POP-UP TO POETRY

1. POP-UP TO POETRY Presented by Kaye Price-Hawkins Priceless Literacy/Abilene, TX March 4, 2010 * Abydos Conference

2. 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.)

3. 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

4. Music • What do you notice? • What is different about this one? • How is this clip different from the others?

5. Phenomenal Woman by Maya Angelou I'm not cute or built to suit a fashion model's sizeBut 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.  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 liesIt'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, That's me.

6. I Hear America SingingWritten 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.

7. 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.

8. 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.

9. I, Too by Langston Hughes 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. 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. ---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

10. 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.

11. – Magical Metaphors and More POETIC TECHNIQUES • Alliteration • Onomatopoeia • Rhyme scheme • Internal • End • Slant • Eye • Meter • Rhythm • Repetition 1. CONTROLLING IMAGES 2. UNDERSTATEMENT 3. OVERSTATEMENT 4. IRONY 5. PARADOX 6. FIGURATIVE LANGUAGE • Similes • Metaphors • Personification • Idioms • Hyperbole For more information: www.poetry-online.org/poetry-terms.htm (flip book)

12. 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.

13. 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.

14. 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)

15. Feeling Word Tickets Gather as many feeling words as possible. Include opposites: • Psychotic • Stable • Laughable • Sober • Drab • Vibrant • Bored • Blissful • Frantic • Calm • Fragile • Invincible • Unimportant • Devastated • Elated • Powerless • Powerful Now choose one of these feelings…

16. 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.

17. 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…

18. “Dr. Feel-Good” Poetry • Write poems of different rhyme schemes * (see next slide) • To heal the: • 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.

19. 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…

20. Reading and Writing POETIC FORMS • Sonnets • Ballads • Free Verse • Narrative • Lyrical • Humorous

21. 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.

22. 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)

23. 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)

24. 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.

25. 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.comBallad of Birminghamby 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?" "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." "But, mother, I won't be alone. Other children will go with me, And march the streets of Birmingham To make our country free." "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 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. 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. For when she heard the explosion, Her eyes grew wet and wild. She raced through the streets of Birmingham Calling for her child. 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?"

26. Free Verse Poetryrefrains 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…

27. Narrative Poetry: Out, Outby Robert Frost (exampleof 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 handHalf in appeal, but half as if to keepThe life from spilling. Then the boy saw all--Since he was old enough to know, big boyDoing a man's work, though a child at heart--He saw all spoiled. 'Don't let him cut my hand offThe 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 theyWere not the one dead, turned to their affairs.

28. Lyrical Poetry - originally poetry composed to be sungone 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.

29. Humorous–one example by Guy Wetmore Carryl: THE EMBARRASSING EPISODE OF LITTLE MISS MUFFET 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, notOnly left tuffet, but dealt him a buffetWhich 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 missTo whom you have something to say,You are only absurd when you get in the curdBut you're rude when you get in the whey. 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.“

30. TEKS CURRICULUMWRITING 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)

31. TEKS CURRICULUMREADING 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

32. TEKS CURRICULUMREADING 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

33. Poetry A to Z (inspired by Paul Janesco— modified by Kaye Price-Hawkins) • N—Night • O—Opposites • P—Prayers and Persona • Q--Questions • R—Rights • S—Shape • T—Take-Off • U—Useless and Used • V— Various Verses • W—Wishes and Weather • X—X-ray Vision • Y—Youth • Z—Zestful moments • A—Acrostic • B—Blessings • C—Clerihew • D—Direct Address • E—Experiences • F—Forms, Firsts, Feelings • G—Games • H—How-to Poem • I—Invitation • J—Jewels and Jobs • K—Kindness and • L—Letters and Lists • M—Manners and Memories

34. Pop-up Styles: Pop-up Step Lift-a-Flap Envelope Surprise Pull-Out

35. POP-UP---Step

36. POP-UP---Lift-a-Flap Envelope

37. POP-UP --- Surprise Pull Out…

38. 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.