Transcript POP-UP TO POETRY - Priceless Literacy

POP-UP
TO POETRY
Presented by Kaye Price-Hawkins
Priceless Literacy/Abilene, TX
March 4, 2010 * Abydos Conference
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Writing Poetry:
Poetry’s a living art. It translates into a way of
life. It’s a song. We Sing. It’s an act of
participation in our world. When we listen to a
poem, the world slows down. Poets are people
who listen and teach the world to listen. Talent is
important, but the passion is more important than
the talent. It is the process of writing poems that
helps me bring my heart back home.
-- Poemcrazy by Susan G. Wooldridge. (NY: Clarkson Potter Publishers, 1996.)
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Poetry’s Sound and Rhythm…
The famous poet Samuel Taylor Coleridge says
that poetry is the best words in the best order... If
the words I use don’t sound like the best ones, I
try others until I find the words that do. The
same goes for their order. I arrange and
rearrange phrases until they sound just right.
Order has a lot to do with sound and rhythm. I
read each of my poems aloud to myself and ask,
does it sing? …I listen for that music.
---Marilyn Singer
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Music
What do you notice?
What is different about this one?
How is this clip different from the others?
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Phenomenal Woman
I'm not cute or built to suit a
fashion model's size
But when I start to tell them
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around
me,
A hive of honey bees.
by Maya Angelou
I say,
It's the fire in my eyes
And the flash of my
teeth,
The swing of my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
Men themselves have
wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show
them,
They say they still can't
see.
I say
Pretty women wonder where
my secret lies
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
Now you understand
Just why my head's not
bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
The palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
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That's me.
I Hear America Singing
Written by Walt Whitman in 1860
I hear America singing, the varied carols I hear;
Those of mechanics—each one singing his, as it should be, blithe and strong;
The carpenter singing his, as he measures his plank or beam,
The mason singing his, as he makes ready for work, or leaves off work;
The boatman singing what belongs to him in his boat—the deckhand singing
on the steamboat deck;
The shoemaker singing as he sits on his bench—the hatter singing as he
stands;
The wood-cutter’s song—the ploughboy’s, on his way in the morning, or at the
noon intermission, or at sundown;
The delicious singing of the mother—or of the young wife at work—or of the
girl sewing or washing—Each singing what belongs to her, and to none else;
The day what belongs to the day—At night, the party of young fellows, robust,
friendly,
Singing, with open mouths, their strong melodious songs.
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Add a stanza…
One idea for writing is to ask students to add
another stanza to a poem with a pattern.
Whitman’s free verse poem is an example
of a poem with a pattern.
Prewriting: What are occupations you are
interested in? What do the workers do?
What time of day do they work? Work in a
group and add a stanza to add to
Whitman’s poem before the last line.
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Write a Response:
 Think of an alternative view from the one
presented in the original poem. This could be
an argument or an antithesis to the thought
expressed in the original poem.
 Think of a way the poem’s idea is actually
seen in your own life’s experiences. Example
is I, Too by Langston Hughes writing about
how he too represents America. Look how it
responds to Walt Whitman’s poem I Hear
America Singing.
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I, Too
by Langston Hughes
I, too, sing America
I am the darker brother.
They send me to eat in the
kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I’ll be at the table
When company comes.
Nobody’ll dare
Say to me,
“Eat in the kitchen,”
Then.
Besides,
They’ll see how
beautiful I am
And be ashamed—
I, too, am America.
---written in 1925 just before his return to the States from Europe
and after he'd been denied passage on a ship because of his color
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Transformers
Take one piece of written text
and turn it into another type of
text. For example, choose a
story; turn it into a type of poem
(use particular rhyme schemes—
e.g. sonnet). You may also ask
students to transform their texts
into other types of texts (news
articles, A-to-Z’s, etc.) but if you
are emphasizing poetry, this is a
way to engage and motivate the
students with a contemporary,
cultural connection.
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– Magical Metaphors and More
1.
2.
3.
4.
5.
6.
CONTROLLING IMAGES
UNDERSTATEMENT
OVERSTATEMENT
IRONY
PARADOX
FIGURATIVE LANGUAGE

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
Similes
Metaphors
Personification
Idioms
Hyperbole
POETIC
TECHNIQUES
 Alliteration
 Onomatopoeia
 Rhyme scheme
 Internal
 End
 Slant
 Eye
 Meter
 Rhythm
 Repetition
For more information: www.poetry-online.org/poetry-terms.htm
(flip book)
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FLIPPER BOOK OF TERMS…
Alternate 3x5 cards using
the red line as a guide.
Place the first card at the
bottom of the page and
where the red line is seen
at the bottom. The card
must be taped at the top
of the card. The next
card is placed on top of
that card, lining up with
the red line. Continue
until the cards fill the
page.
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Imagery:
mental pictures formed by words
Personification: Uses words that make things and animals
seem human---The trees whispered among themselves.
Simile: uses the words like or as to compare two unlike
things that are similar in some special way.
I am as lonely as the last leaf on a tree.
Metaphor: compares two unlike things that are similar in
some special way without using the words like or as.
A web of snow engulfed me.
Idiom: a colloquial metaphor, not to be taken literally,
requires some foundational knowledge or information to
use only where one must possess common cultural
references. –Grandma just kicked the bucket.
Hyperbole: an exaggeration that compares two things.
His feet were as big as a barge.
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Images…
Image is the root word of imagination. It’s
from the Latin imago, “picture,” how you
see things. Images carry feelings.
Saying, “I’m angry,” or “I’m sad,” has little
impact. Creating images, I can make you
feel how I feel. … Images we create in our
poems can not only help us discover our
feelings, but can help us begin to
transform them.
---Susan G. Wooldridge (poemcrazy)
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Feeling Word Tickets
Gather as many feeling words as possible.
Include opposites:
○Frantic
○ Psychotic
○Calm
○ Stable
○Fragile
○ Laughable
○Invincible
○Unimportant
○ Sober
○Devastated
○ Drab
○Elated
○ Vibrant
○Powerless
○ Bored
○Powerful
○ Blissful
Now choose one of these feelings…
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Poetry Picnic (The Adventures of Dr. Alphabet)
Forced metaphors and similes create a
smorgasbord of unusual images.
Place actual objects (plates, forks, cups)
on the table or just draw them on the
paper with the slips of paper that create
the jump start for the poetry experience.
Each person chooses one or two (or more)
of the phrases (and the objects) and writes
a poem.
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What do I write about?
Goethe said:
All my poems are suggested by real life
and therein have a firm foundation…No
one can imitate when you write of a
particular, because no others have
experienced exactly the same thing.
Susan G. Wooldridge said:
Immerse yourself in words and images…
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“Dr. Feel-Good” Poetry
 Write poems of different rhyme schemes * (see
next slide)
 To heal the:
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
broken heart
sick mind
ailing body
depressed spirit
Other disease---
 Place the poem in a medicine bottle; label with a
title that sums up the poem in 5 words or less.
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R & R: Rhyme and Rhythm
End rhyme occurs when the same sound or sounds are at the end of two words.
Every rhyme has a vowel sound. Internal rhyme uses the vowel sounds
within a line of poetry.
Head/red
you/too
school/pool
ramble/bramble
In a poem, the rhymes form a pattern. This pattern of rhymes is called a rhyme
scheme. The letters of the alphabet are used to show the rhyme scheme.
Each set of rhyming words is given the same letter.
Under my hat is my hair,
a
Under my hair is my head
b
Under my head is a seven-year beard
c
And a tie that is yellow and red
b
For more information, see: http://en.wikipedia.org/wiki/Rhyme_scheme
Rhythm is the pattern formed by the stresses, or beats, in a line of poetry.
When rhythm is organized into specific patterns, it is called meter. Accent
marks are used to show which words, or syllables are stressed.
My úncle líves in Báckwards Tówn
Where góing úp means cóming dówn.
PDF lesson…
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Reading and Writing POETIC FORMS
Sonnets
Ballads
Free Verse
Narrative
Lyrical
Humorous
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Sonnet Specifics:
 Petrarchan sonnet: "ABBA ABBA CDE CDE" or
"ABBA ABBA CDC DCD".
 The octave and sestet have special functions in
a Petrarchan sonnet.
The octave's purpose is to introduce a problem, express
a desire, reflect on reality, or otherwise present a
situation that causes doubt or conflict within the speaker.
It usually does this by introducing the problem within its
first quatrain (unified four-line section) and developing it
in the second.
The beginning of the sestet is known as the volta, and it
introduces a pronounced change in tone in the sonnet;
the sestet's purpose as a whole is to make a comment
on the problem or to apply a solution to it.
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On His Blindness by Milton (Petrarchan Sonnet)
Rhyme scheme: ABBA, ABBA, CDE, CDE
When I consider how my light is spent (a)
Ere half my days, in this dark world and wide, (b)
And that one talent which is death to hide, (b)
Lodged with me useless, though my soul more bent (a)
To serve therewith my Maker, and present (a)
My true account, lest he returning chide; (b)
"Doth God exact day-labor, light denied?" (b)
I fondly ask; but Patience to prevent (a)
That murmur, soon replies, "God doth not need (c)
Either man's work or his own gifts; who best (d)
Bear his mild yoke, they serve him best. His state (e)
Is Kingly. Thousands at his bidding speed (c)
And post o'er land and ocean without rest; (d)
They also serve who only stand and wait." (e)
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Sonnets, continued…
Spenserian sonnet: ABAB BCBC CDCD EE
From Amoretti by Edmund Spencer:
Happy ye leaves! whenas those lily hands, (a)
Which hold my life in their dead doing might, (b)
Shall handle you, and hold in love's soft hands, (a)
Like captives trembling at the victor's sight. (b)
And happy lines on which, with starry light, (b)
Those lamping eyes will deign sometimes to look, (c)
And read the sorrows of my dying sprite, (b)
Written with tears in heart's close bleeding book. (c)
And happy rhymes! bathed in the sacred brook (c)
Of Helicon, whence she derived is, (d)
When ye behold that angel's blessed look, (c)
My soul's long lacked food, my heaven's bliss. (d)
Leaves, lines, and rhymes seek her to please alone, (e)
Whom if ye please, I care for other none. (e)
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Sonnets, continued…
Shakespearean Sonnet: ABAB CDCD EFEF GG (using Iambic Pentameter)
Let me not to the marriage of true minds (a)
Admit impediments, love is not love (b)*
Which alters when it alteration finds, (a)
Or bends with the remover to remove. (b)*
O no, it is an ever fixed mark (c)**
That looks on tempests and is never shaken; (d)***
It is the star to every wand'ring bark, (c)
Whose worth's unknown although his height be taken. (d)***
Love's not time's fool, though rosy lips and cheeks (e)
Within his bending sickle's compass come, (f)*
Love alters not with his brief hours and weeks, (e)
But bears it out even to the edge of doom: (f)*
If this be error and upon me proved, (g)*
I never writ, nor no man ever loved. (g)*
* PRONUNCIATION/RHYME: Note changes in pronunciation since composition.
** PRONUNCIATION/METER: "Fixed" pronounced as two-syllables, "fix-ed."
*** RHYME/METER: Feminine-rhyme-ending, eleven-syllable alternative.
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Ballads (a form of verse, often a narrative and set to music)
Traditional ballad 4-line stanza alternates 4 with 3 iambic beats.
Online sources include: www.writing-world.com and www.wikipedia.com
Ballad of Birmingham
by Dudley Randall
(On the bombing of a church in Birmingham, Alabama, 1963)
"Mother dear, may I go downtown
Instead of out to play,
And march the streets of Birmingham
In a Freedom March today?"
She has combed and brushed her night-dark hair,
And bathed rose petal sweet,
And drawn white gloves on her small brown hands,
And white shoes on her feet.
"No, baby, no, you may not go,
For the dogs are fierce and wild,
And clubs and hoses, guns and jails
Aren't good for a little child."
The mother smiled to know that her child
Was in the sacred place,
But that smile was the last smile
To come upon her face.
"But, mother, I won't be alone.
Other children will go with me,
And march the streets of Birmingham
To make our country free."
For when she heard the explosion,
Her eyes grew wet and wild.
She raced through the streets of Birmingham
Calling for her child.
"No, baby, no, you may not go,
For I fear those guns will fire.
But you may go to church instead
And sing in the children's choir."
She clawed through bits of glass and brick,
Then lifted out a shoe.
"O, here's the shoe my baby wore,
But, baby, where are you?"
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Free Verse Poetry
refrains from meter patterns,
rhyme or any other musical pattern.
Walt Whitman was one poet who wrote
free verse… Refer to his I Hear America
Singing as one example.
Look in the books you have and select a
free verse poem of your choosing. Write
the poem or a part of the poem on a 3 x 5
card…
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Narrative Poetry: Out, Out by Robert Frost (example of
a narrative poem: tells a story, has a plot, has an oral tradition, is a form of art)
The buzz-saw snarled and rattled in the yard
And made dust and dropped stove-length
sticks of wood,
Sweet-scented stuff when the breeze drew
across it.
And from there those that lifted eyes could
count
Five mountain ranges one behind the other
Under the sunset far into Vermont.
And the saw snarled and rattled, snarled and
rattled,
As it ran light, or had to bear a load.
And nothing happened: day was all but done.
Call it a day, I wish they might have said
To please the boy by giving him the half hour
That a boy counts so much when saved from
work.
His sister stood beside them in her apron
To tell them 'Supper'. At the word, the saw,
As if to prove saws knew what supper meant,
Leaped out at the boy's hand, or seemed to leap—
He must have given the hand. However it was,
Neither refused the meeting. But the hand!
The boy's first outcry was a rueful laugh.
As he swung toward them holding up the hand
Half in appeal, but half as if to keep
The life from spilling. Then the boy saw all-Since he was old enough to know, big boy
Doing a man's work, though a child at heart-He saw all spoiled. 'Don't let him cut my hand off
The doctor, when he comes. Don't let him, sister!'
So. But the hand was gone already.
The doctor put him in the dark of ether.
He lay and puffed his lips out with his breath.
And then -- the watcher at his pulse took fright.
No one believed. They listened at his heart.
Little -- less -- nothing! -- and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.
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Lyrical Poetry - originally poetry composed to be sung
one example: The Lake Isle of Innisfree by William Butler Yeats
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements gray,
I hear it in the deep heart's core.
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Humorous –
one example by Guy Wetmore Carryl:
THE EMBARRASSING EPISODE OF LITTLE MISS MUFFET
Little Miss Muffet discovered a tuffet,
(Which never occurred to the rest of us)
And, as 'twas a June day, and just about
noonday,
She wanted to eat--like the rest of us:
Her diet was whey, and I hasten to say
It is wholesome and people grow fat on it.
The spot being lonely, the lady not only
Discovered the tuffet, but sat on it.
A rivulet gabbled beside her and babbled,
As rivulets always are thought to do,
And dragon flies sported around and cavorted,
As poets say dragon flies ought to do;
When, glancing aside for a moment, she spied
A horrible sight that brought fear to her,
A hideous spider was sitting beside her,
And most unavoidably near to her!
Albeit unsightly, this creature politely Said:
Madam, I earnestly vow to you,
I'm penitent that I did not bring my hat.
I Should otherwise certainly bow to you.“
Thought anxious to please, he was so ill at ease
That he lost all his sense of propriety,
And grew so inept that he clumsily stept
In her plate--which is barred in Society.
This curious error completed her terror;
She shuddered, and growing much paler, not
Only left tuffet, but dealt him a buffet
Which doubled him up in a sailor knot.
It should be explained that at this he was pained:
He cried: "I have vexed you, no doubt of it!
Your fists's like a truncheon." "You're still in my
luncheon,"
Was all that she answered. "Get out of it!“
And the Moral is this: Be it madam or miss
To whom you have something to say,
You are only absurd when you get in the curd
But you're rude when you get in the whey.
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TEKS CURRICULUM
WRITING REQUIREMENTS
 Write short poems that convey:
 sensory details using the conventions of poetry: rhyme, meter,
patterns of verse
 Write poems
 using a variety of poetic techniques (alliteration, onomatopoeia,
rhyme scheme, and meter), structural elements, figurative
language (similes, metaphors, personification, idioms,
hyperbole)
 using graphic elements (capital letters, line length, word
position)
 reflecting an awareness of poetic conventions and traditions
within different forms (sonnets, ballads, free verse)
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TEKS CURRICULUM
READING REQUIREMENTS
 Respond:
 Identify regular beat and similarities in word sounds
 And use rhythm, rhyme and alliteration
 Describe
 how rhyme, rhythm and repetition create images in poetry
 characteristics of various forms of poetry (narrative, lyrical,
humorous and free verse) and explain how they create imagery
 Explain
 How structural elements of poetry (rhyme, meter, stanzas, line
breaks) relate to form (lyrical poetry and free verse)
 how figurative language ( personification, metaphors, similes,
hyperbole) contributes to the meaning
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TEKS CURRICULUM
READING REQUIREMENTS
 Analyze
 the importance of graphic elements on the meaning of poems (capital letters,
line length, word position)
 how poets use sound effects (alliteration, internal rhyme, onomatopoeia, rhyme
scheme) to reinforce meaning
 effects of diction and imagery (controlling images, figurative language,
understatement, overstatement, irony, paradox)
 structure or prosody (meter, rhyme scheme) and graphic elements (line length,
punctuation, word position) in poetry
 effects of metrics and rhyme schemes (end, internal, slant, eye) and other
conventions in American poetry
 Compare and contrast the relationship between the purpose and
characteristics of different poetic forms (eg. epic and lyric poetry)
 Evaluate changes in sound, form, figurative language, graphs and
dramatic structure in poetry across literary time periods
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Poetry A to Z (inspired by Paul Janesco—
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
modified by Kaye Price-Hawkins)
A—Acrostic
 N—Night
B—Blessings
 O—Opposites
C—Clerihew
 P—Prayers and Persona
D—Direct Address
 Q--Questions
E—Experiences
 R—Rights
F—Forms, Firsts, Feelings  S—Shape
G—Games
 T—Take-Off
H—How-to Poem
 U—Useless and Used
I—Invitation
 V— Various Verses
J—Jewels and Jobs
 W—Wishes and Weather
K—Kindness and
 X—X-ray Vision
L—Letters and Lists
 Y—Youth
M—Manners and Memories  Z—Zestful moments
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Pop-up Styles:
Pop-up Step
Lift-a-Flap Envelope
Surprise Pull-Out
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POP-UP---Step
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POP-UP---Lift-a-Flap Envelope
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POP-UP --- Surprise Pull Out…
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ALSO, TRY:
Swivel: Use a brad to affix
the movable piece with.
Elevate: Use a hidden piece
of foam under the piece you
wish to elevate.
Spiral: Cut a circle into a
spiral and glue both ends
onto the card.
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