Showing posts with label history. Show all posts
Showing posts with label history. Show all posts

Monday, April 10, 2017

Hopkins Award Poetry: Jazz

Myers, Walter Dean. 2006. Jazz. Illustrated by Christopher Myers. New York: Holiday House. ISBN: 9780823415458.


Image courtesy walterdeanmyers.net
Review and Critical Analysis
Jazz by Walter Dean Myers is a collection of fifteen poems that recreate the experience of jazz music. From the opening poem that
summons the drumming rhythms of jazz’s African heritage to the poem “Three Voices” that highlights jazz instruments like the bass, piano, and horn, each poem presents an experience with the rhythms and emotions of jazz music.

The language of Jazz gives readers a sense of the motivating power of jazz music. The verbs Myers uses all portray active, vibrant movement. For example, in “Good-bye to Old Bob Johnson,” Myers employs verbs like “swinging,” “singing,” “stepping,” and “dipping” to describe the actions of the mourners. Even in a serious occasion like a funeral procession, the people are so filled with emotion they can’t help but move to the music.

Myers further connects the subject of jazz music with his poetry through his use of sound devices in each of the poems. He uses different forms of rhyme and repetition to create a jazz rhythm in each poem. In “Stride,” he accomplishes this by combining both internal and end rhyme with repeated words as he starts the poem:

We got jiving in our bones, and it won’t leave use alone--we’re really moving
               Jiving      bones
We got pride in our stride, and we know it’s all the style--we’re steady grooving
               Pride      stride.

The visuals in Jazz provide another layer to the power and emotion conveyed by the language. Myers’s son, Christopher created bold images of musicians and instruments with bright colored backgrounds by layering black ink on acetate over acrylic paintings to create striking illustrations with depth and richness. Even the typography of the poems includes multiple fonts and colors emphasizes key lines of the poems and adds movement to the words.

Jazz begins with an introduction to jazz music and its history and closes with a glossary of jazz and a jazz timeline, providing nonfiction text features to support the historical significance of jazz music and the jazz artists noted in the poems. The Lee Bennett Hopkins Poetry Award Honor book and ALA Notable Children’s Book is a beautiful library or classroom resource to connect music, painting, poetry, and history.

Example Poem

It’s Jazz

I hear the call of the cornet
I hear a swinging clarinet
They’re playing HOT jazz in the heat
Of old New Orleans
The rattling banjo pays its dues
To the Preservation blues
They’re playing HOT jazz in the heat
Of old New Orleans
There’s a crazy syncopation
And it’s tearing through the nation
And it’s bringing sweet elation
To every single tune
It’s jazz
There’s a drummer rat-a-tatting
There’s a patent shoe that’s patting
While a laid-back cat is scatting
About flying to the moon
It’s jazz
In the HEAT of New Orleans


Activity
To introduce this poem to students, begin by playing a little jazz music for students to get a feel for the musical style. You might play one of the jazz musicians named in the poems, like Louis Armstrong, Robert Johnson, or you might select an artist from the jazz timeline at the end, such as Billie Holiday, Duke Ellington, or Benny Goodman.

As an extension after reading the poem, allow students to make their own percussion instruments like tin can drums, sand blocks, water bottle rattles, or even a homemade didgeridoo. Then, either as a whole class, in small groups, or even as individuals, students can practice the rhythm of the poem with their instruments and perform their own interpretation of this poem or other poems from Jazz.

Thursday, March 23, 2017

Biographical Poetry: Talkin' About Bessie

Grimes, Nikki. 2002. Talkin' About Bessie: The Story of Aviator Elizabeth Coleman. Illustrated by E.B. Lewis. New York: Orchard Books. ISBN: 0439352436.

Review and Critical Analysis
In Talkin' About Bessie, Nikki Grimes tells the story of aviation pioneer Elizabeth "Bessie" Coleman through a series of 21 free verse poems. Faced with poverty, sexism, and racism, Coleman defied all expectations, to become the first licensed female African-American pilot. The poems are fictionalized accounts based on the facts of Coleman's life.

Talkin' About Bessie opens with a brief historical background establishing Bessie Coleman's life in context of the history of aviation, and then jumps to a spread establishing a setting after a memorial for Coleman's death. The poems that follow are told as remembrances from family, friends, employers, flight instructors, newspaper reporters, and more. Each poem serves as a testament to the determination of Bessie Coleman to achieve great things despite the many setbacks she faced. Whether coming home from college because she could not longer afford it or learning a new language and moving overseas because no American flight school would accept an African-American woman, the poems of Coleman's life testify to her fighting spirit. The very last poem, told in Coleman's own voice, reveals the triumph she experienced through her flying.

The poems themselves are told in a very plain, conversational style free of lavish figurative language or rhyme. Instead they feel more like stories told in an interview, replicating natural speech. For example, Bessie's mother speaks of her early life saying:
I woke my Bessie before dawn on Sundays
to bathe and dress her for church,
bein' bound and determined that she,
like all my other children,
should first learn the wisdom of the Lawd,
and then, the wisdom of the world.
The language used for Bessie's mother recreates the dialect and speech patters of a Texas woman in the 1890s. 

Each poem is accompanied by a small sepia-toned water color image of the speaker, whether that individual happens to be a factual part of Bessie Coleman's life, or a compilation character like News Reporter #2. On the opposite page is a beautiful watercolor illustration of the scene depicted in the companion poem. The result is 21 spreads filled with the most significant memories and moments from Bessie Coleman's life.

The book's ending provides closure for Coleman's life with a short biography with details of her death and effect on the future of aviation. The author provides references for source notes about Bessie Coleman and the field of aviation.

Bessie Coleman's significance as a pioneer in aviation barrier-breaker in discrimination against women and African-Americans makes this book a valuable addition to any library for children in grades 2-5.

Example Poem

Bessie Coleman

I'll never forget that first time in France.
My knees wobbled when I climbed into the cockpit.
The mechanic cranked the propeller for me, and soon
a fine spray of engine oil misted my goggles,
baptizing me for take off.
I taxied down the runway, praying.

But flying at Checkerboard Field in Chicago was the best.
My family and friends were there in the stands,
cheering me on as I sliced through the air.
Oh Mama! I wish you could've been in the plane
to feel that magnificent machine shudder
with the sheer joy of leaving the ground.

I climbed over a thousand feet that day,
did a snap roll that sent the blood rushing
to my head so fast I thought my eyes would explode.
My seat belt felt like a magnet, pulling on my spine.
I can still feel my hand gripping the joystick,
how my muscles ached from struggling
to hold the plane center. But I didn't mind.

To rest, even for a moment,
weightless and silent, on a cushion of cloud,
near enough the sun to scoop up a handful of yellow
was a privilege more than worth the price of pain.

In the end, I count myself twice blessed:
first to have experienced the joy of flight;
and, second, to have shared it with others of my race.
I'll say this and no more:

        You have never lived
        until you have flown!

Activity
To share this poem with children, begin with a picture of triumph. The picture could be something like a child holding a large trophy or a climber at the top of a mountain. Discuss with children the obstacles the subject of the photograph might have encountered and the feelings they might have felt along the way. You may wish to share your own example of triumph or ask volunteers to share their own story of accomplishment. Then read them the poem from Talkin' About Bessie written from Coleman's perspective. Read the poem a second time, or ask several volunteers to read a stanza each from a projected or paper copy. During the second reading, direct children to think about the different emotions Coleman was feeling in each of those moments.

As an extension, ask students to think about their goals for the future. Do they want to fly like Bessie Coleman? Own their own company? Learn to water ski? Provide old magazines that can be cut up, glue, or even just markers, colored pencils, or crayons and allow students to make a dream board to give them visual reminders of what they want to do in the future and encourage them when they are having a hard day.

Friday, March 3, 2017

Verse Novel: The Surrender Tree

image of The Surrender Tree cover
Engle, Margarita. 2008. The Surrender Tree: Poems of Cuba’s Struggle for Freedom. New York: Henry Holt and Company. ISBN 9780805086744

Review and Critical Analysis

Margarita Engle’s The Surrender Tree tells the story of Cuba’s nearly fifty year struggle for freedom over the years of 1850-1899. This story is not told through a series of military victories and defeats. Rather, the story is revealed through the life of a freed Cuban slave named Rosa, her husband Jose, a reconcentration camp escapee named Silvia, and a slave hunter referred to as Lieutenant Death. The main character, Rosa, is based on Rosario Castellanos Castellanos, a historical Cuban figure known for her abilities as a healer. Through over 130 short poems, we see Engle’s depiction of Rosa grow from a young girl into a well-known nurse who uses the natural resources around her to heal anyone brought to her, escaped slave, soldier, or slave hunter. Rosa’s ability as a healer makes her a target for slave hunters, including a man known only as Lieutenant Death, even though she has healed him on two separate occasions.

Engle’s poems are written in language that a middle or high school student could access easily. Through the poems, the narrators reveal the richness of the forest around them with descriptions of “the music/of crickets, tree frogs, owls,/and the whir of wings/ as night birds fly” (7). These images of the forest and caves that become home for Rosa, Jose, and Silvia portray the connection between the characters, the forest, and their dreams for peace. Rosa explains, “I dream that I am able to sell all these flowers/because it is peacetime/and blossoms are treasured/for beauty and fragrance,/not potions, not cures. . . .” (153). Unfortunately for Rosa, Jose, and all the other Cubans, the end of the war in 1899 did not bring the freedom they expected, as the U.S. seized control of Cuba.

This verse novel includes several aids for readers. The table of contents divides the poems into five sections by date to place the poems into historical context. Additionally, the poems are followed by author’s notes, historical notes, a chronology, and selected references to help readers pick out the historical facts from Engle’s imagining of what Rosa’s life was like. The Surrender Tree offers readers an unusual perspective on war--that of the hunted and conquered.

Example Poem 
Rosa

Farms and mansions
are burning!

Flames turn to smoke--
the smoke leaps, then fades
and vanishes . . .
making the world seem invisible.

I am one of the few
free women blessed
with healing skills.

Should I fight with weapons,
or flowers and leaves?

Each choice leads to another--
I stand at a crossroads in my mind,
deciding to serve as a nurse,
armed with fragrant herbs,
fighting a wilderness battle, my own private war
against death. (27)

Activity
Engage students in a brief discussion of the different types of fighting (physical altercations, yelling matches, flame wars on social media, etc.). Find out what they know about nonviolent protest and key nonviolent figures like Gandhi and Martin Luther King, Jr. As you read the poem out loud, ask the students to listen for the choice facing Rosa and how she chooses to fight.

As an extension, students can search for poems or song lyrics that explore the concept of nonviolent protest. Readers can practice their piece to perform for their classmates.

Thursday, March 2, 2017

New Poetry Book: Loving vs. Virginia

Loving vs. Virginia Cover
Image courtesy http://talesforallages.com/
Powell, Patricia Hruby. 2017. Loving vs. Virginia: A Documentary Novel of the Landmark Civil Rights Case. Artwork by Shadra Strickland. San Francisco: Chronicle Books. ISBN 9781452125909

Review and Critical Analysis
Loving vs. Virginia tells the story of Richard and Mildred Loving, a couple whose struggle to live as husband and wife in their home state became a legal battle that would eventually change marriage laws across the United States. The verse novel begins in the fall of 1952 when Richard first begins to take an interest in Mildred (Millie) and then traces their story as they fall in love, marry, start a family, and fight for marriage equality. It closes shortly after their Supreme Court victory in 1967, nine years after their wedding.

Powell tells the Lovings’ story through nearly seventy free verse poems. She alternates between the voice of Mildred and the voice of Richard to capture the unique perspective of each of them. Rather that give the poems distinct titles, Powell provides the speaker and, as time passes, a month and year to place the scene in history. The one exception to this pattern is the poem about their wedding in June of 1958. To symbolize the joining of the two lives, the poem is written as a poem for two voices in which the voices sometimes alternate, sometimes speak in unison, and sometimes speak different words simultaneously. The combination gives readers a sense of both the nervousness of the young couple as well as the love they share.

The poems themselves use very sparse language. Rather than using elaborate figurative language or strong rhyme, Powell uses conversational language that almost reads like prose to build the relationship between Richard and Millie. The power of these poems lies in Powell’s ability to capture the thoughts and emotions of the two speakers through her crystal clear depictions of their interactions. For example, the October 1955 poem narrated by Richard takes place at the end of their first group date. As she’s getting out of his car, Millie very subtly acknowledges that she is interested in Richard. Powell reveals Richard’s response in the last stanza as he narrates, “I drove off, hitting the steering wheel/of my good ole green DeSoto/feeling just fine.” Richard doesn’t say anything out loud, but his reaction clearly indicates his joy at knowing Mille returns his affection. This plain-style writing serves the storyline well, as key events like the Lovings’ first arrest have their own power that doesn’t need extravagant language. When they are awakened by the Sheriff in their own bed only five weeks after their wedding, Mildred’s description of leaving the house is striking in its simplicity: “Mama watches me go off/with the white men/Get in their car./Go to jail.” The stark, straightforward language captures the rawness of such climactic moments.

Loving vs. Virginia includes several features that place the events of the Lovings’ lives in historical context. The opening includes a timeline beginning with the Emancipation Proclamation in 1865 through 1952, when the book begins. The timeline is accompanied by Langston Hughes’s “Long View: Negro,” which first calls up the idea that events that loom large in history had very real, personal effects on individuals. This ideas is echoed in supplementary information chronologically aligned with the lives of Richard and Mildred Loving, allowing the reader a broader look at society while they examine the Lovings’ story up close. Interspersed among the poems, readers will find primary documents like time period photographs, excerpts from news articles, quotes from famous public figures. Even more information such as a detailed timeline and bibliography is available at the end of the book to document the factual information included in the poems.

Loving vs. Virginia is recommended for children in grade eight or higher. While all content is handled quite gracefully, the events depicted have a sensitive nature that may not be appropriate for younger children. The Loving story is still so very relevant in modern society that this book would make an excellent addition to a high school library or to a language arts or social studies classroom as part of a civil rights study.


Example Poem

Richard
October 1955

Millie was the last one out of the car.
I said,
          I’ll stop by next week?
But I said it like a question, ‘cause she don’t like to be told.
She nodded.

I drove off, hitting the steering wheel
of my good ole green DeSoto
feeling just fine.

Activity
Most young adults will need background information on the story of Richard and Mildred Loving. Show students the trailer for the 2016 (3:01) movie https://www.youtube.com/watch?v=yPAbJzL98Y0 or for the HBO documentary (0:47) https://www.youtube.com/watch?v=h62ZBiHNJoM to provide background on the Lovings.

Then explain to students that while we see Richard and Mildred (Millie) Loving as strong, powerful people who literally changed marriage laws in our country, they didn’t set out to make such an impact. They started out--just like most couples do--with a crush, a budding romance, puppy love--whatever you want to call it.

Explain to students that this poem reveals a brief moment after Richard and Millie’s first group date. Richard has had a crush on Mildred for a while, but up to this point, she has not given much indication about how she feels. Read the poem once or twice to familiarize students with the poem. Then read the poem again, asking the students to note all the small ways Richard and Millie indicate their true feelings.

As an extension, students could research other people from historic court cases like Plessy v. Ferguson, Brown vs. Board of Education of Topeka, KS, etc. Students can share their findings through poetry. They might consider finding background information on the plaintiffs and writing a poem that depicts what they imagine the plaintiff’s average day was like or how the plaintiff felt in crucial moments. Students might also want to find one reliable, valuable source to use as a basis for a found poem.

Sources
HBODocs. "HBO Documentary Films: The Loving Story - Trailer (HBODocs)." YouTube. 0:47. January 11, 2012. https://www.youtube.com/watch?v=h62ZBiHNJoM

Zero Media. "Loving Official Trailer #1(2016) Joel Edgerton, Ruth Negga Drama Movie HD." YouTube, 3:01. July 12, 2016. https://www.youtube.com/watch?v=yPAbJzL98Y0

Wednesday, February 15, 2017

NCTE Award Poetry: Marilyn Nelson


Nelson, Marilyn. 2015. My Seneca Village. South Hampton, NH: Namelos. ISBN 9781608981977.

Image courtesy Amazon.com
Review and Critical Analysis
Marilyn Nelson is the 2017 recipient of the NCTE Award for Excellence in Poetry for Children. Nelson's previous works, Carver: A Life in Poems and A Wreath for Emmett Till have garnered Nelson significant recognition as a National Book Award finalist, Newbery Honor Book medalist, Coretta Scott King Honor Book medalist, Printz Honor Book medalist, and a Lee Bennet Hopkins Poetry Award Honoree (Nelson 2017).

Her 2015 book My Seneca Village tells the story of a multicultural community in Manhattan in an area that was taken over by the city government to become a part of Central Park. Set in the years 1825 - 1855, Nelson reveals the history of Seneca Village through a series of forty-one poems narrated by a community of characters, ranging from a bootblack to a young schoolboy to historical figures like Maria Stewart and Fredrick Douglass. Nelson based many of the events in the poems on what her imagination conjured after reading census records from Seneca Village, but some of the events are fictionalized accounts of real historical occurrences. Such events are indicated with italicized notes at the end of the poems with the factual information available.

My Seneca Village has a table of contents listing every poem. Following the table of contents, Nelson includes a "Welcome to Seneca Village" to explain the community and how she became acquainted with the villagers that eventually narrate her poems. On the right side of each spread, Nelson sets the scene for the poem, explaining what she "sees" or introducing a character or setting. The poem is then printed on the left side of each spread. The book closes with a helpful "About the Poems" section in which she explains the varying formats and rhyme schemes she uses. Her explanation is very helpful for people (like me) who may not recognize the structures and rhymes of classic poetic styles or for budding poets who want to try their hand at writing a terza rima sonnet or a found poem.

The majority of the poems are composed in quatrains with various rhyme schemes and styles. For example, the opening poem "Land Owner" uses both exact rhymes like  "wage/sage" and "vote/boat" and slant rhymes like "work/talk" and "Canal/heel" in each stanza. Other poems, like "Sisters of Charity" use what Nelson calls "conceptual rhyme" where the connection between the words is not a shared sound, but a shared idea. In "Sisters of Charity," she uses opposites to form the conceptual rhyme, pairing concepts like "day/night," "more/less," and "poor/rich."

Nelson works in several other poetic forms in addition to the rhyming quatrains. She includes sonnets like "Address" and "Pigs on the Ice" as well as a poem written to imitate a wedding announcement. In "The Park Theatre" and "The Shakespeare Riot," both poems about Shakespearean plays, Nelson pays homage to the iambic pentameter of William Shakespeare. She even invented a poetic form for one character, and all poems narrated by that character take on the form she calls "Tildie."

The language of My Seneca Village maintains a more conversational style, reflective of characters narrating their daily lives. But even within these conversations, Nelson drops in tantalizing bits of alliteration and imagery to create strong images for readers. For example, in "Council of Brothers," the youngest of five brothers refers to "a growling gut" and "wearing Hugh's smelly, outgrown, leaky boots," creating an image of the impoverished life the young men have been living.

My Seneca Village is recommended for children in fifth grade and up. The lack of illustrations, more complex vocabulary, and cover of muted colors clearly mark this as a book for older students. In the library, this book would probably need special promotion, for its outward appearance truly belies the fascinating history and skilled poetry inside.

Example Poem
15¢ Futures
Epiphany Davis, 1825

I set up my cash box and my bones and cards
on Broadway, most days, offering what I see
of what's to come. For a donation, words
fall from my mouth, surprising even me.

Uncle Epiphany doesn't forecast death
or illness worse than gout or a broken bone.
The sailors stop. They listen with caught breath
as I tell them some girl's heart is still theirs alone.

(... or not. Young love is such a butterfly.)
Girls come, arms linked, giggling behind their fans.
The sad come. Uncle Epiphany does not lie.
I close shop, and come back up here to my land.

It's a new world up here, of beggar millionaires:
neighbors who know how we all scrimped and saved
to own this stony swamp with its fetid air,
to claim the dream for dreamers yet enslaved.

I'm Epiphany Davis. I am a conjure-man.
I see glimpses. Glass towers ... A horseless vehicle ...
An American President who is half African ...
Until you pay me, that's all I'm going to tell.


Activity
This poem would work well with an 8th grade U.S. history class, especially as they begin to study events leading up to the Civil War.  To introduce the poem, set up the historical context, explaining when and where Seneca Village is set. Ask students to share what they know about the time period, and then read Nelson's vision for the scene and provide students an introduction to the narrator, Epiphany Davis. Since the poem is longer, I recommend providing students a written copy of the poem so they could read along.

After reading the poem aloud, determine if students know what the word "epiphany" means and explain if they do not. Have students share if they believe Epiphany Davis really has epiphanies. What makes them question him? What makes them believe him? Invite students to think of other parts of modern American life (other than skyscrapers, cars, and President Obama) that Epiphany and the other residents of Seneca Village might find surprising.

As an extension, students may want to choose other historical figures like Clara Barton, Abraham Lincoln, or Wilbur Wright to write a monologue about what type of "glimpses" of the future that person might wish see. These monologues could then be shared as part of a living history event students share with younger grades, parents, and the community.


Sources
Nelson, Marilyn. 2017. "About - Biography." Accessed February 14. http://marilyn-nelson.com/bio.html.