By Angie Powers
My grandmother was hard and sturdy. She taught me that being a woman, a human even, meant “sucking it up.” Life doesn’t care so much about your feelings; it will simply go on. She knew, with great certainty, that her job was to raise me as a strong woman.
Enter Kay Bushman Haas.
I knew, without really knowing, that Mrs. Bushman was a great teacher within moments of walking into her class as an introverted freshman. I didn’t know the accolades she had earned; I just knew that teaching came out of her pores. She effused her passion for language at the beginning of every class with our Daily Oral Language work--not something she mindlessly pulled from a book, oh no! She crafted our language workouts from student writing. She made nouns and verbs and adjectives and adverbs titalating. She invited us into Verona, Italy; Tuscumbia, Alabama; and even London, Oceania. I immersed myself in their pages, emerging after the last somehow expanded. I walked into her classroom knowing I wanted to be a teacher; I walked out knowing I wanted to be an English/Language Arts teacher like her.
Lucky for me, Mrs. Bushman taught me again in Creative Writing sophomore year. I had been hoarding poems for years, so this was a class I desperately wanted to take. But, like most budding writers, I was terrified of sharing my writing. There was no way I was going to take that risk... well, until I learned she was the teacher.
She taught me that my writing doesn’t have to be “good” or “bad,” but that writing is about those moments. Those punch-you-in-the-gut, jump-off-the-page moments. They can be fleeting, even buried. She shared those moments out of our writing anonymously in front of the class, finding the pearls in the mollusks of teenage angst, lonely sci-fi, and saccharine romance. I would sit--really perch--on the edge of my plastic seat, waiting to see if one of my moments would come out of her mouth. Sometimes, they did; sometimes, they didn’t. But that didn’t really matter because once she handed me my pages, they would be cluttered with plus signs, signifying that she saw every moment I offered. I would spend hours re-reading every moment she marked, trying to figure out what made that moment--or even me--worthy.
I knew Mrs. Bushman was a strong woman. She was like my grandmother in that sense. They both weren’t tongue-holders; some might have even called them pushy, or worse. They both walked with a confidence that lacked arrogance to the discerning eye. So imagine my surprise when Mrs. Bushman smashed my grandmother’s definition of strength before my very eyes.
We spent a lot of time in Creative Writing journaling. I looked forward to the quiet time to write, finding asylum from the din of adolescence in the silence. I can’t remember if Mrs. Bushman shared her poem after one of our daily journaling sessions--or if it was something she shared at another time--but I remember her sharing. The poem was about loss. As she read, I constructed plus signs in my head for each of her moments. I was in awe that she shared so fiercely, reading her own words in front of a group of people--albeit a motley crew of drama-prone teens. And then it happened. Her voice cracked. I looked around, uncomfortable to stare directly at raw emotion. She wiped tears from her face. And then we continued class. Nobody knew that she had just incinerated my idea of strength.
Over 25 years later, the yin and yang of strength and vulnerability still give me pause. I am more practiced at my grandmother’s strength: it carried me through long days as a teen mom and long nights of studying. It helped me through my first year of teaching while pregnant, strangely enough in the same teaching position that Mrs. Bushman left the year before. That kind of strength was about risk aversion: put your nose down, work hard, and never EVER let them see you sweat. But the vulnerable strength of Mrs. Bushman is the polar opposite of my grandmother’s and all about risk-taking. Like writing this.
Those of us teaching today have the same power as Mrs. Bushman, who I now call my dear friend, Kay. Whether we teach from a classroom or a cart or our own homes, our lessons may begin with standards but they don’t end there. Our students learn a lot from us--not only from what we say but what we choose to not say. Kay had the strength to show her vulnerability. She took a risk, not knowing the impact on me--or my classmates. Her tears revealed her hurt; the crack of her voice told me that she knew she was going to be okay. Isn’t that what our students need to know right now? We all may hurt in different ways, but we can be okay.
Social-emotional learning and resilience are hot topics in education, but master teachers of the past have grappled with them for centuries. Today, our challenge is to meet students’ needs in these areas during a time of uncertainty and amplified inequity. The weight of this challenge, no doubt, will require both my grandmother’s and Mrs. Bushman’s strengths. I’m putting my nose down, embracing my grandmother’s grit, by studying what it means to be an “emotion scientist” with Permission to Feel by Marc Brackett, Ph.D. However, I’m also living the truth of vulnerability.
I can’t count the number of times I’ve felt the annoying sting of tears in my eyes for all of the things I’m missing at the end of my tumultuous twentieth year of teaching: my students, my colleagues, my family. Sometimes I’m angry. I’m furious that some of my students are ashamed of being who they are because of the anti-Asian sentiment COVID-19, and some of our nation’s leaders, have stoked. I resent the fact that some of my students need food, internet, or even a hug, and I cannot provide them all. But instead of feeling all of these things alone in my house, I choose to share them--even though you can’t hear the crack in my voice. I choose to share them because of a teacher--now friend--named Kay. And I know that, in the end, we can be okay.
About the Author
Angie Powers is the mother of two strong humans. She's finishing her 20th year of teaching from her kitchen table in Olathe, KS. Her passion for advocacy has provided her many professional opportunities: NEA Board of Directors, Welcoming Schools facilitator, 2018 KTOY Team, Greater Kansas City Writing Project Fellowship, and National Board Certification. You can follow her on Twitter at @angsuperpowers
By Amanda Little
Robert Frost is quoted as saying “Poetry is when an emotion has found its thought and the thought has found its words.”
It is cryptic quotations like this one that often make people run from poetry screaming. While I identify with Frost’s quip as an amateur poet and an aesthete myself (full confession, I had to look that word up), I can understand why poetry has a tendency to scare off students and teachers alike. One of my main goals, however, is to bring a love of poetry back to my students. Or at least make it so they don’t groan in anguish any time someone utters the word.
I have used various methods in the classroom to try and make poetry more accessible for my students. Aside from reading a poem a day out of the critically acclaimed Poetry 180: A Turning Back to Poetry, I try to disarm the word daily. When I start talking about poetry in depth, which is usually sometime around National Poetry Month, I often hear one of two things: “Really?! Ugh!” or crickets chirping louder than those found on a pastoral night in one of our beloved Kansas prairies.
But I then ask my students if they enjoy music. Usually, most hands go up or heads nod in assent.
Then I drop the bomb.
Music. is. poetry. (Wait, whaaah???) I remind my juniors of our Native American Literature unit, of the fact that the oral traditions of most cultures were often first sung around a fire, set to a rhythm to bring it to life and to help them remember their sacred legends.
I explain to them that the iambic foot is so widely used in poetry because it mimics our own heartbeats. duh-DUM, duh-DUM, duh-DUM. Poetry is a part of our very being and body.
I assure them that most poets aren’t trying to hide a “special” or “deeper” meaning in the words of their poems. That readers connect with some poems and poets more than others. That to a certain degree, a reader gets to connect with each poem in their own unique way.
And I comfort them with the knowledge that all a poem is is an astute observation about a microscopic slice of life.
Finally, after we’ve taken the fear out of poetry, I introduce them to poet Taylor Mali’s poetry game: Metaphor Dice. Because many teenagers either lack the words or the experiences to put life into lyrics (well, most of us adults do, too, for that matter), Mali, former-teacher/SLAM poet/advocate himself, invented a game to help us identify and connect words with life. He has a starter set and the new “Erudite Expansion” pack.
I stumbled across these as I was fan-girling and stalking Mali’s Facebook page—Mali has been a favorite of mine since discovering him in college. (And I continue to follow him. #Noregrets!) You might know Mali for his poem “What Teachers Make” found in his collection, What Learning Leaves.
I usually use Mali’s dice as a brain-storming activity for our summative poetry project in which the students must create their own “book” of poetry (usually between 6 and 9 poems depending on the time we have). I give them choices, examples, and mini assignments to help them build different styles of poetry like haiku, concrete poems, acrostic theme poems, and traditional forms (like sonnets). I also let them explore mimic poetry, using an excerpt of Whitman’s “Song of Myself” as the mentor text. I’ve even let them explore slam poetry after viewing a student edition of SlamNation (a 1998 documentary by Paul Devlin). They have quite a bit of freedom balanced with guidance to choose forms and create the poems that will express themselves best. My goal is to help them find their own way to voice their own experiences.
And this is where Mali’s dice come in.
The way the dice work is simple. In the original edition, there are 12 dice, 4 red (subjects), 4 white (adjectives), and 4 blue (objects). When you roll the dice, you see which subject, adjective, and object make a metaphor that you can identify with.
Sometimes you get remarkably insightful ones: Home is a burning kiss.
Other times you get hilarious ones: Your mother is a desperate party clown.
And still other times you can mix it up by using negation: The world will never be a bright trophy.
Once you have found the metaphor that strikes you through your heart, you know you have a poem started. Then the work becomes putting into words why that metaphor is true.
Here’s a finished product of my own:
Fronts of the Mind
Regret is an obstinate odyssey
relentlessly pursuing the pursuer
memories attacking blindly--
(but hind-sight is only 20/20
if the view remains unskewed)
escape only possible
for those with the tools
still forfeiting friends
in the chimerical front
that is the mind
Regret is the perilous sojourn
we choose for ourselves
knowing we eventually
come to the fork
in the road
realizing we must take
the path of self-clemency
(the path less traveled)
for the sake of our own survival
for the sake of survival
the sake of sanity
the journey of regret
and only we choose that
If you didn’t notice it, my starting metaphor was regret, obstinate, and odyssey. I related to that in my own thought patterns and redemption to create my poem.
Many of my own students, especially the ones who thought they hated poetry, have found the days that they played with Mali’s dice to be some of the most fun of the year—I have survey answers to prove it! I have limited sets, so my students work in groups, passing the divided sets from one group to another throughout the class time, which only adds to the conversations and fun. I also pair the dice with Rory Story Cubes to help students brainstorm ideas for their own poetry projects.
This year, I am heartbroken that the pandemic is stealing yet another experience from my students, one that this year’s juniors won’t even know they are missing. I can’t wait to get back in my classroom and inspire my unwitting poets next year.
In the meantime, I am focused on writing my own poetry. I’ve never been published before—at least not professionally, so I am looking forward to submitting some work and getting valuable feedback from publishers. I find poetry so cathartic, and I hope to inspire that feeling in my students as well.
I encourage you as teachers to let your students play with words. We often times are so focused on the analysis and scholarly study of poetry, that it’s easy to suck the joy out of it. And I postulate that poetry should bring joy, both to the reader and the poet.
If you are interested in exploring Metaphor Dice for your own classroom, you can find them here or on Amazon. If you would like to know more about my own poetry project, please feel free to contact me via email. I will happily share my resources.
About the Author
Amanda Little is a mother of two and a native Salinan who has been teaching ELA and Public Speaking to juniors and seniors at Ell-Saline MS/HS for the last 7 years. She earned her bachelor's degree from Kansas Wesleyan University and recently earned her masters through the summer MA program at Fort Hays State University, graduating Phi Kappa Phi. When she isn't at school serving her students, she is serving through the church, scrolling Facebook far too much, reading books that are past due from the library, and writing poetry. Her first publication was published in the local newspaper when she was in kindergarten, a short poem about Christmas trees. You can contact her via e-mail at firstname.lastname@example.org.
By Matthew Friedrichs
As a second-year ELA teacher, there are so many things that I don’t know. One thing, however, that seemed intuitive when I entered the classroom after nearly 20 years as an editor, was the tie between images and words. Great readers effortlessly form mental images as they dance through the words on the page. Unfortunately, many of my eighth-graders, and even some seniors, struggle with that mental animation. At the same time, my photography students in grades nine through 12, often scuffle when asked to translate visual information into words. As a result, I’ve worked hard with both groups to bridge those communication gaps by juxtaposing and connecting visual and written artworks.
During the fall 2019 KATE conference, Deborah Eades (@DeborahEades10) presented about using portraiture in the ELA classroom. I could only shake my head up and down in violent yeses as she provided a framework for many of the methods I have tried. Eades shared what she had learned during a Smithsonian National Portrait Gallery training on the topic of stimulating nuanced student conversations guided by pictures.
One example of a portrait Eades shared that would spark great conversation in a classroom is Roger Shimomura’s, Shimomura Crossing the Delaware. The painting references the famous image of General George Washington during the Revolutionary War. Close study could be paired with art and/or history classes. The image mixes traditional Japanese styles with pop art and more realistic depictions, and also draws upon Shimomura’s personal history of being imprisoned along with other Japanese-Americans during World War II. Including this painting in my teaching excited me, for while it offers strong, cross-curricular ties, it also offers a deep Kansas connection.
Work by Shimomura is on display throughout the state. I am a firm believer that standing in front of art often is more transcendent than looking at an online or print image. Thus, Shimomura, who taught at the University of Kansas from 1969 to 2004, is a great painter for close study and first-hand lessons. These nearby museums hold his works:
In early November, my photography class encountered a Shimomura painting during a visit to the Beach Museum. Martin Cheng: Painter and Fisherman, acrylic on canvas from 1991, fascinated them. They were drawn to the juxtaposition of fishing items, odd text (1+1=3), painting paraphernalia, and the subject’s garb (underwear instead of the mawashi a sumo would wear). Eighth-graders would undoubtedly find it weird, too, a perfect hook for the strangeness they often describe to me in their bewilderment when they read poetry. While I haven’t tried pairing this image in the classroom, the possibilities are infinite. Numbers by Mary Cornish does the math: “I like the domesticity of addition -- / add two cups of milk and stir.” Kansas poet Kathleen Johnson redraws that state connection and highlights the role of sight. “Nothing prepared me for evenings blue as topaz … There’s nothing not stained with color,” she writes in Summer. Finally, since there isn’t space to muse on every line in the canon, Phillis Levin’s Cloud Fishing describes the curiosity that is at the heart of what I teach. “Take care or you’ll catch yourself.”
Physical field trips with our students are regrettably shut down right now. However, we do still have the ability to explore both art and poetry. Some of the most famous art museums, such as the Metropolitan Museum of Art, could serve as a graduate program in history, archaeology, sociology, and even art! for the intrepid and curious person willing to read through the galleries over the period of months necessary to closely scrutinize the tiny portion of its holdings. In addition, artists’ sites such as Shimomura’s, and The Gordon Parks Foundation’s are informative. In this digital age, finding images that contextually pair with readings, literary or historical, has never been easier.
Since we shifted to online courses at Marysville Junior-Senior High School, I have been utilizing these online resources to compose a daily email to my English and photography classes. In addition to the links for assignments and our next video class, I connect excerpts from readings, images, Tweets, Instagram posts, and links. As I would do in class, I layer poems, artworks, and my own experiences within these emails in order to provide students a glimpse of the academic path ahead. I supplement the primary materials with some background, usually chosen from details that I think will catch students’ attention.
On April 7, I provided a link to a painting by David Inshaw (found on Twitter), which is an illustration of this Thomas Hardy poem:
She did not turn
by Thomas Hardy
She did not turn,
But passed foot-faint with averted head
In her gown of green, by the bobbing fern,
Though I leaned over the gate that led
From where we waited with table spread;
But she did not turn:
Why was she near there if love had fled?
She did not turn,
Though the gate was whence I had often sped
In the mists of morning to meet her, and learn
Her heart, when its moving moods I read
As a book—she mine, as she sometimes said;
But she did not turn,
And passed foot-faint with averted head.
Like the speaker in this poem, students are consumed with unvoiced longing for a certain classmate to turn their way, to meet their eyes. Our forced seclusion only heightens desires for close companionship, a common denominator of our humanity in all writing. The evocation of an averted head provided hope, to me, that one or more teenagers in the email audience might read and want to know more about the author and painter. As much as students struggle with poetry, when they find the words, the images that resonate with their personal experiences, they embrace the revelation and work to uncover additional meaning.
To the reader intrigued by this poem -there’s so much more to explore! Hardy studied architecture and clambered through ruins (which I noted for my blue-collar seniors). I read Tess of the D’Ubervilles, one of his most famous novels, in college but retain only an impressionistic memory of bleakness (a bit of self-deprecation that acknowledges for the “but I’m not going to be an English major” students that even their English teacher doesn’t retain all of the material). Although Inshaw paints the Wiltshire Downs near Devizes, England, not the Sunflower State, we as Kansans recognize open, furrowed fields; the expansive, dark sky and rainbow combination of thunderstorms; the grassy lane with tracks worn by wheels; and a slightly leaning building. Is the painter as pessimistic or sad as the writer? These are symbols, Inshaw’s site says, “not simply of despair, but also of a hope based on a belief in the depth and permanence of all loving human relationships.”
Once we return to our classrooms and are cleared for trips, I encourage you to take your students to local museums. Katherine Schlageck and the staff at the Beach Museum work well with educational groups. If artwork you want to see isn’t currently on exhibit, they might be able to pull it from storage. They arranged for us to view photos by Parks -- another Kansas cultural and historical touchstone -- for a visit we made in spring 2019.
In the interminable interim, consider what inspires you and your students. Then follow a path similar to the one I walked from Inshaw to Hardy. Search for art that matches your favorite literature and vice versa. What connections do you make? Does an Emily Dickinson poem sprout life when watered with Victorian imagery? Does a Parks photo add depth and nuance to the study of Muhammad Ali? Are there other Kansas artists and writers who foment revolution in your thoughts? I’d love to see the tendrils that intertwine your teaching. Share below your favorite poetry and artistic combinations, the lessons we can learn from them, and what makes them so powerful to you and your students.
About the Author
Matthew Friedrichs teaches eighth-grade ELA, senior English and photography at Marysville Junior-Senior High School. He is a 1995 and 2000 KU graduate who is currently a transition- to- teaching graduate student at FHSU. Before teaching, Matthew worked as an editor at ESPN.com and newspapers for almost 20 years.
By Tim Wilkins
In Billy Collins’ poem “Introduction to Poetry,” the poem’s speaker depicts what often occurs with poetry in American high schools. The poem, written in 1988, begins by sharing what most writers would prefer their readers to do with their poems. Collins’ speaker wants readers to “hold it up to the light,” “walk inside,” “feel the walls for a light switch,” and—most recreationally—“waterski across the surface of a poem.” These breezy, informal acts invite the reader to unwind with a poem. Loosen up, he seems to say. The students, however, take a different approach:
But all they want to do
is tie the poem to chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
I find that little has changed in our classrooms with regard to poetry since these words were penned. In my experience, students might approach poetry with scorn or reluctance or great intrigue; whatever their interest level though, at some point most will don their investigator caps and begin to question the poem for its “deeper meaning.” I can almost see the dangling yellow bulb and bare steel table of their mind’s interrogation room.
Our students’ recognition that poetry offers a depth that most of our world passes over is certainly right. But if we lead them to believe that this is all poetry has to offer, then we withhold from them a world of enjoyment. I want to suggest that we as educators begin to present poetry as a pause, a pleasure, and a practice in creativity. In the midst of this COVID-19 pandemic, we need all three of these in our lives. What a perfect time to rediscover the wonder of poetry!
Poetry as a Pause
Three years ago, I decided to start each of my Honors English classes with the reading of a poem. I have maintained this practice in my classroom to this day, and it has become a great way to come together as a group before we begin our learning for the day. As a class, we don’t study the poem, examine it for meaning or metaphor, or even look at the text together. I simply read it aloud, then we move on. I call it Paused for a Poem. Poetry, I tell my classes, is really a pause from the unceasing rhythm of life to grab at a moment, at a brief glimpse of life, and relish it. Even the lineation of verse draws the reader back into the poem, pausing after each phrase and returning again to the moment in question.
When I first introduced this practice to my students, I was worried they would find it hokey, childish, or simply a waste of time. And some probably do. But I can’t tell you how many times a student has connected with a particular poem, asked me afterward for more information about a poet, or made sure to remind me if I forgot to read one to begin our day. As I share poems with my students, I can see the tilt of the head or a focusing of their eyes that says, “I’m listening.” Sometimes there is even a whole-class exploratory discussion —a longing almost, to do something more with the poem of the day. Overall, I have been pleasantly surprised by their responses.
When our school was shuttered amid this pandemic, one of the first questions I received from a student was, “Are we still going to have Pause for a Poem?” I have since started @pauseforapoem on Instagram to showcase the title, author, and audio reading of a daily poem for my students and for me. While we are apart, and in need of a pause from the isolation and distance, poetry lets us share together in a moment of verse -- to become, for a few seconds, a community looking out some window other than our own.
Poetry as Pleasure
Anyone who has ever written much poetry knows the work that goes into selecting the words, images, and punctuation that are just right for each situation and turn. Of course we can get out our dictionary of literary terms and lead students through an understanding of meter and scansion and lineation. But does being able to distinguish a trochee from a spondee really add to the students’ experience and understanding of a work? Don’t get me wrong, I love dissecting a poet’s labors as much as the next guy. But if our goal is to get students to pay attention to a poem and appreciate its depth and richness, I think focusing on these details is the wrong approach.
The two areas of focus that I have found to help students grasp and appreciate poetry in the classroom are: 1) working with punctuation and 2) self-selecting impactful portions. When trying to emphasize the importance of punctuation in poetry, have students stand in a circle and read a common poem aloud, skipping readers at each punctuation mark. Every comma, dash, or period means a switch in the student reading the work. This exercise helps them grasp enjambment and end-stop, and what each contributes to the meaning and clarity of the language. Another exercise to try is to have students self-select a 2-4 line portion of the poem in question that they “like best.” This gives them the freedom to evaluate the words and images as critics, and then to reflect on why it resonated with them. I always get the most quality feedback and reflection from students using this exercise. They often share that they could personally connect to a description, or the words flowed well together, or they “just liked” the image or language used. That’s the pleasure of poetry.
Poetry as Practice (in creativity)
The last focus or exercise I’ll share is what I refer to as style swap. This exercise gives students an opportunity to try out their own poetic hand, but with reduced intimidation. I select a model poem that uses some structure or language that can be easily re-applied to something the student is interested in or familiar with. For instance, Ted Kooser’s poem “Splitting an Order” is a wonderful model poem for this exercise. In the poem, Kooser uses participle (-ing) verbs to begin phrases that describe the many delicate motions of a person splitting a sandwich with a romantic partner. After we read, annotate, and discuss the poem, I have students select an everyday common action that they are intimately familiar with (putting on make-up, making a Tik-Tok, changing the oil, entering a tree stand, etc.) and describe it using a style similar to Kooser’s litany of participle verbs. The results can be impressive, inspiring,and even revealing, for both you and your students. Engaging in this activity provides students with an opportunity to write their own open-form, expressive poetry, and shows them that poetry can be as innocuous and approachable as one chooses to make it.
Below are some resources for applying the strategies I’ve mentioned. I hope you will turn to poetry in your personal life during this bizarre time of social distancing and voluntary isolation - go waterski across a poem perhaps. I also hope you consider ways to inject poetic experiences into your classroom for your students, to let them explore it without abusing it—teach them how to pause and appreciate a moment for all it has to show us.
Recommended collections of easy readable poems: Good Poems series collected by Garrison Keiller; A Treasury of Poems compiled by Sarah Stuart; Best Loved Poems of the American People collected by Hazel Felleman; Poetry 180 and 180 More, both compiled by Billy Collins.
Recommended poems for style swap exercise:
- Ted Kooser: “Splitting an Order” “So This Is Nebraska” “Abandoned Farmhouse”
- Walt Whitman: “I Hear America Singing”
- Naomi Shihab Nye: “Full Day” “Famous”
- Robert Hayden: “Those Winter Sundays”
- Jane Kenyon: “Coming Home at Twilight in Late Summer”
Comment below any other poems/works you enjoy utilizing in your classrooms!
About the Author
Tim Wilkins teaches English at Abilene (KS) High School. He is currently in his tenth year as a Kansas educator. Besides exploring poetry, he spends his free time reading and being outdoors with his wife and son. Twitter: @considerthis_ Instagram: @pauseforapoem
By April Pameticky
I am a poet and a writer. It’s taken me years to take ownership of those words, in large part because I so often considered those activities somehow frivolous, self-indulgent, or superfluous. I saw them as ‘extra’ to my other roles: teacher, wife, mother.
But I find there is nothing ‘extra’ about engaging the world as a poet first; that it’s the lens by which I measure and experience everything. It’s how I reconcile injustice and how I make sense of the senseless. Poetry is how I find my way home, both spiritually and metaphorically. And it’s often how I reflect on my every day, ordinary life.
While I loosely studied poetry in college, my primary focus had always been fiction. It was only about ten years ago that I started exploring and studying poetry on my own. The irony, of course, is that as an English teacher, didn’t I always love poetry? The answer is No. More often than not, I believed that Poetry [capital P on purpose] was actually somehow lofty and above me. Poetry was for the ascetics and more ‘literary,’ not for me, who read trashy urban fantasy novels all summer long.
But while pregnant with my oldest daughter, I found myself nesting in unexpected ways, drawn to more creative expression, and reading in ways I had never bothered to before. It helped that some friends put more contemporary poetry in my hands.
Today, I take comfort and solace in poems:
Yea, though I walk through the valley of the shadow of death,
I will fear no evil: for thou art with me.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Do not go gentle into that good night –Dylan Thomas
Poetry reminds us of perspective, like in the lines from Rae Armantrout’s “Thing:”
We love our cat
for her self
regard is assiduous
for she sits in the small
patch of sun on our rug
and licks her claws
from all angles
and it is far
to "balanced reporting"
though, of course,
it is also
the very same thing.
Poets respond to the world with humanity, giving word to our fear and unrest. Rattle maintains the series Poets Respond, and poet Francesca Bell touches on our collective anxiety in her poem “Love in the Time of Covid-19.” She writes
I held my hands steady
in the water’s reassuring scald,
trying and trying
to save you.
As teachers and educators, we have the opportunity to either spoil poetry for our students, or introduce them to something that will be their companion through life. My concern is that we often want to ‘unlock’ a poem, somehow divine its key, and then we expect our students to do the very same thing. We approach a poem as a Biology I student might a formaldehyde frog. I love how Elizabeth Alexander defines poetry with such concrete detail in “Ars Poetica #100: I Believe:”
Poetry is what you find
in the dirt in the corner,
overhear on the bus.
While poetry is both a craft and an artform, and there are certainly ‘rules’ and ‘conventions’ that apply (as anyone who has ever had to coach students through their own poetry revision process can attest), poems are also this wonderful opportunity to live with ambiguity. To grieve that we are no longer in our classrooms, but to celebrate that we are still teachers, that we can provide comfort and care to our students. So as we enter April and National Poetry Month, I want to encourage my fellow educators to give your students an opportunity to really engage with poems.
The internet can be an amazing resource, even if an educator feels they don’t quite ‘get’ poetry. Take some direction from Dante di Stefano’s award-winning poem “Prompts (for High School Teachers Who Write Poetry” when he says
Write the uncounted hours you spent
fretting about the ones who cursed you out
for keeping order.
For those teaching remotely, the Dear Poet Project 2020 [Poetry.org] is an awesome opportunity to engage directly with poets. Students are encouraged to write letters after viewing the poets’ videos—two of my favorites are participating this year: Joy Harjo and Kwame Dawes. Poets read and discuss their works, and students can then respond.
For educators wanting to embrace their inner poet, here are a couple of prompts to consider, but don’t feel you must limit yourself! We at KATE would love to read what you come up with. I want to encourage you to embrace your inner poet and to not strive so much for perfection or that ‘A’ poem. Instead, respond to where you are each day. There are some prompts provided below, as well as some further resources for inspiration.
Message from the Editor
Hello! My name is Michaela Liebst, and I am the editor of the KATE Blog. I am very excited to see the connection and inspiration that take place here. If you are interested in being published on our blog, or have any comments or questions for me, please email me at email@example.com