MRA Today 2023

Dear MRA Members,

Summer. The time we, as educators, no matter what our position, can slow down a bit, regroup, and carry on. We can catch more time with family, have a little more fun, and, hopefully, take some time for ourselves. Yet, in that state of life and mind, we still think ahead to the fall, wondering what the next academic year will be like, what needs to be done to prepare, and what might make it a relatively easy year. (I remember the year a kindergarten teacher said to me, “Wait, they will be yours in three years.” And three years later, I learned what she was talking about and loved those messy, noisy kids!) In this issue of MRA Today, which focuses on poetry, you will find some ideas to think about during this summer slowdown. Most likely questions will pop into your head, such as, “How can I use this idea in my classroom?” “This is a super idea, but it’s grade-two level, can I adapt this to kindergarten level?” The clincher? “You can because that’s what educators do.” One idea that I have about poetry is to place an easel near the cafeteria line and put up a short poem (or riddle) daily. I’m thinking that perhaps instead of elbowing each other in line, the students would see something new to concentrate on, and this would give them an opportunity to read just a bit more. Hopefully, someone reading this idea will try it. If you do, please let me know!

As you get into the academic year, let me tell you how MRA is more than a yearly conference and our wonderful publications. We offer professional development in courses that can be taken for one credit and in short-duration webinars that offer teaching ideas on current instruction. Check the website or watch for informational emails about these events. Also, we have three awards that we offer to individual members and schools. The Exemplary Reading Award highlights exemplary programs in reading. If you have an exemplary program at your school, you should apply for this prestigious award! We offer the Sylvia Brown Scholarship to educators who need funds for research. Finally, we offer the Landry Student Award, which is a competitive award that allows one undergraduate student and one graduate student to attend the MRA Annual Conference for free. Any of these awards could be yours; applications can be found on our website at www.massreading.org

In addition to what MRA, as a state organization offers, your local councils are busy making plans for professional development opportunities. This past year, local councils have offered presentations by children book authors, along with presentations on such topics as nonfiction reading and writing and the Science of Reading. Your local council is a great way to network. Getting involved on the local council board is even better. It gives you the opportunity to decide which presentations should occur, and which literacy projects can be offered by the council in your area. Board membership also gets you “in the know” about what other local school systems are doing in various areas and gives you the chance to make lifelong friends. Think seriously about joining a council as the time and commitment are worth the benefits!

In closing, I ask that you do take some time for yourself this summer and do what we all love... pick up a good book and read!

Nancy Witherell Co-Immediate Past President nwitherell@bridgew.edu

Dear Members,

This issue of MRA Today really speaks to me- I hope it speaks to you, too! Poetry is a favorite genre of mine, and I loved sharing poems with my students throughout the years as a way for them to understand life and navigate the world around them. I am thankful to our editors, Valerie Harlow Shinas and Elaine Bukowiecki, for the outstanding job they have done to get this issue ready for us to enjoy. I am grateful to all the authors who wrote articles sharing their love of poetry and to those who described how they use poetry in their classrooms. A special thank you to Nikki Grimes for giving us the pleasure of experiencing her journey to becoming a New York Times best-selling author and multi-award-winning poet and to Michael Strickland for providing teachers with sage advice for inspiring their students to write poetry.

My earliest memory of loving poetry is when I was playing school with my siblings, and we would take turns reciting nursery rhymes. I am one of the oldest of seven children, so the little ones were our captive audience. They delighted in the rhythm and the silly words that accompanied the rhymes. None of us knew who Miss Muffet was or what a tuffet was, but it sure was funny to say those words! During our “recess” time, we would go outside to jump rope. We would reap the benefits of exercise while practicing our fluency skills as we chanted the words to “Ice Cream Soda,” “Teddy Bear,” “K-I-S-S-I-N-G,” and “I Like Coffee.” As a teacher, I taught these jump rope rhymes to my students, so they could use them when they were on the playground with their friends. (I also taught them how to jump rope!) These poems have also been passed down to my children, my grandchildren, and hopefully, some day to my great grandchildren.

As an adult, a key event in developing my love of poetry was when I was first introduced to Georgia Heard in one of my graduate classes at Framingham State University. The required reading text was Awakening the Heart: Exploring Poetry in Elementary and Middle School (Heard, 1999). I was hooked and couldn’t get enough of her inspiring and practical suggestions for creating a classroom environment that would encourage my fourth-grade students to read and write poems that engaged their curiosity and allowed them to nurture the poet inside. We spent the year reading and crafting poetry, using the Meaning and Music Toolboxes (Heard, 1999, p. 65). I

continued to use this text with my middle-school students, as a reading specialist with my small groups of students, and as an administrator when facilitating professional learning workshops.

It seemed only natural for me to include poetry in MRA’s 52nd in-person conference: Be the Beacon That Lights the Way, beginning with a video showing children reciting their favorite poems to the end of the conference with Michael Strickland reminding attendees of the powerful connection between poetry and music. I felt the excitement and joy of being around lovers of literacy. We had a great two days of listening to dynamic speakers and presenters! The authors were engaging as they shared their books and journeys to becoming writers and illustrators.

I left the conference feeling rejuvenated and ready to Be the Beacon! I am forever grateful to the conference committee for supporting my vision and helping to make MRA’s first in-person conference following the pandemic a success.

MRA is very excited as we look forward to our 53rd conference: Liberating Literacies: Stories That Sing. The 2024 conference chair, Patricia Crain de Galarce, is planning a celebration that will “explore literacy practices that are joyful, restorative, inclusive, and liberating.” You won’t want to miss it!

Enjoy the summer with family and friends! I look forward to seeing you soon.

Joyfully,

Pattie Kelley President, MRA 2023-2024

Heard, G. (1999). Awakening the heart: Exploring poetry in elementary and middle school Heinemann Publications.

LETTER FROM THE EDITORS OF MRA TODAY

Dear Friends of MRA,

It has been an absolute joy to prepare MRA Today 2023 for you. With spring in the air and longer days stretching out before us, we were eager to assemble a collection of rich reading selections for you to enjoy on your patio, lawn swing, or anywhere you can enjoy the lovely days of the season. Our theme, Reigniting a Passion for Poetry, inspired many of you to submit original compositions and inspiring ideas for enjoying, thinking about, and teaching with poetry. We’ve curated an exciting collection of interviews, articles, and poetry that is sure to capture your imagination. And some young poets were inspired to share their poetry as well – we know you will enjoy their contributions. We hope that this collection of readings, poetry, and articles will reignite your passion for poetry.

We are delighted with the national and state-wide response for manuscript submissions to the 2023 edition of MRA Today. At first, we were worried that we would not have enough manuscripts to publish this spring’s MRA Today. However, the second call for submissions brought to us several thought-provoking, inspiring, and informative articles and poems from authors and poets living in Massachusetts and across the United States. And the inaugural MRA Children’s Poetry Contest brought to us many delightful and thoughtful poems from young poets in Massachusetts, second grade through seventh grade. What an enjoyable reading treat is awaiting you in the 2023 MRA Today.

The themes of the poems and articles in MRA Today 2023 are varied and exciting. As a direct connection to the 2023 MRA Conference, there is an interview with poet Nikki Grimes, and an article written by author and poet Michael Strickland, advising teachers how to inspire their students to write poetry. Nationally known poet and author Mark Weakland has published three poems and an article in this spring’s journal that will inspire students of all ages to write poems. There are poems written by Roberto Germán and Matthew Peterson that will make one think about what it is like to be an educator in 2023. MRA President-Elect and 2024 Conference Chair, Patricia Crain de Galarce, has written a beautiful tribute to poet Robert Frost. Two of our own graduate students, Madison Clouatre and Ioanna Opidee, share with MRA Today readers

how they guide their middle-school and high-school students to analyze a poem and to notice in a poem the varied nuances that the poet has employed. And John Michael Pabian describes the most enjoyable and thought-provoking political cartoon raps his former seventh-grade history students wrote, while Angelica DaSilva explains the importance of translanguaging in poetry to illustrate the intersection between writing and identity among bilingual students.

The poetry submissions to MRA’s Children’s Poetry Contest also reflect a variety of themes. For example, these young poets write about painting, fourth grade, spring, sailing, expectations, flag football, February, people, Alaskan paws and foxes, our changing world, an early bird, family, dreams, being your own person, wintertime, Greek walk, the pond’s lily pad, and a giraffe. Additionally, one class of fourth-grade students penned black-out poetry.

So, please enjoy this 2023 edition of MRA Today. The poets and authors who are published in this spring’s journal will definitely inspire you and perhaps ignite a passion within you to write your own poem!

Yours in literacy,

Elaine Bukowiecki and Valerie Harlow Shinas

Co-Editors of MRA Today 2023

ARTIST’S STATEMENT | HANNAH EJ TESSONO

The delightful picture that graces the cover of MRA Today 2023 is a watercolor drawn by Hannah EJ Tessono, the daughter of Nadege Tessono Okotie, who is the graphic designer for MRA’s publications. The focal point of Hannah’s watercolor is a rainbow, which she drew because rainbows are “nice, pretty, and sweet.” Additional images in Hannah’s watercolor are a purple heart, a sun, clouds, a butterfly, and birds. Finally, Hannah wrote a most enjoyable poem about rainbows to complete her cover drawing.

Please enjoy the photograph below of Hannah, hard at work on her watercolor for the cover of MRA Today 2023 as well as an interview with Hannah regarding her thoughts for choosing watercolors to create her cover illustration.

Hannah is a budding artist who is only seven years old but already making her mark in the world of art. Hannah attends Willett Elementary School in Attleboro, where she is in the first grade.

She enjoys painting with her mother and learning new techniques from her. Despite her young age, Hannah already has a deep appreciation for the beauty in the world around her and a desire to express it through her art. Her talent, creativity, and passion for art make her a rising star in the art world, and we can’t wait to see what she creates next.

An Interview with Nikki Grimes

VALERIE HARLOW SHINAS AND NIKKI GRIMES

For this issue of MRA Today, we looked for ideas and inspiration that will help teachers bring the beauty of poetry and poetic genres into their classrooms. Who better to turn to for inspiration than Nikki Grimes, the 2023 MRA Children’s Literature Award recipient? We asked Ms. Grimes to share her thoughts and wisdom with us – read on and be inspired.

1. We understand that you began writing poetry as a young child. What inspired you to begin writing poetry? What were some of your favorite topics to write about? (V. S.)

Oh! I can tell you haven’t read my memoir. I didn’t come to poetry as play, or hobby, or because of a fascination with language, although that fascination was there. I came to poetry out of a deep sense of despair and a desperate need to excise the dark thoughts and feelings I harbored as a child of trauma. Poetry helped me to expel those thoughts and feelings, put them on the page where they could do me no harm. The idea of poetry as play came much, much later in life, once I began to heal from the trauma of my childhood.

As for favorite topics, I had none as such. I just wrote out whatever I needed to get off my chest, whatever I needed to give expression to. Writing poetry has always been how I make sense of the world, how I make sense of my life. In many ways, it still is though now I’m as apt to write about Black children engaging in nature, or the everyday joyful escapades of a toddler as I am about being caught in the foster care system, or the challenges of being an immigrant, or any variety of social-justice issues written in my own voice, or the voices of women poets of the past. I choose my topics based on where I see lack of representation. A lack of books featuring boys wrestling with body image issues? Garvey’s Choice (Grimes, 2016). Few books featuring Black characters engaged with nature. Southwest Sunrise (Grimes, 2020) and the forthcoming A Walk in the Woods (Grimes, 2023). Nothing for young readers celebrating female poets of the past? Legacy: Women Poets of the Harlem Renaissance (Grimes, 2021), and so on. I look for the gaps in the literature, and I work to fill them. That’s what drives me. (N. G.)

2. Where do the ideas for your writing originate? What inspires you? (V.S.)

I think I’ve answered that one!

3. Do you have a favorite poet? (V. S.)

I don’t imagine any living poet has a single favorite! That said, mine include Lucille Clifton, Mary Oliver, and Naomi Shihab Nye. My personal library is filled with books by these poets. (N. G.)

4. Your books and poetry have inspired generations of teachers and children to read, write, and learn from poetry, and you are committed to teachers and students. We were struck by the abundant resources you share with teachers via your website. How do you encourage teachers to teach poetry?

Poetry speaks to both our IQ and our EQ, and so I talk to teachers about the power of poetry to soothe, to heal, to entertain, to awaken a love of both language and story. I talk about poetry—especially in the form of novels in verse—as a tool for literacy. There’s something about all that white space in a verse novel that invites the most reluctant reader to the page. Their fear or hesitancy about reading is diminished when they see those spare lines in that sea of white. That’s a sea they’re not afraid to dive into and, before they know it, they’re hooked on reading. They’ve discovered a new love, and it’s poetry! For many readers, a novel in verse is the first novel they’ve ever completed. And I talk about the diversity of verse now available for readers of every age and interest level. Name a subject, and there’s likely at least one or two collections of poetry on it. There is, quite literally, poetry for everyone, so there’s every reason for students and teachers to explore it—and no reason not to. (N. G.)

5. What advice would you give to young people who write poetry and hope to become published poets one day? (V. S.)

An Interview with Nikki Grimes

Read, read, read! There are a vast number of forms of poetry. How will you know which forms you like if you don’t explore them all? Don’t stop at free verse or haiku. There’s nearly an entire alphabet of poetry forms, from Acrostic to Concrete, from Found to Free Verse, from Rap to Sonnet, from Tanka to Word Play—and many forms in between. Try at least a few of them on for size.

Set rhyme aside and focus on metaphor, on the idea of painting a picture with words. Most people use the words rhyme and poetry interchangeably, but they are not the same thing. Rhyme is an element of poetry, but poetry is not an element of rhyme. Poetic elements include assonance, consonance, repetition, alliteration, metaphor, and simile among others. Poetry is much richer than just rhyme. And, by the way, good rhyme is very hard to do! It’s a very exacting element, and very few poets do it well. Everyone, though, can learn to paint a picture using words, and to my mind, that’s truly the heart of poetry.

Finally, before setting out to write a poem, figure out what you want your poem to be about, what idea you want to share, what story you want to tell. Otherwise, you’ll end up stringing words together that may sound pretty but that have no meaning, and what’s the point of that?

Like most good things, poetry is fun but it also takes a bit of work. The work is worth it, though! You’ll see. (N. G.)

References

Grimes, N. (2016). Garvey’s choice. Windsong.

Grimes, N. (2020). Southwest sunrise. Bloomsbury Children’s Books.

Grimes, N. (2021). Legacy: Women poets of the Harlem Renaissance. Bloomsbury Children’s Books.

Grimes, N. (2023, September). A walk in the woods. Porter Books – Holiday House.

Editors’ Note: The in-text citations and the reference list were added by the editors of MRA Today 2023.

ABOUT THE AUTHORS

Valerie Harlow Shinas is an associate professor at Lesley University, where she is chairperson of the Ph.D. in Educational Studies Department. Valerie is past president of the Massachusetts Reading Association (MRA) and the Massachusetts Association of College and University Reading Educators (MACURE). She currently serves on MRA’s Executive Board as Immediate Past CoPresident and Co-Editor of MRA Publications.

Nikki Grimes is a New York Times bestselling author and recipient of the 2022 Virginia Hamilton Lifetime Achievement Award, the 2020 ALAN Award for outstanding contributions to young adult literature, the 2017 Children’s Literature Legacy Award, the 2016 Virginia Hamilton Literary Award, and the 2006 NCTE Award for Excellence in Poetry for Children. Her distinguished works include the much-honored books Garvey’s Choice, ALA Notable book Southwest Sunrise, Coretta Scott King Award winner Bronx Masquerade, five Coretta Scott King Author Honor books, Printz and Siebert Honor winner Ordinary Hazards, Boston Globe-Horn Book Honor One Last Word, its companion Legacy: Women Poets of the Harlem Renaissance, and NYT Bestseller Kamala Harris: Rooted in Justice. Creator of the popular Meet Danitra Brown, Make Way for Dyamonde Daniel, Bedtime for Sweet Creatures, and Off to See the Sea, Ms. Grimes lives in Corona, California.

An Interview with Nikki Grimes

I Stand with #DisruptTexts ROBERTO GERMÁN

I stand with #DisruptTexts what will we disrupt next? perplexed that a call for inclusivity and representation in the language arts curriculum would move some resisters to immense disdain and disrespect.

There seems to be a concerted effort to generate the type of negative energy that only dwells in darkness while such interactions encourage the same type of response, we are children of light and love we don’t keep the type of energy as the heartless.

I stand with #DisruptTexts

I stand with Lorena Germán, Tricia Ebarvia, Julia Torres and Dr. Kim Parker Strong women that do not use their individual and collective voice passively what good would that be anyways? they inspire me and many people around the world to be better and go harder they challenge me to step out of my comfort zone because far too often comfort is home and I need to get out of the house.

I stand with #DisruptTexts my own biases need to be checked I can be a mess

yet the work of applying a critical lens to our teaching practice is best done through community, centering the voices of Black, Indigenous and people of color in literature is a bold commitment to bring about greater unity.

I stand with #Disrupt Texts husband of the movement compadre of the movement student of the movement co-conspirator of the movement I stand with #Disrupt Texts.

About the Author

Roberto Germán is a Dominican American author, poet, spoken word artist, and educator with over 15 years of educational administrative experience. Roberto’s first poetry book Blue Ink Tears (2023) focuses on identity, love, and relationships. He is passionate about supporting young people and prioritizing justice. Currently, Roberto is executive director of Multicultural Classroom and can be reached at roberto@multiculturalclassroom.com. Visit his website at www.multiculturalclassroom.com

Poetry: Tips to Enhance Literacy and Ignite Learning

MICHAEL STRICKLAND

Why read and write poetry? It is a worthy and important art form for anyone. However, poetry has often been pushed to the back of the list when all other writing is completed. We often don’t perceive poetry as a practical pursuit, but it can be the doorway into other areas of higher thinking and creativity.

Distance learning is here to stay, and poetry is a learned behavior. I love exploring online tools as I develop ways to support teachers, students, and library patrons at a distance. Over the past few years, I have often pondered ways to bring poetry and other literature into classrooms and libraries. I am constantly searching for ways to engage learners with words. How can we use methods that are physically interactive and philosophically reflective? The activities described here address all these goals and outcomes. Many of these strategies will work when teaching students in person, or remotely. Adjust accordingly.

Poetry is a terrific resource. Students as David Rickert (n.d.) writes in his article Why Poetry is Perfect for Remote Learning , “If you give a student a poem, especially a modern poem that isn’t out there on SparkNotes or Shmoop, they have to read it, can’t fake reading it, as teachers often see with novels. And then all you have to do is create activities that get them to analyze it” (“Students Can’t Fake Read Poetry”). Poems allow students to practice close reading. They are short and meant to be read over and over again. This makes the art form effective for developing reading fluency and comprehension.

The craft of writing words and the joy of reading them out loud allow people to feel empowered as writers and as readers. It offers an opportunity to frame the challenge of every writer. Reading poetry also has tremendous value. Writers need to write the words, but readers make them come to life. Poetry lends itself to being read aloud with powerful expression and deep feelings. There are rich aesthetics, such as those found in the poems of E.E. Cummings, in which the shapes are as important as the words themselves.

Teachers, try these engagements: Read a poem of the day to your students in-person or in a video you post. Choose

Poetry: Tips to Enhance Literacy and Ignite Learning

something inspirational. Maybe something silly. Whatever you choose, your students will enjoy hearing your voice. Poetry allows you to connect with your students. In remote instruction or in person, sharing daily poetry may be a soothing way to begin each day in either a synchronous or self-guided format.

Play music. This usually works best with jazz, classical or other instrumentals without lyrics. Students can write words or phrases to describe the music.

Ask students to look up and find a favorite piece of visual art. Next, have them make a list of words to describe the artwork. Use the descriptive words to write a line or more of poetry using onomatopoeia, simile, personification, metaphor, oxymoron, or other figurative language. Ask them to write another line using different figurative language. Put all of the visuals on a screen or a whiteboard. Ask students to read the lines to a partner or the class who will try to guess the piece of art.

“Do a poem jigsaw,” says Peter Armenti (2015) in his article, Reading Poetry in the Classroom: Bell Ringers.

Hand each student one or two lines from a poem, depending on the length of the lines. Mix a few short poems through the class or give everyone an excerpt from the same long poem. (Students should not know how many different poems have been distributed.) After reading their line(s) and recording one or two sentences of reaction, ask students to move around the room to find someone else with lines from what they think is the same poem. They should sit together to discuss reasons why they believe the lines come from the same poem. (Armenti, 2015, “Poem Jigsaw”).

Inevitably, unless everyone in the class is working with the same poem, some students will partner with someone with lines from a different poem. They may or may not figure this out after taking a closer look. However, the most significant outcome of the activity is that students are discussing poetry in a meaningful way. Put the poems from the activity in a book for students

to access in the classroom.

Encourage students to explore poems with which they will feel an affinity. Provide links to a wide range of poems and poets. Check out the Carney Sandoe Blog (Carney Sandoe & Associates, 2020) for some good sources. In addition to reading live, or recording a reading, you may ask students to write or record a reaction, focusing on why they found the poem appealing.

One way to do this is to have students read a poem three times, each time with a different color for annotation. That way you can see the development of ideas upon successive readings. And perhaps students will get the aha! moment that reading something a few times is a worthwhile thing to do.

Poems are easy to add to existing remote curriculum. Unlike contemporary literature, great poems are readily available online. All you have to do is provide students with a link. You can also copy the text and paste it into a document where they can annotate it or answer some questions. Poetry can easily be added to reading or writing units. For example, pick a classic young adult novel and google its name along with the words “poetry pairings.” You’ll find resources, ideas, connections, relationships and lesson plans. When writing a persuasive paper, have students analyze related poems for rhetorical strategies.

A poetry lover is a person who loves at least one poem, that’s all. It is as accessible as you want it to be. Poetry’s short and concise format is often more manageable, especially for people with writer’s block. Poetry’s range of subject matter is vast and varied and can help stimulate rich, precise, imaginative language. Through poetry, you can practice inferential thinking in text that is short yet filled with meaning. It can help you make a personal connection to those around you. Poetry can help create a more relaxed and positive atmosphere at home or in the workplace. It gives voice and emits a sense of the beauty and joy of being alive.

Poetry: Tips to Enhance Literacy and Ignite Learning

References

Armenti, P. (2015, March 25). Reading poetry in the classroom: Bellringers. From the catbird seat: Poetry at the Library of Congress. https://blogs.loc.gov/catbird/2015/03/readingpoetry-in-the-classroom-bell-ringers/?loc/r=blog

Rickert, D. (n.d.). Why poetry is perfect for remote learning. https://davidrickert.com/whypoetry-remotelearning

Sandoe, C., & Associates. (2020, April 3). Teaching poetry virtually in National Poetry Month. The Puzzle Blog. https://www.carneysandoe.com/blog-post/teaching-poetry-virtuallyin--national-poetry-month

ABOUT THE AUTHOR

Michael Strickland is an author and poet who teaches at Boise State University. He is founder and president of The Human Rights Collective, Inc.

Macaroni and Cheese (A poem for two voices) MARK WEAKLAND

Making macaroni and cheese...

...isabreeze.

It’s as easy as 1, 2, 3

It’saseasyas1,2,3

Step One: Macaroni.

StepTwo:Addthecheese.

Step Three: Serve yourself.

Hey,howaboutme?

Editors’ Note:

Oh.... yeah...

Serve each other!

Serveeachother!

This poem was originally selfpublished by the author in his poetry collection, The Delicious Chocolate Donut (and Other OffKilter Poems) (Weakland, 2011, March 20, p. 30, Happy Hummer Press). This poem is reproduced in MRA Today 2023 with permission from the author.

About the Author

Want some more?

Prettyplease!

Mark Weakland is a consultant, teacher, writer, and musician. The author of teacher resource books, award-winning writing and music projects, and more than 75 books for children, his latest book, How to Prevent Reading Difficulties, PreK-3 (2021) is published by Corwin. Visit his website (www.MarkWeaklandLiteracy. com); follow him on Twitter @ MarkWeakland.

Macaroni and Cheese (A poem for two voices)

Kicking Leaves

PATRICIA CRAIN DE GALARCE

One crisp fall day walking across Amherst Commons, Rick O’Neil absentmindedly kicked the leaves that lay in his path. His meditative walk was interrupted by “Ricky, Ricky, Ricky!” Rick was waved over by one of his most brilliant and inspiring professors, Doris E. Abramson. She tells him how he reminds her of Robert Frost who had walked down the very path kicking the leaves.

Poetry, in many ways, is like kicking leaves. Imagine the rhythm of Ricky’s and Robert’s walk and the sound of the crunch, the fun swish of the kick, and the leaves tossing freely. Frost uses these types of images in his poetry like in An Old Man’s Winter Night, he writes “Of trees and crack of branches, common things” (1916, line 13). There is childlike play embedded in kicking leaves. This essay is for educators who are delighted by poetry and common things, like kicking leaves.

Poetry can be found in many places when we pay attention to details, observe nature, or find simple joys. Find poetry in video games (www.filamentgames.com/blog/video-gamesand-poetry/), climbing hills (www.weareteachers.com/poetry-month-amanda-gorman/) singing (https://poetry.arizona.edu/blog/five-poetry-lesson-plans-inspired-music-sound), skipping rope (https://poetry4kids.com/news/jump-rope-rhymes/) , kicking leaves, and even piling rocks. In Mending Walls, Frost ponders “Oh, just another kind of out-door game” (1914, line 21).

The art of poetry, like the art of kicking leaves, is a creative outlet. It embodies emotions, playful language, and youthful memories. When poetry connects us with nature, it evokes a freeing spirit, taps reflection, and reduces stress. Robert Frost describes this in his poem called Birches, “One could do worse than be a swinger of birches” (1915, line 59). There is freedom in this connection with nature. It awakens the senses and inspires artistic expression. Breathing in the fall air and listening to poetry can both help you appreciate the beauty and transform you into an innovative space. The liberating, playful feeling inspires both creative expression and appreciation of nature.

Frost uses language and movement throughout his poetry that sounds like the flying leaves being kicked. “Tossed, tangled, whirled and whirled above” (1892, line 16) comes from

his first poem ever sold. My Butterfly was written and sold for $15 in 1892 when Robert was a student at Lawrence High School. This poem shares an appreciation of the simple beauty of life and the natural world. Young Robert Frost captures the beauty of a butterfly and the sense of loss that he feels when it dies.

The emotions found in his poetry express the fleeting nature of life and happiness. Like in Carpe Diem, Frosts writes:

He waited, (they were strangers)

Till they were out of hearing

To bid them both be happy.

“Be happy, happy, happy,

And seize the day of pleasure.” (1938, lines 6-10)

Educators and students can find happiness in poetry and the imagery of nature. Robert Frost not only kicked the leaves but often used leaves as a metaphor for life, seasons, and the passage of time. In the poem, Nothing Gold Can Stay, Frost writes:

Nature’s first green is gold

Her hardest hue to hold

Her early leaf’s a flower

But only so an hour. (1923, lines 1-4)

Rick’s playful walk was interpreted differently by Professor Davidson. “My professor thought perhaps I was angry, but I wasn’t. There were no profound thoughts, I was just kicking leaves because it was fun.” Twenty-five years earlier, she had asked Robert Frost “why are you so grumpy, professor?” His kicking of leaves was a cathartic release of some frustration. Like writing poetry, this gave Robert an outlet for his emotions. In Frost’s poetry, he used metaphors and nature to express complex feelings. Walking through the Amherst Commons, the repetitive act of kicking leaves does the same.

Kicking Leaves

Frost encourages the pace of schools to slow-down. In the poem October, he suggests “begin the hours of this day slow” (1913b, line 8). By reflecting on the world around us, he suggests we can “make the day seem to us less brief” (1913b, line 9). Frost encourages us to listen closely to sounds and take in the smells of nature. He continues by suggesting we closely observe the sights.

Beguile us in the way you know. Release one leaf at break of day; At noon release another leaf; One from our trees, one far away. Retard the sun with gentle mist; Enchant the land with amethyst. (1913b, lines 11-16)

Leaves are found in so many poems by Robert Frost. In Harwood Groves, Frost uses leaves to describe the cycle of life, the passing of time, and the beauty of nature.

The same leaves over and over again! They fall from giving shade above To make one texture of faded brown And fit the earth like a leather glove. (1913a, lines 1-4)

Frost’s most famous poem, The Road Not Taken (1915), has us all contemplating life. Frost writes about the choice between two paths in the woods. I imagine him standing on the fork and seeing a “road diverged in a wood” (line 18). He chooses the one with leaves on the ground, “the one less traveled by” (line 19), so he can step on and kick the undisturbed leaves. “And that has made all the difference” (line 20).

In Reluctance (1913c), Frost talks about dead leaves on the ground and the few reluctant leaves “that the oak is keeping” (line 8). It feels like the poet is inviting the reader to go ahead

and kick the leaves. If we do not take risks and revel in each moment, we might leave “the dead leaves like huddle and still” (line 13). If we don’t slow down and play with language, the leaves on the ground might “no longer blown hither and thither” (line 14). Frost is inviting us all to enjoy poetry and play in nature.

For my friend Rick, being compared to Robert Frost by a favorite professor was a transformative experience. Although Ricky does not yet sell his poetry, he enjoys nature, writes music, acts, cooks, and is an inspirational speaker and storyteller. When we bring poetry and joy to the classroom, we create hopeful, creative spaces. Robert Frost invites us to share the anticipation of inspiration and spring in his poem, To the Thawing Wind

Run the rattling pages o’er; Scatter poems on the floor; Turn the poet out of door. (1913d, lines 13-15)

Frost, R. (1892). My butterfly.

Poems Cited

https://poets.org/poem/my-butterfly

Frost, R. (1913a). In hardwood groves.

https://www.poetryverse.com/robert-frost-poems/inhardwood-groves

Frost, R. (1913b). October.

https://www.poetryfoundation.org/poems/53084/october56d23212a5b72

Frost, R. (1913c). Reluctance.

https://www.poetryfoundation.org/poems/53085/reluctance

Frost, R. (1913d). To the thawing wind . www.americanpoems.com

Frost, R. (1914). In mending walls .

https://www.poetryfoundation.org/poems/44266/ mending-wall

Frost, R. (1915). Birches

https://www.poetryfoundation.org/poems/44260/birches

Frost, R. (1915). The road not taken https://poets.org/text/road-not-taken-poem-everyoneloves-and-everyone-gets-wrong

Frost, R. (1916). An old man’s winter night . https://poets.org/poem/old-mans-winter-night

Frost, R. (1923). Nothing gold can stay . https://poets.org/poem/nothing-gold-can-stay

Frost, R. (1938). Carpe diem .

https://www.robertfrost.org-diem.jsp

Kicking Leaves

ABOUT THE AUTHOR

Patricia Crain de Galarce is the director of the Center for Inclusive and Special Education at Lesley University. She was inspired to write this essay after a conversation with her dear friend Rick O’Neil.

How is a Poem Like Yoda? The Joy and Power of Using Poetry to Teach Reading MARK WEAKLAND

For me, a poem is a lot like Yoda: It takes up little space but contains tremendous wisdom, surprise, and energy. More specifically, a poem lends itself to learning and practicing all manner of literacy elements, from fluency, phonic patterns, and vocabulary, to genre, author study, and comprehension. Also, poems work for all types of classroom reading: whole group, small group, and independent. And most children find poems engaging. I attribute this to their brevity, rhythm, and sometimes rhyme, as well as their rule-breaking structures.

During my years of working with low-achieving third graders, I presented two poems a month. Now, whenever I teach in K to 6 classrooms, I present three to four, and the first-grade curriculum I am developing is full of poems, for both shared reading and read alouds.

Loosely Leveling Poems

Presenting a variety of poems provides possibilities for classroom activities, gives students choice in what they read, and allows me to differentiate for reading levels. Some poems come with a Lexile or grade level. For those that don’t, you can type them into an ATOS website or Microsoft Word document to generate a grade level and readability score. But I find these scores can be misleading, sometimes egregiously. That’s why I roughly determine a poem’s appropriateness for a group of students by using my teacher sense as I consider the following:

• Vocabulary load,

• Sentence structure,

• Complexity of concepts,

• Total number of words,

• Number of phonic patterns presented.

Possible Routine for Teaching Reading Skills Through Poems

Here’s a five-step routine for teaching any poem. Of course, it’s just a suggestion. Make it your own based on the type of poem you present and the ability of the kids you teach.

1. Engage students in discussion around the title. Then, pre-teach vocabulary words using direct and explicit instruction. Both of these activities build language comprehension (topic, background, vocabulary) before reading.

2. Next, read the poem three times using some part of (or all of) the “I Read, We Read, You Read” sequence. Point out any rhyming words and discuss spelling patterns.

3. After “I Read, We Read, You Read,” use interactive read aloud techniques to discuss the poem’s content. Focus points might be text-to-text connections, visualization, main idea, and so on. Read a section of the poem, do a think-aloud (such as “I think the author is trying to...” or “I see that this sentence connects back to the beginning where…”), and ask questions, such as, “Why did the author use this word?” “What do you think this sentence means?” and “What is the author trying to say here?”

4. If a poem lends itself to movement, read the poem again and weave in actions. Movement and fun are always a good idea!

5. After multiple practice opportunities, randomly call on two to three students. When called, they can either “pass” or read the poem aloud. After each presentation, directly and explicitly describe any reading behavior you want to highlight and praise, such as effort, accuracy, phrasing, expression that demonstrated meaning, a strong voice, etc. Have the class give a round of applause or some other cheer.

Poems for Two or More Voices

Poems for two or more voices hold a special place in my heart. I love to read them with students and in turn, students relish practicing them in pairs and trios and then presenting them. The gold standards are, of course, Paul Fleischman’s (1989b, 1989a) Joyful Noise and I am Phoenix. But many collections feature two-or-more-voice poems, including Wherever Bears Be by Sue Ann Alderson (2003), Messing Around on the Monkey Bars by Betsy Franco (2009), and Farmer’s Dog Goes to the Forest by David Harrison (2005). I’ve written my own multi-voice poems, including the perennial favorite, Macaroni and Cheese (Weatland, 2011). You can find this poem in my poetry collection The Delicious Chocolate Donut (And Other Off-Kilter Poems) (Weatland, 2011).

Poetry Anthologies

I thank my mother, a longtime reading teacher, for clueing me into poetry anthologies back in the 90s. During my years as a special educator and then as a third-grade teacher, individual anthologies were an important element of my independent, supported reading program.

For each poem you present, have an appropriate number of 3-hole punched copies ready. Also, have a three-ring binder for each student. A simple double-pocket folder also works. Any poem a student loves goes into that student’s anthology binder or folder. The anthology grows as the months go by, reflecting each child’s reading preferences.

Every poem in the anthology provides an opportunity for students to re-read, build fluency, and share their reading. Here’s a list of student options for reading a poetry anthology during independent supported reading time:

• Read at your desk or in the cozy chair (sign up);

• Read with a whisper phone or paintbrush;

• Dramatically read a poem into a digital recording device;

• With a partner or trio, read the poem in various ways (using character voices, with a prop, alternating lines, alternating stanzas, etc.);

• Sign up to present a poem to the class;

• Sign up to present a poem using two or more voices (duo or trio).

In conclusion, when you use poetry to help you teach reading, you spread the joy of language and words as you go. Have fun making a joyful noise!

References

Weakland, M. (2021). How to prevent reading difficulties. Corwin Press. How is a Poem Like Yoda? The Joy and Power of Using Poetry to Teach Reading

Poetry Books Cited

Alderson, S. A. (2003). Wherever bears be. Tradewind Books.

Fleischman, P. (1989a). I am phoenix: Poems for two voices. Harper Trophy

Fleischman, P. (1989b). Joyful noise: Poems for two voices. Harper Collins.

Franco, B. (2009). Messing around on the monkey bars and other school poems for two voices. Candlewick.

Harrison, D. (20050. Farmer’s dog goes to the forest: Rhymes for two voices. Wordsong.

Editors’ Note: This article is a revision and synthesis of current thinking plus previously published thoughts that first appeared in How To Prevent Reading Difficulties (Weatland, 2021).

ABOUT THE AUTHOR

Mark Weakland is a consultant, teacher, writer, and musician. The author of teacher resource books, award-winning writing and music projects, and more than 75 books for children, his latest book, How to Prevent Reading Difficulties, PreK-3 (2021) is published by Corwin. Visit his website (www.MarkWeaklandLiteracy.com); follow him on Twitter @MarkWeakland.

Poetry in Middle School: An Opportunity for Students and Teachers to Learn and Grow Cooperatively MADISON CLOUATRE

Teaching middle school, in all its glorious awkwardness, is not where I anticipated to find myself in my education career. Nor did I anticipate developing a love for teaching poetry to said middle schoolers. Much like the soon to be young adults sitting before me, poetry in the classroom offers an unbelievable amount of opportunity for student input, connection, and discussion.

Our poetry unit is embedded into our fictional text unit of study, where we cover the elements of fiction through plot structure, theme analysis, narrative perspective, character development, and the use of literary devices. We take the first several weeks of school to build background in the areas necessary for fictional text analysis before shifting to the elements specific to poetry. We begin with theme - defining, identifying, and supporting the various messages and lessons authors convey in their writing. We then move to literary devices - specifically, defining, identifying, and creating figurative language as well as noticing and explaining symbolism, irony, and mood. Subsequently, we spend time digging into plot structure, the impact of narrative perspective, and character development. Once we are confident our students have a clear understanding of these features, we shift into analyzing poetry.

Our poetry study begins with identifying the transitions that occur from fictional text to poetry. For example, the “narrator” being referred to as the “speaker,” and how the visual structure of a poem will help dictate the author’s intended phrasing versus relying solely on punctuation. We then begin our poetry analysis, introducing several poems from authors and poets such as Gary Soto, Earnest Thayer, Emily Dickinson, and Robert Frost.

With the introduction of each new poem, we first dive into the background of the poet. My favorite way to do this is to split the class into small groups or pairs and have them peruse the internet for important information about our poet including time period, family life, and additional works. Through a group share, we compile a fairly thorough picture of our poet and the influences on their writing. I then provide any other impactful background they might have missed and help connect the dots for my students on Individual Educational Plans (IEPs).

We then begin reading our poem following the “Three Read Rule.” The first read is strictly

to listen to the poem read aloud. I prompt my students to just listen and take note of what stands out to them. This means they could be looking for repeated words, noticing there is an absence of or oddly placed punctuation, the mood is clearly dark or sad or happy, odd words are capitalized, there is indication of age of the speaker, or clues as to the message the author is trying to send. Anything they notice about the features or content of the poem is appropriate. Following our first read, I simply ask, “What do you think?” leaving the floor completely open for their own interpretations. With unlimited time, I would ask them all to share their thoughts, but with the time constraints of the day, I ask students to volunteer to share their notations.

The second read is an opportunity for students to identify features of the poem that indicate the theme through the prose and vocabulary chosen by the author. During the second read, I will ask students to mark a star next to examples of figurative language, repeated words, and lines that make the listener understand the author’s message. This prepares them for our discussion following the second read. In discussion, we move through each stanza, or in shorter poems, each line, highlighting, identifying, and annotating figurative language, words that give the reader an understanding of the mood, and clear and inferential indicators of the poem’s message.

Finally, we approach the third and final read. The writing prompt is shared with students prior to this, and students are prompted to search for the evidence they will use to support their written response relating to theme and word choice. Much of this is covered in the discussion following the second read, but in this thought process, students are thinking about how they will explain the evidence found in the poem in their own words.

To conclude each poem analysis, students respond to the writing prompt. The writing prompt is always very similar, including a variation of, “How does the author’s word choice and use of literary devices contribute to the theme of the poem?” This allows the repeated practice across a variety of poems for multiple exposures, and an opportunity to reach a level of mastery and independence. Students are expected to restate the answer to the question, identify and explain the theme of the poem with evidence, identify and explain the word choice or literary

devices with evidence, and conclude their thoughts.

This poetry instructional practice gives an incredible opportunity to get to know my students as well as see their ability to interpret and analyze a written piece before moving into our short story unit that follows. The discussion that arises around their initial thoughts and reactions is always surprising and insightful. Poetry is meant to be open for interpretation by the listener, and hearing the impressions the text makes on middle schoolers as well as what brought them to that conclusion is profound. The connections and ideas a room full of 12-, 13-, and 14-year-olds can make and bring up, and are willing to share with both me and their peers, never ceases to amaze me.

ABOUT THE AUTHOR

Madison Clouatre is a seventh-grade, special education teacher at Dudley Middle School in Dudley, MA. She has worked with children of all ages in various academic and extracurricular settings for over 12 years. She received her bachelor’s degree from Bridgewater State University in Early Childhood Education in 2016 and is actively pursuing her master’s degree as a Reading Specialist from her Alma Mater.

Poetry in Middle School:

A Bug! A Bug! MARK WEAKLAND

A bug! A bug! Get it off me, I beg. Get it off, get it off!

It’s right there on my leg!

When I caught a quick glimpse

It looked wrinkled and thick, Like some crinkly beetle

Or a weird kind of tick.

Now I can’t stand to look

As it crawls and it creeps;

As its tiny mouth grins and its buggy eyes peep.

It’s just squatting there quiet; That means something’s not right.

Oh gosh! What’s it doing?

Do you think it will bite?

I’m sure it will sting me

Or fly up in the air, And with a loud buzz

Build a nest in my hair and…

It’s... what? Not a bug?

Is that what you said?

Do you think that I’m crazy

And it’s all in my head?

Well, if it isn’t a bug

Perched there brash and so brazen

Then what is it, pray tell?

Oh!... you’re right...

it’s a raisin.

Editors’ Note:

This poem was originally selfpublished by the author in his poetry collection, The Delicious Chocolate Donut (and Other OffKilter Poems) (Weakland, 2011, March 20, p. 7, Happy Hummer Press). The illustration is by Mike Owens. This poem and illustration are reproduced in MRA Today 2023 with permission from the author.

About the Author

Mark Weakland is a consultant, teacher, writer, and musician. The author of teacher resource books, award-winning writing and music projects, and more than 75 books for children, his latest book, How to Prevent Reading Difficulties, PreK-3 (2021) is published by Corwin. Visit his website (www.MarkWeaklandLiteracy. com); follow him on Twitter @ MarkWeakland

BECOME AN AUTHOR

Call for Manuscript Submissions: 2023 MRA Primer

How do you encourage and excite your students to be successful and enthusiastic readers and writers? Please consider submitting a manuscript for the 2023 MRA Primer that illustrates how teacher educators, researchers, and K-12 school colleagues liberate students through the joys of literacy teaching and learning.

The theme for the 2023 MRA Primer is “Our Stories That Sing: Literacy Lessons for the K-12 Classroom and Beyond” and is directly connected to the 2024 MRA Conference Theme: “Liberating Literacies: Stories That Sing.”

Please note that the submission deadline for the 2023 MRA Primer is July 31, 2023.

We are seeking three types of submissions:

1. Featured Articles

These articles are full-length papers, discussing research studies and presenting theoretical arguments. Word count: 5,000 - 6,000

2. Classroom Connections

These are practitioner-focused articles with evidence-based pedagogies that are readily applicable to the PK-12 classroom. Word count: 1,500 - 2,500

3. Book Reviews

MRA Board members are invited to submit reviews of children’s/YA literature or professional books related to the theme. Word count: 800 - 1,000

Each edition of the MRA Primer will also include an invited children’s book column aligned to the theme.

Please note that your manuscript should be carefully edited before submission and follow the American Psychological Association (APA) (7th ed.) publication guidelines. Any direct quotes within the manuscript must include a page or paragraph number in the citation. If citations are used within the text, a reference list needs to be included at the end of the manuscript. We ask that you include a two-three sentence author biography with your manuscript.

If you have any questions, please reach out to co-editors Elaine Bukowiecki at ebukowiecki@bridgew.edu and Valerie Harlow Shinas at vshinas@lesley.edu.

Poetry as a Practice of Noticing IOANNA OPIDEE

Whenever I begin talking about poetry with my high school classes, I take a quick show-ofhands poll: “Who likes poetry?” “Who does not like poetry?” “Who falls somewhere in between?” Those who admit to definitively liking or not liking poetry tend to do so sheepishly, with a boldlyraised hand occasionally sprinkled into the mix.

Next, I invite students—either on their own, as a full class, or in small groups—to brainstorm a list of words they associate with poetry. The usual, eclectic, and often contradictory suspects emerge: boring, inspiring, emotional, old-fashioned, confusing, Shakespeare, rhyming, haiku. We consider: “Can poetry be all of these things at once?” “What does it depend on?” “Where do these associations come from?”

After this exercise, I share a list of quotations about poetry and ask students to select one that stands out. One I call attention to is from Emily Dickinson: “If I feel physically as if the top of my head were taken off, I know that it is poetry” (as cited in Beebe, 2022, p. 256). “Can this mean,” I like to ask, “that poetry does not necessarily mean a poem?” “What else can be poetry?”

I then ask students to take a picture in the next 24-hours of something they encounter that fits Dickinson’s definition—that makes them “feel physically as if the top of [their] head were taken off” (as cited in Beebe, 2022, p. 256). “Like the exploding brain emoji,” I say. The next day, we scroll through their photos of smiling dogs, heart-shaped leaves, and purple-sky sunsets, letting the images mostly speak for themselves.

These opening activities are intended to set a context in which the parameters of poetry are opened as widely as possible; to clear a space for poetry in the classroom that is as permissive, welcoming, and encompassing as possible and to interrupt and disrupt their most automatic conceptions of what poetry is, or should be, in order to pave a path for new awareness to emerge. Next, I give the class a large packet of poetry featuring a wide range of styles and voices and ask them to notice which stands out to them most, either because it confuses, frustrates, intrigues, or entertains them, or simply brings them joy. “Read the first few lines of each,” I say, “and see which pulls you in.”

All of this is done before we read and discuss a full poem together. The intention behind this approach is to base the authority of their reading experience on what they notice, and on what they feel; to help them see that they can use their observations and emotions as a starting place for a deeper inquiry into and experience with poetry and also appreciate their observations and emotions as valuable ends in and of themselves. “Teaching poetry focuses not only on the feeling for process—how poems are made—but on the process of feeling—how readers respond,” write Baron Wormser and David Cappella in Teaching the Art of Poetry: The Moves (1999, pp. 339340). Too often, we fly through the process on our way toward extracting a theme or finding the “hidden meaning;” in the words of Billy Collins (1996), we “tie the poem to a chair with rope/and torture a confession out of it” (lines 13-14).

But poems are more than just meanings. Surely, the ideas in a poem matter; they can open our minds, in addition to our hearts. Yet, as Audre Lorde writes in her essay “Poetry Is Not a Luxury,” “there are no new ideas. There are only new ways of making them felt—of examining what those ideas feel like being lived” (p. 39). How, then, do we guide students through such a lived experience?

Before moving into a full-class reading of a poem, I posit to students some possible steps for reading poetry that may seem rudimentary or reductive but can lead to an important slowing of the process. The steps are:

• Notice: “Do you recognize the author’s name?” “When was the poem written?” “What does it look like on the page?” “How long?” “What shape?”

• Read: Preferably aloud.

• Observe (or notice again): “Which words or phrases stand out?” “Which punctuation choices or line breaks?”

• Close-Read: Identify elements such as enjambment, alliteration, and simile.

• Analyze: Study the effect of each element.

• Interpret: Determine a possible meaning or thematic significance.

• Evaluate: Comment on the poem’s overall value or quality.

• Apply: Consider how it might illuminate an outside context or topic.

Poetry as a Practice of Noticing

While it’s not necessary–or even helpful–to go through each step with every poem you encounter, honoring the order–without skipping around–can be a helpful way to experience, in the words of Lorde (2007), “what [the poem’s] ideas feel like being lived” (p.39). Without this deliberate slowing of the process, people tend to skip from reading to evaluating (“This poem is bad.” “This poem is boring.” “This poem is beautiful.”) or to interpreting (“This poem is about death.” “This poem is about love.” “This poem is a metaphor for how human beings struggle with change.”). While these thoughts and sensations may naturally emerge—a phenomenon that is, itself, worth noticing—quick evaluations and rushed interpretations are sometimes more compelled by the feeling of pressure to deliver what is expected; to accomplish the task and to be done with it. Noticing, in contrast, is an act of mindfulness in the spirit of Jon Kabat-Zinn’s definition: “awareness that arises through paying attention, on purpose, in the moment, non-judgmentally” (Mindful, 2017).

A deeper noticing can occur in close reading when readers identify and name elements such as imagery and caesura and observe their effects. “The caesura and the line breaks, it’s breath,” says poet Ada Limón (Tippett, 2023) in a recent On Being podcast interview.

And then that’s also the space for us to sort of walk in as a reader being like, “What’s happening here? Why are all these blank spaces?” . . . You get to have an experience with language that feels somewhat disjointed …. it’s giving room to have those failures [of language] be a breaking open and for someone else to stand in it and bring whatever they want to it. (Tippett, 2023, Ada Limón interview)

Limón, here–with her authority as U.S. Poet Laureate no less–models the inviting and nurturing of uncertainty, the unknowingness that can panic students and teachers away from reading poetry. Such a process of slow noticing and experiencing may, indeed, lead toward thesis statements of interpreted “meaning,” but the resultant claims will more likely come from a place of awareness, rather than reaction; may come from a reader having lived (in the spirit of Lorde’s commentary) the feeling of an idea, rather than fashioning a plausible conclusion. The reading experience may more likely be, in Limón’s words, “a breaking open” (Tippett, 2023) toward insight, through noticing.

References

Beebe, A. (2022). Emily Dickinson: A companion. McFarland

Collins, B. (1996). Introduction to poetry. The apple that astonished Paris. University of Arkansas Press.

Lorde, A. (2007). Sister outsider: Essays and speeches. Crossing Press. McLaughlin, N. (2018, December 21). Doris and Warren Buffett’s charity; fiction debut on aftermath of rape. Boston Globe. http://www0.bostonglobe.com/arts/ books/2018/12/20/doris-and-warren-buffet-charity-fiction-debut-aftermath-rape/ k1FpCvEsAVrksRh0Tt2IuJ/story.html

Mindful. (2017, January 11). Me me me [Video]. Mindful.org.

https://mindful.org/jon-kabat-zinn-defining-mindfulness

Tippett, K. (2023, February 16). Ada Limón: To be made whole [Audio podcast episode]. In On Being. The On Being Project. https://onbeing.org/programs/ada-limon-to-be-madewhole/

Wormser, B., & Cappella, D. (1999). T eaching the art of poetry: The moves. Taylor and Francis.

ABOUT THE AUTHOR

Ioanna Opidee is a high-school English teacher in Connecticut with an MFA in Creative Writing from Fairfield University. She is author of the novel Waking Slow, called “an arresting, timely” take on sexual assault by The Boston Globe, and a PhD student in Educational Studies at Lesley University.

The Funky Political Cartoon Rap Revisited: Poetry, Performance, and Purpose

JOHN MICHAEL PABIAN

We’re funky cartoons from the world of news. Through us, you learn the artists’ views. They take us from the great world stage

And put us on the editorial page.

(“Funky Political Cartoon Rap,” Kennedy School, 1991)

As the recording begins, a 13-year-old artist, wearing a beret, nonetheless, is seen working intently in front of an easel where he is creating a pencil drawing. He deftly eases away from his work, turns his gaze toward a VCR camera mounted on his teacher’s shoulder, and begins his introduction:

I’m the cartoonist with pen in hand. Shaping opinion, I make my stand.

Leaders from the world of politics

Appear on my easel to take their licks

Often their appearance I have to fracture. Welcome to the world of caricature.

I draw to show my point of view.

Now come and meet my funky crew.

(“Funky Political Cartoon Rap,” Kennedy School, 1991)

The “Funky Political Cartoon Rap,” conceived, researched, written, choreographed, and presented by seventh-grade history students at the John F. Kennedy Elementary School in Somerville, turns 32 this year. This month I am facilitating a social studies integration class for a cohort of teachers from the Framingham School District, and as I have done for many years, I will once again share my seventh graders’ work as an example of how poetry along with visual and performance arts may be utilized as catalysts for both engagement and imaginative entry into the realm of interdisciplinary social studies education.

As a seventh-grade history teacher, I never underestimated the energy and enthusiasm of my precocious adolescents. Beginning in 1981, I began to harness some of that exuberance

with a research project aptly named, “The Historical Halloween Rap.” Each year in September, the kids discussed, deliberated, and then chose a theme for the show. For example, one year the “Roaring 20s” became the focus of inquiry. Students researched the decade and chose characters for their one-page papers. The writing assignment tasked students with providing information on chosen figures while capturing the historical significance of those selections. The kids utilized these papers to engage in writing workshops, where they, for lack of a better term, crafted short four-line poems or raps. For those who have engaged seventh graders, it is not difficult to imagine this writers’ workshop; it was neither seamless nor pretty, but “the sausage did get made.”

The project proceeded: the kids accessed a boom box, assembled costumes and artifacts from closets (no purchased costumes allowed), rehearsed a bit, and presented the show on Friday October 30th, the day before Halloween. In fact, there were three performances: In the morning, we welcomed grades K-3 at 9:30; grades 4-6 at 11:00; and for the matinee, the kids rapped for parents, relatives, and members of the community, along with the eighth graders who had been on stage the year before.

We’re the seventh-grade history crew, Bringing the 20s to life for you

We’re shaking and baking; our tale is soaring.

It’s all about the 20s; let’s get roaring.

(“The Historical Halloween Rap,” Kennedy School, n.d.)

The show, while affording teachers a needed break on what many considered to be the longest day of the school year, became a tradition at the school and in the district. Over the years, the cable access group at the mayor’s office videotaped the performances and shared the show with viewers across Somerville.

During the 1990-91 school year, current events careened into the consciousness of Americans at a frantic pace. Driven by new technologies and a 24-hour news cycle, people all over the world were witnessing triumphs and tragedies playing out in real time, while trying to make sense of what they were witnessing. At this time, there was momentum gathering for integrating

television and electronic supplements into classroom practice. CNN offered to teachers, free of charge, a 15-minute news program geared for middle- and high-school students. The program was supported by lesson plans that arrived each morning through the miracle of email. Time Warner Cable had donated a television, VCR, computer, and printer to the school. The students and I decided to take these tools for a spin.

The seventh graders, seasoned through their work on “The Halloween Rap,” were ready to spotlight the political figures driving the events of the day. The one-page paper remained at the core of the work, while we added a cartooning component, which excited many of the kids. Participants from the First Gulf War led the way for this homemade video:

I’m General Schwarzkopf; call me Norman.

We’re ready to do some desert stormin’

Calling Saddam, get out of Kuwait

Or you’ll be meeting a tyrant’s fate.

(“The Halloween Rap,” Kennedy School, 1990)

The perspective of the Iraqi leader was shared:

Saddam Hussein, I’m leader in Iraq. The Mideast is on fire; I lit the spark. The mother of all battles, we will wage.

Bush will feel our nation’s rage

(“The Halloween Rap,” Kennedy School, 1990).

Our unit on fact and opinion brought in the beliefs of those who supported the Gulf War and those who were opposed. A flag waving supporter posits:

We love our troops and support our men. We don’t want Vietnam again.

War is hell and fighting’s tough,

But we must call a madman’s bluff.

(“The Halloween Rap,” Kennedy School,1990).

He is met with a response from a woman holding a peace sign:

I detest all war and call for peace. My stand is that fighting must be ceased. No blood for oil, an end to strife. War is the enemy of human life.

(“The Halloween Rap,” Kennedy School, 1990)

We had a diverse group of city kids in this class, and social justice was explored:

I’m Jesse Jackson, U S. candidate. When the country is just, it will be great. The message goes forward, we can’t stall. There must be civil rights for one and all.

(“The Halloween Rap,” Kennedy School, 1990)

The fall of the Soviet Union is brought forward by the Russian leader:

Glasnost for Russia, hear my call. The Soviets are crumbling but I won’t fall.

Mikhail Gorbachev is the man of the hour Raisa and I are still in power.

(“The Halloween Rap,” Kennedy School, 1990)

Even a New York real estate developer drew the project’s attention:

I

a symbol of wealth and power. I put my name on a New York tower.

am

The Funky Political Cartoon Rap Revisited: Poetry, Performance, and Purpose

A tycoon of property and real estate, I’m losing money in the Empire state.

(“The Halloween Rap,” Kennedy School, 1990)

When I pack up my materials for the social studies methods class, these rappers will be joining me as they have on so many other journeys. These 13-year-olds will present their work before a class of people, most of whom were not born when the work was created. As an aside, “The Funky Political Cartoon Rap” was awarded a Crystal Apple by Time Warner Cable as part of a “Cable in the Classroom” initiative. The students earned editing equipment and cameras for the school and some well-deserved recognition for their work.

The day of the taping is still alive in my memory. Their joy shines through, and smiles are everywhere. The students had fun and may have learned something along the way. That long ago time, 31 years ago, often appears in my rear-view window, but those “Funky Political Cartoon Rappers” are always closer than they appear.

ABOUT THE AUTHOR

Dr. John Michael “Mike” Pabian is a career educator, who, after graduating from Boston College in 1972, served 34 years as a teacher, athletic coach, assistant principal, and principal in the Somerville, Massachusetts School District. Mike entered the field of higher education in 2004 as an instructor at the Lesley University School of Education, where he also earned a doctoral degree in 2014. Mike’s dissertation, Elementary Voices of City Teachers, examined, through the lens of oral history, the lives and careers of four female classroom teachers, who worked in urban schools between the years of 1964 and 2014. Beyond his work as an educator, Mike has served as a consultant in the fields of curriculum design and media literacy for the A&E television network, Time Warner Cable, and Turner Learning. A winner of three Crystal Apples and the A&E Network’s National Teacher award, he has won acclaim for his work on integrating technology into middleschool classrooms. He resides in Bedford, Massachusetts with his wife, Clare.

Nuh uh! (A poem for two voices) MARK WEAKLAND

No matter what I say, You say nuh uh.

Nuh, uh!

And nah uhs and such?

I agree! We should cease; We should stop calling names.

Ya huh! You just said it, Nuh uh!

Nuh uh, no I didn’t; You said it first, You said nuh uh And, what’s even worse, You’re a silly old squid.

Nuh uh! I am not And silly old squid Is a really cheap shot.

Nuh, uh , no it isn’t. And don’t act so hurt. When it comes to name calling, You’re the first one to blurt.

Okay, I agree; Yes, I’ll do the same.

There’ll be no more name calling; This is quite a breakthrough.

I’m glad you suggested it.

Nuh uh! It was you!

Nuh huh! I do not.

Ya huh! You sure do And I bet you were ready To call me koo-koo.

Nuh uh, No I wasn’t! This is really too much. Who cares about ya huhs,

Editors’ Note:

This poem was originally self-published by the author in his poetry collection, The Delicious Chocolate Donut (and Other Off-Kilter Poems) (Weakland, 2011, March 20, pp. 32-33, Happy Hummer Press). This poem is reproduced in MRA Today 2023 with permission from the author.

About the Author

Mark Weakland is a consultant, teacher, writer, and musician. The author of teacher resource books, awardwinning writing and music projects, and more than 75 books for children, his latest book, How to Prevent Reading Difficulties, PreK-3 (2021) is published by Corwin. Visit his website (www.MarkWeaklandLiteracy.com); follow him on Twitter @MarkWeakland.

Nuh uh!

MRA invites you to submit a conference proposal!

MRA values what you do and we welcome your involvement! We invite you to submit a proposal for our 53rd Annual Conference to be held at the Sturbridge Host Hotel in Sturbridge, MA. Share how the work you do supports literacy learning, an equity stance, and the joy you experience with students in schools and in the community.

WHO CAN PRESENT?

• Teachers (PreK-12)

• Literacy Specialists/Coaches

• Administrators

• Consultants

• Media Specialists

• Researchers/Academics

As educators, we understand the transformative power of literacy. The 2024 conference theme encourages us to reflect on the many ways in which we create liberating opportunities for all our learners. This critical work is also joyful, inspiring, and inclusive of all narratives. We invite you to share your stories that sing, equity practices, and research related to teaching literacy as a pedagogy of freedom and hope.

Online Proposal Form will be available after 5/1/23 on our website: www.massreading.org

Conference Chair

Patricia Crain de Galarce massreading@comcast.net

Translanguaging in Poetry: The Intersection Between Writing and Identity Among Bilingual Students

ANGELICA DA SILVA

Perhaps the most memorable encounter many of us had with poetry in recent years was Gorman’s recitation of “The Hill We Climb” during the 2022 U.S. presidential inauguration. Following the event, Gorman’s poem, delivered with power and precision, became a viral sensation. As June Jordan once stated, “Poetry is a political act because it involves telling the truth” (as cited in Quiroz-Martinez, 1998, para. 4), and Gorman’s truth resonated with her community.

This paper describes how translanguaging and poetry were used to empower heritage speakers to share their truth while also facilitating writing and identity development.

MULTIFACED INTERVENTION

The poetry lesson described here was part of a research study conducted in a southern, rural area in the U.S. A total of 183 high-school, heritage Spanish students received affinity group and writing intervention on a weekly basis for 10 weeks. Classes alternated between affinitygroup meetings and writing. Each module was dedicated to a different writing genre. Poetry was the second module and took place during weeks three and four.

Affinity Groups

Affinity groups are meetings in which members share a common, social identity and discuss related personal experiences (Douglas, 2008). Members of the group often experience similar interactions with the out-group. Similarities create a safe space for members to talk freely, release frustrations, receive validation, and learn coping skills that can help foster intergroup interactions (Tatum, 2017). In the context of this study, affinity-group meetings also served to discuss the issues that would become the topic of their upcoming writing assignment.

Cognitive Writing Strategies

Contemporary writing research led to the conceptualization of Self-Regulated Strategy Development (SRSD) (Graham & Perin, 2007), which provides teachers with concrete strategies to explicitly teach students the composition process. The practice guide provided by the Institute of Education Sciences (IES) - Teaching Secondary Students to Write Effectively (Graham et al.,

Translanguaging in Poetry: The Intersection Between Writing and Identity Among Bilingual Students

2016) - recommends the explicit teaching of writing strategies using the Model-Practice-Reflect instructional cycle: planning, goal setting, drafting, evaluating, revising, and editing (p. 6).

Translanguaging

Different from code-switching, where multilinguals shift languages or other sociolinguistic aspects to accommodate the audience, translanguaging refers to the use of one’s full linguistic repertoire without language boundaries (Otheguy et al., 2015). Translanguaging is consistent with additive multilingualism, which has been found more successful than subtractive strategies focused on English-only practices (Collier & Thomas, 2017; San Miguel, 2020). Thus, it can be an enabling factor for bilingual writing.

LESSON IMPLEMENTATION

The theme for the lesson was bi-multilingualism. During the affinity group, students were placed in groups of 6-8 and had to answer the following question: “Is bilingualism an advantage?”

The hook was a YouTube video depicting Dr. José Medina reciting his poem titled mi primer amigo (Medina, 2020). The poem describes Medina’s experience as a non-English speaker in kindergarten, where he made a best friend despite language barriers. Nonetheless, his friend would call him a “wetback,” and, at the time, Medina did not understand what it meant. Next, students were instructed to discuss the video, create a list of pros and cons of being bilingual, discuss this, and take a position.

The following class was dedicated to writing. The first 10 minutes were used to discuss the Model-Practice-Reflect instructional cycle. Students learned explicit strategies mentioned on the IES’s practice guide (Graham et al., 2016), along with examples on how to implement them in their own writing. Because most poems are short in comparison to other genres, we wanted students to focus on planning, goal-setting, and choosing the correct vocabulary to deliver their message. Translanguaging was encouraged throughout class discussions and individual writing.

FINDINGS

During affinity group, the majority of students concluded that bilingualism is an advantage because it connects them to their heritage, and it enables them to communicate and help family, friends, and community members who are not bilingual. Nonetheless, students also pointed to disadvantages such as the struggle to learn two languages, having a dual identity, and being subject to discrimination. The poem below, written by a student, exemplifies many of these themes:

Dos Maneras

I love how I can speak two languages, Hablar con mis padres and talk to my sister. Having two ways to communicate.

Two ways to hear,

Two ways to talk,

Two ways to get insulted.

“Mira este gringo gordo,” “They need to go back to where they came from.”

Sure is nice being insulted in two ways. Being insulted by my own people in Español, Having to do my best to stay in control.

Sure speaking Spanish has many benefits, I can talk to my parents y hablar con mi hermana.

I love how I can speak two languages....

DISCUSSION

Second-language (L2) socialization in various, discursive communities may lead to changes in how L2 users perceive themselves and are perceived by others (Pavlenko, 1998). Some identity aspects such as linguistic, racial and ethnic, cultural, gender, and social identities lead to renegotiation (Pavlenko, 2001).

Translanguaging in Poetry: The Intersection Between Writing and Identity Among Bilingual Students

The act of writing can be disruptive because it presents an opportunity to gain control over self and the world through the conversion of private reflection into public knowledge (Pavlenko & Lantoff, 2001). This way, telling one’s truth can be a political act (Quiroz-Martinez, 1998) because it requires the analysis of self and its sociopolitical environment. Since language is often the vehicle used to navigate between L1 and L2 communities, it cannot be excluded from the analyses.

Here, translanguaging was an important tool for the student-author above to express his experiences. He used Spanish to indicate his preference when speaking with his parents and English when speaking with his sister. Later, he also used different languages to exemplify discrimination by different language communities: “Mira este gringo gordo,” / “They need to go back to where they came from.”

IMPLICATIONS

Because language and identity are interconnected, encouraging translanguaging in poetry can help students develop a deeper understanding of their socio environment and linguistic abilities. This deeper understanding can potentially empower students to become better writers and gain agentive power.

References

Collier, V. P., & Thomas, W. P. (2017). Validating the power of bilingual schooling: Thirtytwo years of large-scale, longitudinal research. ARAL, 1–16. https://static1. squarespace.com/static/5d854ac170e64a71d1de71d3/t/5d9cb55f26d64b4456

2c6069/1570551181085/ARAL+2017+%28typed%29.PDF

Douglas, P. H. (2008). Affinity groups: Catalyst for inclusive organizations. Employment Relations Today , 34(4), 11–18. https://doi.org/10.1002/ert.20171

Graham, S., & Perin, D. (2007). Writing next: Effective strategies to improve writing of adolescents in middle and high school-A report to Carnegie Corporation of New York. Alliance for Excellence in Education.

Graham, S., Bruch, J., Fitzgerald, J., Friedrich, L., Furgeson, J., Greene, K., Kim, J., Lyskawa, J., Olson, C.B., & Smither Wulsin, C. (2016). Teaching secondary students to write effectively (NCEE 2017-4002). National Center for Education Evaluation and Regional Assistance (NCEE), Institute of Education Sciences, U.S. Department of Education. Retrieved from the NCEE website: http://whatworks.ed.gov

Medina, J. (2020, January 19). Mi primer amigo [Video]. YouTube https://www.youtube.com/watch?v=2jWodoQ2WCQ

Otheguy, R., García, O., & Reid, W. (2015). Clarifying translanguaging and deconstructing named languages: A perspective from linguistics. Applied Linguistics Review, 6(3), 281-307.

Pavlenko, A. (2001). “In the world of the tradition, I was unimagined”: Negotiation of identities in cross-cultural autobiographies. International Journal of Bilingualism , 5(3), 317–344. https://doi.org/10.1177/13670069010050030401

Pavlenko, A., & Lantolf, J. (2001). Second language learning as participation and the reconstruction of selves. In J. Lantolf (Ed.), Sociocultural theory and second language learning (pp. 155-177). Oxford University Press.

Quiroz-Martinez, J. (1998). Poetry is a political act: An interview with June Jordan. COLORLINES. Retrieved from https://www.colorlines.com/articles/poetry-political-act

San Miguel, G. (2020). Contested policy: The rise and fall of federal bilingual education in the United States, 1960-2001 (Volume 1) (Al Filo: Mexican American Studies Series). University of North Texas Press.

Tatum, B. D. (2017). Why are all the black kids sitting together in the cafeteria?: And other conversations about race. Basic Books. (Original work published in 1999)

ABOUT THE AUTHOR

Angelica DaSilva is a Literacy Studies PhD student and graduate assistant at Middle Tennessee State University. She is interested in research that focuses on students of diverse linguistic and cultural backgrounds and prepares teachers to meet the ever-growing linguistic demands in the classroom.

Translanguaging in Poetry: The Intersection Between Writing and Identity Among Bilingual Students

If Someone Shoots My Classroom MATTHEW PETERSON

if someone shoots my classroom please call my mother first if you use my phone to call her she’ll answer to say “I’m at work”

please someone hold her hand not you, sir, with a badge tell her the story of this day tell her the truth, the facts

speak not of a hero thoughts and prayers only choke speak clearly of their failures as smoke now sears their throats

then, remind her of the warmth that waits beyond the line of shade remind her of the power that’s buried within the depths of rage

remind her of the force that exudes from all unseen rays remind her of the love that holds a wilted heart’s frame

remind her of every rooted system once a planted seed, deep within the soil, through time transforms to trees

remind her of changing seasons that spring follows every winter freeze

remind her of the light beyond darkness’ last lonely gleam

remind her she can find me when the sun hits its peak in the still of an August sunrise August sunrise and songs that fill space between remind her she can find me in the stalks that leaf where wildflowers break stone on the burm’s high knee

remind her she can find me in every transplanted green, when the glow of golden hour blossoms beautiful new dreams

remind her she can find me in the late summer heat where a kaleidoscope of flowers buzz with the exhale of bumblebees

remind her she can find me under branches of a maple tree on a bronze and orange blanket next to a book marked at page thirteen

remind her she can find me in every hawk soaring free circling higher in the clouds beyond what her brown eyes see

mom, i’m so sorry for choosing the path of service my job was to teach children i don’t know how to below the surface

mom, i’m so sorry that someone shot my classroom mom, i’m so sorry that hearts can be this full of gloom

someone remind her that i am always here she’s my mother, my protector, my light

my everlasting center

my radiant midnight

if someone shoots my classroom please call my mother first tell her they will find me in the flames then, tell her that i love her

About the Author

Born and raised in southeastern Wisconsin, Matthew Peterson is a 28-year-old queer educator currently teaching in Portland, Oregon. Always in cycles of reflection, writing poetry has allowed him to creatively and curiously process the layers that exist between identity, education, and community.

If Someone Shoots My Classroom

CHILDREN’S POETRY CONTEST

The Massachusetts Reading Association (MRA) is delighted with the response we received to our inaugural Children’s Poetry Contest. Forty-five students, ranging from second grade to sixth grade, submitted original poems for this competition. Their poetry is creative, engaging, and thoughtful. These poems were a delight to read. It is exciting to see budding, young poets in the Commonwealth of Massachusetts.

We now wish to knowledge the MRA Poetry Contest winners and honorable mentions and our poetry contest judges. We were so impressed with the quality of the poems that were submitted to this contest, that we wanted to honor all submissions. Thus, all poetry submitted to this Children’s Poetry Contest will be featured on the MRA website. Please see the following QR Code:

POETRY CONTEST WINNERS AND HONORABLE MENTIONS

PreK-Grade 2

Winner: Aowyn Bixby: Grade 2: Clyde Brown Elementary School: Millis, MA

Grades 3-5:

Winner: Lily Madeline Goodwin: Grade 4: Lincoln School, K-4: Lincoln, MA

Honorable Mention: Lily Yockel: Grade 4: Lincoln Public Schools: Lincoln, MA

Grades 6-8:

Winner: Isabele Grigaliute: Grade 6: Bourne Middle School: Bourne, MA

Honorable Mention: Sophie Zhou: Grade 6: Sippican Elementary School: Marion, MA

MRA Poetry Contest Judges

Pattie Kelley: MRA President 2023-2024

Terrie Marr: Past MRA President

Sailing Away

AOWYN BIXBY

MRA Poetry Contest Winner | PreK - Grade 2

One day I’ll sail away off the horizon and into the bay. I’ll cross waterfalls, seas, and lakes. I’ll do whatever it possibly takes. I’ll find my own land by the pace of the new fallen sand. I’ll be one with the wild and breathe in the air like a calm little child. I’ll sail from summer to fall to winter to spring as two little birds softly sing. I’ll be with the birds, the wild and sky as you quietly watch my life fly by. You will be with me always inside of my heart because you cared for me at the very first start.

About the Author

Aowyn Bixby is in the second grade at the Clyde Brown School in Millis, Massachusetts.

Broken LILY MADELINE GOODWIN

MRA Poetry Contest Winner | Grades 3-5

If we’d just listen, we’d know our world is broken, People don’t care about our mother, just their wants, They just care about their money, their clothes, their power, and their life, Not what our mother needs to stay alive.

But if we just took one look at our world, we’d see it’s broken, If we saw, we might help her as a token of appreciation, For her effort to give us the life we live in, We should help our home, our world, our earth, to keep it.

If we stopped for a second to think, we’d realize the world is broken. If we’d stop polluting, stop littering, and stop to think, “Is this good for earth?” We would know not to let these things slip through our hands that are frozen, What is the worth of destroying our future for tech, for cars, and for power?

So listen to me for one moment why don’t you, Our world is dying and I need, we need, your help too, So please listen for your children, your home, and the future, Help our home, help the Earth, please won’t you?

It’s a mountain I climb, It’s something I’ll do, I’ll be more for the earth. Will you? About the Author

Lily Madeline Goodwin is in grade four at the Lincoln School, Lincoln, Massachusetts.

Well LILY YOCKEL

MRA Poetry Contest Honorable Mention | Grades 3-5

A deep deep hole

Like a deep deep bowl

Everlasting Never ending

Like a gaping dragon’s mouth

Gushing out water, Our life water

Everlasting Never ending

How many waves of water wonder?

How many bucketfuls of love?

Everlasting Never ending

Always waiting…

I am well

A deep deep hole

Like a deep deep bowl

Everlasting Never ending

Like a gaping dragon’s mouth

Gushing out water, Our life water

Everlasting Never ending

How many waves of water wonder?

How many bucketfuls of love?

Everlasting Never ending

Always waiting… I am well

About the Author

Lily Yockel is a fourth-grade student in the Lincoln Public Schools.

Early Bird

IZABELE GRIGALIUTE

MRA Poetry Contest Winner | Grades 6-8

The bird flitted into his nest, Where he kept his chest Full of magic and fear. “There will be not one peer, Of my magic, not ever.” So he pushed on a lever, And the sun rose up, Shining, and smiling, not at all fed up. The creatures started twittering, laughing, neighing, rising, and singing “It’s morning, it’s morning; The day has begun!”

And the bird felt quite proud; But he put on his shroud, And disappeared into the trees. But he’ll come back tomorrow, Just you wait and see.

About the Author

Izabele Grigaliute is a sixth-grade student at Bourne Middle School, Bourne Massachusetts.

SOPHIE ZHOU

MRA Poetry Contest Honorable Mention | Grades 6-8

One percent. That is the amount of people in this country that are like me. Two biological parents, Of two different races, And when you put it in retrospect, Even fewer are half Chinese.

When I was little, I knew my race, Just not what it meant. I held up my head with pride, And told them all. But then I got older, And I kept it quiet. Still the questions came. The things they ask That make me want to shrink away, And stand up taller, At the same time. Were you born in China? No.

Can you say my name in Chinese? No. Do you eat dogs? What? No!

Wait, I got a higher score than you. I thought Chinese people were good at Math!

Is it because you are only half? I don’t know.

To many Americans, I’m too Asian. To Asians, I’m too American.

Does it really matter though? People who want me to be anything Other than who I am

Have no say in what I do. You say these spiteful things Only because, You don’t think, You don’t know, You don’t care.

I have nothing to prove to you.

As I say these words, I know that they are true, And I realize, It’s not just one percent, It never was and never will be. It’s everyone.

Yes that one percent Is like me when it comes to race But Chinese American is not all I am. Not not at all!

I am so much more Then what you see me as.

It’s not just one percent, And it never ever will be. We are all the same, Yet still so different.

We are all human.

About the Author

Sophie Zhou is a sixth-grade student at the Sippican Elementary School in Marion, Massachusetts.

CO-EDITORS

Elaine M. Bukowiecki

Valerie Harlow Shinas

DESIGNER

Nadege D. Tessono Okotie

MRA EXECUTIVE BOARD

Pattie Kelley: President

Valerie Harlow Shinas and Nancy Witherell: Immediate Past Co-Presidents

Patricia Crain de Galarce: President-Elect

Adam Brieske Ulenski: Vice President

Laurie Heaney: Vice President-Elect

Shantel Schonour: Secretary

Jo Ann Thompson: Treasurer

Sarah Fennelly: Webmaster

For information about MRA and how to become part of the exciting work we are doing to promote literacy, visit our website at https://massreading.org/