREJA ESTELAR TIPICO ...
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myspace.com
Festival Mundial de Salsa Cali 2010 in Eventos by Sangre Negra ► ◄
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elbauldelsalsero.blogs...
FESTIVAL MUNDIAL DE SALSA CALI 2.010
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youtube.com
pxpcol Cali Colombia Festival Mundial de Salsa Parte I De Pelicula 2009 ...
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hispanic-tv.jumptv.com
... Mundial de la Salsa 2009. Este festival presenta talleres y ...
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caliderumba.com
Petronio Alvarez 2012 Las 80 mil personas asistentes al segundo día de ...
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caliesgay.com
CALI SE QUEDA CON EL CAMPEONATO MUNDIAL DE SALSA 9/21/2009
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radiodos.com.ar
Deportes 28/08/2012. Horacio Gómez: Un campeón silencioso que busca sacar ...
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noticias.lainformacion...
Foto de Rubén Blades lleva a Valencia la salsa más intelectual y ...
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feedage.com
JUNIO 11 AL 21 DE 2012. CALI - COLOMBIA
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hsbnoticias.com
El Pacífico vibró en el Festival Petronio Álvarez
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salsaglobal.ning.com
Cali vive su IV Festival Mundial de Salsa
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carlosrojas.com.co
Etiquetas: Sexta Versión Festival Mundial Salsa Cali 2011
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Welcome to Spring Semester 2013

Fernando IX University
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Teaching Poetry

20
vote(s)

Are there any other teachers of poetry out there, whether from a creative or critical background? If so, please say hello! One of the reasons I'm taking this course is to learn more about online pedagogy in a poetry / humanities context, but I'm always thinking about the physical classroom, too. I'd love for this thread to be a place where we can come and reflect on pedagogical issues we notice as the course continues, or even just to share our thoughts, exercises, tricks of the trade with one another. Any thoughts so far?

I was personally struck by how effective is was to assign individual words to each of the discussion participants. Doing so seemed very quickly to allow the participants to share equally in the work of close reading. What are some of the ways you've modeled / led / taught close reading in your classrooms?

Julie Phillips Brown
on Mon 10 Sep 2012 1:27:59 AM PDT
Comments

I too am interested in the pedagogy aspect of the course. I teach English to international students and find it difficult to have students feel they can analyze any sort of literature. What a great idea to be able to share ideas!

Roberta (Student)

Hi Julie! Thanks for setting this up. I do most of my teaching on-line (Women Studies at Oregon State and English at Cal Baptist) and am very interested in figuring out new ways to make the on-line experience more immediate and interactive. I'm getting some great ideas, even though poetry is not what I teach, for enhancing the learning environment for my students.

I am going to be facilitating an adult discussion class on the Civil War and did not think this class and that would affect each other. However, starting with Whitman and Dickinson, I realize they were not simply revolutionizing poetry; they were changing the voice of poetry itself in a nation which had just been through a war which turned their worlds upside down. Now I want to find a way to blend poems into the other primary sources my group will be studying.

Rosemary Irwin (Student)

Great thread! I teach to low performing students, usually learning or language challenged and I've found poetry really gets them excited about The English language. One of the things they find really motivating is song lyrics, especially rap, that they bring in and we analyze just like poetry. The transition to Shakespeare sonnets or other standard poems is pretty seamless once we've established the main literary conventions in the song lyrics they've introduced.

Robin Travenick (Student)

Sounds like a great idea, Rosemary. Good luck.

Hi Julia, thanks for posting this thread! I have taught variants of poetry, and as a student of Literature, had the benefit of being taught some of the most beautiful, complex poetry by very passionate teachers who adopted different, creative techniques, but the method that stayed with me was one in which my professor started off with a brief historical introduction about the poet and the time they lived in. Placing the poem in context, particularly with people like Shakespeare and Milton was incredibly useful. We, as students in India studying European or American poets could thus better understand where the poet was coming from, as it were, and what they were trying to say, why they were saying it, and/or why they chose a particular phrase, style, etc. to say it. Of course, there is an entire army of scholars, academicians and critics who believe this is the wrong approach, and that a poem can only be appreciated in its purest form if it is read by itself, without preamble or prejudice, and I sometimes agree with them. However, I have found that those who struggle with poetry almost always ask, "why did this poet write this poem?" which is a question more easily answered with the former approach.

Aparna Ram Chintalapudi (Student)

To Rosemary Irwin: The book, "The Better Angel: Walt Whitman in the Civil War," by Roy Morris (Oxford University Press, 2000) could be helpful in your integration of poetry with the Civil War adult discussion class. Whitman "nursed" many of the injured and dying.

Elva Winter (Student)

Thanks for introducing yourself and starting this space for teachers to connect. I teach middle school writing, literature, and poetry. We have actually been reading Emily Dickinson this semester, so I am thrilled that this course overlaps with our study. My students have loved her poetry so far, especially her riddle poems. I read them aloud and let the students guess what ED was describing. Then we discussed how she writes about everyday things in a new way. A great resource is Rose, Where Did You Get That Red? by Kenneth Koch. It is about teaching great poetry to children and teaching them to write their own poetry. The suggestion for ED was to have students write poems about a place they've never been but can imagine, after ED's "I never saw a moor." The poems my students wrote were lovely!

Kelsi Vanada (Student)

Hello everybody! I'm so excited to be part of this thread. I'm actually working in a university, in Colombia, as a Reading and Writing teacher, with EFL students who are training to become teachers as well. We don't have poetry as such included in our curriculum, but we do have Angloamerican Literature as one of the subjects, so I think it would be great for me to get involved in this wonderful setting, as I will have more tools to be able to teach Literature eventually. Honestly, I am a little worried as I see most of you have plenty of knowlegde about this area and I am not really familiarized with it, as it is very difficult for a non-native English speaker to understand or try to get an insight of what poets are sharing in their compositions, and even more when you have not had the chance to actually interact with the whole context of the poets and the settings, among other things. Last semester, I made my students choose a poet, read a little about them, then choose one of their poems and learn it by heart so that they can share it with the class and have a little group discussion about each one. They loved the idea. However, the information I know about poets is quite limited to Spanish, so it was a huge obstacle for me to continue doing activities like the one I just mentioned without further knowlegde on this topic. This thread has been so helpful as now I can learn and find about the ways poetry is taught in different situations and I will take some of these ideas to include poetry in my Reading lessons as well!

Angie Samaniego (Student)

Thank you Melissa and Elva for your encouragement! We did have a talk about Whitman and I now have a copy of The Better Angel. This entire forum is amazing. Thank you for all these fascinating ideas.

Rosemary Irwin (Student)
19
vote(s)

I also find this close reading technique to be marvelously effective, Julie, but I wonder whether less experienced, less confident readers (like many of my high school students) might find it intimidating to take charge of a word or phrase and tease out its meanings or possibilities. Despite my reassurances that a close reading is open-ended, many of my students are intimidated by a conviction that a right answer does exist and that it is their job to find it. Still, I plan on trying this.

One of my existing techniques is to hand out enlarged photocopies of a poem to my students, read the poem aloud to them, and have each of them highlight three short passages (each a few words to a few lines in length) that appeal to them for whatever reason (because they like the way the words sound, because the passage conjures up a vivid image for them, because the words provoke an association or memory or ring true, etc.). Then, I ask them to write for a few minutes (next to, between, around those lines) about each passage. I give them options: write about why you like this passage, ask a question, retell a related memory, argue for or against an idea in the passage, etc. I never use the word “meaning.” I participate in this process, writing about the three passages I have chosen.

Afterward, I proceed in a variety of ways, but I require each student to share at least once. Often, I’ll break the poem into stanzas or manageable bits, read a section aloud, and then ask every student who wishes to share about that section to do so. Using a document camera and projector, I highlight passages or jot down key words on a copy of the poem to create a record of student responses for everyone to see. Sometimes an individual student’s sharing stimulates further discussion, sometimes not. At the end of this process, unfailingly, we will have “covered” all the key ideas and themes and devices, etc. that I would have covered had I “taught” the poem myself. It is remarkable how well my students can and will teach each other when I let go of control.

To bring closure to the poem, we often do a choral reading of the poem together. One student or I read the poem aloud, and the remaining students join in on every passage they’ve highlighted, so sometimes one voice is reading, sometimes two, sometimes several.

Tracy Sonafelt (Student)
on Mon 10 Sep 2012 2:34:06 AM PDT
Comments

Great technique - I like the way you combine close reading, individual response, writing, technology, and performance!

Ann Hostetler (Student)

Tracy,

When I was in High School, we used this exact technique when studying poetry. Yes, it was very intimidating and difficult to get used to in the beginning, but most of us caught on fairly quickly. It is a great method that really brings out the creativity of the student. It's that pressure of having an immediate answer that scared most of us, but I found that the pressure caused the other students to give answers that they might have otherwise kept to themselves. It makes for great discussion because it causes one to open up to more than what they expected of themselves. I do, however, like the explanation of the technique in your classroom.

Leigh Hershkovich (Student)

I agree that this type of close reading, with individuals being responsible for specific passages, can be intimidating, but I also think it's something that students can be trained to do. Maybe giving each student access to a dictionary and a thesaurus, and giving them a set amount of time, even just 3 or 4 minutes, to do some investigating before they have to share, would help.

Tracy,

I was also struck by how helpful and generative it was to assign words to students and let them tease out the meaning and also was thinking about how a less confident reader might be (at first) intimidated by the process. I teach poetry to freshman college students and my husband teaches English to high school students (we're in Georgia, USA), and I was wondering if it would work to, as we're working through poetry, to assign a select number of students a word or phrase for homework, let them go home, look it up, look at its possible meanings, and know that the next day during close reading, they'll be responsible for reporting what they'd found. That way they wouldn't be responsible for teasing out meaning on the spot when they aren't used to doing that kind of mental work. And then, you can make sure each student in the class has to be responsible for this at least once....What do y'all think?

Katy (Student)

I think your idea might be an excellent first step, Katy, a bridge to using this technique in a more impromptu way later on. I’ve also been thinking I might ease my most reluctant readers into the process by assigning the most accessible words and phrases to the least confident students ... at least until they get their sea legs.

Tracy Sonafelt (Student)

Hi Katy,

I think your idea for easing the kids into this technique is brilliant as it will allow them to build confidence in sharing their ideas and answers. I was also thinking it would be a good idea to check the internet before assigning a particular poem to make sure it is not on sites like sparknotes. This will help in eliminate all your students presenting the'model or correct answer' and will help to hearing their own opinions. I also think Paige's idea of giving them a minute or two with a thesaurus or other resources will work just as well within the classroom.

I also wanted to share a technique of my own in dealing with the negative feelings kids have when they find out today will be a poetry lesson. I have found that it is better to take away the author and title from the poem at times and start the class by stating how I have found this interesting piece of writing that I want to share with them. It has worked really well for me. The kids don't tell me how difficult poetry is or how they don't like it since they are focusing on the writing and words with open eyes and taking the time to figure out what the piece of writing is about.

Otherwise I think this is a great thread and I'm looking forward to following it and sharing other idea as the course continues.

As a high school English teacher (I've taught grades 10-12 in Canada for several years), I found that this type of close reading in a collaborative format was highly effective. It is a bit intimidating for students at first, but as they begin to recognize that they have valid ideas and a voice, they become more confident and willing to participate. I found that this confidence in their own analysis of poetry seeps into other areas of their education as they begin trusting their own ideas. I highly recommend trying this with students of all ages; the results are worth the effort.

Margaret Lindemulder (Student)

This has been so great! I personally like the activities you employ in your poetry class. Thanks for sharing this with us.

Bren L. Benzon (Student)
10
vote(s)

IN my face-to-face classes, I often "assign" a word to a student. I've done with with 7th graders, adults, college students at all levels. It always works. One just has to be gentle but still firm in the expectation that almost anyone can say something - at least for starters - about a word or phrase.

Al Filreis (ModPo instructor)
on Mon 10 Sep 2012 4:58:22 AM PDT
Comments

I am new to this and so don't know how to make a "new" posting of my own here instead of just a response. First, Al--I cannot imagine how you are keeping up with all the responses this forum (online, with thousands of people registered) is generating. And yet you seem to be doing just that. I cannot imagine how-----but bravo.

As a consequence of the sweeping theory battles of the seventies and eighties (which died down, but which did make us aware that we all DO have a "theoretical" perspective, whether we knew it or not), I assign specific theoretical perspectives that "force" a reading as an introduction to reading poetry. Specifically with Stevens' "Anecdote of a Jar," I give 2 minute "mini-lectures" on what is expected of a reading by New Criticism, Deconstruction, New Historicism, Freudian, Gender/Feminist, socialist/economic, linguisitic (etymologies of the words in the poem-----quite fascinating). This poem turns out to be "about" poetry, about the inability to mean, about a particular canning jar in Tennessee called the "wide mouth special", with "Dominion" on the glass itself, about sex, about partiarchal domination, and captilist intrusion and destruction, about the displacement of native americans............and all of these (as Dickison's poem so well notes) spill over and take us into other places, but they all come back largely to the same waters in which all these readings actually affirm each other and lead us back to the same but deepened waters......... IF, after that class, a student asks "Which one is right?," I have failed!

Jacqueline Vaught Brogan (Community TA)

I really like this pedagogical technique. It allows everyone to contribute and honors the experiences and knowledge that all students bring with them. It also keeps contributions somewhat equitable. In my experience as an English undergrad, seminar-style classes tend to have a few students who dominate the discussion with their version of the "truth." When I was in college, these students were usually males and the silent students were usually females. The women really felt silenced. I think your strategy of assigning everyone a word does a lot to squash that colonization of the speaking floor by any one person(s), making discussion more democratic (although in a "forced" way).

Amy Lachuk (Student)

What about in case of a speaker of English as a second language?How easy is it for them in terms of unfamiliar words,ambiguity,use of simile?Any practical tips to get them started?Thank you for your time,anyway!(Really enjoyed you and your class using THIS method in"I dwell in Possibility"!)

VICKY CHRISTAKOU (Student)

I teach AP Literature at an international school in the middle east and nearly all my students are ELLs. They are not necessary more likely to not recognize different connotations of words than native English speakers -- consider "bark" for instance. I doubt any of my students in NY would have thought of a ship. . .

I think poetry is always intimidating at first, but I really like the idea of assigning words or phrases to individual students. In the videos, the participants didn't always make the right connection, and the prof coached them along in much the same way we do in every class. It's certainly less intimidating to be response for a word than for the whole poem. It's a great scaffolding technique, I believe.

One year in my AP Lit class, I started with song lyrics and had kids bring in the lyrics of some of their favorite songs. We analyzed them as poems. Once they saw that they were analyzing poetry every time they listened to music, they lost their fear.

Carol Rizzardi (Student)
4
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@Tracy, your approach to close reading sounds fascinating (I'll have to give it a try when I have a course again next spring). Is there any point when you're doing this kind of close reading that you introduce specialist knowledge (scansion, poetic terminology, etc.), and if so, how?

Your technique reminds me of something one of my former colleagues always does with his beginning literature students. He projects an overhead of the poem, and for each day of the class (50 minutes, college), they move through the poem line-by-line, attending to one particular issue (imagery, sound, line breaks, what-have-you), until they have traversed the poem so many times it's practically illegible. Since I teach poems all day, every day, I wouldn't want to do this on a regular basis, but it did seem to make for a rigorous introduction to poetry in his class.

You mentioned that students seem not to trust that a close reading is open-ended, and I've encountered similar worries. Some students approach poems as though they're puzzles or riddles, and that they need to figure out the tricks to unlock the riddle. Others have expressed deep skepticism about how far afield one might wander in a close reading. How do you deal with either of these (legitimate) concerns? I usually counter the "riddle" approach by modeling a close reading, and for the students who think a poem "might mean anything," I'll argue that there are close readings, but there are also far-fetched readings.

@Al, first of all, thanks for this course, and for a really thought-provoking experience so far. I spent a lot of time in and out of the Writers House as an undergrad, but I never actually got to take English 88, so this is really a treat. One of the discussions we've been having on campus here (as are many others on campuses around the country, of course) is about the fate of the humanities in light of how imperiled our disciplines have become. I'm curious to hear your thoughts, and I'll be thinking about it, too, on what online courses like this can do for poetry / literature / the humanities. Any poetry course that enrolls over 30,000 people is obviously doing something right.

Re: close reading, I can see how your approach would work in a lot of different contexts. I noticed that you facilitated much of the discussion as moderator, which seems especially necessary since you're trying to produce a video for online consumption. Have there been other times when the students have led the discussion themselves? If so, did any significant difference arise between the moderated and student-led sessions? There were a few moments in the final Dickinson-Whitman debate where I found the discussion particularly energetic because the students were responding directly to each other.

Julie Phillips Brown
on Mon 10 Sep 2012 9:37:54 AM PDT
Comments

Thank you for getting this generative conversation started, Julie.

I do reference poetic terminology and more formal poetic concerns as opportunities naturally arise in our close readings and discussions. Inevitably, students gravitate toward the richest, most metaphorical passages or are puzzled by allusions or respond to the sounds of phrases that are rich with assonance, etc. It’s then quite easy and not all that obtrusive for me to say, “Well, one of the ways that poets and readers talk about that idea is ...” or “You have located one of the most powerful tools in the poetic toolbox ....” I also teach a lot of formal concepts by requiring my students to imitate poetic models: I call it “pouring your content into someone else’s mold.” To do that, we have to figure out how those molds are constructed, necessitating conversations about formal matters like meter and figurative language. At the end of the year when I have to review content to prepare my students for our state’s standardized barrier test (do not get me started on that), I find they have internalized the language of poetics quite well.

I handle resistance to the idea that a close reading is open-ended just as you do. Over time, my students usually relax. I also lead up to our first full scale close reading by practicing with “safe” techniques like the “most important word strategy” (each student chooses one word he or she finds important, and we discuss students’ choices and sometimes map them in big webs on the board to show their interconnections). Assigning words and brief phrases as Al does with “I Dwell in Possibility” seems a logical outgrowth of this strategy.

Tracy Sonafelt (Student)

I've had success getting students to relax during close reading by working through a fairly simple poem together. Having a graphic organizer really helps so students have something concrete to use as a guide later. Then, in small groups, I give them another poem, a little more difficult, by the same author. Like Al does individually, each small group has a task (one group might focus on imagery, while another focuses on word choice, for example). Then I jigsaw them and they share with each other what they came up with in their small groups. At the end, we all come together and share. I find the modeling at the beginning really gives them the tools they need to go off on their own.

Robin Travenick (Student)
2
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@Al, first of all, thanks for this course, and for a really thought-provoking experience so far. I spent a lot of time in and out of the Writers House as an undergrad, but I never actually got to take English 88, so this is really a treat. One of the discussions we've been having on campus here (as are many others on campuses around the country, of course) is about the fate of the humanities in light of how imperiled our disciplines have become. I'm curious to hear your thoughts, and I'll be thinking about it, too, on what online courses like this can do for poetry / literature / the humanities. Any poetry course that enrolls over 30,000 people is obviously doing something right.

-

Julia, you are most welcome. I'm glad you're here.

Al Filreis (ModPo instructor)
on Mon 10 Sep 2012 9:49:47 AM PDT
1
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I am working on my teaching certification. Thank you for starting this thread! I hope to learn from your experience in the classroom.

karen carnley (Student)
on Mon 10 Sep 2012 10:06:00 AM PDT
3
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Hi, all: I work in a teacher training program, and I'm also interested in issues of pedagogy! We're working on creating a special area of the forums for teachers (and people who want to be teachers). Stay tuned!

Julia Bloch (Staff)
on Mon 10 Sep 2012 11:48:05 AM PDT
6
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Teachers, or people working on becoming teachers: what other activities have you used in the classroom with poetry? What are you dreaming of doing?

I use a blog, not unlike this one, for my seminars in twentieth-century poetry, and ask students to write something there every day. Even when working with a small (10-15 people) group of students, I find giving them the opportunity to write in response to poetry helps create community outside the classroom and gives quieter students a chance to share their thoughts in a medium they might be more comfortable in. Sometimes I ask students to workshop their blog posts after we've had some time to discuss the poetry in class, to see if their positions have changed in response to someone else's remarks or a second reading.

I use a lot of in-class writing, too: dialogic journals, focused free writes, text explosions (choose a word or phrase you've underlined in the poem and write for 5 minutes in response to it).

Julia Bloch (Staff)
on Mon 10 Sep 2012 12:49:44 PM PDT
Comments

I've used blogs in several classes and find that they do empower quieter students and help to extend the classroom walls. I like the idea of workshopping blog posts. How does that work for you, logistically? Do they print out the posts and bring them to class, or do they make online critiques?

Ann Hostetler (Student)

In a small class, I'll make copies and pass them out, and/or display them on the projector so we can read through them together. I'll put posts in dialogue with each other ("Joe, you say X, but Caitlin says Y. Does her comment make you rethink your position?") or do a writing activity that asks students to revise the blog posts into small essays by choosing one or two lines that could become arguments, then writing in response to those lines. I've also structured online discussions in which everyone has to respond at least once to everyone else's posts, and then post 2 third-tier responses to threads. (That's less of a 'workshop' and more of an asynchronous discussion model.)

Julia Bloch (Staff)

Hey Julia! I like the pressure the blog format puts on the question of what counts as publication. Is the blog something that you host internally, or are the students' works accessible to an outside audience? How much do the questions of self-fashioning and of audience(s) come up for the students as they're writing their blog posts?

I've run blogs on Blackboard and Moodle, and am planning to break into WordPress at some point as a way to get students thinking about how to make their knowledge public and take risks with their work. I know a lot of teachers have had good experiences with that platform. It will be a different ball game, however: BB and Moodle are basically private, since they're university-hosted and you have to be enrolled in the class to view and post. OTOH, I've also created public Twitter feeds for my courses, which are public, and for the most part have had positive results: students seem to like the option of chiming in spontaneously on what they're reading, live-Tweeting poetry readings, and responding to one another on that platform. We've also returned to the feed during class discussion to refine and expand points made there.

Julia Bloch (Staff)

I've used Blogger for class blogs. It's a bit more clunky than Word Press, but it's very user-friendly. I was initially worried about the public nature of the blogs, but so far haven't had any negative effects. In fact, it has in a few cases allowed people interested in a specific topic to find the blog and comment. Most recently I used the blogs with a Latino Literature class and a Mennonite Literature class. In the latter, especially, we got comments from people outside of the course because it is such a specialty area, so those interested are motivated to find like-minded souls. Blogger has a blog list widget that students and the teacher can add to their blogs in order to create links to the blogs in the rest of the class. This makes it much easier to navigate. I really like the ways in which publishing work on the blogs gives student papers an added purpose. Students have to take responsibility for their writing and opinions, and are more motivated to proofread (though not always).

Ann Hostetler (Student)

I've used blogs in the past (although I'm from a very rural area where students don't usually have Internet access except on campus, so that wasn't as effective as I've hoped). I've also had students write in response to a poet's stance on a certain idea- love, war, honor, for example- and, after one student reads their response aloud, other students respond to that response. It's led to some truly great conversations with students engaging each other, which is something I'm still learning how to promote.

Keri (Student)

Blogs are great, and they get better as the students get more advanced. Unfortunately, blogger.com has gotten really glitchy here at UHM, where we now have gmail running the school email system. It mucks things up!

I use blogger.com, and for some time now for my poetry. I have noticed in recent months difficulties with access and glitches. Thanks for bringing this aspect of blogger up.

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I'm a high school teacher and find the assigning of a word to be a very effective close reading strategy. I got the idea from the Folger "Shakespeare Set Free" volume on teaching Macbeth, and my students keep a "word trace journal" for the entire study of the play. The book has a list of the most frequent words, and the students choose one, including blood/hand/night/king/fear. It's a fantastic assignment for teaching close reading, and I'm sure it would work with poetry and high schoolers as well. I'm going to try a variation of it this year when we read "Their Eyes Were Watching God."

PatchworkJackie (Student)
on Mon 10 Sep 2012 1:29:13 PM PDT
Comments

I too have used this strategy (derived from the same Folger volume) with both Macbeth and Hamlet. Thanks for leading me to think about how it might work with shorter poems (or perhaps groups of related poems). I’ve also asked students to rearrange or recombine the lines where their assigned words appear to create a new text, usually a poem.

Tracy Sonafelt (Student)

I also teach "Their Eyes Were Watching God" and I've gotten a bit flat in my approach to teaching it...I'm interested in how you intend to use your close reading strategy for that particular book. It's rich with material, but we study it in the spring (with HS seniors), and I struggle to get the students motivated. Please comment back with your ideas! I'd love to have a conversation about it!

This exercise sounds effective to me for another reason too. I am working with ELL students whose English is beginning to tip to the point where we could actually discuss some of the modernists. I am excited to try this soon, as it would really help some students have some reading material besides other vocabulary-appropriate options like young children's books.

Assigning a single word or phrase to each student could be a more inviting way into the daunting task of simply defining the terms the poet could be using, along with setting the stage for the more complicated feats you're proposing, which sound quite fun.

This is also making me think of the Dickinson poem we're reading this week, "I dwell in Possibility", with the Windows and Doors poetry houses as invitations to entry. Because of the critical micro-level that readers expect to be allowed with a poem (down to the single word or sound or shape), there is naturally a need for more points of entry than the normal engagements one is given to expect in, say, prose. Thanks for the pedagogical connection here!

I teach high school as well, and I think this whole idea of focusing on a single word, or phrase, especially one that keeps being repeated, would be an excellent modification to do with students who have already read the plays or novels we're studying in class...to keep their brains occupied with the material while we read. It's also really excellent as a pre-AP strategy for AP Lang and Comp, where we emphasize so often how important each single word is.

For poetry, Emily Dickinson's brevity on language makes this a lot more accessible as introductory activity too....each word just seems to pack such a metaphorical punch. Love it.

Eve Rutherford (Student)
3
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Hi everyone--I'm Scott Wiggerman, an Austin-based poet, workshop instructor, and editor of a book of poetry writing exercises called "Wingbeats: Exercises & Practice in Poetry" (Dos Gatos Press). As such, I am always interested in how others approach the teaching of poetry (especially poetry writing), so I look forward to hearing more about the techniques y'all use, regardless of level (in fact, I find that techniques I've used with grade school children often work just as well with adults!) in approaching different schools of poetry, different poetic forms, etc. What a cool thing this course is!

Scott Wiggerman
on Mon 10 Sep 2012 3:11:53 PM PDT
Comments

Well, Scott, I just purchased your book on Amazon. I teach high school students and am always looking for creative writing exercises for them, so thanks. I also am an adjunct instructor at a community college right outside of New Orleans, LA and am co-director of the Greater New Orleans Writing Project. I'm excited about this course and glad to have something to focus on besides the hurricane that just passed our way.

Catherine F. Tanguis (Student)

Catherine, I guarantee you will love the ideas presented in Wingbeats--I was able to get some first-class poets who teach to write the exercises, and they all come with sample poems, something I insisted upon. In fact, work has started on a second Wingbeats. (You will also love the "alternate table of contents" that the book has, which groups exercises in unusual ways, like those good for groups, those that involve the outdoors, those that use computers, etc.). We've found that many writing groups have been using the exercises for generating poems, and I hope the Writing Project finds the book useful. Glad to meet you!

Scott, your book is terrific--I'm using it for inspiration now as I teach Intro to Creative Writing. Thanks for putting it together. (I bought it from you at AWP;-))

Ann Hostetler (Student)

Thanks, Ann--good to meet up again in this most unexpected way!

Hi Scott,

So good to see you here!

I've taught a few exercises from WINGBEATS in my Intro to Poetry class, and they went over quite well. My students particularly loved the walking and writing exercise!

All best, Rachelle

Rachelle Cruz (Student)

Hi Rachelle--very cool to see you here. I have added the walking/writing exercise to my permanent list of "must do" exercises for all my workshops!

See you around.

Hi Scott - I'm an Australian children's writer and poet and regularly work as a Writer in Schools, teaching poetry at all levels. I also currently teach post-secondary students. I have found, like you, the poetry exercises I habitually use I can use with all ages. One of the things I like doing is to create a 'recipe' for a poem - that means that even the most timid of students can't actually fail to create a poem. And, just like with actual recipes, the more advanced or adventurous or imaginative will tweak the recipe to make their own brand new poetic exploration. A lot of my exercises have to do with experiencing the difference between poetry and prose - so most of them will centre on metaphor or sensory description, trying to lead the new writer away from telling a story. One I used very recently during a Children's Book Week tour was this recipe:

My favourite colour

what doesn't it sound like? what doesn't it taste like? what doesn't it feel like? what doesn't it look like? what doesn't it smell like?

what does it sound like? what does it taste like? what does it feel like? what does it look like? what does it smell like?

A lot of kids took the option of naming things that were associated with their colour when they could but they couldn't always do this, so the poems always jumped the literal - at the end, I always ask students to read their work out - as many kids as we can fit into the time structure - and they themselves decided they wanted it to be a riddle and have the audience guess their colours. It proved to be a great exercise!

Must look out for your book - I'm always interested in reading what other people do! Catty B

Hi Scott, I think you used to be my school librarian :D It's great to hear you're still doing things for poetry and the poetry community in Austin.

Hi Catty--I'm not sure about the availability of a physical copy of Wingbeats in Australia, but the book can certainly be downloaded as an ebook easily from the Dos Gatos Press website. And I love the idea of synesthesia being used to mix colors with sounds, tastes, and other senses--sounds like a great exercise. Thanks.

Hi Trevor--yes, I used to be your high school librarian. I'm retired and now devote most of my time to poetry, and it looks like now you're a teacher--how cool.

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Thanks, Julie, for starting this forum. I'm thrilled to be talking with other teachers about pedagogy in relation to this course. I've been in Kelly Writer's House Alumni book discussion groups with Al, and his genius for asking just the right question, succinctly, for opening up discussion, has always amazed me. As a college professor and Penn English Ph.D., I find this kind of discussion personally energizing as well as beneficial for my teaching. I just taught my first online course this summer to 7 students; the idea of teaching an online course to 30,000 boggles the mind. But I'm curious to see both the online pedagogy and the discussion management, which to some degree is the same, in terms of questions, with a large or small group. I'm glad to come out of a closet as a teacher and to converse with others who are doing the same. I've already gotten some very good ideas from the first few posts here. This semester I'm teaching an American literature survey to 1900 and I've recommended that my students take this course in addition, if they can. I'm grateful for the reminder that to get to big discussions, one needs to start with close reading specifics.

Ann Hostetler (Student)
on Mon 10 Sep 2012 3:20:41 PM PDT
Comments

Hi Ann,

When did you receive your PhD from PENN? I was there from 1999-2005--just wondering if we might have crossed paths.

I'm curious to hear more about your online course from this summer. What was the course you were teaching, and what was your experience working with a smaller group? I'm especially interested to know if you developed any strategies to compensate for the loss of face to face contact / interpersonal interaction? One thing I've noticed so far is that the Coursera platform limits the amount of "warm fuzzies" a student receives from the instructor and peers. I wonder, how important is the role of praise--that elusive nod or expression of affirmation--to learning, and how might we implement it here?

Hi Julie, my Ph.D. is form 1996, but my actual on-campus time was in the 1980s. (OK, long story--children, a move or two , shifts in dissertation director, jobs, perseverance, etc. . . .). Alas, this was long before the Kelly Writer's House, etc. But I love the way the Writer's House has enabled me to stay in touch in a meaningful way through discussion groups, etc. About the online course--working with 7 students in Expository Writing was ideal. That way I could create structures for peer review, respond to student drafts, and have them create portfolios. The college has a Moodle interface that we used--not my favorite, but workable. I make short movies with photo booth on my Mac to introduce units, and I had students post drafts to forums, and then assigned them to download and read and comment on 2-3 other students' papers, and then CC me when they returned the drafts to their peers. For several students, I used Skype for conferences and this worked very well. The online work with a writing class was quite intensive. You need to be extremely organized and stay a few weeks ahead of the students. It's important to have a shell course posted before the class begins, and then you can add things in as necessary.

Ann Hostetler (Student)

Aaargh! Apologies for the three sentences in a row in the post above that end with "etc."

Ann Hostetler (Student)

We would have missed each other, then (but kudos to you on your persistence... it's the name of the game). It's good to have your thoughts on the logistics of the online course. The smaller group seems ideal to be since I've always worried about quality control when I've taught online in the past. Peer reviews can fluctuate widely in their usefulness, depending on how they're administered and on individual student motivation, it seems, but I consider them an important way of sharing authority with my students.

3
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Hello there from Tasmania. I sometimes teach poetry workshops or masterclasses to small groups of writers, through our state's writers' centre. I have not yet taken my ideas online but have been thinking of doing so...

In my teaching I first try to establish what the participants in workshops like reading, and then try to stretch their reading into unfamiliar waters. I try not to focus too much on writing exercises in the actual workshop sessions, but rather focus a lot on examples of the work of poets from other countries writing in English. What works really well is to bring along poems in translation (I normally focus on the work of Paul Celan and Georg Trakl). We explore various translations of the one poem, and because the workshop participants are themselves poets, this always yields wonderful discoveries. But I don't deliberately "lead" any close reading, as I find the participants in the workshop setting, being themselves poets, do that anyway.

For each workshop session I take along material for the participants to study in the intervening weeks so we can discuss them in the next workshop. That material might be examples of a particular poet (e.g. Jorie Graham; or poets from the New York school; or the Australian Generation of '68; or a neglected Australian poet like Francis Webb or Peter Steele -- it depends on which poets are attending the workshop)

Another thing I find very useful is to give the participants the work of a particular poet in our state to study for a month, and then invite that poet to come along to the next workshop and answer questions from the workshop participants. I got the idea from Pearl London's workshops as described in the book, "Poetry in Person: Twenty-five Years of Conversation with America's Poets" (edited by Alexander Neubauer) It's a wonderful book!
QUOTE:> "London invited poets to bring their drafts to class, to discuss their work in progress and the details of vision and revision that brought a poem to its final version. From Maxine Kumin in 1973 to Eamon Grennan in 1996, including Amy Clampitt, Marilyn Hacker, Paul Muldoon, Nobel laureate Derek Walcott, and U.S. poet laureates Robert Hass, Robert Pinsky, Louise Glück, and Charles Simic, the book follows an extraordinary range of poets as they create their poems and offers numerous illustrations of the original drafts, which bring their processes to light. With James Merrill, London discusses autobiography and subterfuge; with Galway Kinnell, his influential notion that the new nature poem must include the city and not exclude man; with June Jordan, “Poem in Honor of South African Women” and the question of political poetry and its uses. Published here for the first time, the conversations are intimate, funny, irreverent, and deeply revealing. Many of the drafts under discussion - Robert Hass’s “Meditation at Lagunitas,” Edward Hirsch’s “Wild Gratitude,” Robert Pinsky’s “The Want Bone” - turned into seminal works in the poets’ careers. There has never been a gathering like Poetry in Person, which brings us a wealth of understanding and unparalleled access to poets and their drafts, unraveling how a great poem is actually made.' END QUOTE

Hope that's helpful. Cheers, Anne

Anne Kellas
on Mon 10 Sep 2012 8:02:18 PM PDT
Comments

I love the idea of starting a writing workshop with reading - your model sounds excellent. I do a little bit of poetry teaching online - I moderate a forum for young writers (all the members are in their teens or twenties) and occasionally I try to run a group workshop. This sounds like a good way to keep the workshop rolling and busy, even if the participants aren't feeling too confident about their writing or haven't been able to produce something they want to post for discussion. How do you work in what the poets in your workshops are writing? Do you let the poems you discuss together just do their magic, as poems discussed carefully will do? In a group of poets, does the conversation often turn to craft? Do you assign writing based off the stuff that you've read?

Bridget, I usually don't get the poets to share their own work with each other until very late in the workshop series, as it takes time for trust to build up, and it depends on who is attending if that trust can be built up early enough. Also I delay that sharing of their own writing as it often takes time for some of the poets to build up some new work to share :) Yes the model keeps the workshops rolling and busy in a productive way.

> Do you let the poems you discuss together just do their magic, as poems discussed carefully will do? Yes ...

> In a group of poets, does the conversation often turn to craft? Not always, it is easier to discuss the craft of a "famous" poet we are reading. But the conversation always turns to ways to get started or break through obstacles.

> Do you assign writing based off the stuff that you've read? Yes, each session ends with some homework. Like, write a sestina! So many people write free verse (myself included) that the constraint of having to write in a form is very invigorating. The point of the writing assignments is not so much to produce a new excellent poem as to stretch the poet into experimenting with form, or with some aspect of poetry they had not entered into before, as a way of extending them. I think a workshop cannot be relied upon to produce a good poem. I am suspicious of what I call "workshop poems". I think poetry workshops bear fruit in time but that the learning / process cannot be hurried.

Another thing I encourage is the use of the Progoff intensive journal process but that is a whole other subject ... Thanks for asking all these questions Bridget!

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Thanks, Al, Julia, and Julie for setting up a thread that will let us talk about these teaching issues. As a middle school teacher, I am finding it tremendously exciting to think about ways I can use techniques I am learning from the course to allow middle schoolers to do the deep, rigorous thinking demonstrated in ModPo's videos and discussion groups.

One resource I've found very helpful in the past for leading seminars on literature and art with elementary, middle and high school students is the set of materials produced by the Touchstones Discussion Project (www.touchstones.org). Developed by faculty members from St. John's College in Annapolis (where all courses are taught seminar style), the materials help both teachers and students gain the skills they need to feel comfortable using seminars in the classroom. Their collections of readings include prose as well as poetry, and each selection has suggestions for questions for the discussion leader, as well as topics for paired discussions to supplement the larger group discussions (thus allowing quieter students to have a voice). Michael Strong's book "The Habit of Thought: From Socratic Seminars to Socratic Practice" is also invaluable.

Elaine Griffin
on Mon 10 Sep 2012 10:07:18 PM PDT
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I teach English and ICTs at Roedean School in South Africa. I am interested in ways in which hybrid classes can be conducted online (using Moodle in my case). But my major motivation was that I have never really studied or taught American poets that much, so I wanted to broaden my horizons a bit.

Dorian Love
on Tue 11 Sep 2012 6:16:57 AM PDT
Comments

Hi Dorean--which poets do you teach? I'm always looking to add to my reading list!

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so I have encouraged poetry writing in early childhood settings as a creative writing teacher. my question is, with our youngest writers (I'm talking those who cannot even write yet and you have to take dictation from them or those who are equivalent in their lack of writing abilities despite being at a number age that affords them the ability to "physically write") do you allow their "first drafts" to stand or do you start encouraging revision NOW. i ask as an EC teacher and a parent. Because their "first drafts" seem so pure and seem to truly reveal what their immediate concerns/wishes/imaginations/feelings are and that when we, as teachers, encourage them to revise we are pushing OUR ideas/concerns/wishes on them. revision can be taught later, right? or is that an essential part of poetry writing that they need to be introduced to as soon as possible? THOUGHTS???

Dr. Lauren Burrow (Student)
on Tue 11 Sep 2012 6:43:06 AM PDT
Comments

Hi Dr. Burrow,

Hi, I'm Rachelle, and I used to work with a fabulous arts and writing organization in NYC called Community Word Project (CWP). CWP conducts plenty of both in-school and after-school workshops with a range of age groups, including younger students. Most workshops met once a week over a 8-10 week period, depending on school schedules, or the program's needs, etc.

I co-taught a a few second grade class where many of the students were just beginning to learn how to write. Every week, we introduced a new element of craft; for example, alliteration, simile and metaphor, anaphora, etc. Students wrote an initial line using the first element of craft, and week by week, added images, similes, etc., to their line (based on the element of craft covered that week). Later on, they excised needless words from their lines. This helped them to realize that writing IS revising.

The teaching artists and the classroom teacher did help with dictation with the students who needed further assistance with physically writing.

As a writer myself, I would argue that first drafts CANNOT be pure, because writing takes revision and plenty of hard work; a process we should pass onto our younger writers.

Oh, and if you're in the NYC area, you should definitely check out Community Word! They offer a free teaching artist training program for local artists.

http://www.communitywordproject.org/Hope this helps!

All best, Rachelle

Rachelle Cruz (Student)

Rachelle, I worked with WITS (Writers in the Schools) in Houston and CWP actually came down to do some collaborative workshops with us, so I am familiar with yall.

The instructional format that you use is very similiar to my own with 1st and 2nd graders.

I think my question is geared more to 3 and 4 year olds (and maybe most specifically my own children). I am encourage them to write poems to family members by prompting them with questions that will elicit imagery-based answers. When the answers are then read together they weave to form a poem from their hearts. My fear is that I am "putting my own words" into their mouths when I prompt them to elaborate/revise/"give me more" and that the ppl in their lives would like to hear what their first impulse was rather than what they were "coached" to produce....

make sense?? or is that not the point of poetry?

Dr. Lauren Burrow (Student)

"Tell me more" is often for the reluctant writer. The one who won't put pencil to paper at all unless the teacher is standing there coaxing.

Perhaps a better question would be "Do you have anything more to say in this poem?" That might encourage addition and elaboration, but leave the poet the option to stop when they are really finished.

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In the area of literary criticism, what is the current "attitude" about bringing the history and personal life of the poet into play? I remember learning there are (at least?) two schools of thought on this. In our video discussions, Al will reference (historical/documented) knowledge of Emily, but the TAs seem to stick to their own (personal/language-based) reactions. "I am nobody..." is always useful advice, but I find it helpful to students (and myself) to think of the poet as somebody just like ourselves taking his/her place in The Big (albeit linear) TimeLine.

Candy Green Gustavson
on Tue 11 Sep 2012 6:55:25 AM PDT
Comments

Hi Candy,

As far as I know, the debate continues, and it's something on which each literary critic tends to take his or her own position. When we talk about poems, we are usually careful to make a distinction between the speaker and the biographical author of the poem. In part this distinction is made to acknowledge the poem's status as a constructed artifact, separate and distinct from the lived life of its author. In concert with this distinction, we try to avoid a pitfall called the "intentional fallacy," which is when a critic attempts to make a claim about what an author intended. In my experience, it's difficult, if not impossible, to make any convincing claim about what an author intended not only because I can't possibly have access to such privileged information, but because an author is unlikely (in fact, very unlikely, given my own experience as a poet) to have a full and complete knowledge of his or her own intentions. Finally, it's not ultimately of the greatest interest to me as a critic what the poet intended--whatever my own personal tastes may be, I much prefer to discuss the poetic material at hand and what work its accomplishes on its own (though even this distinction becomes more difficult when discussing, for example, performance poetry). But all of these convictions are conditioned by the fact that I do think the poet's life must have some bearing on the work, and by extension, on the criticism that follows. So ultimately, the way that I have dealt with biographical information has been to use its as context--a kind of working background knowledge--to help me locate my argument (i.e. to help me know I'm playing in the right ballpark, at least), and because I am fortunate enough to work with living poets, another important approach has been to use material taken directly from conversations and interviews. But even such firsthand accounts of poems and poetic making are, of course, subject to critical analysis.

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Is there anyone here who teaches (well, as much as you can teach) the craft of writing poetry? I moderate a forum for young writers, mostly people in their teens and twenties, and I spend a lot of time discussing poems with their authors. A lot of the work that I do is one-on-one (somebody posts a poem, I go post my response and suggestions for improvement, and often reading suggestions), but the forum as a whole is a group and I want to get all the members who post work involved in discussing and critiquing others'. I find that craft can be challenging to teach, especially with younger writers, and my biggest challenge is effectively encouraging more reading, and more active reading. I learn a lot every time that I read poetry - if only I could let the poetry persuade everyone I work with the same!

I'll be keeping an eye on this thread - I look forward to learning from you all and improving my teaching.

Bridget Menasche
on Tue 11 Sep 2012 6:55:57 AM PDT
Comments

Bridget and Anne, you may already have thought of this, but I've found it helpful to have students select a published poem (from an anthology or from among a handful I give them) and then imitate one aspect of that poem, such as an image, tone, meter, stanza structure, etc., when they write their own poem. Imitation gives those who are brand new to writing poetry a place to start instead of feeling like they have to start from scratch. When they peer review their poems, I ask them to start by comparing the original poem to the student's "imitation" poem and (1) identifying which element the student has imitated, and (2) explaining how the imitation works in the student's poem. Then, they have a conversation about those two things before going on to critique the poem in its own right. That seems to help break the ice and ease them into critiquing their peers' writing in a way that feels more comfortable; they don't feel like they are criticizing or "being mean" to the writer of the poem but are instead talking about its strengths and weaknesses objectively to help the writer make the poem as strong as it can be.

Lisa Whalen (Student)
2
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I've taught high school and college literature and creative writing, and for my students, I find that one of the key initial conversations that needs to take place is how to approach poetry differently than prose. Most of them have been taught that reading poetry is supposed to be some secretive, elusive, and frustrating treasure hunt...if they pay attention and look up a lot of words that they don't know, the mysterious poet will reward them with untold secrets. Their instinct is to read for meaning and for narrative, because they read so much prose, this is their approach.

So we talk about what it means to comprehend lyric vs. narrative, to pay attention to sound and emotion and image and philosophy rather than "story." I play excerpts of classical music, and we talk about how you approach lyric poetry is similar to the way you understand one of those songs: we're not necessarily looking for a story or a hidden/secret message. Students can "hear" the mood, the tone, the shifts, etc., and we discuss how to put the sounds altogether to generate the overall impression and message.

Once students start applying the idea that the approach to reading poetry is different than reading a piece of prose, they stop getting angry at the poems for "not making sense" or for having ambiguous moments or for not having a giant payoff in terms of the unlocking of a big "secret message" at the end. It's very freeing for them, as readers.

Sarah Fang (Student)
on Tue 11 Sep 2012 7:40:18 AM PDT
Comments

can you please educate me as to difference between poetry and prose ... i may be working under the same disillusion as your students

Dr. Lauren Burrow (Student)

Here's a simply-expressed handout I use with younger students http://www.readwritethink.org/files/resources/p-as_docs/PoetryandProse.pdf. We also talk a lot about the history of poetry (origin in epics and ballads), attention to sound, and the purpose and role of a speaker in a lyric poem. Just hitting at the idea that the purpose of different genres and means of expression are different, and thus the strategies and approach to reading them may also vary.

Sarah Fang (Student)

Thanks for the readwritethink link. Eva Buyuksimkesyan

Eva Buyuksimkesyan (Student)

Thank you for that resource Sarah! I teach poetry to middle school students and this sheet will definitely come in handy.

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In ordinary high school classes it isn't always easy for students to enjoy poetry, and from my experience what can work, as well as help to avoid an intimidating situation is making creative activities both the beginning and the conclusion of the process. Preliminary activities: a. discussion of a real -life situation that is relevant for the poem b. filling the space between the first and the last lines of the poem/ stanza c. writing a short poem using key words from the poem Concluding activities (usually in writing): a.Describe a real-life situation in which you would think of/ recollect- quote the poem. b. Go back to your pre-reading task and compare your poem and the poem we have studied.

Goldenfeld Sima
on Tue 11 Sep 2012 8:26:37 AM PDT
1
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As long as the students understand that there's no 'right answer' to poetry, that each poem expands with the individual reader, I'd allow the student to respond to the poem in their own way. When students ask me 'what does it mean?' I ask them 'what does it mean to you? (emphasis on the 'you'). Give the poem and the student room to breathe, to explore, to go beyond the literal meaning of the words.

Joanna M. Weston
on Tue 11 Sep 2012 8:29:03 AM PDT
Comments

I agree, Joanna. Meaning belongs to the reader, not the writer. As long as a student can support his or her interpretation with textual evidence, the answer is right. This kind of freedom of interpretation is very intimating to students, especially high achieving ones who want to know what the one right answer is. Once they get the hang of it, it becomes liberating.

Carol Rizzardi (Student)
0
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i'm trying to understand it. thank you for your contents

teguh maulana
on Tue 11 Sep 2012 8:59:13 AM PDT
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I teach fifth grade and we spend a great deal of time on classic poetry. The students ha ve a great time and understanding of the poems I choose. I am not fond of the poems that most publishers choose for elementary students, so we stick to the likes of Longfellow, Tennyson, Carroll, Wordsworth. Would love to teach Keats, but fifth graders aren't into romantic thinking just yet.

Paula Stoner

Paula Stoner (Student)
on Tue 11 Sep 2012 9:04:44 AM PDT
Comments

Do you have any specific poems or lessons that you particularly enjoy with your fifth graders? I teach sixth.

Kathleen Lucot (Student)

Paula, I'm so glad that you teach Longfellow and Carroll to 5th graders! I teach pre-service teachers in a YA lit course, and have the hardest time convincing them that Shel Silverstein (although his poetry is fun for younger children) isn't appropriate for young adults (ages 10-25).

Jean Graham (Student)
1
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Do any of you like music? Rap? Hip hop? I think for many that is a passionate point of entry.

Katy Otto (Student)
on Tue 11 Sep 2012 9:08:58 AM PDT
Comments

I agree! I'm teaching an intro to poetry writing class and I have a couple of slam poets in class. It seems like hip hop, other lyrics, and the performative nature of slam helps students engage with and generate material.

Several of my students have talked recently about Amanda Palmer's work.

Do you use any particular pieces or artists in class?

Yes! I'm about to teach medieval ballads to my senior English class, and we take a good hard look at modern rap music. Some (carefully chosen) rap is poetic genius and lends itself to fabulous study of poetic mechanics and design. I'd be interested to know how you go about teaching it.

I just got through teaching ballads in my History of Poetic Forms class. My god, YouTube proved to be a great resource. I pelted them with Bob Dylan (not a known quantity!) and they came back with Israel Kamakawiwa`ole and other Hawaiian musicians. I really liked the discussion on the video of the Dickinson poem that's a ballad.

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anyone help me. which poem by emily is so easy to be understand for beginner.thank you

teguh maulana
on Tue 11 Sep 2012 9:53:24 AM PDT
Comments

You might want to try "Hope is the thing with feathers". I think the meaning isn't difficult to grasp :))

You can also try "There is no frigate like a book." You may need a dictionary to look up a few words in advance, but once you do, it's an easy poem to understand. "Such madness is divinest sense" also is, I believe, accessible. Let me know if you have trouble with either one.

Carol Rizzardi (Student)
1
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Thanks so much for a most wonderful first session. I too was amazed that in addition to leaning about poetry, we can all learn about effective teaching techniques from a master teacher. As a teacher of high school ELL students in Brooklyn, NY I found the methodology as fascinating as the close reading. Yesterday, on the first day this course was available, I scrambled to reprepare my poetry lessons to include the one word technique. I used it yesterday and it wa wildly successful despite the early hesitation and the lack of familiarity with the English language!! Thank you!!

Yitty Fisch (Student)
on Tue 11 Sep 2012 10:14:40 AM PDT
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Hello everyone! I am Patrina Caceres, from the Philippines. I am presently a college English, literature and humanities teacher in one of the private colleges in my country. Literature was my major in the University of the Philippines. And our professors made us research about the biography of the literary text's writer to better understand where the writer is coming from in the poem or story. Poetry analysis is harder than story analysis, all because of the limitation in words used. But if there's a title in the poem, that should give you an idea as to what the poem is all about. Nice to meet you!

Patrina Kaye Caceres (Student)
on Tue 11 Sep 2012 10:22:28 AM PDT
3
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Yes, I teach Modern American Poetry and creative writing at the U of Hawai`i and am here mainly for pedagogical reasons. I'm already using small group discussions (within larger classes) because of the technique I learned in doing a Poetry Talk for PennSound. They've worked well, especially when I've given students an index card telling them what they're interested in: "I'm very interested in pronouns," is one! Onward.

Susan M. Schultz
on Tue 11 Sep 2012 11:24:33 AM PDT
Comments

Hi Susan, nice to "see" you here--I've been following your work from afar for years (big fan of Tinfish). Can you say more about how your small group discussions run? Do you move form group to group and sit in, or are groups left to their own devices? Oh, and I agree--follow the pronouns!

Aloha Julie--I went to Walla Walla this year and was going to look you up until I saw you'd moved on. Sometimes I sit with the group and ask them questions. Sometimes (with a bit older students) I sit with the other students and ask the panel to direct their comments to everyone. Other times I ask students to spend five minutes generating discussion questions, along with finding a quotation from the text that's relevant, and once they're all up on the board we talk. If there are several groups at once (which report later to all of us), then I do roam around the room and try to help out or goad them as needed!

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I teach poetry to middle school students who are just learning that the phrases in poetry represent more than the surface meaning. Our close reading always starts with a silent reading of the poem, a teacher reading aloud, and then two students reading the poem aloud. We can't talk about the words until we know which ones work together, so the reading aloud helps students recognize the puncutation /lines to find the phrases and images. Reading the whole poem aloud also highlights repeated and emphasized phrase, clueing students that these are important to the meaning of the poem. Many middle school students have an auditory vocabulary that is much greater than their sight vocabularly, so reading aloud helps them recognize words. Using highlighters and simple symbols ( eye, ear, hand, nose..) we then identify phrases that are sensory description, decriptions of what things look, sound, smell, and feel like. This helps students understand how the author is trying to create a feeling in the reader, a mood. Once students identify a mood they better understand the images being used and how they work together. It also puts individual words into context for the students, as words often have multiple meanings. Students have an easier time identifying the theme when the have discussed the images and how they are connected. The common thread among the images is often the theme. Meg Taylor

Margaret Taylor (Student)
on Tue 11 Sep 2012 11:52:04 AM PDT
Comments

About images -- I've gotten my students to draw out the specific images in the poems when appropriate, and it's produced great results!

I also use visuals as a heuristic for teaching poetic imagery. I get my students to create PowerPoints using images they find online, together with the relevant lines of poetry, to explore the meanings of the text.

I then use the PowerPoint as a springboard for discussion of the poem.

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Thank you, Julie, for opening up this thread to teachers! I have taught high school and college composition and literature. You have already received many excellent pedagogical practices for teaching the reading and writing of poetry, but I'd like to mention one thing I like to do to get my students thinking. I ask them why the poet chose one specific word from the many that could have taken its place; after all, choosing that one special word is painstaking work for a poet. For example, in Emily Dickenson's poem "I dwell in possibility" she chooses the word "chamber" to represent "bedroom." Why? What is it about the word "chamber" that works for the poem as a whole? How do the two words differ in what they evoke from the reader? Surprisingly, it's very instructive to discuss the words that do not appear in the poem.

Currently, I'm teaching online exclusively. I took this course because I'm mainly interested in how the students interact in the discussion forum, so I decided to become a student myself! Thanks again, and thanks to Al for giving me so many ideas for my own teaching.

Garnet Gratton (Student)
on Tue 11 Sep 2012 11:59:04 AM PDT
Comments

Hi Garnet. I think that's a great way of posing the question for students--in doing so, you immediately throw into question the poem's status as a "given." The poem, indeed, could have been otherwise, and why not? How would it have been different? Is the poem as we have it today the best version? The most authoritative version? Or--gasp--could it have been improved? Is "chamber" better than "bedroom"--why, or why not? How are they different? Could the poem have been (and this is perhaps most relevant for Dickinson) edited differently? When we read Emily Dickinson, whose Emily Dickinson are we reading?

I have a similar activity, Garnet. I usually use Donald Hall's "Old Roses" to emphasize the importance of diction. Before we even read the poem, I'll choose some words from the poem and list them alongside synonyms. Then, I ask students to work in pairs to briefly discuss the connotative differences between each pair of word (i.e., the word and its synonym). Afterwards, as a class, we discuss those connotative differences. Then, we read the poem and discuss why Hall may have used the word he did.

Vickie Melograno (Student)
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Thanks for getting this started. I'm just saying hi right now, but want to follow along. I teach high school:Creative Writing, AP Lit, a remedial writing course for seniors, and a junior level lit and comp course.

Looking for ideas and classes to collaborate with. I just edited my profile to include my school website. If you have one, please share--great to look at what we're all doing.

http://www.pkwy.k12.mo.us/north/teachers/pomerantz/index.htm

I'll share more later, but now off to grade and plan (such is life).

So nice to take some time during my day to learn and think beyond my own classroom. Thanks.

Melissa Lynn Pomerantz
on Tue 11 Sep 2012 12:22:43 PM PDT
Comments

Welcome, and thanks for sharing your website--I especially appeciate the section on museum collections for ekphrasis!

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Another question near and dear to my heart: what techniques / strategies have you all developed for helping students to engage with "difficult" poems? Any attempts that failed miserably, or stories of wild success?

Julie Phillips Brown
on Tue 11 Sep 2012 12:51:22 PM PDT
Comments

Show them how the poem works rather than what it means, and then have them write one. Found language exercises work well (my favorite has them wandering the halls of our building writing down words they find on the walls--course descriptions, advertisements, edicts, etc.--and then writing a poem using as much of the language as they can. Usually turns out "difficult," but the students can see certain words coming up again and again in each other's work.

First, I let them read the poem out loud, even a few times. That really helps with the meaning. I require students to read aloud for this reason.

Also, I let them know that poetry is not easy, and that the harder poems can be rewarding. I explain how many years I have wrestled with the poem, and how it shows me new things each time. This way they can see that it's a challenge for everyone and that it ought to be a challenge.

Building on a comment from a colleague about using historical references when reading the work of a poet (what they wrote during what period of time) I also like to use music/song lyrics for the same reason. Looking at the poetic messages in Beatles music (for example) is very telling of the period of time in which they wrote. Introducing song lyrics also engages some of my high school students on a different level. Particularly the young men that think poetry isn't cool....well, show them lyrics from one of their favorite music artists and you've slipped a poetry lesson under the door!



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4, 2013   Dec 6, 2013   Dec 10, 2013   Dec 11, 2013   Dec 13, 2013   Dec 16, 2013   Dec 20, 2013   Dec 21, 2013   Dec 28, 2013   Dec 30, 2013   Jan 2, 2014   Jan 3, 2014   Jan 7, 2014   Jan 8, 2014   Jan 9, 2014   Jan 10, 2014   Jan 15, 2014   Jan 18, 2014   Jan 20, 2014   Jan 21, 2014   Jan 22, 2014   Jan 23, 2014   Jan 25, 2014   Jan 27, 2014   Jan 28, 2014   Jan 30, 2014   Feb 3, 2014   Feb 4, 2014   Feb 5, 2014   Feb 8, 2014   Feb 10, 2014   Feb 11, 2014   Feb 12, 2014   Feb 14, 2014   Feb 18, 2014   Feb 21, 2014   Feb 24, 2014   Feb 25, 2014   Feb 27, 2014   Mar 3, 2014   Mar 4, 2014   Mar 10, 2014   Mar 11, 2014   Mar 13, 2014   Mar 15, 2014   Mar 17, 2014   Mar 19, 2014   Mar 20, 2014   Mar 21, 2014   Apr 1, 2014   Apr 3, 2014   Apr 6, 2014   Apr 7, 2014   Apr 11, 2014   Apr 14, 2014   Apr 16, 2014   Apr 22, 2014   Apr 23, 2014   Apr 29, 2014   May 3, 2014   May 5, 2014   May 6, 2014   May 7, 2014   May 8, 2014   May 10, 2014   May 12, 2014   May 14, 2014   May 15, 2014   May 16, 2014   May 20, 2014   May 21, 2014   May 26, 2014   May 29, 2014   May 31, 2014   Jun 2, 2014   Jun 3, 2014   Jun 5, 2014   Jun 10, 2014   Jun 13, 2014   Jun 16, 2014   Jun 17, 2014   Jun 20, 2014   Jun 21, 2014   Jun 24, 2014   Jun 25, 2014   Jul 1, 2014   Jul 2, 2014   Jul 5, 2014   Jul 7, 2014   Jul 8, 2014   Jul 9, 2014   Jul 10, 2014   Jul 12, 2014   Jul 15, 2014   Jul 16, 2014   Jul 17, 2014   Jul 19, 2014   Jul 21, 2014   Jul 22, 2014   Jul 23, 2014   Jul 26, 2014   Jul 29, 2014   Aug 1, 2014   Aug 4, 2014   Aug 12, 2014   Aug 15, 2014   Aug 22, 2014   Aug 29, 2014   Sep 5, 2014   Sep 9, 2014   Sep 11, 2014   Sep 16, 2014   Sep 17, 2014   Sep 19, 2014   Sep 29, 2014   Oct 1, 2014   Oct 2, 2014   Oct 4, 2014   Oct 6, 2014   Oct 11, 2014   Oct 15, 2014   Oct 16, 2014   Oct 17, 2014   Oct 21, 2014   Oct 23, 2014   Oct 27, 2014   Oct 29, 2014   Nov 6, 2014   Nov 8, 2014   Nov 11, 2014   Nov 13, 2014   Nov 18, 2014   Nov 20, 2014   Nov 21, 2014   Nov 22, 2014   Nov 27, 2014   Dec 1, 2014   Dec 4, 2014   Dec 11, 2014   Dec 17, 2014   Jan 15, 2015   Jan 16, 2015   Jan 28, 2015   Jan 29, 2015   Feb 2, 2015   Feb 3, 2015   Feb 6, 2015   Feb 10, 2015   Feb 11, 2015   Feb 14, 2015   Feb 17, 2015   Feb 18, 2015   Feb 23, 2015   Feb 25, 2015   Feb 28, 2015   Mar 2, 2015   Mar 6, 2015   Mar 7, 2015   Mar 9, 2015   Mar 10, 2015   Mar 17, 2015   Mar 19, 2015   Mar 30, 2015   Apr 4, 2015   Apr 7, 2015   Apr 10, 2015   Apr 11, 2015   Apr 14, 2015   Apr 17, 2015   Apr 18, 2015   Apr 21, 2015   Apr 29, 2015   May 2, 2015   May 5, 2015   May 6, 2015   May 12, 2015   May 14, 2015   May 16, 2015   May 20, 2015   May 23, 2015   May 26, 2015   May 27, 2015   May 30, 2015   Jun 2, 2015   Jun 6, 2015   Jun 16, 2015   Jun 20, 2015   Jun 26, 2015   Jul 1, 2015   Jul 2, 2015   Jul 4, 2015   Jul 6, 2015   Jul 8, 2015   Jul 10, 2015   Jul 11, 2015   Jul 16, 2015   Jul 18, 2015   Jul 23, 2015   Jul 25, 2015   Jul 28, 2015   Jul 31, 2015   Aug 3, 2015   Aug 6, 2015   Aug 10, 2015   Aug 12, 2015   Aug 18, 2015   Aug 21, 2015   Aug 24, 2015   Aug 31, 2015   Sep 3, 2015   Sep 9, 2015   Sep 15, 2015   Sep 17, 2015   Sep 21, 2015   Sep 22, 2015   Sep 25, 2015   Sep 28, 2015   Sep 29, 2015   Oct 1, 2015   Oct 6, 2015   Oct 8, 2015   Oct 10, 2015   Oct 17, 2015   Oct 20, 2015   Oct 26, 2015   Oct 27, 2015   Oct 28, 2015   Oct 31, 2015   Nov 6, 2015   Nov 14, 2015   Nov 28, 2015   Dec 9, 2015   Dec 15, 2015   Jan 19, 2016   Feb 2, 2016   Feb 16, 2016   Feb 23, 2016   Feb 25, 2016   Mar 8, 2016   Mar 22, 2016   Apr 7, 2016   Apr 22, 2016   May 3, 2016   May 7, 2016   May 8, 2016   May 17, 2016   May 31, 2016   Jun 4, 2016   Jun 11, 2016   Jun 16, 2016   Jun 26, 2016   Jun 28, 2016   Jul 4, 2016   Jul 11, 2016   Jul 13, 2016   Jul 16, 2016   Jul 17, 2016   Jul 21, 2016   Jul 25, 2016   Jul 31, 2016   Aug 5, 2016   Aug 17, 2016   Aug 27, 2016   Sep 2, 2016   Sep 16, 2016   Sep 22, 2016   Sep 28, 2016   Oct 4, 2016   Oct 13, 2016   Oct 27, 2016   Nov 21, 2016   Nov 28, 2016   Dec 9, 2016   Dec 16, 2016   Dec 22, 2016   Dec 31, 2016   Jan 26, 2017   Jan 31, 2017   Feb 10, 2017   Feb 14, 2017   Feb 23, 2017   Feb 28, 2017   Mar 2, 2017   Mar 7, 2017   Mar 16, 2017   Mar 18, 2017   Mar 31, 2017   Apr 4, 2017   Apr 15, 2017   Apr 18, 2017   May 4, 2017   May 12, 2017   May 16, 2017   May 19, 2017   May 27, 2017   Jun 2, 2017   Jun 9, 2017   Jun 15, 2017   Jun 23, 2017   Jun 24, 2017   Jul 6, 2017   Jul 11, 2017   Jul 18, 2017  

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