Poetry Friday -- Space is a Word

Back on September 3, Laura Purdie Salas shared a poem written using a wordplay form that was the challenge Nikki Grimes offered up at Today's Little Ditty back in 2015. She featured this form in her October newsletter, "Salas Snippets."

I forwarded Laura's newsletter to my school email and luckily it surfaced right when I needed it.

We had finished our big Life Science unit, and covered our Space Science standards. Rather than giving a traditional test, I wanted my students to interact with the information in a creative way. "___ is a Word" poems were perfect! 

After studying Laura's examples, we noticed that this kind of poem always has a description of the chosen word in the first line, and it tells more about the word or the shape of the word in the poem.

Here's the poem we wrote together:

And here are a few of the poems my 5th graders wrote (click on the images to enlarge them):

Moon is a Word by J.

Pluto is a Word by A.

Planet is a Word by Z.

Orbit is a Word by S.

Pluto is a Word by A.

Linda B. has this week's Poetry Friday Roundup at TeacherDance.

Poetry Friday -- Autumn Acrostic

a tree in our neighborhood

 

At first, it goes

Unnoticed.

Then it is

Undeniable. Almost like

Magic, summer is gone.

No more shorts and swimsuits.

©Mary Lee Hahn, 2020 (with input from students on the last line)

My original last like was "naked trees," but "naked" is still a squirmy word for fifth graders (which I LOVE), so I gladly accepted this perfectly child-centric alternative last line.

We have been blessed with a glorious autumn, but my heart goes out to those who have had drought and fires, hurricanes and flooding. 

Jama's serving up warm cider and donuts with an autumn poem which, like mine last week, features an apple orchard. It's all kinds of perfect. Head over to the Poetry Friday Roundup at Jama's Alphabet Soup and check it out.

Poetry Friday: "I am overtired"

AFTER APPLE PICKING

by Robert Frost

My long two-pointed ladder's sticking through a tree
Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it's like his
Long sleep, as I describe its coming on,
Or just some human sleep.

I know I've been perky and positive in the past about my remote teaching gig, and all of the positives are still there. But I'm here today to tell you the other part of the truth: teaching remotely is hard. So so so very hard. Sit at the kitchen table completely stuck saying over and over again, "I don't know how to do this" hard. Long hours hard. Just longing to hand out a worksheet instead of making everything hard. How can I possibly reach every child hard. Overwhelmingly exhausted hard.

So even though this poem is about apple picking, it is about teaching remotely. How it takes over every waking and sleeping minute. And just at this moment, on a Friday after a late night of conferences on Wednesday and another this morning (and I still have to get ready for math), 

"For I have had too much

Of apple-picking: I am overtired
Of the great harvest I myself desired."

Janice has this week's Poetry Friday Roundup at Salt City Verse.

Poetry Friday -- Letting Go and Holding On

Being a Remote Learning Academy teacher is a non-stop life lesson in letting go of what's not important right now, or what's overwhelming right now, or what just won't work through a screen. On the flipside, it is also a non-stop life lesson in holding tightly to all the things that are most important.

Read aloud is one of those most important things for sure. The workshop model, too. I'm kinda sorta making workshop work. Word Game Wednesday is alive and thriving. And I've managed to bring back Poetry Friday. 

I gave my students a slide show filled with some of my photos for inspiration. We started with 15 Words or Less and Haiku. Five students have poems they're willing to share today. I copied their slides into a Poetry Friday slide show, and today after we share, I'll offer a new challenge: write a Nonet.

Here is the Nonet I wrote as their mentor text:

Puff
of wish,
globe of stars,
summer snowflake,
granny in the grass.
Some say you are a weed,
but to me you are magic.
Even though I blow you to bits,
you never hold a grudge -- you spread joy.


Mary Lee Hahn, 2020

(Hat tip to Amy LV for the inspiration for the line "granny in the grass.")

Tabatha has this week's Poetry Friday roundup at The Opposite of Indifference.

Anthropomorphized Monkeys and Racist Stereotypes in Children's Books

Anyone who knows me or reads this blog knows that I LOVED LOVED LOVED The Farmer and the Clown by Marla Frazee from the minute it was published. I am a HUGE Marla Frazee fan and love all of her work. Walk On! and The Farmer and the Clown are definitely two of my favorite picture books.

So I was VERY excited to read that this wordless book, The Farmer and the Clown, was going to grow into a trilogy! What a treat!  I couldn't wait to get a copy.

Then, I saw the title of the second book and I worried: The Farmer and the Monkey.

I have only recently started to pay attention to monkeys in children's literature. Edith Campbell led a Highlights Foundation workshop that I attended last year where she shared the problems with anthropomorphized monkeys in children's literature. She writes a bit about it here. The idea was new to me then (which in itself is a problem I take full responsibility for) and although I still don't completely understand it to the extent that I should, I can now see it as a huge problem.

If this is something you need to learn more about, Elisa Gall at Reading While White also wrote about this over 2 years ago in the post Knowing Better, Doing Better.

I am still continuing to learn more about this, but as I do, I am looking at children's books with monkeys with a more critical lens. I've recently realized this is something I've been missing all these years. When I revisit and learn more about Five Little Monkeys Jumping on the Bed, Voices in the Park and others, I missed so much as I continued to share these books with children and teachers for so long.

So, back to The Farmer and the Monkey, the sequel to The Farmer and the Clown.

I ordered the book the day it came out. Even though I knew the issues with anthropomorphized monkeys in children's literature, I was hopeful.  Very hopeful. I trusted that maybe since this was about a circus, it would be okay. As I said, I LOVED The Farmer and the Clown and I really wanted to LOVE this one too.

My hope disappeared after reading just a few pages of this new book.  This adorable monkey caused trouble the minute he entered the farmer's house.  It was clear from the visuals early on that this monkey was a troublemaker and misbehaved often.  This thread of this character as "troublesome" and "behavior problem" works through the whole book.  When I thought about this as related to Edith Campbell's work, I couldn't help but see how this was a problem. The racist stereotype of Black children as troublemakers is something that this book amplifies. 

I was compelled to dig a bit more.  I went page by page in the book and here are some problematic things I noticed:

• The monkey appears to me to be sneaky. Before he even enters the farmer's home, he is sneaking around, climbing on the roof, peeking in windows.
• The monkey is only in the farmer's house for a few minutes before the farmer sends him away--kicks him out of the house in the dark night. Alone.
• The monkey is left alone in the night and is buried in snow while the farmer presumably sleeps peacefully, not checking on the monkey through the night.
• The next morning, the farmer sees the monkey in the snow, (seemingly waiting to be saved), feels sorry for the monkey and brings him in and cares for him. but the monkey still causes immense trouble on the farm and although the farmer doesn't seem to enjoy the monkey, he is more patient with him. 
• The farmer sends the monkey off on his own to meet the train/his circus family, with a full picnic basket strapped to his back so that finally the farmer can rest peacefully on a haystack. The ending shows that the farmer's life is much better after he sends the monkey away.

Even after noticing these things, I was still a tiny bit hopeful. I remembered the clown in the first book being troublesome too, so I went back and compared the books, page by page, assuming I might see that the clown had been similar in character but that I forgot.  Here is what I noticed:

• The clown visibly presents as a white child.
• When the farmer sees the clown all alone, he immediately takes him in and cares for him, holding his hand as they walk to the farmer's house. The clown seems compliant and happy to have the farmer as a friend almost immediately. This is a huge contrast from the monkey, sneaking in and causing trouble immediately and the farmer becoming flustered.
• In the home, the little clown is sweet and compliant. He does everything the farmer does.
• The farmer is so loving toward the clown that the clown sleeps in the farmer's bed while the farmer stays awake making sure the clown is comfortable. In contrast, the farmer sleeps in his own bed while the monkey sleeps on the floor in a small picnic basket, or even stays awake at night while the farmer sleeps.
• The clown was NEVER kicked out of the farmer's home. Instead the farmer did everything he could to help the clown feel welcome and to be comfortable.
• The farmer works hard to entertain the clown and to make sure he is happy. The clown also appears to be VERY helpful with chores on the farm. 
• In the first book, the farmer and the clown go on a fabulous picnic using a full picnic basket as they wait for the circus train. They eat together under a tree. When the train arrives, the farmer holds the clown's hand and waits until the family comes out and greets him. The farmer and the clown have an emotional goodbye that is filled with hugs and love. The farmer seems to keep the clown's hat to remember him.
•  In contrast, the monkey is sent on his own, loaded down with a heavy picnic basket that they packed with food. Instead of hugs and love, the farmer shakes the monkey's hand and sends him off, without enjoying the meal together, never making sure he gets where he is going.
• The farmer appears relieved when the monkey is gone as he rests on the haystack.

After learning from Edith Campbell and others, this is the first time that I have actually SEEN for myself -- without someone else pointing them out -- the racist stereotypes and the problems with anthropomorphized monkeys in a children's book. When I look at these two characters critically, I now see a sweet white child and a troublesome monkey. I see too many anti-Black messages in this book to look away. I am not the only one who has concerns about this book. Michelle Knott also mentioned her concerns in a recent blog post.

As I said earlier, this understanding about anthropomorphized monkeys in children's literature is new to me and I imagine it is new to many educators, authors, parents and publishers. I hope that we can all do better now that this information about the problems with anthropomorphized monkeys is readily available for us.

It is not my intent for this post to end up starting a conversation about this specific book, but instead for it to act as a call for all of us who work with children and children's books to commit to learning, understanding and critically analyzing books with monkeys and to understand the problematic history of these images.

I will continue to be a huge Marla Frazee fan even if I cannot be a supporter of this book.  I am hoping that that authors and publishers take this issue of monkeys in picture books more seriously in the future.

If you'd like to learn more, here are a few things I've read:

The Disturbing "Monkey Business" of U.S. Black-White Race Relations at Teaching Tolerance 

Tell Knopf: Stop Publishing "Monkey" Book Series by Marc Brown at Social Justice Books 

More from Dr. Edi Campbell.

Edith Campbell reminds us in her post about Grumpy Monkey, "Regardless of the creator’s intent, there are social, cultural and political forces that shape the messages we find in books. Hundreds of years of equating blacks with simians cannot help but be seen in anthropomorphic pictures books"

Poetry Friday: Not Ponderous

 

photo via Unsplash

The World Itself is Not Ponderous

Feathers and giggles,

monarch's first flight,

petals unfurling,

equinox light.

Leaves in the fall,

bulbs in the spring,

in the yard after rain --

a fairy ring.

Fleetingly brief.

Here and then gone.

Like the flash of lightning,

or a chickadee's song.

©Mary Lee Hahn, 2020

I am joining the Poetry Seven's monthly challenge to explore "ponderous" or "hippo" or both. I went with "or neither" when I got weighed down (ponderously) by The Heavy Issues of Humankind. I did so want to include the factoid that the collective noun for hippos is a bloat. But that poem didn't happen. What I realized became the title of my poem, which was written in one of the "flipside" parts (if you remember my NPM project) of remote teaching -- two hours of silence while I proctored a test through my screen. 

Happy Autumn! Happy Almost October!

Jone has the Poetry Friday roundup this week at her new website.

Poetry Friday -- Orion

Photo via Unsplash

Winter Stars

by Sara Teasdale

I went out at night alone;
The young blood flowing beyond the sea
Seemed to have drenched my spirit’s wings—
I bore my sorrow heavily.

But when I lifted up my head
From shadows shaken on the snow,
I saw Orion in the east
Burn steadily as long ago.

From windows in my father’s house,
Dreaming my dreams on winter nights,
I watched Orion as a girl
Above another city’s lights.

Years go, dreams go, and youth goes too,
The world’s heart breaks beneath its wars,
All things are changed, save in the east
The faithful beauty of the stars.

I go out alone into the early morning dark almost every day to walk through the neighborhood. From August through late December, Orion keeps me company. His constancy, and the constancy of the stars, give me hope.

Matt has the Poetry Friday Roundup at Radio, Rhythm & Rhyme.

Remote Learning with Spencer's New Pet: The Power of Wordless Books

As I work with teachers across grade levels, many are thinking about how to build community and create a space that is safe and inviting for important thinking and conversation. Whether they are in person and social distanced, whether they are hybrid and have their kids both live and in remote spaces or whether they are fully remote, this is something on every teachers' mind, as it is every fall. So much of the fall is often spent building community, learning how to have thoughtful conversations, building on one another's thinking, learning to disagree and learning to support claims and ideas with evidence.  This year is no different in that regard.

Spencer's New Pet by Jessie Sima has been a great wordless book to share early in the year. Mary Lee reviewed the book a while ago and I fell in love with it this spring when I shared it with my 5th graders. 

As a reader myself, I am not so great at reading images. I prefer words.  But I have come to fall in love with wordless picture books over the past several years. I have learned the power of wordless picture books, especially during the first several weeks of the school year.

If we want our students to talk about books in critical ways, if we want them to be able to talk about issues in our world, if we want students to learn to grapple with ideas, agree, disagree and grow their thinking, I find that wordless picture books are perfect tools for inviting students into this work early in the year.

This fall, I've been fortunate to work in a few Zoom classrooms, supporting teachers in their work with students.  Spencer's New Pet has worked so well with several groups of students. I find that it is a book children (and adults) of all ages engage in joyfully. And it provides so many natural stopping places to notice and celebrate thinking and talk. Because there are very few words, the book is accessible to everyone and children are anxious to share thinking as there is so much to notice in each illustration.

This book was good for several reasons. It helped start discussions around these important behaviors and strategies:

• changing thinking is something readers do
• readers support thinking with evidence
• building on ideas of others is valued here
• we think before, during and after we read
• reading is about more than words; it is about thinking and understanding
• we think in so many different ways as we read
• there is power in rereading 
• creators make so many decisions that help us understand

Spencer's New Pet is my most recent favorite wordless book, but I have several and I am always on the lookout for a new favorite to share with students.  Sharing a few wordless picture books over the first several weeks of school helps build an intellectual community of talk and collaborative thinking.   Here is a link to some other wordless books that are perfect for remote learning. 

Poetry Friday -- How to Be a Poet

 

image via Unsplash

How to Be a Poet

by Wendell Berry

(to remind myself)

i  

 
Make a place to sit down.   
Sit down. Be quiet.   
You must depend upon   
affection, reading, knowledge,   
skill—more of each   
than you have—inspiration,   
work, growing older, patience,   
for patience joins time   
to eternity. Any readers   
who like your poems,   
doubt their judgment.  

    You can read the other two sections of this wise poem at the Poetry Foundation.  I'm sharing it today as a reminder to myself. Maybe you needed to hear that, too?

    Kiesha has this week's Poetry Friday roundup at Whispers From the Ridge.

Writing Workshop: The Possibilities for Remote Learning

The struggles of remote teaching and learning are real. Figuring out how to hold onto best practices with 29 students on a Zoom call is tricky at best. But as always, educators are figuring it out! I am amazed at all that teachers are doing to make this the best possible experience for students of all ages. 

This week, Seth's Godin's blog post, Self-Directed, Project-Based Learning got me thinking again. 

Since spring, I've been reflecting on my experiences with remote teaching. As I work with teachers now, I continue to think about what worked and what didn't when we moved to remote teaching last year. I am also thinking about the possibilities and surprise joys that came with remote teaching and learning. One thing I discovered was that Writing Workshop was an area that allowed me to offer choice and good teaching while making sure to meet required standards. I see how much is possible with remote teaching when it comes to writing.

I wrote a bit about it here after learning a bit from Julie Johnson on the blog this spring. I created a board for students that focused on writing choices and also met the standards that needed to be covered. Each choice led to a slideshow specific to the genre that helped kids do a bit of their own study while still having the support of our live writing workshop sessions.

I was mostly focused on providing choice and independence at that point. But once I opened up possibilities for kids, so many more good things happened.

Writing Workshop in a remote learning setting reminded me of the thing I know but sometimes forget when I am caught up in the day-to-day work of teaching--the more I let go and the more choices I give students, the more authentic and rich their writing experiences are and the more they learn and grow. The more choice and ownership I gave to students, the more they were able to do as writers and the more they were able to surprise me with their brilliance.

When given the choice, lots of time, and response from both home and school, students came up with so many great ideas:

• One student created her own cooking show, using some of her favorite TV shows as mentors for her writing.
• One student created a news show with her older sister and together they crafted stories, created a set and recorded those.
• One student created a new version of a board game with directions on how to play.
• One student interviewed family members about a memory, so that all perspectives could be part of the final piece.
• A student who has major talent in art had time to create several pages of a graphic novel.
• A student created the first chapter of Frozen fan fiction, planning to go on to write more over the summer.

One big lesson for me was when one of my students shared her process in creating a podcast. She had enjoyed the podcast series The Unexplainable Disappearance of Mars Patel and wanted to create her own fiction/fantasy podcast. We met several times in small groups and one day she said, laughing, "I spent all day yesterday looking for just the right sound effects. I found so many apps and so many sound effects. I wanted to find the perfect ones!" (You can listen to the podcast, "Sabrina and the Unexpected Fortune" below.)

In that moment I realized that the things we know that are important to any writing workshop (time, choice and response), were already so much a part of this pandemic life. Even though we provide these things in the classroom writing workshop, much has been taken away over the years because of time constraints, district mandates, state testing, etc.). In school, time for writing is limited, but because students had extra down time due to the pandemic, writing became playful and fun and so authentic. They could spend as much time as they needed or wanted to on parts of the process.  They were able to go above and beyond in areas of writing that they wanted to. It seemed so authentic. I know that when I write, I sometimes get caught up for hours on one word or on one sentence. Or I work to try to find the perfect image to go along with a message. This is the fun of writing on some days. 

When I met with small groups, students weren't talking about their writing pieces as something they were doing for school or because of school. They started talking about their plans for summer and how they might build onto the work they had done so far to write more. They were choosing to use their summer to continue work on some writing projects as they knew they'd have lots of time. So many of them were living their outside-of-school lives as writers.

When I gave this kind of choice, small group work fell into place. I sometimes pulled groups based on the kind of writing they were doing but then other times we'd meet as a group based on the specific elements they wanted feedback on. When kids work on a variety of pieces, there are so many opportunities for teaching and learning from each other. The standards were so much easier to "cover" when there were so many different things going on in the classroom. 

• Kids were exposed to writing they may never have thought of trying.
• We could talk about craft across genres--word choice, conclusions, organization are important no matter the genre or format. This allowed students to see the ways skills could transfer.
• Mentor texts became more important. I provided several but then students found some of their own as needed during the creation process.
• Writers were not only learning about the kinds of writing they were doing themselves, but as participants in the writing community, they were learning about the many kinds of writing that others were engaged in.
• Minilessons could be built using student work and could easily be planned to transfer to any kind of writing.

I'm certainly not saying that we need a whole year without time limits or units of study based on genre or craft. But what I relearned about writing workshop is that time is something that kids have a lot of these days, something that isn't always the case and something that is often limited during the school day. And when writers have time, choice and response, they do brilliant things. So many of my students took full advantage of that extra time they had at home to create things they were proud of--partly because of the time and partly because of the choice.  I'm saying that it might be a good opportunity for us to rethink how much time, choice, and authentic response has maybe been taken away from kids in writing over the last decade or so. I'm saying that maybe we should take advantage of this time to help students see all that is possible as writers.