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!

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.
            23 Psalm
 
    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
    and bland,
 
    for she sits in the small
    patch of sun on our rug
    and licks her claws
    from all angles
 
    and it is far
    superior
    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.

Prompts:

• Write a Dear Student poem.  What is it that you would like to say to your students right now?
• What about a Dear Parent poem?  [I once wrote a poem called “10 Things I Don’t Say at Parent-Teacher Conferences]
• Define Teacher

 
Resources:

• 10 Prompts from April Pameticky’s series
• Materials for Teachers from Poets.Org
• National Poetry Writing Month: [NaPoWriMo]
• Poetry Foundation

Abstract

English language arts is a vulnerable subject. It involves self-expression, serious reflection, and deep discussion in a way that I did not understand when completing my pre-service teaching program. Entering this profession last year, I was pleasantly surprised by the complex subjects my students were eager to write about. Excited, I grabbed ahold of their engagement. We used it as fuel. My students have written essays, podcasts, and blogs on their home-life struggles, the unbelievable pressures of high school, and the microaggressive acts of racism teachers can not quite catch in the hallways. Together, my students and I learned that writing and talking about these issues creates positive change. I loved giving my students the chance to write about and discuss hard topics in my classroom. On the days when we cleared out the mumbo-jumbo of “normal” class expectations, when we simply talked and wrote about real world issues, it was those days that were special. They were meaningful. My kids asked for more days like them, and I tried to honor that request.

​Andrea Marshbank
Seaman High School

Abstract
As a newly minted teacher, I have begun to look back with fresh appreciation for my year of student teaching and the many people who helped shape and inform my ideas about education. Among those who left their impression on me is one student, Phan, who expanded my vision for the English classroom as a safe place to express and reflect. From this student I learned that a teacher can support by listening without judgment even when she or he does not fully understand.

​Author
Jenni Bader, Wichita State University

Jenni Bader is a recent Wichita State University College of Education graduate and a first-year English teacher at Winfield High School. She has felt the call to serve through teaching ever since first grade when she read about Anne Sullivan in a chapter book detailing the life of Helen Keller. Although her path to professional teaching has been long and winding, Jenni has found many opportunities to share her care for people and her joy in learning along the way. She looks forward to the possibility of each new day and helping each student realize his or her full potential. She can be reached at [email protected]​

Abstract

Over the course of history, various groups have challenged, banned, and burned texts out of fear and the desire to control the thoughts and beliefs of a populace. Dictatorial regimes such as Hitler's Nazi-controlled Germany used "bonfires [to] 'cleanse' the German spirit of the 'un-German' influence of communist, pacifist, and, above all, Jewish thought" (Merveldt 524). Modern religious fundamentalism seeks to control a populace either through fear and indoctrination like the ultra-conservative, nearly-literal witch hunt of J.K. Rowling's Harry Potter series when religious leaders of various Protestant denominations feared that the hit young adult book series would teach impressionable minds actual witchcraft. One of the most famous and still frequently taught banned books is Mark Twain's The Adventures of Huckleberry Finn. In this paper the argument is made for the teaching of banned books by a case-analysis of Twain's text that considers the historical context, positive and negative aspects of the text, the harm of censorship, the value of free speech, and how frequently-challenged texts promote critical thinking for students.

Author Biography

Nathan G. Whitman, Derby High School
Nathan Whitman is an English teacher at Derby High School who has an MA in English, a BA in Secondary Education with an emphasis in English 6-12, and a BA in Creative Writing, as well as an endorsement in English to Speakers of Other Languages from Wichita State University. In addition to heading the school's GSA sponsor, he is also 
a founder of the Voices of Kansas journal published by the Kansas Association of Teachers of English, a 2014 Horizon Award Winner, and a Kansas Exemplary Educators Network Member. He can be reached at [email protected].

Abstract

Although vocabulary acquisition remains a critical to literacy development, teachers infrequently devote classroom time to vocabulary exercises. In this article, the author demonstrates the use of "vocabutoons" as an instructional activity which draws upon students’ multiple literacies—in particular, visual literacy—in order to foster vocabulary development. Tooning is based upon the belief that "[p]roficient readers visualize what they read as they construct meaning from a text" (Onofrey & Leikam 682). Representative artwork created by English Education majors enrolled in a young adult literature course at a university in the Midwest will be featured to highlight the tooning process.

Author Biography

William C. Sewell, Dakota State University
Dr. William Sewell is assistant professor of English Education and Composition at Dakota State University in Madison, South Dakota. Dr. Sewell taught secondary English, forensics, debate, and theatre in Kansas schools for 12 years. His research interests include multimodal intertextuality, content area literacy, active learning strategies, young adult literature, and middle and secondary English education. He can be reached at [email protected].