by Zach Sibel

Last year on Go Poems, I wrote about teaching poetry like an appetizer, giving students a number of poems to choose from to discover which taste best to them. With the success of last year’s “rappers as poets” sampler, I thought that this year I could tackle some more classic poetry, the Romantics.

Simply saying the word “romance” in a middle school can send a class into a frenzy of “Ewwww!" This, like many dislikes, is usually rooted in miseducation or misunderstanding. I decided to accept the challenge of “making old poetry cool again” and get students to realize that they can relate to these “old guy poets,” as one student so eloquently put it.

I start by asking students what they think “Romance” is and what it means. Here you get your standard “love” answers. I explain to students that romance in the Romantic era was more than that; it was a retreat to simpler means and the appreciation of nature. I ask students to think about the last time they took a walk -- just to take a walk -- or went outside with no rhyme or reason. After that, I pass out their Romantic packet, which features poems from Wordsworth, Blake, and Whitman; I ask students to read through them, picking one to annotate.

Giving student choice allows them to get more into what they are reading. By creating a sense of context with the explanation of the Romantic period, students are able to understand the poetry a little bit better. While analysis is nice and at times impressive, the best part of this is the opportunity for readers response. By giving choice, students do not feel forced to connect with a text; they feel that they can be more honest in the connections that they have, moving past what they think the “right” answer is and closer to what resonates with them.

Some questions you might want to ask are, “What do all these poems have in common?” or even “What seems ‘romantic’ about them?” I have come to realize in the past few years that these types of conversations about poetry spike greater interest than simply talking about figurative language or form.

















Zach Sibel is an 8th grade English teacher at Tohickon Middle School and a lover of poetry, hip-hop, and all things writing. For more about my class you can find me on Twitter @MrSibelENG . Please don’t hesitate to reach out!

by Rose Birkhead

Hanging Fire by Audre Lorde is a perfect fit for a fourteen-year-old adolescent student!

On the day I shared this poem with my students, I rearranged the desks to form a circle. The students knew from the beginning of class that today was going to be different, and it brought a new energy to the classroom. I highly recommend rearranging the furniture to promote conversation!

I used the text rendering experience to work through this poem, and also had students write a short comment to connect with the poem, an idea in their head, or an emotion on their heart, the Book-Head-Heart from Kylene Beers & Robert Probst.

First, I read the poem aloud to the students and had the students close their eyes, or put their heads down so they could take in the poem. On second read, I passed around copies of the poem for each student, and displayed it on the board. During the second read, I asked students to underline a sentence that stuck out to them. I read the poem aloud again, and asked them to box a phrase. Finally, I had the students read the poem to themselves, and asked them to circle one word that stood out to them. We shared our sentences, phrases, and words in the traditional text rendering protocol; then I had the students have a full class discussion about the poem for five minutes. After the discussion, students wrote down a new learning from the whole class discussion.

This activity probably takes 15 minutes. The poem has so many layers of meaning, and I was impressed with how the text rendering helped students naturally make connections with the poem. During our whole-group conversation, I held back my thoughts and let the students run the conversation. Their discussion was rich and powerful. The short write after the conversation allowed students to go back and see how/if their thinking changed, and their writing was expressive and personal. Enjoy this age-appropriate poem about being an adolescent.

Further Reading:

by Jason Stephenson

I read Cynthia Rylant’s picture book When I Was Young in the Mountains to my creative writing students during our memoir unit. I smile at the fact that the book was published in 1982, the same year I was born. As I teach high school, I am fairly unfamiliar with children’s book authors, so I was surprised to find another Rylant book on vacation in Houston one recent summer. The slim poetry collection, published in 2003, was titled God Went to Beauty School. In 23 poems over 56 pages, Rylant portrays God as a regular human with titles such as “God Got a Dog,” “God Made Spaghetti,” and “God Went to India.”

The titular poem, “God Went to Beauty School” opens the book. It is one long stanza with short line breaks, a dash of humor, and one simile. I read the poem aloud to my students and give them time to discuss it with an elbow partner. My Creative Writing 2 students rarely need prompting, but possible questions include:

• What is so powerful about a human hand? 
• How do you respond to God being described as a human? 
• Was this poem blasphemous?

As a class, we discuss how the poem begins with short sentences but ends with one long, complicated sentence. The discussion of hands might lead us to the Michelangelo painting of the Creation of Adam, with God’s and Adam’s hands stretched out to one another. Even in the Bible Belt, most of my students are entertained and not offended by this poem.

My students write their own God-as-human poems in response: “God Got a Speeding Ticket,” “God Plays Golf,” and “God Bought a Gun,” just to name a few. We focus on emulating Rylant’s straightforward style, crisp line breaks, and deep insight.

Further Reading:

by Brett Vogelsinger

Some poems are so simple and beautiful that overthinking them, as English teachers are prone to do, can risk losing the potent, raw effect of the words.

I first discovered Nikki Giovanni's poem "Quilts" in her illustrated children's book I Am Loved.  I was next to my sons, reading them the book at bedtime, when the poem suddenly seized me, choked me up, sent chills down my spine.

To allow students to have this experience with poetry, it is sometimes necessary to minimize our intervention and discussion of the poems.  We must also unabashedly share our own unexpected emotional responses to a poem.  For me, it was the closing lines that move me the most:

        When I am frayed and strained and drizzled at the end
         Please someone cut a square and put me in a quilt
         That I might keep some child warm

        And some old person with no one else to talk to
        Will hear my whispers

        And cuddle
        near.

So when I share this poem with students, I tell them it is new to me, and the first time I read it, it almost made me cry in front of my sons.  I do not try to explain why this happened, just share that it happened, and that I hope they find a poem like this in their lives at some point, maybe even in the course of our class.

After hearing the poem twice, read aloud the first time by me and the second time by one of my students, I asked the class only one question: "What's this poem about?"

This simple but excellent question about poetry invites divergent thinking early in the class period.  In this case, students brought up that the poem is about aging, usefulness, love, timelessness, change, and comfort.  The question avoids killing the poem with over-analysis, and the student observations are varied.

Try this with "Quilts," or with a poem of your own choosing that speaks to your heart.

And welcome to our second year of Go Poems.  I hope you find some intriguing ideas for reading daily poetry in your classroom.

Further Reading:



Brett Vogelsinger is a ninth-grade English teacher at Holicong Middle School in Bucks County, PA.  He is the faculty adviser for the school literary magazine, Sevenatenine.  Besides his annual blogging adventure on this site, he has published work on Nerdy Book Club, The New York Times Learning Network, and Edutopia. Follow him on Twitter @theVogelman. 

by Brett Vogelsinger

We read the poem "Little Citizen, Little Survivor" by Hayden Carruth about a rat living in a woodpile, observed by a man starved of the natural environment he knew well as a boy.  The only direction I give is "You now have three minutes to sketch this poem in your Writer's Notebooks.  I will do the same in mine.  Your time begins now."

Part of the fun of this challenge is its impossibility. There is too much to possibly sketch in three minutes, so each reader must decide where to focus, what images are at the crux of this poem.  Moreover, they assume a certain perspective from which to view the poem.  Sometimes I see a long view of the house with the woodpile; the rat is too small to be seen.  Others sketch the rat's tiny nose from bird's-eye view as it peeks out from the woodpile.  Some ignore the woodpile altogether.  I once had a student sketch a bird feeder, zooming in on the detail that this speaker craves interaction with nature.

Sharing these sketches give us a natural entry point to identify what stands out to us in the poem and why, how we visualize as readers, and what matters most in this piece.  I encourage you to enter this activity without too many scripted questions, but rather watch as the kids interpret visually and then explain their thinking.  Questions and ideas emerge organically from these drawings. 

Brett Vogelsinger teaches freshman English students at Holicong Middle School in Doylestown, PA where he starts class with a poem each day. Follow his work on Twitter @theVogelman.