Last week we held our annual Literary Festival at school. We had an amazing line-up (including Harold Ramis; 2-time Newberry winner, Gary Schmidt; the rock band, The Handsome Family; and sports writer, Melissa Isaacson). But we always make sure to invite at least one performance poet and, without fail, this performer is the overwhelming fan favorite with our students. This year that performance poet was Regie Gibson and it came as no surprise that Regie’s performance swept everyone off their feet.
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Like many people, my interest in poetry grew out of my interest in music. As a listener, I love the thoughtful lyrics of songwriters like Joe Henry, Rennie Sparks from The Handsome Family, Chuck D, Gershwin. Regardless of the song-genre, great lyrics hit me first. My interest in reading poetry came about in a much sneakier way. I took voice classes in college and unwittingly sang art songs derived from poems. (One teacher marveled — in what I’m still not sure was a compliment — at my “gift” at turning any art song into a country tune). I had no idea that the German songs I loved were actually poems by Schiller and Goethe, nor that one of my favorite folk songs was a Yeats poem set to music by Benjamin Britten. Here’s my audio version of this last song, Down By the Salley Gardens.
Like many people, I was taught that haiku were poems that followed a 5-7-5 syllable count. In fact, I taught haiku that way for years myself. I’ll even own up to the fact that I used haiku as my “special lesson” on days when I was being observed. There was something so satisfyingly tight about the form and my observers (read: my bosses) left the room thinking actual learning had taken place. And, in fairness, maybe a little learning did occur – but a few years later, under the patient tutelage of a kind magazine editor named Robert Speiss, I learned that modern English language haiku is a much richer form than I had ever imagined.
This year I’m teaching a new class called Literature and Film. Since I’m always thinking of ways to use poetry in the classroom, we started the year by screening Run Lola Run while we read Oedipus the King (the brilliant Robert Fagles translation replete with devastatingly ironic line breaks). In our film noir unit, we read some terrific noir poems from Kevin Young’s Black Maria . (title links to an NPR interview with Young) and some excerpts from Robert Polito’s fine new collection, Holywood and God. Check out the podcast on Poetry Noir from Poetry off the Shelf.
Then, while we were examining mise-en-scene (for our purposes, the physical setting of the film) in movies such as Double Indemnity and Chinatown, I asked students to write noir poems of their own. As a first step, I had students

The only thing worth saying in a book review, Raymond Carver once said, is Good job, keep writing! Some people hearing that line assumed he was soft-hearted if not soft-minded – but Carver was neither. He knew that writing, especially personal writing, is an act of courage in which we expose ourselves — what we stand for, what we believe, what we feel — to public scrutiny. As a classroom teacher, I’ve always kept this idea in mind when I respond to student work.
I’m always stealing ideas from other poets to bring to my classes. This summer I read a very interesting poem by Anna McDonald originally published in The Paris Review. The poem, called “Possible Titles for His Plaque” is a clever riff on the Homeric convention of using tags for characters. Just as Homer calls the Trojans “breakers of horses,” McDonald’s speaker talks in mock heroic phrases such as “eater of pork rinds” and “pisser off of porches.” It’s funny and a little disturbing.
For my purposes as a classroom teacher, though, the poem is perfect: it’s a tight form that all students can duplicate and it has great use as a model for students writing autobiography (what are possible titles for their own plaques?), for understanding a novel they are studying (think of Holden: wearer of a red cap, mourner of a younger brother, savior of imaginary children, cleanser of the word “fuck”, etc.) or a historical or literary character outside of class.
Here is what a student named Alison did with a character from a graphic novel:
DC Comics: Harley Quinn’s Rap Sheet
Guilt-filled felon
Abandoner of her PhD
Rider of pogo sticks
Operator of deadly weapons
Speaker in a Queens accent
Singer of rusty songs
Recipient of second chances
Failure at redemption
Loud chewer of bubble gum
Juggler of dynamite
Baker of cream pies
Receiver of get-well roses
Mistress of obnoxious laughter
Schemer of punchlines
Resident of a fun house
Patient in a mad house
Occasional wearer of pink dresses and rollerskates
Masquerader behind a bubbly innocence
Poster girl for Gotham City psychopaths
___________________________________________________________
And here’s Marie’s poem about a friend of hers:
Former Taco Bell Employee
former champion eater of cheesy gordita crunches
former all-time most disgruntled Taco Bell employee
faker of vegetarianism and dire heart conditions
owner of an extensive dream catcher collection
stealer of debate team trophies,
snatcher of children’s scooters from neighboring front lawns
possessor of biggest glasses, curliest hair
burner down of junior high bathrooms
photographer of roadkill
heckler of pre-teens and other defenseless schmucks
putter of trash in mailboxes
flip offer of the school principal
do-er of all things people despise.
Several years ago, around Halloween, I was informed of a sickening and racist story while leading a workshop at an affluent, mostly white, local high school. As part of a writing exercise on persona, I asked students what costumes they planned on wearing for Halloween. The class laughed nervously and all eyes turned to Robert. “What’s so funny?” I asked. Robert explained he had been suspended for two weeks the previous year for the costume he wore. “What could be so bad?” I asked.
“I went as a Mexican,” Robert said, with no apparent remorse.
“What does that mean? I asked. How could you dress ‘as a Mexican’?”
The recent announcement that Herta Muller won the 2009 Nobel Prize in Literature came as a huge surprise to me as I’m sure it did to many Americans. While Muller has written twenty books, only 5, according to the New York Times, have been translated into English. The tiny percentage of Muller’s work translated into English is hardly an aberration. Rather, it is a sad symptom of a much larger problem. There has been a steady decline in the number of literary works translated into English, and in the United States the decline has perhaps been even more precipitous than in other English speaking nations.
In the past year I’ve talked about poetry with a few hundred classroom teachers and heard one overwhelmingly common complaint. Given the demands of required texts and standardized tests, there just isn’t enough time for poetry.
One teacher drew the analogy of designing a curriculum and furnishing a house: “You start with the big pieces — the sofa, the coffee table,” she told me, “not with the accent pieces.” Novels and plays are the serious works, she suggested — actual books that serve a vital function, substantial texts that might really require some heavy lifting. Poetry, by implication, is regarded as wall art, something exotic rather than essential — not something to plan a room (or a unit) around.
school–
take out the “sh”
and it’s cool
Starting is often hardest – the first gesture determines so much of what follows. This is true for poems, for personal introductions, even for blog posts! It’s also true when thinking about the school day.
At my school, like so many others, the day officially commences with a student reading of the Pledge of Allegiance. It’s a nice idea to have students read, but the readings – whether giggly or sober — are all delivered in the same sing-song manner, as I assume they are in every other school. I don’t mean to sounds critical of these students, but the point of the pledge is often not patriotic reflection but a means of bringing the school to order. The pledge functions like a judge’s gavel, a drawn out “sh,” a pre-hypnotic suggestion that promises we will eventually awaken and remember nothing.
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