Friday, April 10, 2015

NPM Project: Jumping Into Form - Limerick

Limericks are humorous nonsense poems that were made popular in English by Edward Lear. Limericks not only have rhyme, but rhythm. The last words of the first, second, and fifth lines all rhyme, and the last words of the third and fourth lines rhyme. This means the rhyme scheme is AABBA. The rhythm of a limerick comes from a distinct pattern. Lines 1, 2, and 5 generally have seven to ten syllables, while lines 3 and 4 have only five to seven syllables. Here is an example from Lear's book.
If you can't read the text, here's the limerick in the 5-line form usually seen today.
There was an Old Man with a beard,
Who said, 'It is just as I feared!
   Two Owls and a Hen,
   Four Larks and a Wren,
Have all built their nests in my beard!'
You can read Lear's A Book of Nonsense online, which includes 112 limericks. If you want to hold a paper copy in your hands, look for The Complete Nonsense of Edward Lear, written and illustrated by Edward Lear with an introduction by Holbrook Jackson.

Here are a few books for children that nicely exhibit this form.
 
The Hopeful Trout and Other Limericks (1989), written by John Ciardi and illustrated by Susan Meddaugh, is a collection of 41 limericks published a few years after Ciardi's death. Divided into five sections under the headings of (I) Sometimes Even Parents Win; (II) It Came From Outer Space; (III) He Was Brave, But Not For Long; (IV) Iron Men and Wooden Ships; and (V) Heights Made Him Dizzy, readers will find humor and wit in these short poems. Here is an example.

Goodbye Please

I once knew a word I forget
That means "I am sorry we met
     And I wish you the same."
     It sounds like your name
But I haven't remembered that yet.

Poem ©John Ciardi. All rights reserved.

Grimericks (2008), written by Susan Pearson and illustrated by Gris Grimly, is a collection of limericks on all manner of monsters appear in this fun volume of poems. It begins with this poem.
Dear Reader, please lend me your ear.
If ghosts, ghouls, and goblins you fear,
     don't open this book.
     No--don't even look!
There are spooky things hiding in here.
You'll find incompetent and unlucky witches, mummies, skeletons, banshees, and more. Grimly's illustrations are full of (appropriately!) grim humor. Here's one of my favorites.
Augustus, a ghoul who played chess,
felt his game was a howling success.
      If a player could beat him,
      then Gus would just eat him,
"Too bad," he said. "One player less."
Poems ©Susan Pearson, 2008. All rights reserved.

At Google Books you can preview some of the images and poems.

If you want to try reading and writing some limericks in your classroom, here are some helpful resources.

I hope you've enjoyed this brief introduction to the limerick. On Saturday and Sunday I will be sharing interviews with children's poets. On Monday I'll return with a look at ekphrastic poetry.

Poetry Friday - The Enkindled Spring

Spring has finally sprung here, so I'm celebrating with poetry.

The Enkindled Spring
by D.H. Lawrence

This spring as it comes bursts up in bonfires green,
Wild puffing of emerald trees, and flame-filled bushes,
Thorn-blossom lifting in wreaths of smoke between
Where the wood fumes up and the watery, flickering rushes.

I am amazed at this spring, this conflagration      
Of green fires lit on the soil of the earth, this blaze
Of growing, and sparks that puff in wild gyration,
Faces of people streaming across my gaze.

And I, what fountain of fire am I among
This leaping combustion of spring? My spirit is tossed      
About like a shadow buffeted in the throng
Of flames, a shadow that’s gone astray, and is lost.


I do hope you'll take some time to check out all the wonderful poetic things being shared and collected today by Laura Purdie Salas at Writing the World for Kids. Happy poetry Friday friends!

Thursday, April 09, 2015

NPM Project: Jumping Into Form - Haiku (Conclusion)

I've enjoyed exploring haiku with you the last few days. Today I want to share a few more haiku titles (though there are many more), along with some final thoughts on the form and ideas for teaching haiku. 
 
One Leaf Rides the Wind (2005), written by Celeste Davidson Mannis and illustrated by Susan Kathleen Hartung, is a nice combination of a counting book and a haiku poetry. It is set in a Japanese garden where a young girl counts the things she sees, like bonsai, koi, and lotus flowers. The left side of each spread contains an illustration of the objects being counted. On the right side of each spread is the printed numeral, a haiku describing the objects, and a footnote introducing readers to various aspects of traditional Japanese culture. Here are the poems for 8 and 9.

What do flowers dream?
Adrift on eight pond pillows,
Pink-cheeked blossoms rest.

Hoping for some crumbs,
they nibble at my fingers.
Nine glittering koi.

Poems ©Celeste Davidson Mannis. All rights reserved.
Hi, Koo!: A Year of Seasons (2014), written and illustrated by Jon J. Muth, is a quiet look at seasons that also includes a hidden alphabetic journey (A for autumn, B for broom, C for coat, and so on). In 26 poems, Muth's panda named Koo helps readers see the beauty and simplicity of the world and daily life. From the outset, Muth does a terrific job capturing the essence of haiku. Here is an excerpt from the author's note.
Over time, haiku has evolved, so that many modern poets no longer adhere so rigidly to this structure. I have not restricted myself to the five-seven-five syllable pattern that many of us grew up learning haiku must be.
For me, haiku is like an instant captured in words—using sensory images. At its best, a haiku embodies a moment of emotion that reminds us that our own human nature is not separate from all of nature.
Here are the opening and closing haiku. Readers may notice that the alphabet words in each poem are capitalized.

Autumn,
are you dreaming
of new clothes?

becoming so quiet
Zero sound
only breath

Poems ©Jon Muth, 2014. All rights reserved.
The Year Comes Round: Haiku Through the Seasons (2012), written by Sid Farrar and illustrated by Ilse Plume, is a small collection of 12 haiku that take readers through the months from January to December. Back matter includes a note about haiku, information on the cycle of life, and more on each season. The last page includes one final haiku. Farrar has done a fine job selecting natural elements that exemplify the seasons. Here is my favorite poem. Can you guess which month this is?

Like tiny fallen 
stars, fireflies quietly blink
their secrets at dusk

And this is the poem that ends the book.

Earth circles the sun
spinning a tapestry of
days, months, seasons—life.

Poems ©Sid Farrar, 2012. All rights reserved.
Black Swan/White Crow (1995), written by J. Patrick Lewis and illustrated by Christopher Manson, is a collection of 13 haiku with themes from nature and the outdoors, accompanied by woodcut illustrations. The words and images are spare and beautiful, fully complementing each other. Here are two of my favorite haiku.

Frantic sandpiper--
high tides erasing
her footnotes

Snowdrifts to his knees,
a scarecrow left with nothing
up his sleeve.

Poems ©J. Patrick Lewis. All rights reserved.

Other haiku books I love but which are sadly out of print include Least Things: Poems about Small Natures (Yolen), Stone Bench In An Empty Park (Janeczko), Cricket Never Does (Livingston), and Don't Step on the Sky: A Handful of Haiku (Chaikin).

We've looked at a lot of haiku over the last few days. If you are ready to try reading and writing it with your students, here are some resources that may interest you.
I hope you've learned something new in this exploration of haiku. Tomorrow the limerick is in the spotlight.

Wednesday, April 08, 2015

NPM Project: Jumping Into Form - Animal Haiku

When I was planning this project I realized I had more haiku books than I knew what to do with. Therefore, I decided to include a thematic post highlighting this form. Today I turn my attention to haiku that focus on animals.

Let's start today with three books by Michael J. Rosen.
 
The Hound Dog's Haiku: and Other Poems for Dog Lovers (2011), written by Michael J. Rosen and illustrated by Mary Azarian, introduces readers to 20 breeds of dog from bluetick coonhound to dachshund. Back matter includes information about the breeds. Here are two of my favorites from this collection.

Labrador Retriever
     the first duck splash-lands
     speck in the iced pond's lone eye
     soon . . . the chase restarts

Bloodhound
     staccato sniffing
     fills your ribs' parentheses
     you keep scent's secret

The Maine Coon's Haiku: And Other Poems for Cat Lovers (2015), written by Michael J. Rosen and illustrated by Lee Anthony White, is a collection of 20 poems on a variety of cat breeds. Broken into alternating sections of "Inside" and "Outside," the cats are introduced with five breeds in each of the four sections. Back matter includes descriptions of each breed of cat. Here are two of my favorites.

Maine Coon
     crouched before the couch,
     suddenly, cat has all night
     for just one sound: mouse

Siamese
     a toppled lamp shade
     moon moth must be here somewhere
     batted from the dark
The Cuckoo's Haiku: and Other Birding Poems (2009), written by Michael J. Rosen and illustrated by Stan Fellows, is a collection organized by season, beginning with spring. The spare form works well in these poems, highlighting each of the 24 bird species in delightful ways. The illustrations are elegant and nicely complement the text. Each double-page spread reads like a birder's journal, with notes scribbled on the pages. Here are two of my favorite poems. (Please note that the poems in the book are not titled. I have highlighted them this way only as a means of organization.)

Spring - Eastern Bluebird
     on a staff of wires
     blue notes inked from April skies
     truly, spring's first song

Summer - Northern Mockingbird
     the one-man bird band:
     diva, choir, and orchestra
     unbroken record

Poems ©Michael Rosen. All rights reserved.

The back matter for the book contains a section entitled Notes for Bird Watchers and Haiku Lovers. 
If Not For the Cat (2004), written by Jack Prelutsky and illustrated by Ted Rand, is a collection of 17 haiku that encourage readers to see animals in new ways. Without sharing the illustrations these can be read as "Who am I?" poems. Can you guess which animals are described in these two poems?

If not for the cat,
And the scarcity of cheese,
I could be content.


How foolish I am.
Why am I drawn to the flame
Which extinguishes?

Poems ©Jack Prelutsky. All rights reserved.

You can see examples of the artwork and view additional poems in this preview.

I hope you've enjoyed another day of haiku. Tomorrow I will wrap up this form with some additional books and resources for teaching students about haiku.

Tuesday, April 07, 2015

NPM Project: Jumping Into Form - Senryu

Senryu (pronounced sen-ree-you) is a Japanese poetic form similar in structure to haiku. Instead of focusing on nature and the essence of a particular moment as haiku do, senryu are concerned with human nature, political issues, and satire. While one is usually quite serious, the other is more playful. 

Here is how the Haiku Society of America defines senryu.
A senryu is a poem, structurally similar to haiku, that highlights the foibles of human nature, usually in a humorous or satiric way.
The 13th Floor Paradigm has this nice bit of history and other information on senryu.
The Senryu came into existence as an independent genre in the Edo Period (1718-1790). It is often satirical, ironical, irreverent, mundane, cynical and is about human nature, therefore about human foibles including the erotic.  It has the same form of the Haiku, but doesn’t use a seasonal word (kigo) and it doesn’t have a cutting word (keiriji)  (in reality, in English we have no direct equivalents to the keiriji, so we use what’s called a cutting phrase.) 
It would be wrong to think that Senryu is always humorous.  In fact, a Senryu could talk about divorce, sex, murder, war, jealousy, cruelty…in a word every day-to-day events in human society.
Many books of poetry labeled as haiku actually fit the definition of senryu. So, even though I'll probably step on some toes here, I'm going to share some books that have terrific examples of senryu for kids.
Won Ton: A Cat Tale Told in Haiku, written by Lee Wardlaw and illustrated by Eugene Yelchin is the story of a shelter cat and how she acclimates to her new home, told entirely in senryu. While you'll note that the title reads haiku, this is how Wardlaw describes her work in the author's note.
Won Ton's story is told in a series of senryu (SEN-ree-yoo), a form of Japanese poetry developed from and similar to haiku (HI-koo). Both senryu and haiku typically feature three unrhymed lines containing a maximum of seventeen syllables (5-7-5 respectively); each form also captures the essence of a moment. In haiku, the moment focuses on nature. In senryu, however, the foibles of human nature—or in this case, cat nature—are the focus, expressed by a narrator in a humorous, playful, or ironic way.
Whether we call it haiku or senryu, the short verses are entirely fitting for the tale Wardlaw tells. Won Ton's story is divided into sections, including The Shelter, The Choosing, The Car Ride, The Naming, The New Place, The Feeding, The Adjustment, The Yard, and Home. Here are two of my favorites.

Dogs have hair. Cats, fur.
Dogs whine, yip, howl, bark. Cats purr.
I say: No contest.

Scrat-ching-post? Haven't
heard of it. Besides, the couch
is so much closer.

Poems ©Lee Wardlaw, 2011. All rights reserved.

You can find a teacher's guide for WON TON at Lee Wardlaw's site, as well as one at Wild Geese Guides. You can also find a guide on Teaching Haiku in the Classroom.
Wardlaw and Yelchin follow this effort with a sequel entitled Won Ton and Chopstick: A Cat and Dog Tale Told in Haiku (2015), in which Won Ton shares what life is like with a new puppy in the house. Here are two poems from this new title.

Bathroom skirmish ends
in triumph! Boredom subdued—
and I can blame you.


Some parts of woof  I
will never understand. But…
practice makes purrfect.

Poems ©Lee Wardlaw, 2015. All rights reserved.

You can find a teacher's guide for WON TON AND CHOPSTICK at Lee Wardlaw's site, as well as an activity guide.
Dogku (2007), written by Andrew Clements and illustrated by Tim Bowers, is the story of a stray dog told through a series of 17 haiku (or senryu). As Clements says in the author's note, "And why did I write this picture book using haiku? Because a picture book is also a small container—not many pages, not many words. Adorable dog + haiku = Dogku. Simple."

The story begins with this poem.

There on the back steps,
the eyes of a hungry dog.
Will she shut the door?

Well, if she did, there would be no story! Eventually the dog earns the name Mooch and becomes a part of the family. Here is my favorite set of poems, which remind me of my very own troublemaker.

The house is quiet.
No kids, no mom, and no food.
What's a dog to do?

Chew on dirty socks.
Roll around in week-old trash.
Ahhh ... that's much better.

Poems ©Andrew Clements, 2015. All rights reserved.
Wing Nuts: Screwy Haiku (2006, OP), written by Paul Janeczko & J. Patrick Lewis and illustrated by Tricia Tusa, is a collection of short, pun-filled, humorous senryu. While there is no information here about form, the last poem gives readers a clue.

A senryu goes
bouncing along into ...
a giant poet-tree!

Here are two of my favorite senryu.

Mice dart in shadows
as barn cat waits and grins ...
Ah! fast food tonight


O warm summer night
I awake to rude music:
cat coughing up hair ball

Poems ©Paul Janeczko and J. Patrick Lewis, 2006. All rights reserved.
Guyku: A Year of Haiku For Boys (2010), written by Bob Raczka and illustrated by Peter Reynolds, is a collection of poems about outdoor play through the seasons. One of my favorites recalls a favorite childhood pastime—riding a bike.

With baseball cards and
clothespins, we make our bikes sound
like motorcycles.

My other favorite reminds me of my brother.

If this puddle could
talk, I think it would tell me
to splash my sister.

Poems ©Bob Raczka, 2010. All rights reserved.

There is a terrific web site for Guyku. It includes information about the book, resources for teachers, information on how to write guyku, and more. You'll also find terrific ideas for using the book in the classroom at The Classroom Bookshelf.

If you are interested in writing senryu with your class, the page from 
Shadow Poetry on haiku and senryu suggests that a good structure to use is:
     setting
     subject and action (on two lines)

I hope you've enjoyed this brief introduction to senryu. Up tomorrow, animal haiku!

Monday, April 06, 2015

NPM Project: Jumping Into Form - Haiku (Introduction)

You may be wondering why I jumped into this study of poetic forms with Asian forms (sijo, renga, tanka) and DIDN'T start with haiku. Honestly, it's because I think haiku are really hard to write. Seems ridiculous, doesn't it? But if you follow the rules (and there are lots of them), writing haiku in the spirit intended requires patience, a keen eye, and skill.

Here is the formal definition of haiku and some notes about the form provided by the Haiku Society of America.
A haiku is a short poem that uses imagistic language to convey the essence of an experience of nature or the season intuitively linked to the human condition. 
Most haiku in English consist of three unrhymed lines of seventeen or fewer syllables, with the middle line longest, though today's poets use a variety of line lengths and arrangements. In Japanese a typical haiku has seventeen "sounds" (on) arranged five, seven, and five. (Some translators of Japanese poetry have noted that about twelve syllables in English approximates the duration of seventeen Japanese on.) Traditional Japanese haiku include a "season word" (kigo), a word or phrase that helps identify the season of the experience recorded in the poem, and a "cutting word" (kireji), a sort of spoken punctuation that marks a pause or gives emphasis to one part of the poem. In English, season words are sometimes omitted, but the original focus on experience captured in clear images continues. The most common technique is juxtaposing two images or ideas (Japanese rensô). Punctuation, space, a line-break, or a grammatical break may substitute for a cutting word. Most haiku have no titles, and metaphors and similes are commonly avoided. (Haiku do sometimes have brief prefatory notes, usually specifying the setting or similar facts; metaphors and similes in the simple sense of these terms do sometimes occur, but not frequently. 
I have heard it said that haiku is not a form, but a way of experiencing the world. Like all good poetry, haiku is based on close observation. This is summed up particularly well by J. Patrick Lewis in the introduction to Black Swan/White Crow, where he describes the form and encourages readers to write their own haiku.
To write a haiku, you might go for a walk in a city park, a meadow, the zoo. Put all your senses on full alert. Watch. Listen. Imagine that what you are seeing or smelling or hearing has never been seen, smelled, or heard before--and may never be again. Now take a picture of it--but only with your words.
The best haiku make you think and wonder for a lot longer than it takes to say them.
There are many, many rules and guidelines for writing haiku. For those serious about following in the Japanese tradition, the Shadow Poetry pages are very helpful. I also recommend reading a 2009 post by Diane Mayr of Random Noodling in which she shared a thoughtful note from Michael J. Rosen with his views on haiku. It is an interesting and provocative conversation entitled What is Haiku? And Who Decides on the Definition? that will definitely get you thinking. 

There is a wide selection of books written in haiku for kids. I would recommend starting with one of these books that includes and/or uses classic haiku by Japanese masters.
Today and Today (2007, OP), is a collection of selected haiku by Kobayashi Issa that are paired with the illustrations G. Brian Karas. Woven together they tell the poignant story of a family over the course of a year. Divided into seasons, the collection opens in the spring. Here are two poems from the first two seasons in the book.
Once snow have melted,
the village soon overflows
with friendly children.


So many breezes
wander through my summer room:
Here's what Karas says about his work.
In my artwork, I have tried to achieve visually what Issa achieves with words, to convey the precise feeling of each moment so that someone else might feel it, too. The buzz of a hot summer day or big wet snowflakes hitting your face—it is ordinary, extraordinary moments like these, strung together, that make up our lives.
Cool Melons—Turn to Frogs: The Life and Poems of Issa (2013), written by Matthew Golub and illustrated by Kazuko G. Stone, is a biography and introduction to the work of Issa, the Japanese haiku poet who wrote more than 20,000 haiku over the course of his life. The work of Issa is interspersed throughout the narrative about his life. While not presented in the chronology they were actually written in, they are rooted in Issa's experiences and nicely complement that story. Each of the poems featured is rendered in Japanese in the outer page margins. Back matter includes information about the book's creation, transliterations and translations of the poems, haiku, and more. Here are two of Issa's poems featured in the book.

Plum tree in bloom—
a cat's silhouette
upon the paper screen.


A kitten
stamps on falling leaves,
holds them to the ground.


Overall, this is a very nice introduction to Issa and the art of haiku.
Wabi Sabi (2008), written by Mark Reibstein and illustrated by Ed Young, is the story of a cat named Wabi Sabi, who goes on a quest to discover the meaning of her name. (Wabi sabi is a Japanese philosophy and aesthetic that finds "beauty and harmony in what is simple, imperfect, natural, modest, and mysterious.") She asks many different creatures along the way, but they all answer in essentially the same way, telling her that it is a difficult concept to explain. However, each one offers her a little insight in the form of a haiku. By the end of the story, after reflecting on drinking tea with a wise monkey, Wabi Sabi has reached an understanding of her name's meaning.

Reibstein uses three different strands of text. First there is a prose narrative that tells Wabi Sabi's story. There is also the haiku that concludes each of the interactions. Here are two examples.
An old straw mat, rough
on cat 's paws, pricks and tickles...
hurts and feels good, too.

The pale moon resting
on foggy water. Hear that
splash? A frog’s jumped in.
Poems ©Mark Reibstein , 2008. All rights reserved.

Finally, on each spread there is another haiku, rendered in Japanese characters. The translations for these appear in the end notes. These haiku are all classics written by Basho and Shiki.

The carefully crafted narrative, beautiful haiku, and stunning artwork will lead readers to an understanding of wabi sabi just as the cat is learning the meaning of her name. Readers will also find the fact that the book reads like a scroll (from top to bottom) an interesting feature.

Don't miss the Educator's Guide for Wabi Sabi, or this video about its creation.
 
I hope you have found this brief introduction helpful. This week we'll be exploring all kinds of haiku and the related form senryu.

Monday Poetry Stretch - Somonka

The somonka is a Japanese form that consists of two tanka written in tandem. The first tanka is usually a declaration of love, with the second a response to that declaration. While this form usually requires two authors, it is possible for one poet to write from both perspectives.

Writing somonka requires that we revisit the guidelines for tanka. Tanka is a form of Japanese poetry that has been practiced for more than 1000 years. Tanka are composed of 31 syllables in a 5/7/5/7/7 format. Most tanka focus on nature, seasons, the discussion of strong emotions, or a single event of some significance.

In her article Tanka as Diary, Amelia Fielden writes:
Tanka, meaning ‘short song’, is a 1300 year old Japanese form of lyric poetry. Non-rhyming, it is composed in Japanese in five phrases of 5/7/5/7/7 syllables.

In English, tanka are normally written in five lines, also without (contrived) rhyme, but in a flexible short/long/short/long/long rhythm. Due to dissimilarities between the two languages, it is preferable not to apply the thirty-one syllable standard of the Japanese poems, to tanka in English. Around twenty-one plus/minus syllables in English produces an approximate equivalent of the essentially fragmentary tanka form, and its lightness. To achieve a “perfect twenty-one”, one could write five lines in 3/5/3/5/5 syllables. If the resulting tanka sounds natural, then that’s fine. However, the syllable counting does not need to be so rigid. Though no line should be longer than seven syllables, and one should try to maintain the short/long/short/long/long rhythm, variations such as 2/4/3/5/5 or 4/6/3/6/7 or 3/6/4/5/6 syllable patterns can all make good tanka.
Here is an example, translated by one of my former colleagues at the University of Richmond. These tanka were sent back and forth between a nobleman named Mikata No Sami (Active C. 700) and his young wife, the daughter of Omi Ikuha (N.D.)

Tied up, it loosens,
untied, it's too long
my love's hair --
nowadays I can't see it --
has she combed it together?

Everyone now says
my hair is too long
and I should tie it up --
but the hair you gazed upon
I'll leave in tangles

Translated by Stephen Addiss in The Art of Haiku: Its History through Poems and Paintings by Japanese Masters (pp. 19-20)


Since it's spring and love is in the air, I'm focused on writing some animal-themed poems. I hope you'll join me this week in writing a somonka. Please share a link to your poem or the poem itself in the comments.

Sunday, April 05, 2015

NPM Project: Jumping Into Form - Jane Yolen

In preparation for sharing forms this month, I wrote to a number of poets and asked if they would respond to a short list of questions on poetry, writing, and form. I'm thrilled every time one responds positively and find they have all been extremely generous with their time.

Today I'm sharing the thoughts of Jane Yolen, the author of more than 300 books in a variety of genres, including poetry. Recent publications include Trash MountainYou Nest Here With MeStone Angel, and National Geographic Kids Animal Stories: Heartwarming True Tales from the Animal Kingdom.
 
How do you begin a poem? 
Jane: Such a difficult question because there are a myriad ways. Here are a few:

I am working on a themed book, which if it's for young readers of picture book age might mean we are talking abou 14-20 poems. So I read up about the theme and sometimes a poem happens. For example, I have been working for about half a year now on a book called A CELEBRATION OF BUZZ: Bee Poems. And I was reading some online material about bees. The article talked about the genus of bees: apis. And suddenly the idea for the poem began, but the last line (which I think nicely rounds out the poem) came on its on after I'd worked my way line by line down to it.

     Apis--Honeybee
Your genus is apis,
Your architecture wax,
Your structure colonial,
Your production max.

Your origin Asian,
Your climate sunny,
Your history Eocenic,
Your genius—honey.

©2015 Jane Yolen all rights reserved.

Sometimes reading a book spins me into a poem and I use a line that becomes an epigraph.

Sometimes a day--ST Patty's, or a folklore character someone mentions starts a poem off. Sometimes an editor asks for a specific kind of poem. And sometimes a line teases into my head and I think it's the opening of a poem and I found out as I go along that it's somewhere in the middle, or in the end, or it gets revised out entirely somewhere about revision twelve!!!


How do you choose the form of your poems?
Jane: Mostly they choose me. Unless I am writing a book of haiku or a book of sonnets or someone asks for a particular form.


Are there any forms you haven't tried but would like to? Why or why not?
Jane: Well, I have tried and tried to do Marilyn Singer's reverso poems, and I just can't get my mind around them. I have tried a number but few of them stick with me except for sonnets, triolets, villanelles, limericks, double-dactyls, and haiku. Many of the seem like one-trick ponies to me.

I invent my own forms, both rhymed and unrhymed, and am particularly fond of doing poems where the verses are all the same line counts, often three lines or six. They seem somehow more polished to me.


What tools (rhyming dictionary, book of forms, etc.) do you use in writing poetry (if any)?
Jane: I only sometimes use a rhyming dictionary though that seems vaguely like cheating to me. And a book of forms as a reminder since I can't seem to keep most forms in my head, especially at 76.


What would you like students or children to know about poetry?
Jane: That its fun, that's it's moving, that it's engaging. And that whether they realize it or not, they are listening to and reciting poems every single day. Only they call it songs and lyrics. Or ad campaigns.


Finally, one of your esteemed colleagues suggested I ask for a poem in a foreign verse form. Would you be willing to share a poem for this project?
Jane: Do double dactyls count?

Honkedy-Gronkedy,
Mother Goose riding
Upon a good rhyme
with political ease.

Giving us children
Our first look at poetry,
steering that goose
with a squeeze of her knees.

©2015 Jane Yolen all rights reserved


Politics-schmolitics,
Abraham Lincoln, he
Kept us a nation
But gave up his life,

Taking a box
in a theater and thinking
Twas best he could do for
His so crazy wife.

©2015 Jane Yolen all rights reserved


If not, here's a triolet I wrote about my husband's final illness:

Two Singers  Sing Away the  Pain: A Triolet

Two singers sing away the pain,
One singing lieder, one singing folk.
Outside the world is washed with rain
As two singers sing away the pain
Of cancer settled beneath his brain,
God’s idea of a cosmic joke.
But two singers sing away the pain,
One singing leider and one singing folk.

©2011 Jane Yolen , HolyCow! Press


A million thanks to Jane for participating in my Jumping Into Form project this month.

Saturday, April 04, 2015

NPM Project: Jumping Into Form - Margarita Engle

In preparation for sharing forms this month, I wrote to a number of poets and asked if they would respond to a short list of questions on poetry, writing, and form. I'm thrilled every time one responds positively and find they have all been extremely generous with their time.

Today I'm sharing the thoughts of Margarita Engle, a Cuban-American poet, novelist, and journalist. She is the author of a number of children's books and young adult verse novels, including The Surrender Tree: Poems of Cuba's Struggle for Freedom, which received the first Newbery Honor ever awarded to a Latino. Margarita's most recent books, all 2015 releases, include Orangutanka: A Story in Poems, Drum Dream Girl: How One Girl's Courage Changed MusicThe Sky Painter: Louis Fuertes, Bird Artist, and Enchanted Air: Two Cultures, Two Wings: A Memoir.
 
How do you begin a poem? 
Margarita: This is a really great question, because the writing process is different for each poet. I’m a morning person, and a nature lover, so I begin each poem early, still halfway lost in a dreamlike state of mind.  I begin with peace and quiet.  So many of my poems are parts of historical verse novels that re-entering the flow of emotions from previous poems is essential.  I have to feel whatever my characters feel.  It’s a bit like combining time travel with shape shifting.


How do you choose the form of your poems?
Margarita: I experiment!  I often end up returning to free verse, sometimes with a bit of rhyme, as in Drum Dream Girl, but I also write prose poems, haiku, tanka, and occasionally a metered form.  One of my new picture books, Orangutanka, is written entirely in tanka. After trying different forms, it’s easy to see which one works for a particular story or theme.


Are there any forms you haven't tried but would like to? Why or why not?
Margarita: I would love to try more rhymed, metered forms.  In particular, I am eager to try a collection of related poems in a picture book format.  


What would you like students or children to know about poetry?
Margarita: I hope they realize that any emotion they experience can find a home in a poem.  It’s a safe place to pour sadness, joy, hope, and rage.  Poetry can give them the freedom to express themselves honestly.


Finally, one of your esteemed colleagues suggested I ask for a poem in a foreign verse form. Would you be willing to share a poem for this project?
Margarita: Yes, the following is a legend from my Taíno ancestors, re-told in the Cuban décima form. The décima is a rhymed, metered poem that most commonly has ten eight-syllable lines in a rhyme pattern abba aa abba.  In this poem I’ve used twelve lines with a rhyme pattern abab  cdcd  efef. Changing a décima is perfectly acceptable!  When they’re used as the lyrics of rumba songs, they are often improvised.

BIRD PEOPLE

In a time when people were stars
in deep, hidden caves of the sea,
a fisherman ventured so far
that a hole in the cave set him free.

He burst from the cave up to sky
and reached the bold shimmer of light.
No longer a man who could cry,
he was silent until darkest night.

Then the song that flew from his heart
was the sweetest song ever heard,
a melody about the start
of life as a winged, singing bird!

Poem ©Margarita Engle, 2015. All rights reserved.


A million thanks to Margarita for participating in my Jumping Into Form project this month.

Friday, April 03, 2015

NPM Project: Jumping Into Form - Tanka

Tanka is a form of Japanese poetry that has been practiced for more than 1000 years. Tanka is generally defined as a poem composed of 31 syllables in a 5-7-5-7-7 format. Most tanka focus on a single event of some significance.

In her article Tanka as Diary, Amelia Fielden writes:
Tanka, meaning ‘short song’, is a 1300 year old Japanese form of lyric poetry. Non-rhyming, it is composed in Japanese in five phrases of 5/7/5/7/7 syllables.

In English, tanka are normally written in five lines, also without (contrived) rhyme, but in a flexible short/long/short/long/long rhythm. Due to dissimilarities between the two languages, it is preferable not to apply the thirty-one syllable standard of the Japanese poems, to tanka in English. Around twenty-one plus/minus syllables in English produces an approximate equivalent of the essentially fragmentary tanka form, and its lightness. To achieve a “perfect twenty-one”, one could write five lines in 3/5/3/5/5 syllables. If the resulting tanka sounds natural, then that’s fine. However, the syllable counting does not need to be so rigid. Though no line should be longer than seven syllables, and one should try to maintain the short/long/short/long/long rhythm, variations such as 2/4/3/5/5 or 4/6/3/6/7 or 3/6/4/5/6 syllable patterns can all make good tanka.
This spring there are two new poetry books that highlight this form.
 
Orangutanka: A Story in Poems (2015), written by Margarita Engle and illustrated by Renee Kurilla, is a collection of tanka that tell the story of a family of orangutans living in a wildlife refuge. Back matter includes orangutan facts and recommended resources to learn more about orangutans. The book opens with a note about tanka poems. Here is an excerpt.
Tanka is an ancient Japanese form consisting of five lines, with a traditional syllable count of 5, 7, 5, 7, 7. Modern tanka poets rarely count syllables, but do follow the basic line pattern of short, long, short, long, long. The poems in this book take the modern approach and mostly have a loose line length rather than adhering to strict syllable counts. 
The tanka form is often used as a poetic travel diary. Unlike haiku, tanka poems can include simile, metaphor, opinions, emotions, and, occasionally, a bit of rhyme. 
Tanka poems are traditionally untitled, with minimal punctuation and capitalization.
Here's one of my favorite poems.

papa
is too massive
for treetops—
his great weight makes
low branches waltz slowly

Poem ©Margarita Engle, 2015. All rights reserved.

Check out this book trailer to see examples of the vibrant art that accompanies the informative and lyrical poems.

Poems in the Attic (2015), written by Nicki Grimes and illustrated by Elizabeth Zunon, is a collection of paired free verse and tanka. The book opens with a seven-year old girl visiting her grandmother. During the visit she discovers poems in the attic—poems written by her mother. What follows on each two-page spread are a pair of poems, a free verse poem (on the left) written by the girl, and a tanka (on the right) written by the girl's mother when she was a child. The mother's poems capture a childhood on the move as the daughter of an Air Force captain. 

Here's an example. 

Grandma Says

Memories can be like sandcastles
the waves wash away.
My mama glued her memories with words
so they would last forever.


Cabrillo Beach
California

Home on leave, Daddy
took me to the Grunion Run!
Our flashlights found them—
slim fish, silver as new dimes,
wiggling ashore to lay eggs.

Poems ©Nikki Grimes, 2015. All rights reserved.

Back matter includes an explanatory note on poetic forms, as well as information on the specific bases mentioned in the poems.


Here are some resources you may find helpful in exploring and writing tanka in the classroom.
I hope you've enjoyed this brief introduction to the tanka. On Saturday and Sunday 'll be sharing interviews with children's poets. On Monday I'll return with a week-long look at haiku in varied forms, covering a wide range of topics.

Poetry Seven Write Raccontinos

I blame Helen Frost for this one. If it weren't for her terrific book Spinning Through the Universe: A Novel in Poems from Room 214, I never would have stumbled on this form, and it never would have made the list of writing challenges undertaken by the Poetry Seven this year.

Here are the requirements of the form.
  • composed of couplets (any number)
  • even number lines share the same end rhyme
  • the title and last words of the odd numbered lines tell a story
When I sat down to write I thought that this might be a bit easier than our last form. Boy, was I wrong! I wasn't sure where to start, so I settled on a sentence for my story. I made a form (yes, I'm a type-A poet!), filled in the story words, and went to work. I'm not quite satisfied, so this is far from done. Here is the first version and a much revised second version. (Note that I've highlighted the title and the odd numbered end words to make the story stand out.)

Version 1 (First Draft)
Dear Poet, Be Advised …

The lines you write mean nothing
unless your heart fills the ink that stains

the page. Don’t spend your time on rhymes
that may amuse. Instead take pains

to choose the perfect words with
which to bare your soul. Let loose the reins

of your imagination. Write all your colors, even orange!
Empty all your feelings out, ‘til nothing else remains.


Version 2 (Many Revisions Later) 
Dear Poet, Be Advised …

The lines you write mean nothing
unless the ink that stains

the page is filled with heart. Pick rhymes 
with prudence. Take pains

to choose the ideal words with
which to craft your art. Let loose the reins

of imagination. Write all the colors, even orange!
Pour body, soul and feelings out, ‘til poetry fills your veins.

Poems ©Tricia Stohr-Hunt, 2015. All rights reserved.

You can read the poems written by my Poetry Seven compatriots at the links below. 

I do hope you'll take some time to check out all the wonderful poetic things being shared and collected today by Amy at The Poem Farm. Happy poetry Friday friends! 

Thursday, April 02, 2015

NPM Project: Jumping Into Form - Renga

Renga is an ancient Japanese form of collaborative poetry. The Renga platform in the UK provides this introduction for beginners.
A renga is a series of short verses linked into one long poem, composed collaboratively by a group. Each constituent verse must make sense independently. It should also connect in some way with the verses that follow and precede. The verses alternate between 3-lines and 2-lines throughout.

The opening verse of a renga is called the hokku. It takes the same form as haiku - three short lines. A renga opens with some reference to the season of composition and moves - not necessarily in orderly sequence - through all four seasons, generally ending with a spring verse. Seasonal themes are generally sustained for at least a couple of verses, and the passage from one season to the next is often broken by one or more non-seasonal verses.

Seasonal reference is made through the use of a season-word, which may be obvious, like ‘autumn rain’ or ‘snow’, or more subtle, for instance, ‘watermelon’ for summer. Season words include cultural as well as natural references; for instance, you might use April Fool's Day for spring. The two key principles of renga are link and shift. Link means that each verse should connect in some way with its immediate predecessor. Shift means that, with the exception of the link just noted, each verse should move on, drawing on imagery, which is new (for that particular renga). That is, repetition is to be avoided. Even when linking, although there will be some implicit connection, actual words and phrases should not be repeated.
Birds On A Wire: A Renga 'Round Town (2008, OP), written by J. Patrick Lewis & Paul Janeczko and illustrated by Gary Lippincott, is a series of interlinked verses that describe life in a small town on a single day. Instead of the usual renga pattern with authors alternating each verse, the poets here have chosen to alternate PAIRS of verses. They do acknowledge this break from tradition in the introduction, explaining that "We each wrote five lines and broke them into three-line and two-line stanzas.'

The introduction to this book actually provides quite a bit of information about the form. Here's an excerpt.
What, you might be wondering, is a renga? Like a haiku, a renga is an ancient Japanese verse from in which poets take turns adding verses. The word is both singular and plural, like sheep or salmon. A renga (meaning "linked verse") isn't nearly as well known as a haiku, and that's too bad because haiku really evolved from renga. 
A traditional renga is written by two or more poets. The first poet writes three lines (similar to haiku), the second poet follows that with two lines, the first poet comes back with another three lines, then two, three, two, and son on. Like railroad cards in a line, each verse links in some way with the one preceding it, but not with the others. That means that each new verse can send you off in a completely different direction. And the next poet must discover how to connect to the new verse.
The book opens at the beginning of a day with these verses.

in the blizzard
of apple blossoms,
a road edged in white

        old spotted hound
        stops to sniff

As readers are taken on a trip through the town they encounter a creek, grasshopper, florist, doughnuts, hardware store, old Ferris wheel, ballpark, and much more. By day's end and the end of the journey, readers have had a lovely glimpse into small town life.

My favorite verse from the book hearkens to a poem of William Carlos William's that I love.

glazed with rain
a red wheelbarrow headstands
by the hardware store

        the old doctor recalls
        childhood barnyard

Poems ©J. Patrick Lewis & Paul Janeczko, 2008. All rights reserved.

If you wish to try writing renga in the classroom, you need to settle on some rules that will work for you and your kids. I particularly like those set out at My Need to Write in a post entitled How To Write Poetry: Renga.

You may also find some helpful resources at these sites.

Finally, here is a renga project you should be aware of. Even though it isn't meant for the elementary classroom, it will give you a feel for the the beauty and challenge of writing a renga.

In 2011, a group of 54 poets contributed 10 lines each to one poem about America. Called Crossing State Lines: An American Renga, this amazing collaboration includes the likes of Robert Pinsky, Rita Dove, Philip Levine, Edward Hirsch, Billy Collins, and more. This project was commissioned by America: Now and Here, an organization founded by Eric Fischl to promote conversation about contemporary America through the arts. This 45 minute film is a reading of the resulting renga.
 
Crossing State Lines: An American Renga from Drew Harty on Vimeo.

NPR also did a story on this project. You can hear Carol Muske-Dukes, one of the book's editors and a poet, along with two additional poets talk about the project in the piece 'Crossing State Lines': 54 Writers, One American Poem.

It's hard to pick a favorite here, but I'm quite drawn to these lines by Edward Hirsch.

How many state lines did we cross
as we drove across a wide country
sometimes divided sometimes united

Every state is a state of mind

Every love is a drive
toward a move perfect union


I hope you've enjoyed this brief introduction to the renga. I'll be back tomorrow with another Asian poetic form.

Wednesday, April 01, 2015

NPM Project: Jumping Into Form - Sijo

Originating in Korea, sijo (pronounced she-zho) are poems divided into three or six lines. These poems frequently use word play in the form of metaphors, symbols and puns. Here is a description from AHApoetry.
More ancient than haiku, the Korean SIJO shares a common ancestry with haiku, tanka and similar Japanese genres. All evolved from more ancient Chinese patterns.

Sijo is traditionally composed in three lines of 14-16 syllables each, totaling between 44-46 syllables. A pause breaks each line approximately in the middle; it resembles a caesura but is not based on metrics.
I'm quite fond of the poems in Linda Sue Park's book Tap Dancing on the Roof: Sijo Poems. This book provides a wonderful overview and introduction to the form. Park's poems will have kids laughing and thinking at the same time. As the form demands, they are full of little surprises. Here are two of my favorites from the book.

Summer Storm

Lightning jerks the sky awake to take her photograph, flash!
Which draws grumbling complaints or even crashing tantrums from thunder--

He hates having his picture taken, so he always gets there late.


Breakfast

For this meal, people like what they like, the same every morning.
Toast and coffee. Bagel and juice. Cornflakes and milk in a white bowl.

Or -- warm, soft, and delicious -- a few extra minutes in bed.

Poems ©Linda Sue Park, 2008. All rights reserved.


How do you write a sijo? Here is a brief summary of the advice Park gives at the end of her book.
Three line poems should contain about 14 to 16 syllables per line. Six line poems should contain 7 or 8 syllables per line.

The first line should contain a single image or idea. The second line should develop this further. The last line should contain the twist. 
In his sijo primer, poet Poet Larry Gross writes:
Remember the three characteristics that make the sijo unique — its basic structure, musical/rhythmic elements, and the twist. It is shorter and more lyrical than the ghazal. It is more roomy than the haiku, and it welcomes feelings and emotions which haiku either discourage or disguise. It should please lovers of ballads, sonnets and lyrics, and the downplay of regular meter and rhyme should appeal to writers of free verse. 
Before introducing sijo in the classroom, you may want to try writing some sijo yourself! Here's a video primer to get you started.
While there are more familiar Asian forms of poetry read and written in the classroom (we'll get to those this month too!), I love the challenge that this form presents.

Once you are ready to begin, here are some resources that will help you tackle introducing and writing sijo in your classroom.
I hope this little introduction to sijo has piqued your interest in the form. Come back tomorrow to learn about another Asian poetic form.