A FOOT IN THE MOUTH: POEMS TO SPEAK, SING, AND SHOUT

A FOOT IN THE MOUTH: POEMS TO SPEAK, SING, AND SHOUT

by Paul B. Janeczko

Illustrated by Chris Raschka

Image credit: www.amazon.com

Bibliography

Janeczko, Paul B. 2012. A Foot in the Mouth: Poems to Speak, Sing, and Shout. Ill. by Chris Raschka. Somerville, MA: Candlewick Press.  ISBN 9780763606633

Critical Review and Analysis

This collection of poetry is the follow up to Paul B. Janeczko and Chris Raschka's two other popular poetry books, A Poke in the I and A Kick in the Head.  Janeczko has selected poems that "speak, sing, and shout" and can be enjoyed as performance poems in a classroom or library.  Poetry is so much fun to read aloud and this collection celebrates the types of poems that are perfect for sharing.  The poems are categorized into ten sections such as, "Tongue Twisters," "List Poems," "Poems for Three Voices," "Limericks," and others. Janeczko's introduction explains why he chose certain poems and states that "to hear the sound of a poem, really hear it, you need to read it out loud. Or have someone read it to you."  Many poetry lovers would agree with Janeczko's thoughts on sharing poetry with others.

Raschka has created a vibrant illustration for each poem using an interesting combination of watercolor, ink, and torn paper.  His unique style incorporates bold, black lines and mostly primary colors to create sometimes abstract and silly images.  A favorite illustration is the fisherman with a very large nose balancing an lantern in "There Was and Old Man in a Barge" by Edward Lear.

The selected poems are written by a variety of poets from Shakespeare and Walt Whitman to J. Patrick Lewis and Janet S. Wong.  Lewis Carroll's famous "Jabberwocky" is featured as a tongue twister and Walt Whitman's "I Hear America Singing" is featured as a poem to read with a group. There are also three poems included as "Bilingual Poems" in English and French or English and Spanish.  This collection would delight any lover of poetry in its quality selections and excellent presentation.

Spotlight Poem

SQUIRREL AND ACORN
by Beverly McLoughland

Where's that nut
I hid in the fall
Bad news!
Bad news!
Can't recall.
Must think,
Try hard,
Somewhere
In the yard.
Look here,
Look there,
Bad news!
Nowhere!
                                          I'm here
                                          Below,
                                          Just under the
                                          Snow,
                                          Off to his
                                          Right--
                                          Well out of
                                          Sight.
                                          He can't
                                          Recall?
                                          Then I'll
                                          Grow tall.
                                          Could be a
                                          Tree.
                                          Good news!
                                          Good news!
                                          Good news
                                          For me!

I just love this poem written for two voices.  It would be enjoyable to perform in a classroom with one student voicing the squirrel and a second, the acorn.  This poem could be used to kick off a science lesson on seeds or trees.  It could easily be performed in a class with younger students since the text is brief and not too difficult.  Students that are not accustomed to reading poems for two voices could still manage this one as there are two separate sections, instead of a back and forth.  

SOFT HAY WILL CATCH YOU: POEMS BY YOUNG PEOPLE

SOFT HAY WILL CATCH YOU: POEMS BY YOUNG PEOPLE

Compiled by Sanford Lyne

Illustrated by Julie Monks

Image credit: www.amazon.com

Bibliography:

Lyne, Sanford. 2004. Soft Hay Will Catch You: Poems By Young People. Ill. by Julie Monks. New York: Simon and Schuster Books for Young Readers. ISBN 9780689834608

Critical Analysis and Review:

Sanford Lyne compiled an interesting collection of poetry in Soft Hay Will Catch You: Poems By Young People.  Each poem in this compilation is written by a young person aged eight to eighteen. 

In the introduction, the reader learns that Lyne works in schools as a visiting poet and encourages young people to cultivate their love for poetry. The poems in this book are from his work with students in rural Kentucky. Lyne explains that during his time in Kentucky, the students "discovered  --as [he] knew they would-- that the poems they wrote were the 'histories' of their own smiles, their own tears." In this collection, it is evident that Lyne was able to teach the students to connect with their feelings and weave emotion into their writing. 

Lyne has selected one hundred poems separated into six sections including "Poems About the Search for the Self," "Poems About Solitude and Loneliness," "Poems About the Home and Family," "Poems About the Soul's Journey and the Circle of Life," and "Poems About Awakenings and Discoveries." The poems cover a variety of topics and display an impressive aptitude for writing.  The poems are written in free verse, using line breaks, similes, metaphor and descriptive language.  The poems often refer to their families' agrarian lifestyle and the rural town in which they live.

Monks uses oil paints to create illustrations with soft colors. These pictures are sprinkled throughout the book showing scenes from the rural setting of the poems, using a simplistic, folk art style. Readers that enjoy this compilation should also read Lyne's earlier work Ten-Second Rainshowers: 

Poems By Young People (1996).

                                                                                                                                                   

Spotlight Poem:

POWER 

by Cooper Lankford, Grade 7

The old man sits as if a king,

his crown the sun, 

his cape the wind.

His shoulders are held comfortably, 

a place of certainty.

I listen closely to his ideas;

they are like sparks for my fire.

As the beautiful afternoon turns dark,

he calls me into his palace,

for he wishes to dine.

I chose this poem because it contains figurative language and has a lot to unpack as a reader. After reading I would ask students, "What questions do you have after reading this poem?"  I would use this poem (and others from this collection) at the beginning of a poetry unit to show students that kids can write poetry. It can seem intimidating to write poetry at first, but poems written by young people can be used as a tool to encourage students to try their hand at poetry as well.

NOW YOU SEE THEM, NOW YOU DON'T: POEMS ABOUT CREATURES THAT HIDE

NOW YOU SEE THEM, NOW YOU DON'T: POEMS ABOUT CREATURES THAT HIDE

by David L. Harrison

Illustrated by Giles Laroche

Image credit: www.charlesbridge.com

Bibliography:

Harrison, David L. 2016. Now You See Them, Now You Don't: Poems About Creatures that Hide. Ill. by Giles Laroche. Watertown, MA: Charlesbridge. ISBN 9781580896108

Critical Analysis and Review:

This is a collection of nineteen poems about animals that have the ability to hide in their habitat.  The poems are presented in five sections beginning with "Sea Life", followed by "Reptiles and Amphibians", "Mammals", "Insects" and "Spiders", and finally, "Birds". Harrison's poetry is informative, brief, and often warns prey about a hidden predator.  

Harrison's poems utilize rhythm, rhyme, line breaks, and descriptive language.  In "American Alligator," the repetition in "Hidden where/ they never show,/ are teeth/ and teeth/ and teeth/ below" is used to emphasize the alligator's large number of teeth.  The alliteration in "Great Blue Heron" is descriptive as it says,"Standing/ statue/ still./ Slender/ sharp/ bill." In "Copperhead," Harrison utilizes sibilance to mimic the voice of the snake as in, "Find me/ if you can,/ my sssskin/ deceivessss,/ helpssss me/ dissssappear."

Laroche creates beautiful illustrations using "cut-paper relief on a variety of hand-painted papers."  The intricate collages masterfully depict the animals hidden in their natural surroundings.  A stand-out illustration in this book is the double-page spread of the praying mantis and walking stick as each hides itself in the branch of a tree. Laroche uses a muted color palette to cause the ghost crab to nearly disappear in its sandy beach setting.  Nonfiction lovers will notice similarities to the cut paper technique of Steve Jenkins.

Following the poetry, Harrison provides an informative paragraph about each animal.  The description provides the Latin name of the animal and facts about their diet, predators, and how they use camouflage to hide.  There are also five books mentioned for further reading.  This book is a work of art with science concepts presented throughout the rhyming poems.  

Spotlight Poem:

BENGAL TIGER 

By David L. Harrison

Dappled shadows,

waving grasses,

where the gliding 

hunter passes.

Pupils widen,

muscles ready,

crouches lower,

patient, steady.

Deer grazing,

crickets singing,

striped lightning,

tiger springing!

Any of Harrison's poems could be used as a poetry break in a science lesson when studying animal adaptations or animal camouflage.  "Bengal Tiger" is the perfect poem to read at first in a whisper.  Then, read it again a little louder and then again at full volume. This poetry read aloud would create the suspense that would be present on the savanna when the predatory tiger is creeping through the grass.  

YOU READ TO ME, I'LL READ TO YOU: VERY SHORT SCARY TALES TO READ TOGETHER

YOU READ TO ME, I'LL READ TO YOU
by Mary Ann Hoberman
Illustrated by Michael Emberley

Image credit: www.maryannhoberman.com

Bibliography:

Hoberman, Mary Ann. 2007. You Read to Me, I'll Read to You: Very Short Scary Tales to Read Together. Ill. by Michael Emberly. New York: Little, Brown and Company.  ISBN 9780316004961

Critical Analysis and Review:

This poetry collection is Mary Ann Hoberman's fourth installment in the popular You Read To Me, I'll Read To You series.  This is a thematic collection featuring poems that are spooky and creepy, but also playful and funny.  Hoberman's unique poetry is designed to be read out loud by two voices. As the Author's Note explains, the color-coded text indicates one reader on the left side and another reader on the right, while the yellow text in the middle is meant for both readers to read together chorally.  

The opening poem "Introduction" invites readers into the scary tales with "Do you like to/ Quake and quiver?/ Do you like to/ Shake and shiver?" while also explaining "I'll read here/ And you'll read there."  Readers of all ages would enjoy poems such as "The Mummy" which features word play or the banter between "The Ogre and the Giant."  Another highlight is the personification in "The Witch and the Broomstick" in which one reader voices the witch and the other the broomstick, each extolling their own virtues.  Each of Hoberman's poems begs to be read aloud in a performance with two readers.  

Ed Emberly creates delightful illustrations using pencil, watercolor, and dry pastel.  His drawings of ghosts, ghouls, zombies, dragons, and the like are more playful than scary.  With two or three scenes per page, the action of the poem is depicted in cartoon-like illustrations that help the reader to follow along.  A favorite page is the stark, black background of "Scaredy Cats" showing only the eyes of two unknown creatures.  By the end of the poem, the two frightened beings turn on their flashlights to reveal themselves as an insect and an octopus. 

Readers that enjoy the other books in the You Read to Me, I'll Read to You series will surely fall in love with the silly and slightly spine-tingling poetry meant to be read aloud in this collection.

Spotlight Poem:

Excerpt from TRICK OR TREAT 

by Mary Ann Hoberman

Trick or treat!

                          Trick or treat!

              Wonder what

              They'll have to eat!

Hope it's candy!

                           Hope there's plenty!

              Here we are 

              At number twenty.

Trick or treat! 

                           Trick or treat!

Give us something

Nice and sweet!

                           Give us something

                           Nice and quick

Or we'll have to 

Play a trick!

This poem is an excellent example of Hoberman's strong rhythms and rhyming text featured in her poems.  The repetition of "Trick or treat!" also makes this poem approachable for younger readers.  In this poem, children would enjoy the illustrations as the two masked trick or treaters are revealed to be young dinosaurs.  In a classroom or library lesson, I would love to have two students read this poem as a piece of performance poetry in October when Halloween is approaching.  

BUTTON UP!

BUTTON UP!

Wrinkled Rhymes by Alice Schertle

Pictures by Petra Mathers

Image credit: books.google.com

Bibliography:

Schertle, Alice. 2009. Button Up! Ill. by Petra Mathers.  New York: Harcourt Children's Books. ISBN 9780152050504

Critical Analysis and Review:

The 2010 winner of the Lee Bennett Hopkins Poetry award, Button Up! is a delightful themed collection of poetry.  Alice Schertle's poems are each written from the perspective of a different article of clothing.  With this clever premise, Schertle's poems feature a hiking hat, galoshes, jammies, a bicycle helmet, and more explaining their adventures and various uses.

Schertle expertly utilizes several elements of poetry such as rhyme and personification.  Onomatopoeia is displayed in "The Song of Harvey's Galoshes," as his wet shoes make the sound, "Squash-galosh, squash-galosh."  In "Clyde's Costume," Schertle uses alliteration when the costume is described as "ghastly and ghoulish and ghostly."  Repetition is also utilized throughout Schertle's poetry like in "Bill's Blue Jacket" which repeats the title phrase, "Button up! Button up! Button up/ TIGHT!"

Petra Mathers creates watercolor illustrations to match the text of each poem.  Brightly colored animals don the articles of clothing mentioned in each poem.  A favorite page is the ostrich who is uncomfortably wearing "Rick's Wool Sweater" scrunched up along his long neck.  The small mouse peering up at "Emily's Undies" hanging on a clothes lines is another adorable image.

Spotlight Poem:

VIOLET'S HIKING HAT

by Alice Schertle

I am Violet's hiking hat.

I live on Violet's head.

"I NEVER take off my hiking hat,"

Violet said.

I'm taking a hike with Violet.

Violet's showing me things. 

"Hat," says Violet, "there's a caboose.

These are butterfly wings."

"Hat," says Violet, "here's a rock.

These are the monkey bars."

Violet takes me out at night.

"Look," says Violet. "Stars."

Here in the bathtub with Violet

we're having a storm at sea--

a whale, a rabbit, a submarine,

a bucket, a duck, and me.

I am going to sleep with Violet

in Violet's race car bed,

on Violet's panda bear pillow.

"Good night, Hat," Violet said.

This poem shows off Schertle's style of using rhyming text and short stanzas.  Told from the point of view of a hiking hat, this poem offers a unique type of mentor text for young writers.  In a classroom or library lesson, I would challenge young poets to write a poem from the point of view of a favorite article of clothing.  I think most children will be able to think of a favorite hat, sweatshirt, or pair of shoes that they really love.  Then, they could brainstorm by jotting down a list of places they have worn that item.  Using the list, they could try to write a clothing poem in the style of Alice Schertle.  

SONG OF THE WATER BOATMAN AND OTHER POND POEMS

SONG OF THE WATER BOATMAN AND OTHER POND POEMS
by Joyce Sidman

Illustrated by Beckie Prange

Image credit: www.joycesidman.com/book

Bibliography:

Sidman, Joyce. 2005. Song of the Water Boatman and Other Pond Poems. Ill. by Beckie Prange. Boston: Houghton Mifflin. ISBN 9780618135479

Critical Analysis and Review:

This Caldecott Honor book is a thematic collection of poetry all about the plants, animals, and insects that reside in ponds. Each of the eleven poems explores a different pond dweller such as the wood duck, the caddis fly, and cattails.  In addition to the wonderful variety of poems, this book also contains a great deal of science content related to pond life.  

This book begins with "Listen for Me," a poem about the spring peepers which are tiny frogs that trill through the night announcing the arrival of spring.  The celebration of wildlife continues as the baby ducks hatch in "Spring Splashdown."  Poems about a beetle, dragon fly and the food chain follow.  Finally, in "Into the Mud," the painted turtle burrows into a muddy hole below the pond to hibernate for winter.  

Beckie Prange paints unique illustrations for each poem using woodblock that is hand-colored with watercolors.  The bold lines of the woodblock create a contrast against the airy lightness of the pastel watercolors.  A notable illustration is the heron swooping in from above as he "spears the fish" in "In the Depths of the Summer Pond."  Prange plays with perspective showing, at times, a cross-section of the pond, or a bird's eye view, or a zoomed-in close up like in "Travel Time" depicting the tiny water bear. 

This poetry collection is a must-have for science lovers who appreciate poetry.  This book includes a Glossary defining the scientific terms.

Spotlight Poem:

LISTEN FOR ME

by Joyce Sidman

Listen for me on a spring night, 

on a wet night,

on a rainy night.

Listen for me on a still night,

for in the night, I sing.

That is when my heart thaws,

my skin thaws,

my hunger thaws.

That is when the world thaws,

and the air begins to ring.

I creep up from the cold pond,

the ice pond, 

the winter pond,

I creep up from the chill pond,

to breathe the warming air.

I cling to the green reeds,

the damp reeds,

the muddy reeds,

I cling to the slim reeds;

my brothers are everywhere.

My throat swells with spring love,

with rain love,

with water love,

My throat swells with peeper love;

my song is high and sweet.

Listen for me on a spring night,

on a wet night,

on a rainy night.

Listen for me tonight, tonight,

and I'll sing you to sleep.

The opening poem in the collection is an excellent example of Sidman's amazing artistry as a wordsmith. In this poem, she describes the tree frog's emergence from its winter freeze as it comes back to life in the spring as one of the noisiest pond dwellers.  The repetition of one word in each stanza is remarkable as it gives a theme to each part of the poem.  Also, the repetition of the first and fourth line in each stanza creates a nice rhythm.  Sidman is a master of well-placed repetition.  The last line of the poem is especially peaceful as it states, "Listen for me tonight, tonight,/ and I'll sing you to sleep."  Love that line!

I would use Song of the Water Boatman and Other Pond Poems as a poetry break with second grade classes because they take a field trip to a pond each spring to explore the wildlife there.  Each poem in this collection could be applicable to their pond study, especially "Listen for Me" and "In the Depths of the Summer Pond" which describes the pond habitat's food chain.  This poem "Listen for Me" could be read aloud in a performance in which six groups could read each stanza.  I think using the "groups" strategy would make this poem come alive for readers.  

ANIMALS, ANIMALS

ANIMALS, ANIMALS

Poems compiled by Laura Whipple

Illustrated by Eric Carle

Image credit: www.sonlight.com

Bibliography:

Whipple, Laura. 1989. Animals, Animals. Ill. by Eric Carle. New York: Puffin Books. ISBN 9780399217444

Critical Analysis and Review:

Whipple has created an exquisite anthology of animal poems from some of the world's greatest poet's.  From the historical words of Rudyard Kipling, Lewis Carroll and Edward Lear to the modern voices of Jack Prelutzsky, X. J. Kennedy, Judith Viorst and Bobbi Katz, this collection is a who's who of notable poets.  In this collection, there are even poems from ancient texts such as the Talmud and the Bible.  Along with the variety of poets, there is also variety in form.  From several haiku, to rhyming couplets, to free verse, there is something for every reader.  Animal lovers of all ages would find this anthology enjoyable.

Eric Carle's illustrations in his signature style are what really set this collection apart from other poetry books.  While the poems are varied in style and form, Carle's illustrations work together to create a cohesive collection of animal poetry.  The vibrant painted tissue paper collage is engaging for even the youngest readers to enjoy.  Highlights of Carle's work are the diving ducks, the brightly feathered peacock, the horned narwhal, and the wildly colored roosters.  This collection also contains an "Index of animals alphabetically arranged" as there are more than sixty animals featured and an "Index of first lines."

Spotlight Poem

GIRAFFES

by Mary Ann Hoberman

Giraffes

     I like them. 

     Ask me why.

          Because they hold their heads up high. 

          Because their necks stretch to the sky.

          Because they're so quiet, calm, and shy.

          Because they run so fast they fly,

          Because their eyes are velvet brown.

          Because their coats are spotted tan.

          Because they eat the tops of trees.

          Because they their legs have knobby knees.

          Because 

          Because

          Because. That's why

I like giraffes.

I chose this poem about giraffes because the repetition makes it fun to read aloud.  Also, the illustration jumped out at me as it is stretched vertically across the double-page spread causing one to turn the book to see it.  The simplistic style of this poem would make an excellent mentor poem for young students to use as a model for their own animal poem. 

In a science class, in which students learn about mammals, amphibians, reptiles, etc., students would choose a favorite animal and incorporate its characteristics into their own poem in the style of Hoberman.  After performing basic research, each "Because..." statement would contain a fact about their animal of choice.  Students could even use collage or paint to create an illustration of their favorite animal incorporating its physical characteristics. 

Interested students can read more about author and poet Mary Ann Hoberman here.

RUTHERFORD B., WHO WAS HE?: POEMS ABOUT OUR PRESIDENTS

RUTHERFORD B., WHO WAS HE?: POEMS ABOUT OUR PRESIDENTS

by Marilyn Singer

Illustrated by John Hendrix

Image credit: books.disney.com

Bibliography
Singer, Marilyn. 2013. Rutherford B., Who Was He?: Poems About Our Presidents. New York: Disney Hyperion Books. ISBN 9781423171003

Critical Analysis and Review
In Marilyn Singer's collection of political poetry, she writes one poem for each of the forty four United States Presidents.  Using clever wordplay and rhyming free verse, Singer's poems contain facts and highlights of each presidency.  In the opening poem, Singer casually asks, "Who were these presidents?/ Who were these guys?"  Then, the presidential poems follow beginning with "George Washington" and ending with "Barack Obama."  Curious young readers would be intrigued by the bits of information from these poems.  They might be compelled to do further reading about these famous figures.

John Hendrix's cartoonish illustrations leap off the page showing each president's personality and memorable characteristics.  From Andrew Johnson's portrait with the large, red word "IMPEACHED" emblazoned across it to the portly President Taft in the bath, these drawings are entertaining.  A highlight is the sword-wielding Theodore Roosevelt atop a galloping white horse bursting across the page.  Many of the illustrations include a famous quote from the president such as Truman's memorable words, "If you can't stand the heat get out of the kitchen."

Following the poetry, this book includes a "Meet the President" page containing general facts about the office and a "Presidential Biographies" section with a brief paragraph explaining the major events that happened during each presidency.  Singer also lists her sources including books and websites she used to complete her research. 

Spotlight Poem

GEORGE WASHINGTON
(Independent, 1789-1707)
by Marilyn Singer

This great hero of the Revolution,
      after so much strife,
yearned to return to Mount Vernon
      and lead a quiet life.
But the citizens insisted
      his service wasn't done.
They begged him to be president--
      said he was the only one
who could fulfill the mission,
who would invent tradition.

He agreed to father a newborn nation--
and never took a real vacation.

I chose this spotlight poem because it is about the nation's first president, one in which most students are already familiar.  This poem sets the tone for the more than forty poems that follow.  With its rhythm and rhyming text, this would be a great poem to read aloud.  

This collection of poetry would be perfect to use as poetry breaks during February when Americans celebrate President's Day.  A social studies teacher could read one or two poems each morning to initiate a brief discussion about what happened in U. S. history during that president's time in office.  Singer sprinkles these poems with vocabulary that would enrich a social studies lesson about the government.  Terms such as "annex," "impeach," and "tariffs," could create productive discussion.

Teachers and librarians can build excitement for this book by showing the awesome book trailer found here.  Students can learn more about author and poet Marilyn Singer here.

EMMA'S POEM: THE VOICE OF THE STATUE OF LIBERTY

EMMA'S POEM: THE VOICE OF THE STATUE OF LIBERTY

by Linda Glaser

Illustrated by Claire A. Nivola

Image credit: www.amazon.com

Bibliography

Glaser, Linda. 2010. Emma's Poem: The Voice of the Statue of Liberty. Boston: Houghton Mifflin Books for Children. ISBN 9780547171845

Critical Analysis and Review

Linda's Glaser's work Emma's Poem: The Voice of the Statue of Liberty is a biographical poem picture book.  Written in verse, this book informs the reader about the early life of Emma Lazarus who grew up in a wealthy family in a posh home.  She became a "well-known writer" and lived in New York City.  One day, she decided to visit New York Harbor and began to learn about the struggles of immigrants just arriving from Eastern Europe.  She befriended some of the immigrants and helped many of them to find opportunities for a better life in America.  Later, Lazarus was asked to write a poem to support the building of a pedestal for a statue coming from France. Her sonnet "The New Colossus" would later be engraved on a plaque inside the entrance to the pedestal and become forever linked to the Statue of Liberty. 

Claire A. Nivola's paintings are rendered in watercolor and gouache and offer realistic portrayals of the events unfolding in the poem.  Using small brushstrokes to capture each detail, Nivola's illustrations show the grim faces of the immigrants arriving in New York Harbor.  Her illustrations add a great deal of impact and allow the reader to imagine the time period through the clothing, home decor, and colors used throughout the pages.  Glaser's poetry is written in free verse with stanzas of varying lengths.

The story of the poet Emma Lazarus is particularly relevant in today's political climate.  In the line, "At the time, the Statue of Liberty/ had nothing to do with immigrants," one realizes that Lazarus's poem changed the way people would think of the statue.  Originally, the Statue of Liberty was not created to be a symbol to immigrants entering the United States, but "Because of Emma's poem/ the Statue of Liberty/ had become the mother of immigrants."  This story shows the power of words and how poetry changed the perception of an American symbol.  Now, lines from her poem are some of the most recognizable in American culture.  In the back of the book, Glaser includes an author's note explaining more factual information about the life of Emma Lazarus.  Also, the complete text of "The New Colossus" is printed for readers to see. Finally, the last page shows a photograph of the original poem written in Lazarus's hand.

Spotlight Poem

An except from Emma's Poem: The Voice of the Statue of Liberty
by Linda Glaser

And what if the statue
were a real live woman?
What might she think
when she saw immigrants
arriving hungry and in rags?
What might she feel?
And, Emma pondered,
what would the statue say
if she could actually speak?

Emma took up her pen
and began to write.

I like the way these lines allow students to envision Emma Lazarus's thinking process while she was writing "The New Colossus."  Through poetry, Lazarus was able to personify and create a voice for the Statue of Liberty.  In an elementary social studies class, I would use this poetry book to kickoff a unit of study on the American symbols.  Students would further their learning by researching the Statue of Liberty and other symbols of the United States.

Teachers and librarians can find an excellent discussion guide created by Houghton Mifflin Harcourt here.  In this guide, there is a useful writing exercise that asks students to create their own poem imagining that they are imagining the words that the Statue of Liberty would say.  In a language arts lesson, this writing activity could be fun for students.

WON TON AND CHOPSTICK

WON TON AND CHOPSTICK: A CAT AND DOG TALE TOLD IN HAIKU

by Lee Wardlaw

Illustrated by Eugene Yelchin

Image credit: www.leewardlaw.com

Bibliography

Wardlaw, Lee. 2015. Won Ton and Chopstick: A Cat and Dog Tale Told in Haiku. New York: Henry Holt and Company.  ISBN 9780805099874

Critical Analysis and Review

In this follow up to Won Ton: A Cat Tale Told in Haiku, this charming picture book is a story told in haiku. Once again, Won Ton narrates the action in 5-7-5 syllables as she is faced with the trials of a new pet sibling. When Won Ton's owner gets a puppy, Chopstick, Won Ton must learn to share her home and her Boy's attention.  Just as Won Ton possesses all of the typical feline qualities, Chopstick is a mischief-making puppy.  They begin their relationship as enemies, in which Won Ton and Chopstick have an "altercation".  Later, Won Ton begins to adjust to the new pet, and then on a rainy day, Won Ton finds some common ground with the puppy.  Will they ever find a way to get along?

Eugene Yelchin's simple illustrations are appealing and add depth to the poetry.  Using graphite and gouache, Yelchin's color palette is soft, but engaging. His illustrations animate Won Ton and Chopstick using their eyes, facial expressions, and body movement.  Won Ton appears angular and stiff lurking through the pages, whereas Chopstick is squishy and pudgy. This contrast mirrors their characterization. 

In the Author's Note, Wardlaw explains that this book is actually written in senryu which is a form of Japanese poetry similar to haiku.  However, in senryu, "the foibles of human nature ...are the focus, expressed by the narrator in a humorous, playful, or ironic way." Won Ton's words are consistently playful in each poem, including the use of her favorite expletive, "Great Rats!" Wardlaw utilizes italics, capital letters, and creative spacing to create emphasis like in the line "Breaking news: YOU SNORE."  Even with "a maximum of seventeen syllables," Wardlaw is able to convey humor, sarcasm, and irony throughout the text.  This book would appeal to children that have ever experienced sibling rivalry or those that are cat or dog lovers.

Spotlight Poem

The Surprise

by Lee Wardlaw

Ears perk. Fur prickles.

Belly low, I creep . . . peek . . . FREEZE!

My eyes full of Doom.

This haiku is a favorite as it describes the moment Won Ton lays eyes on her new nemesis.  Won Ton's "sneaking suspicion" was correct that there is now a dog in her home.  Even with the brevity of the text, this poem creates a clear image of Won Ton's dissatisfaction in her first glimpse of Chopstick. 

After reading the entire story Won Ton and Chopstick: A Cat and Dog Tale Told in Haiku, I would have students discuss Won Ton's attitude in "The Surprise" to her new persona by the end of the story.  We would reread "The Surprise" and contrast her actions to her different approach in "Harmony" in which she finally lets her guard down and asserts that "Some parts of woof I / will never understand. But / practice makes purrfect." Interested teachers and librarians can find more lesson resources for this book on Lee Wardlaw's website.

SLICKETY QUICK: POEMS ABOUT SHARKS

SLICKETY QUICK: POEMS ABOUT SHARKS

by Skila Brown

Illustrated by Bob Kolar

Image credit: www.candlewick.com

Bibliography

Brown, Skila. 2016. Slickety Quick: Poems about Sharks. Somerville, MA: Candlewick Press. ISBN 9780763665432 

Critical Analysis and Review

Skila Brown's debut picture book is a topical collection all about the ocean's most infamous predator.  With fourteen poems each describing a different type of shark, an ocean lover would surely be entertained with this selection.  There is a poem about well-known shark species including the great white shark, tiger shark, and mako shark, and there are also poems about lesser-known sharks like the wobbegong and frilled shark.  In addition to the poem, each page has a brief paragraph explaining additional facts about the diet and habits of that type of shark.

Bob Kolar's illustrations are digitally created using a beautiful palette of blues and blue-greens.  Each full-bleed illustration is a double-page spread depicting the shark in its habitat.  The poems are clearly visible in over-sized text.  Kolar's artistry simultaneously captures the dreamy darkness of the ocean and the eeriness of the sharks with their hollow eyes and razor-sharp teeth. A highlight is the amazing whale shark that stretches across both pages dwarfing the nearby scuba diver while showing off its speckled gray spots. 

Brown utilizes several poetic devices including rhyme, repetition, and metaphor to enliven her words.

Using advanced language, Brown is enriching readers' vocabulary like in the opening line of "Bull Shark" that says "Tenacious, aggressive, and stocky, / you ambush your prey at the shore."  Brown uses metaphor to describe the mako shark as an "underwater cheetah" and a "muscle torpedo."  Alliteration is an effective tool in "Wobbegong" as the poem begins "Wibbly, wobbly, wobbegong" describing its sluggish nature.  The poems vary in form with some free verse, several concrete, and one "poem for two voices."  Since many students are enthralled with sharks, this collection of poetry just might inspire them to write their own shark poems. 

Spotlight Poem

MEGAMOUTH SHARK

by Skila Brown

Deep down in the ocean, in the belly of the dark, 

are the rubbery lips of the megamouth shark,

swishing on the plankton that he swallows all day

from his home at the bottom, where he swims in the gray.

His monster of a mouth opens wide in a roar

that's a lonely whisper from the ocean floor.

At the bottom of the sea, in the belly of the dark,

in the cold and quiet, lives the megamouth shark.

In the book, this poem appears as a concrete poem as it is printed in the oval shape of a megamouth shark's mouth.  The repetition and rhyme in this poem are consistent with the style of Brown's poetry.  Like all the poems in this collection, this poem uses a few lines and provides numerous facts about the shark species.  In "Megamouth Shark," the reader learns that a megamouth eats plankton, swims at the bottom of the ocean, and has a large "monster of a mouth".

I would use this poem as a poetry break to introduce a science lesson.  As a class, it would be fun to read this poem chorally in our best "megamouth shark" voice -- very deep since it lives in deep water.  Then, we would read it again in a whisper since it is so quiet when the megamouth creeps along the ocean floor.  

LOVE THAT DOG

LOVE THAT DOG

by Sharon Creech

Image credit: www.sharoncreech.com

Bibliography

Creech, Sharon. 2001. Love that Dog. New York: Joanna Cotler Books. ISBN 9780064409599

Critical Analysis and Review

Written by award-winning author Sharon Creech, this verse novel is about one student's reluctance to love or even like poetry. Beginning in September, Jack writes every few days about his thoughts toward poems that his teacher shares with the class.  He has a negative attitude toward poetry and doesn't understand any of the poems.  The teacher convinces Jack to use his love for his deceased dog as inspiration and he begins to find his voice as a poet.  

By May, Jack is asking his teacher to type up his own poems to share with others.  The poetry of Walter Dean Myers particularly moves Jack to write a letter to the poet asking him to visit his school. Myers is actually able to come to the school and the students are spellbound with his presence.  Jack ultimately declares himself Myers' "number one fan."

Creech uses free verse to capture the voice of no-nonsense Jack and his transformation into a poetry lover.  Like many verse novels, the brevity of the poems make this book a page turner! There is an added element of intrigue as the teacher uses real poems from notable poets, like Robert Frost's "Stopping By Woods on a Snowy Evening" among others to inspire her students.  It is interesting to learn Jack's cynical response to these classic works.  Some of the poems Miss Stretchberry uses in the story are written at the end of the novel.  This book will appeal to students as the text is approachable and features a realistic character.  Additionally, the story elicits a range of emotion as the reader learns the truth about Jack's beloved dog, Sky. 

Spotlight Poem

NOVEMBER 9

by Sharon Creech

I don't have any pets

so I can't write about one

and especially 

I can't write 

a POEM

about one.

This poem exemplifies Jack's negativity toward poetry at the beginning of the novel.  I think students will identify with this character and his reluctance toward poetry.  As I read this verse novel with students, I would have them keep a running list on chart paper of Jack's assumptions about poetry.  The first one would be "it's for girls", then "you can't write a poem about pets if you don't have one", and so on.  After finishing the book, have students look at the list and discuss if Jack still believes any of these assumptions or has he changed his misconceptions about poetry?

FACE BUG

FACE BUG

by J. Patrick Lewis

Photographs by Frederic B. Siskind

Illustrations by Kelly Murphy

Image credit: www.amazon.com

Bibliography

Lewis, J. Patrick. 2013. Face Bug. Honesdale, PA: WordSong. ISBN 9781590789254

Critical Analysis and Review

From award-winning poet J. Patrick Lewis, this themed collection of insect poems has an amusing premise.  The whole book is designed to be a visit to a museum for bugs in which all of the exhibits are close-up portraits of bugs.  The opening poem titled "Grand Opening: The Face Bug Museum" sets the scene as it says "Our Smithsonian--from Dragon-, Horse-, and Butterfly to Bee--/ Is a hoppin', bug eye-poppin' photo show."  Kelly Murphy's ink and graphite illustrations show the bugs as they move through the museum viewing each exhibit.  Frederic B. Siskind's outstanding zoomed-in photography of a bug face is the focal point of each page.  Then, Lewis's poem about the bug pictured is on the facing page.  

Lewis's poetry usually consists of three to four stanzas of humorous rhymes.  He utilizes line breaks and creative spacing to make the poems visually appealing on the page.  Lewis uses metaphor comparing the Hickory Horned Devil to "Mother Nature's Frankenstein." Some of his poems have a surprise ending like in "Bush Katydid" which ends with the line "To sunlight, I'm a magnet/ To windshields, I'm a... splat!"

Spotlight Poem

EASTERN DOBSONFLY

Corydalus cornutus

by J. Patrick Lewis

I love you, Mr. Dobsonfly.

Why?

           Because of your huge mandible!

           (Understandable)

           Because your life is mostly larval.

           (A river marvel)

           Because of those bucktooth incisors.

           (Your hypnotizers)

           Because you live the life aquatic.

           (How exotic!)
            And

            There's 

            Another

            Reason

            Why--

                           Because I'm Mrs. Dobsonfly.

This poem exemplifies the work of J. Patrick Lewis in this collection because it is full of content-based vocabulary, it has excellent rhythm, and a twist at the end!  I absolutely adore the unique rhyming words in this poem - mandible/understandable and incisors/hypnotizers.  These words are so much fun to say and hear.

I would introduce this poem to second graders, because they complete an extensive insect study each year.  After reading, we would discuss all the different aspects Mrs. Dobsonfly loves about her husband.  Then, I would challenge the students to write their own "love" poem about one of the insects that they are studying from the point of view of his or her wife or husband.  The second graders observe mealworms so one might begin with a poem with "I love you, Mr. Mealworm" and continue to describe the irresistible traits of a mealworm.

POETREES

POETREES
by Douglas Florian

Image credit: www.simonandschuster.com

Bibliography

Florian, Douglas. 2010. Poetrees. New York: Beach Lane Books. ISBN 9781416986720

Critical Analysis and Review

Written and illustrated by poet and artist Douglas Florian, this themed collection is a celebration of trees.  Of the eighteen poems in this book, five focus on the parts of a tree including seeds, roots, tree rings, leaves, and bark.  The other poems focus on different types of trees.  From the familiar oak, giant sequoia, and willow to the very rare scribbly gum and monkey puzzle tree, this collection describes a diverse group of trees.

Florian's rhythmic and rhyming poetry is perfect to read aloud with children.  Many of his poems show the reader how the words should be read like in "Paper Birch" which reads "Grows where it's cold/ Paper birrrrrrrrrrrrrch" with the extended /r/ sound.  The use of bold print, loosely spaced words, and line breaks all help the reader to read the poems with the correct emphasis.  Florian is a master of wordplay.  Get ready for tree puns galore with words like "cen-trees," "tree-mendous," and seeds that are "ex-seed-ingly small." The poetry forms are varied with mostly free verse and two concrete poems, "The Seed" and "Tree Rings."

Florian creates beautiful works of art to illustrate each poem.  He uses a wide variety of mediums including gouache watercolors, colored pencils, rubber stamps, oil pastels, and collage on primed paper bags.  The wrinkly and creased paper bags provide an earthy background for each illustration.  The colorful collages are varied in style and sometimes abstract.  This book is uniquely designed with a vertical format, so that the trees stretch upward across the double-page spread.

This book contains an informative "Glossatree" that provides scientific facts about each tree and tree part.  In the Author's Note, the reader learns that Florian has fond memories of climbing trees and a deep love for trees.  A bibliography is also included.

Spotlight Poem

BARK

by Douglas Florian

The outer bark of trees is dead,
So when trees grow, the bark is shed.
It cracks.
        It flakes.
                It splits.
                         It peels.
From fire, heat, and cold it shields.
It comes in an array of hues--
Of browns or reds or greens or blues.
It's rough or tough
Or strewn with spines.
Bumpy, lumpy, filled with lines.
Or found with fronds
That all jut out.
The bark's a thing to bark about.

This rhyming poem is a good example of the tree-themed poetry in this collection.  Florian has a gift for choosing words that beg to be read aloud with children as in this poem.  There is also an opportunity for learning with the science content that is packed into Florian's tree poems, including how the bark is protection from fire, heat, and cold.

This poem would be an especially fun poetry break to use in a science class when studying trees. After reading aloud "Bark" several times and discussing how the bark functions as protection for the tree trunk.  The teacher would take students outside with paper and some peeled crayons to do a bark rubbing on any tree trunks in the schoolyard.  Using the bark rubbing paper, students could use this as a background to write their own tree poem.  

TAP DANCING ON THE ROOF

TAP DANCING ON THE ROOF

Sijo (Poems) by Linda Sue Park

Pictures by Istvan Banyai

Image credit: www.lindasuepark.com

Bibliography

Park, Linda Sue. 2007. Tap Dancing on the Roof: Sijo (Poems). New York: Clarion Books. 

ISBN 9780618234837

Critical Analysis and Review

This is a unique collection of 28 poems written by Linda Sue Park.  Each poem is written in the Sijo form, which is an ancient form of Korean poetry.  The first page titled "About Sijo" explains that this form includes three lines with 14-16 syllables each.  The poems in this collection are written about a variety of topics, but each follows the sijo style.  In sijo, the first line introduces the theme, the second line develops the theme, and the third line is the closure but also has a twist.  Some of the sijo in this book are "divided into six shorter lines" due to space restrictions of the page.

Many of Park's poems are humorous and employ wordplay.  In "Tide Line," the metaphor that the ocean "redecorated the beach" as the tide came in is a delightful image.  The imagery in "October" creates a strong visual as the "wind rearranges the leaves" and "then it plays tag with a plastic bag".  The sijo have a twist or pun in the third line, so it is fun to decipher what it is in each poem.  In "Vanishing Act," the sun shines on a child's snowman family and the twist is the that he predicts that tomorrow he will "find three carrots on the ground."  The cleverness of Park's words, in just 44-46 syllables, is enjoyable to read.  

Each poem is illustrated with digitally produced line drawings and few colors.  Banyai's cartoon-like style may be familiar to those that have read his popular wordless picture books Zoom and Re-zoom. The pale, mostly black and white drawings allow the poem to stand out on the page.  Some of the drawings are playful, but others are almost surreal.

Even if one is not familiar with sijo as a form, the author's note and historical background sections provide plenty of information about the Korean style.  Park also offers a list of tips to help readers that are inspired to write their own sijo.  

Spotlight Poem

BEDTIME SNACKS

by Linda Sue Park

Good: Cookies and one glass of milk

for two dunkers -- me and my dad.

Better: Popcorn, a video,

and sleeping bags stuffed with friends.

Best: Blanket pulled up over my head--

book, flashlight, and chocolate bar.

I chose this poem because it is an excellent example of a sijo as it clearly introduces the topic of a snack at bedtime in lines 1 and 2.  Then, it builds to an even better bedtime snack in lines 3 and 4.  Then, it concludes in lines 5 and 6 with the author's favorite bedtime snack.  I think the twist in this poem is the unexpected chocolate bar.  

I would introduce this poem to children by asking if they have ever had a bedtime snack.  We would discuss different snack items that they have had before.  I would use the "Good, Better, Best" model to challenge students to write their own sijo using this poem as a mentor text.  Even if students did not get the syllable requirements exactly correct, I think they would enjoy trying to come up with a twist at the end, which Park deems the most difficult part of writing sijo.

ALMOST LATE TO SCHOOL AND MORE SCHOOL POEMS

ALMOST LATE TO SCHOOL AND MORE SCHOOL POEMS

by Carol Diggory Shields

Illustrated by Paul Meisel

Image credit: www.scholastic.com

Bibliography
Shields, Carol Diggory.  2009. Almost Late to School and More School Poems.  New York: Puffin Books. ISBN 9780142403288

Review and Critical Analysis
In this follow up to Lunch Money and Other Poems About School, Carol Diggory Shields writes another school-themed poetry collection.  Almost Late to School and More School Poems is a twenty-two poem collection that is a lighthearted take on topics such as the first day of school, show and tell, and recess.  Shields also writes poems about the negative aspects of school such as jealousy, detention, and name calling.  Most students will be able to relate to these familiar topics and appreciate the humor in Shields's writing.

Almost Late to School and More School Poems has rhyming text throughout, but the poems vary in length and the final poem, "Poem for Two Voices", is formatted for two readers.  This collection features poetic elements such as rhythm and personification in "Old Blue".

Meisel's lively illustrations are colorful and feel kid-drawn.  The style of drawing nicely complements Shields's fun poems.  Almost Late to School and More School Poems also features a table of contents.


Spotlight Poem 

SCIENCE FAIR PROJECT
by Carol Diggory Shields

PURPOSE:
The purpose of my project this year
Is to make my brother disappear

HYPOTHESIS:
The world would be a better place
If my brother vanished without a trace

MATERIALS:
3 erasers
White-out
Disappearing ink
1 younger brother
1 kitchen sink

PROCEDURE:
Chop up the erasers
Add the white-out and the ink
Rub it on the brother
While he's standing in the sink

RESULTS:
The kid was disappearing!
I had almost proved my theorem!
When all at once my mom camp home
And made me re-appear him.

CONCLUSION:
Experiment a failure
My brother is still here
But I'm already planning
For the science fair next year

I chose this as the spotlight poem because of its tongue-in-cheek hilarity.  Children love humorous poetry and this poem fits the bill and has some science content intertwined as well.

I would use this poem as a Poetry Break before a science lesson.  Most grades learn about the scientific process each year and this poem could be a silly icebreaker for such a lesson.  Even though the premise is meant to be funny, the scientific process terms are accurate.  A noted benefit of poetry is to expand student's vocabularies.  This poem has words like "theorem", "disappear", and "re-appear" that would be introduced to students.  

POEMS IN THE ATTIC

POEMS IN THE ATTIC

by Nikki Grimes

Illustrated by Elizabeth Zunon

Image credit: www.leeandlow.com

Bibliography

Grimes, Nikki. 2015. Poems in the Attic. New York: Lee and Low Books.  ISBN 9781620140277

Critical Analysis and Review

This poetry collection is the story of a seven-year-old girl who finds a set of poems in her Grandmother's attic written by her mother.  Through reading the poems, she finds out that her mother moved around to different Air Force bases as a military brat, but always wrote down her memories in poem.  Interestingly, the two characters' words alternate throughout the book as the young girl reads each of her mother's poems.  It is easy to understand which character wrote the poem, because the daughter's poems appear on the left side, while the mother's poems are on the right side and in italics. 

Grimes is best known for her skill in deftly using poetry to tell a story.  To some readers, this book may not even seem like a collection of poetry because the story is so richly woven into each poem.  In this book, the poems have numerous poetic elements woven throughout.  In "Air Force Brat", the young girl describes her mother's "childhood on wings", a metaphor for moving from place to place. In "Aurora Borealis", the  children watch a "dancing rainbow / shimmy 'cross Alaska's sky" showing the use of sensory images.  These poems evoke strong feelings, but are not overly sentimental.  In "Moving Day", the young girl empathizes with her mother musing, "I get dizzy thinking about / all those good-byes."  Finally, the young girl decides to "copy Mama's poems, then / stitch them together with mine" as a gift to her mother.  

Poems in the Attic has additional content in an author's note, in which Grimes explains that she has a lot of friends who were military brats and their stories inspired this work of fiction.  There is also a brief description of the Air Force Bases and their locations that are featured in the Mother's poems.  Grimes also provides information about the two forms of poetry used in the story.  The young narrator tells her story in consistent three to four line free verse.  The mother's poems from the attic are all written in tanka with a specific syllable count.  Grimes encourages readers to try out free verse and tanka on their own.  

Spotlight Poem

GRANDMA SAYS
by Nikki Grimes

Memories can be like sandcastles

the waves wash away.

My mama glued her memories with words

so they would last forever.

I chose this poem because this whole poetry collection is about a young girl learning about her mother's memories preserved in poems.  This poem compares memories to sandcastles because they "wash away".  The little girl was able to learn more about her mother's interesting life because her mother "glued" her memories into poems, so they didn't "wash away".

To introduce "Grandma Says" with students, we would discuss memories with a few questions.  Can you remember being a baby?  Can you remember being a toddler? Can you remember last year?  Do you think you would you be able to remember special memories more vividly if you wrote them down in a journal?  What about in a poem?  After reading the entire text, I would ask students, "How do you think that you could preserve your memories so they don't wash away?"  As a follow up activity, students could begin creating a daily poetry journal to preserve their memories.