Do you have any students who live on farms or ranches, own livestock, or love rodeos? If so, bookmark this post about a new poetry contest designed to celebrate the spirit of ranching life and the American West: the Chisholm Trail Heritage Center’s Cowboy Youth Poetry Contest.
…the postmark deadline is approaching: Nov. 1, 2019.
The Chisholm Trail Heritage Center’s mission is “To celebrate and perpetuate the history, art and culture of the Chisholm Trail, the American Cowboy and the American West.” According to ChisholmTrail150.org, in 2017, the Chisholm Trail celebrated 150 years since the first cattle were herded to Abilene, Ks. from south Texas. The trail was originally needed to bring cattle from the south through the Indian territories of Oklahoma to Abilene.
Last week, I contacted Toni Hopper, communications and exhibits director of the Chisholm Trail Heritage Center, to request the winning entries found at the end of this post.
In an email, Hopper told me that this year there are several more categories for students to enter. In 2018, the top five poems entered from all ages were awarded prizes. However, this year, there are five prizes per grade level. The levels are Pre-K to 2nd grade; 3rd-5th grades; 6th-8th grades; and 9th-12th grades. First place in each grade category wins $100; second place, $75; third place, $50; fourth place, $25; and fifth place, $10.
The following bulleted guidelines for the 2019 contest are found at this website. Please consult this site directly for more information. Also double-check for changes that may occur after the publishing of this post.
Students must write and submit a cowboy poem – it must be their own original work. Contest is open to all grade levels – Pre-K through 12th grade, and home-school students.
Poems must be about the cowboy way of life – ranch life, cowboys, cowgirls, livestock, rodeo, anything that is directly related. For example, a student may want to write about pets – the barn cat, the dog who herds the cattle, or the environment – riding a horse in the hot summer.
Poems must be a minimum of eight lines, and a maximum of two pages.
Poems can be handwritten or typed and must be the original work of the student.
Only one entry per student.
Poems written in a language other than English must have a translation attached.
Poems are judged on creativity, originality, language, appropriateness of content (theme).
According to the website, all entrants will receive a certificate of achievement from the Chisholm Trail Heritage Center. Winning entries, along with the student’s name and school, will be published on the Heritage Center’s website. A panel of experienced judges will determine the winners.
I have one student with a poem that is Old West-themed, which he is preparing to enter. Who knows how it will fare? However, the contest provides a little extra motivation to continue revising the poem.
Here are three past winning entries from the inaugural 2018 contest:
Although the poems above are rather traditional in their presentation, know that younger students have accompanied their poems with drawings and creative handwriting. Consult this site for those guidelines.
The group also has a Facebook page at this link. You can stay more up-to-date by referring to it as the contest approaches.
Here’s a photo of the official entry form and rules:
Make sure your students know that they have quite a bit of choice when they sit down to write their poems. As long as their poems address “Ranch life, cowboys, cowgirls, livestock, rodeo, anything that is directly related,” according to the contest guidelines, they’re good to saddle up and enter this contest!
Thanks for reading again this week! It’s been a while since I’ve posted a new contest. Contests can build more motivation for students in your classroom and can get their work out into the real world before a real audience. They are often hard to find… especially ones like this that are open to all grade levels. Let me know if you have any questions or need more info on this contest by leaving a comment. And, by all means, feel free to contact the organization directly for changes, updates, or clarifications that might be made without my knowledge.
Watch older students create stunning expressions from everyday language
This year, for the first three days of school, I again indulged in headline poetry with my students. It was a new activity for my new high school students and I was glad for that. (I’ve introduced headline poetry to middle schoolers in the past. Click here and here for two posts on that.)
To start the activity, I simply held up and read aloud a few laminated poems created by former students. After reading, I asked, “What did you notice?” Students tended to mention the unusual word choices, strange phrasing, unexpected metaphors, and other observations. They also mentioned the poems’ originality and freshness.
I also read this excerpt of a poem written by award-winning poet Naomi Shihab Nye. The poem is called “A Valentine for Ernest Mann.” Here’s the excerpt:
So I’ll tell a secret instead: poems hide. In the bottoms of our shoes, they are sleeping. They are the shadows drifting across our ceilings the moment before we wake up. What we have to do is live in a way that lets us find them.
–-excerpt from “Valentine for Ernest Mann” by Naomi Shihab Nye (1952)
I read this poem excerpt to illustrate how headline poetry (and found poetry in general) is built on the notion that poetry is hiding all around us in the language we find in our everyday lives. Signs, posters, bumper stickers, magazines, mail… these provide the words that can create powerful poems.
Many students visited while they cut out words, and that was fine with me. On the other hand, many other students worked quietly… especially as they entered the arranging phase where they sorted words, and then positioned twenty to thirty of them into intriguing lines and phrases to create stunning experiments in language.
Since I asked students to make sure their poem was “about” something (it’s not just random words), many students spent a lot of time thinking about the words they had selected. I asked them to take it slow, and allow a theme to surface as they arranged and rearranged their cut-outs into a poem of at least ten lines.
And then some students were impatient or just didn’t seem to think anything meaningful could come from this form of writing. However, as they continued to work, they usually discovered a theme emerging.
Overall, it was again the perfect activity for reluctant writers and enthusiastic ones alike to kick off the year.
Here are the steps we took to create our back-to-school headline poems:
Get an envelope and put your name on it. Keep your cuttings in it.
Select some newspapers and magazines, leaf through them, and cut out interesting words and phrases from headlines. It is best to collect somewhere between 75 and 100 words and phrases from different sections of newspapers and magazines to gather a range of vocabulary, as well as selections of nouns, verbs, adjectives, and adverbs.
Scatter the words and phrases on a table and look for themes, synonyms, rhyming words, etc.
Arrange and rearrange the words and phrases on a page and read them aloud to check for fluency and impression. Because there is a visual quality to headline poetry, the placement of text can contribute to the presentation of ideas and meaning.
Create a poem that consists of at least ten lines.
Yes, you may create one word with individual letters, but remember: this is a form of found poetry.
When the desired order and placement of text is achieved, glue the words onto a blank sheet of construction paper.
Reflect. When you are totally finished with your poem, write a paragraph to explain the impetus for your poem. What ideas did you decide you were trying to convey with it? How did you choose this theme/subject matter/topic? Did you change your mind as you worked? What words or phrases especially helped you shape the meaning of your poem?
Try these bonus tips to get even more out of this activity:
Use as many different types of magazines as possible. Collect a wide selection that might include Vogue, Motor Trend, Better Homes and Gardens, Wired, Forbes, People, Elle, Architectural Digest, and Gourmet. A variety of subject matter will yield a better mix of words.
Provide 11- x 17-inch paper. Bigger paper allows more freedom with layout.
You will likely have a student ask if a line can be made with one word. Take the opportunity to talk with your student about why he thinks the word will be more powerful on its own. If allowing that word to stand on its own adds to the meaning of the poem, fine. If he’s just trying to race through the project, then nope.
Two more tips:
Encourage students to play with the layout. The examples here show poems that occupied the entire sheet of paper. I did have one student who arrange dtheir poem in one corner of the page. I found that one particularly striking. You can see it on the far right in the picture below.
Invariably, a student will ask if they can create a word out of individual letters. I allow kids to do that once; however, it does defeat the spontaneous nature of headline poetry, which is a form of found poetry. It’s not really found poetry if you can make any word you want, right?!
If you haven’t tried headline poetry yet, make a note on your calendar to try it soon. It’s a non-intimidating way to jump into writing, and for many students, that’s a definite necessity. Use this handout from NCTE for more guidance and resources.
Thanks for reading again this week! I meant to post this sooner (as in right after we created these poems), but the year took off and I’m only getting to it now. Leave a note or comment about your experiences with headline poetry. What could I be doing differently or better? Got any other ideas? Click like if you enjoyed this post and follow my blog to stay in touch.
Artifacts connect the 9/11 attacks to the loss of innocent human life
I believe in teaching students about the September 11th terrorist attacks. It seems that up until a few years ago, students had an intrinsic desire to understand it better. Still, it seems that their desire to learn about 9/11 is waning, especially among high school students.
My current juniors and seniors were born in 2001 and 2002, and they tell me they have “been taught” about Sept. 11 every year for as long as they can remember. As a result, they feel they know all they need to know about this world-changing event.
But they don’t.
Yes, they’ve watched movies and documentaries galore that show (yet again) the airplanes crashing into the towers. They’ve seen photographs of Ground Zero. They know about Afghanistan.
But they may not know about…
a pair of shoes found in the rubble
a charred jewelry box found buildings away in a bank vault
a crumpled wallet
Simply put, students haven’t heard the stories the artifacts tell.
In 2018, I discovered a few sources for photographs of artifacts from Ground Zero. One of these websites was the 9/11 Memorial & Museum. Click here to go to the museum’s Memo Blog where you can search for artifacts.
By the way, here’s an idea that sparked as I searched online to write this post. Another effective way to connect the tragedy to the loss of life might be to focus on the missing persons signs that family members and friends posted around the city in the days immediately following the attack. Here’s a source for missing persons posters from New York magazine.
Other sources included commemorative articles about the attacks in New York magazine and The New York Times. Last year, when I discovered these artifacts, I planned on using them in a new activity; however, that never transpired. I kept the artifacts photos, however, since I knew I could use them in the future whenever I figured out what I wanted to do with them in a learning unit. Besides that, color printing is so costly that I didn’t want to waste them.
This year, I finally was able to incorporate the photos into a four-day unit on 9/11 that I hoped would teach students about the tragedy beyond dates, place names, and facts. I hoped to show students a more personal side of the tragedy. That is, after all, what makes the attacks so devastating. Beyond the ferocity and horror of the crashing towers —and the Pentagon and Flight 93— was the shocking comprehension of the violent loss of nearly 3,000 innocent lives.
I feel that young people fail to grasp the human factor in the attacks… through no fault of their own.
So with that in mind, I created this lesson plan and activity that’s intended to help students see 9/11 in a new light.
This 9/11 AOW featured a 2016 USA Today article entitled “Fifteen Years Later: The Questions that Remain in Our Minds…15 Years After 9/11.” Even though this article is three years old, it’s the best one I’ve found for containing a wealth of information in a concise length. In the assignment, students read the article and then annotate it with their own thoughts and observations. Students then respond to the writing prompt that asks them to reflect on and explain what they learned from reading the article.
Based on our discussions after reading aloud the article, it seemed that most, if not all, students learned from this AOW. Most students had no previous knowledge about the 1993 truck bombing attempt. Some were unaware of Flight 93, which was eventually crashed by the passengers into a field in Shanksville, Pa. None had heard of the bombings and attacks that preceded the World Trade Center attacks, such as the USS Cole attack in 2000, and the 1998 attacks on the U.S. Embassies in Kenya and Tanzania.
This AOW assignment was turned in the day we started the 9/11 Artifact Project, so students would have the article’s information in the back of their minds as they began to delve deeper into the project.
After turning in their AOW assignment, I asked students to pick up a photo of an artifact from a table where I had scattered 25 photos. The artifacts included keys, shoes, firefighter helmets, jewelry, mangled pieces of metal from one of the airplanes, and other objects. I didn’t tell students where the images were from, but they quickly deduced that since it was September 10, that the images must have something to do with the terror attacks that would be commemorated the next day.
After picking up their image, I asked students to simply write a paragraph to describe the object. They could describe the artifact, discuss who might have owned it, and what it might have symbolized to its owner. Here’s one of those paragraphs:
This book contains the stories of 367 people who survived the destruction of the towers. It contains eye-witness accounts of exactly what unfolded during the 102 minutes that transpired between the strike and the collapse of the north tower.
After reading the Author’s Note, I asked students to get into groups of four. In their groups, they read either the first half or the second half of the Prologue. They could read their pages however they wished: one student could read the entire excerpt, students could take turns… it was their choice how they could complete it. They each had their own copy of the text so they could annotate it as they read. I also passed out sticky notes and asked them to write down three to four new words from the reading (students are now using one of the words in a literary analysis assignment that began the next week).
What came next? A one-word summary of the excerpt. I asked students to choose one word to summarize their excerpt and then write a paragraph defending their choice of that word. The only requirement was that the summary include evidence from the text followed by a sentence or two of interpretation. Students wrote these summaries by hand on notebook paper in the classroom; they typed them on computers later in the week in the computer lab.
After students had finished their one-word summaries, we took a break from reading and writing and instead did a quick speaking and listening activity. I passed out to students slips of paper that contained descriptions of their respective artifacts. Some of the descriptions were lengthy; some were just a sentence or so.
One by one, we went around the room and each student walked to the document camera, projected their artifact onto the screen, and then read their description to the class. Everything from office keys, to crumpled police car hoods, to shoes were shown.
Here are some of those artifacts along with descriptions:
With this project, I thought it would be interesting to experiment with linking different genres, so I asked students to bear with me and try something new. Here’s what I asked them to do: take the word that they chose to summarize the 102 Minutes Prologue and use that word to create an acrostic poem about their 9/11 artifact. The poem would also include the quote or a phrase from the quote they used as evidence in their summary.
Using a word from the text to dictate the direction of the poem would, I hoped, provide a clear link between the disaster and a specific person involved in the attacks in some way, whether they were a World Trade Center worker or an emergency responder.
Since my goal was to link the atrocity to a single human life, I thought connecting the 102 Minutes text to a personal artifact would be a valuable task.
It seemed somewhat strange to students at first to make their word from the text be the centerpiece of their poem, but once they had the idea firmly in their minds, they seemed to see the connection to being made.
I also provided them my own example of a poem and a summary for them to reference, which I showed via the document camera. Here’s the instruction sheet I made and then my example poem and summary on the back side:
In reflection, I think my first “go” at this activity was successful. When we finished, I assembled all the materials and put them into a three-ring binder for safe-keeping for next year. I placed each artifact photo and its description into its own plastic page protector so they wouldn’t get lost in the shuffle, as well as samples from students to use as mentor texts for next year.
Here are a few samples from students:
As for receiving feedback from students regarding this project… I did give each student a three question half-sheet for them to fill out at the conclusion of the project. I gained a few ideas for how to improve the project for next time, such as…
Allow more time for the project.
Do either the poem only or the one-word summary only. It became confusing for some.
Slow the speed of the lesson down. (And I’ll admit, on new activities, it seems I never allot enough time.)
Possibly add a video to the project. In my previous position, my eighth-graders watched the New York: The Documentary at the conclusion of a unit on the attacks. Because my students at my new school had told me they were studying 9/11 in their history and/or government classes, I opted not to watch one this year. Perhaps next.
In addition, most students responded that they now know more about 9/11 than they did previously. And sure, a few don’t think that they gained any new knowledge about the attacks. Here are a few responses I received back from my half-sheet lesson evaluation.
By the way, my students really put a lot of thought into these little evaluation half-sheets. I was so surprised that they didn’t just rush through them or put “idk” in the blanks. They really took their time and I’m thankful for that.
To sum it up, I will definitely do this project again with my students next year. I think my first attempt at it was successful based on the connections my students made between the text, which resulted in a product that combined non-fiction summary writing with poetry.
Sure, there are some modifications to be made, but that’s a given with any lesson plan… new or tried-and-true.
Perhaps most importantly, I believe putting the human element into the story of 9/11 captures students’ attention. Viewing a crumpled and nearly destroyed employee i.d. card adds a visceral element to the sterile facts, dates, and statistics that can all too often dominate a textbook study of a historical event.
If, in the end, that’s all this lesson plan accomplished, I’m fine with that.
This four-day unit instructed in the following Missouri Learning Standards:
Reading Informational Text 1D: Explain two or more central/main ideas in a text, analyze their development throughout the text, and relate the central ideas to human nature and the world; provide an objective and concise summary of the text;
Reading Informational Text 3D: Synthesize information from two or more texts about similar ideas/topics to articulate the complexity of the issue.
Writing 2A: Follow a writing process to produce clear and coherent writing in which the development, organization, style, and voice are appropriate to the task, purpose, and audience; self-select and blend (when appropriate) previously learned narrative, expository, and argumentative writing techniques.
Writing 3A: c. Conventions of standard English and usage: Demonstrate a command of the conventions of standard English grammar and usage, including spelling and punctuation; d. Use a variety of appropriate transitions to clarify relationships, connect ideas and claims, and signal time shifts; e. Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information.
Speaking and Listening 2A: Speak audibly and to the point, using conventions of language as appropriate to task, purpose, and audience when presenting including fluent and clear articulation, strategically varying volume, pitch, and pace to consistently engage listeners.
Thanks for reading again this week! Since this is the first time I’ve done this activity with students, I know there are so many ways to improve on this lesson plan for next year. Between my notes in this post, my three-ring binder full of materials, and your feedback and ideas, I can no doubt improve upon it for next time. Feel free to leave and comment, and then follow my blog to keep in touch.
Last spring in my middle school language arts classes, I taught theNarrative of the Life of Frederick Douglass, An American Slave for the eighth year. It’s the autobiography of Douglass, who was born into slavery. In his formative years, he experienced an epiphany: literacy equaled freedom. As a result, he taught himself to read and write. Years later, sure enough, he escaped from bondage.
As a free man, he became an outspoken leader for civil rights and suffrage and was eventually appointed United States Minister to Haiti. Douglass’ narrative is one of my favorite books in American literature for its honest and raw portrayal of the horrors of slavery conveyed with Douglass’ frank, accessible, and often poetic prose.
It’s an important book that is as relevant today as when it was first published in 1845. As a result, students find the text compelling and riveting. They are spellbound as they read of the realities of slavery often for the first time.
During the unit in which we read Douglass, one of my brightest students—let’s call her Ellen—endured a new low in her personal experience with anxiety and depression. She had battled these demons for a few years then, but did seem to sink even deeper during the month or so that we spent studying Douglass’ text.
It was a tough spring. At a time when her peers were looking forward to spring break, the April dance, and their graduation to high school, Ellen found it difficult just to get to school. She was often absent. On a good day, she was late to first period by half an hour.
As we read Douglass’ account of his life, Ellen seemed bored and detached. And, to be honest, I worried at the time about the content of the book being detrimental to her fragile state. How helpful can it be to read about the atrocities of human bondage when one is already suffering from negative emotions from all sides?
When we read Douglass’ stories about his various masters and life primarily as a city slave, Ellen stared blankly across the room or at the wood grain Formica pattern of her desktop. She did not turn in assignments, and only rarely contributed to class discussions. However, she would take usually do well on the occasional reading comprehension quizzes. Even so, I could tell she wasn’t engaged with Douglass. Or that’s what I assumed.
One day at the end of class, near the culmination of the unit, she casually mentioned to me, “I wrote this poem last night.” An introspective girl, Ellen enjoyed writing poetry and it wasn’t the first time she had asked me to read something she had written outside of class.
I glanced at the title, “Master Mind, and then skimmed through the stanzas as the next group of students coasted in for the boisterous last class period of the day. I noticed Frederick Douglass’ name tucked among the lines; my interest piqued.
“Can I keep this and read it after school?” I asked Ellen. She nodded and sauntered off to eighth hour.
After school, I picked up the poem and read it again. This time, I was able to concentrate.
As I read, I began to realize Ellen had written about her own kind of slavery… to depression.
I felt bad for assuming she hadn’t been listening when, truth be told, she had indeed found connection with Douglass’ experience and words. Yes, she understood and appreciated the horrific dehumanization of American slavery that Douglass experienced, but she went further. She correlated Douglass’ oppression under slavery and injustice to her own oppression under anxiety and depression.
In no way, I’m sure, did she intend to downplay or distract from Douglass’ experience when she compared her own struggle with mental health to his struggle with state-sanctioned slavery. After all, students cannot help but be shocked at the inhumane treatment Africans suffered under the peculiar institution. When Ellen applied Douglass’ experience to her own, I believe it was an honest attempt to deal with her crisis.
And what’s more, she creatively built on that attempt and created her “Master Mind” poem to sustain and even heal herself.
In short, Ellen was doing exactly what educators want their students to do: apply classic literature to contemporary life.
Here are two excerpts from Ellen’s poem:
I am a slave to my own mind.
I’m tied up, naked, and afraid,
While my uninvited thoughts hold the whip,
All day, I try to please my master,
Only to be starved of my happiness.
My fear shatters all remnants of hope,
By striking me for laughter…
For I want to be the next Frederick Douglass.
I will escape the darkness in my head,
And I plan on writing about my struggle and the struggle of others…
I am simply bringing a different kind of modern slavery to light.
And to think I assumed Ellen was just filling a chair in my classroom. Yes, she was staring into space, but she was still engaged, making meaning, finding sustenance and encouragement from her identification with Douglass.
This was the ultimate text-to-self connection, wasn’t it?
Let’s not always assume that students aren’t “getting it.” They may be understanding and gaining more from a text than we ever expect.
This experience with Ellen has shown me the value of being watchful of how students are connecting with our classroom texts. From now on, I won’t be so quick to assume that students who stare off into space are not engaged.
Thanks for reading! This has been a busy summer, and I’ve skipped a couple of weeks’ worth of posts. Between a month-long trip to Greece, (click here for one of about 25 posts), moving to a new city, a new teaching position, AND delivering my daughter to NYC last weekend for graduate school, writing on my teaching blog has been put on the back burner. However, I intend to start posting weekly starting today.
Stay tuned for my next post where I write about my new high school classes, memoirs, and map-making.
Rejection proves that my students are indeed writers
I teach kids it’s okay to be rejected.
I teach them it’s okay to fail and
That it’s good to receive a rejection letter because
That’s what writers do: They get turned down.
I teach kids it’s okay to be rejected.
I teach them to risk it all and
Write it down now because
That’s what writers do: they deal in danger.
I teach kids it’s okay to be rejected.
I teach them to give themselves permission
To write a junky, uninspired first draft because
That’s what writers do: they don’t wait for inspiration.
I teach kids it’s okay to be rejected.
I teach them their words must work hard,
That lazy words aren’t worth their time because
That’s what writers do: they crave precision.
I teach kids it’s okay to be rejected.
I teach them to write, to rewrite, try once more
Only to receive this message yet again: “Best of luck in your creative endeavors.”
And then I photograph my kids,
My fiery bunch of seventh-graders,
Clutching their “Best of luck” letters because
That’s what I do: I create writers.
Thanks for reading! I’m a big advocate of encouraging students to enter any and all writing contests I can get my hands on. Click here for my favorite contest of the year, the Daughters of the American Revolution American History Essay Contest. See my Student Writing Contests page for the entire list of contest I use.
Next year, I’ll be moving to a new school district where I’ll be teaching high school students. There are even more contests for older students than younger ones, so follow my blog to learn about those opportunities!
Kids love to write dialogue, but it often ends up being just a series of spoken words… a lengthy showcase of spoken words followed by any one of the following: he said, she said, he replied, she stated.
This year, in my AOW and EOW assignments, I would occasionally ask students to start their responses with dialogue. I did this to encourage (or force, I guess, since it was required in the assignment) students to add narrative elements to their writing. Sure, it’s easy to just respond to a prompt with “The central idea of this article was…”. However, another level of complexity is added if one must start with dialogue. When one adds dialogue to the standard response, a story is automatically brought into the mix.
Once the students became accustomed to using dialogue in their responses (in effect, they’re blending genres, aren’t they?!), I noticed that the dialogue lacked narration… the additional information writers build into their dialogue to show setting, personality traits, reveal motivation, or other important details.
To show students what I was talking about when I asked them to add narration to their dialogue, I took two excerpts from two novels from my bookshelves, A River Runs Through It by Norman Maclean and A Separate Peace by John Knowles. For each novel, I found a short excerpt and typed it verbatim into a Word document as published. Then I took those same excerpts and removed the narration. Here’s a photo of the handout I made for this activity:
Here is a picture of the back side of the above sheet:
I read aloud each passage from the novels, starting with the excerpt WITHOUT narration, and then followed with reading the respective excerpt WITH the narration. Then I asked:
What do you notice?
What do we learn when we have the narration added to the dialogue?
What did the reader miss out on by not having the extra information that the narration provides?
What else does the narration accomplish?
We basically just discuss the narration’s effect on the text. It’s a good way for kids to readily experience the benefits of narration and how it can help their dialogue work harder for them.
Conversations should never take place in a vacuum. The narration needs to firmly ground your reader in time and space…Narration anchors the reader and creates the atmosphere of the setting and the specific circumstance of the scene.—Helga Schier, PhD., Writer’s Digest
Here’s how I would change this mini-lesson for next time:
The handout needs to have one novel’s excerpts on each side. As we went over the handout, the kids were flipping the paper back and forth from the excerpt without narration and then to the one with narration on the back. It would have been more effective to have the “without narration” excerpt for one of the novels on the top half of the page followed by the “with narration” excerpt below it. Seeing the before and after versions would have helped students more easily see the difference the narration makes.
I felt like the kids understood more about narration after this mini-lesson, but it’s a topic that definitely needs another go-over because I didn’t see many practice it in their assignments. No doubt this skill should be worked on with some in-class writing assignments so kids can apply it when I’m around to help or offer support.
A few kids (the stronger writers) did add some narration, but even some of those merely added lazy adjectives or adverbs to their dialogue, a la the following example:
“No, I don’t think you understand,” Mom stated urgently.
Not quite what I had in mind!
So obviously, narration in dialogue is a work in progress and like everything else that I teach, it takes repetition and practice.
Thanks for reading again this week! Have a great June… what I call the Saturday night of the summer for teachers! Let me know your thoughts on this post and follow my blog for more middle and high school ELA teaching stories.
Have you heard of George Ella Lyon? She’s an American writer and teacher from Kentucky who wrote a poem several years ago called “Where I’m From.” Here’s Lyons’ poem:
Where I’m From
I am from clothespins,
from Clorox and carbon-tetrachloride.
I am from the dirt under the back porch.
it tasted like beets.)
I am from the forsythia bush
the Dutch elm
whose long-gone limbs I remember
as if they were my own.
I’m from fudge and eyeglasses,
from Imogene and Alafair.
I’m from the know-it-alls
and the pass-it-ons,
from Perk up! and Pipe down!
I’m from He restoreth my soul
with a cottonball lamb
and ten verses I can say myself.
I’m from Artemus and Billie’s Branch,
fried corn and strong coffee.
From the finger my grandfather lost
to the auger,
the eye my father shut to keep his sight.
Under my bed was a dress box
spilling old pictures,
a sift of lost faces
to drift beneath my dreams.
I am from those moments–
snapped before I budded —
leaf-fall from the family tree.
Lyons’ website is extensive and explains the inspiration for her writing the poem. Here’s an excerpt from her website:
“Where I’m From” grew out of my response to a poem from Stories I Ain’t Told Nobody Yet (Orchard Books, 1989; Theater Communications Group, 1991) by my friend, Tennessee writer Jo Carson. All of the People Pieces, as Jo calls them, are based on things folks actually said, and number 22 begins, “I want to know when you get to be from a place. ” Jo’s speaker, one of those people “that doesn’t have roots like trees, ” tells us “I am from Interstate 40” and “I am from the work my father did. ”
In the summer of 1993, I decided to see what would happen if I made my own where-I’m-from lists, which I did, in a black and white speckled composition book. I edited them into a poem — not my usual way of working — but even when that was done I kept on making the lists. The process was too rich and too much fun to give up after only one poem. Realizing this, I decided to try it as an exercise with other writers, and it immediately took off. The list form is simple and familiar, and the question of where you are from reaches deep.
Each spring, my sixth-grade students write their own “Where I’m From” poems. These poems never fail to produce highly personal, touching, and honest poems.
I always display the students’ work in the hallway or on a bulletin board so everyone can read them. Students are drawn to these simple little poems that can’t help but be packed with imagery and sensory language. In fact, just last week, one of my eighth-grade students mentioned that it was one of her favorite things she had written in my class.
To get started, I read aloud Lyons’ “Where I’m From” poem as a mentor text and then I follow that up with reading three or four poems from former students. Then I pass out a template to guide students through the poem’s organization and ideas. There are several versions of the poem template out there on the Internet and on Lyons’ website; this one works especially well: iamfrompoem
Students should use this template as a guide when brainstorming and writing their poems. I don’t require that every blank be filled out as printed on the template; students can modify it to fit their life story. It’s simply a guideline, a starting point.
These poems speak for themselves. Since that’s the case, I have simply posted below some of the more poignant ones from my current sixth-grade classes.
I schedule our “Where I’m From” poems so they can be considered for publication in Creative Communication’s Spring Poetry Anthology. (By the way, check out this link for more on this publisher and its contests.) Each year, more than half of my sixth-graders see their “Where I’m From” poems published in a real hard-cover book. It’s very inspiring and is an awesome way to end the year!
Have you ever taught “Where I’m From” poems? Leave a comment with your thoughts and experiences. Thanks for reading! See you next week.