Jim Asher's Blog - Posts Tagged "teaching"
Wonder
One of my favorites of Dickinson’s poems is # 1331 in which she describes the essence of curiosity in the first two lines:
Wonder — is not precisely Knowing
And not precisely Knowing not —
She then goes on to identify this as “A beautiful but bleak condition.”
I reflect on these lines often with teachers as we debate and discuss how to keep a child’s sense of curiosity and wonder alive, especially as they transition from elementary to middle school and from middle school to high school. Not knowing something can be a “bleak condition” (and perhaps a key reason for a child’s misbehavior in class?); however, with an enthusiastic approach and through engaging lessons, a teacher can preserve the “beautiful” and engrossing aspects of the unknown for a child—so that the learning becomes irresistible and the lesson becomes meaningful and relevant.
Tech-savvy teachers can certainly provide such irresistible learning through project based learning where students collaborate in real-life endeavors and become producers and publishers of work that is literally shared with the world. Of course, through authentic, tech-based work on projects, students can also learn how to deal with and solve problems with technology as they encounter issues – and this lead me to the idea for my parody of Dickinson’s poem (in my book Great American Poems – REPOEMED). My parody opens with the following lines:
Windows is not precisely Working
And not precisely Working not—
An essential but bleak condition
I am a firm believer in Murphy’s Law, so I always tell my students that they need to be prepared to deal with any unknown problem— and with technology, there are times when Murphy goes a little overboard with his law. Students need to be able to think creatively and to solve problems logically when faced with unknown issues as they arise, and what better training than with real-life applications and experiences?
This idea brings me back to Dickinson’s poem: in the opening line of the second stanza she states that, “Suspense — is his (i.e., Wonder’s) maturer Sister.” Students do need to retain their sense of wonder, but they also have to be able to solve suspenseful problems. Yes, problems can create a “bleak condition,” but through effective instruction, teachers can transform a bleak outlook to something “beautiful.”
Wonder — is not precisely Knowing
And not precisely Knowing not —
She then goes on to identify this as “A beautiful but bleak condition.”
I reflect on these lines often with teachers as we debate and discuss how to keep a child’s sense of curiosity and wonder alive, especially as they transition from elementary to middle school and from middle school to high school. Not knowing something can be a “bleak condition” (and perhaps a key reason for a child’s misbehavior in class?); however, with an enthusiastic approach and through engaging lessons, a teacher can preserve the “beautiful” and engrossing aspects of the unknown for a child—so that the learning becomes irresistible and the lesson becomes meaningful and relevant.
Tech-savvy teachers can certainly provide such irresistible learning through project based learning where students collaborate in real-life endeavors and become producers and publishers of work that is literally shared with the world. Of course, through authentic, tech-based work on projects, students can also learn how to deal with and solve problems with technology as they encounter issues – and this lead me to the idea for my parody of Dickinson’s poem (in my book Great American Poems – REPOEMED). My parody opens with the following lines:
Windows is not precisely Working
And not precisely Working not—
An essential but bleak condition
I am a firm believer in Murphy’s Law, so I always tell my students that they need to be prepared to deal with any unknown problem— and with technology, there are times when Murphy goes a little overboard with his law. Students need to be able to think creatively and to solve problems logically when faced with unknown issues as they arise, and what better training than with real-life applications and experiences?
This idea brings me back to Dickinson’s poem: in the opening line of the second stanza she states that, “Suspense — is his (i.e., Wonder’s) maturer Sister.” Students do need to retain their sense of wonder, but they also have to be able to solve suspenseful problems. Yes, problems can create a “bleak condition,” but through effective instruction, teachers can transform a bleak outlook to something “beautiful.”
Teaching Poetry
“l(a” by E. E. Cummings is the poem I use most often to get students excited about poetry:
l(a
le
af
fa
ll
s)
one
l
iness
Here’s what I do: I write the poem on the board; I ask for volunteers to read it; I observe their confused expressions; and I watch the “aha” moments on their faces as they begin to make out familiar words. “Leaf.” “A leaf.” “A leaf falls.” Finally, with a little more work, they put together the entire poem.
At that point I ask them why Cummings didn’t just simply write the poem in two lines:
Loneliness.
A leaf falls.
It doesn’t take long for some of them to suggest that the structure of the poem indicates the path of the leaf, and for others to suggest that the form of the poem represents the number “1.” “What about ‘iness’ in the last line of the peom?” I ask. “Why didn’t Cummings just continue the letters in a vertical column?” They propose that the final line represents the leaf resting on the ground.
Then we look at how the poem suggests loneliness in other ways:
Line 1: The letter “l,” which looks like the number “1,” is separated from the single article “a.”
Line 7: The word “one”
Line 8: The letter “l” looks like the number “1.”
The students also note that the final line, “iness,” could represent “I-ness,” or the concept of being “I” (and being alone) – and when combined with the lines that come before it, a notion of “one-liness.”
Students always get excited about this poem. They appreciate the uncomplicated metaphor of the concrete falling leaf and how it represents the abstract concept of loneliness. They love the simple yet complex and creative ways the poem “works.”
Finally, there is another but equally important lesson in examining this poem: students learn to consider something that is foreign to them from the start, instead of just dismissing it as “stupid.” We talk about appreciating — and reflecting upon the meaning of — the work of an artist when the meaning isn’t immediately or entirely obvious.
After struggling a bit and then succeeding with “l(a,” the students are ready to move on — and they are always hungry for more Cummings!
l(a
le
af
fa
ll
s)
one
l
iness
Here’s what I do: I write the poem on the board; I ask for volunteers to read it; I observe their confused expressions; and I watch the “aha” moments on their faces as they begin to make out familiar words. “Leaf.” “A leaf.” “A leaf falls.” Finally, with a little more work, they put together the entire poem.
At that point I ask them why Cummings didn’t just simply write the poem in two lines:
Loneliness.
A leaf falls.
It doesn’t take long for some of them to suggest that the structure of the poem indicates the path of the leaf, and for others to suggest that the form of the poem represents the number “1.” “What about ‘iness’ in the last line of the peom?” I ask. “Why didn’t Cummings just continue the letters in a vertical column?” They propose that the final line represents the leaf resting on the ground.
Then we look at how the poem suggests loneliness in other ways:
Line 1: The letter “l,” which looks like the number “1,” is separated from the single article “a.”
Line 7: The word “one”
Line 8: The letter “l” looks like the number “1.”
The students also note that the final line, “iness,” could represent “I-ness,” or the concept of being “I” (and being alone) – and when combined with the lines that come before it, a notion of “one-liness.”
Students always get excited about this poem. They appreciate the uncomplicated metaphor of the concrete falling leaf and how it represents the abstract concept of loneliness. They love the simple yet complex and creative ways the poem “works.”
Finally, there is another but equally important lesson in examining this poem: students learn to consider something that is foreign to them from the start, instead of just dismissing it as “stupid.” We talk about appreciating — and reflecting upon the meaning of — the work of an artist when the meaning isn’t immediately or entirely obvious.
After struggling a bit and then succeeding with “l(a,” the students are ready to move on — and they are always hungry for more Cummings!
Teaching Poetry -- Part 2
In a blog entry on June 11, 2012, I wrote about how I introduce poetry to students with “l(a,” a poem by E. E. Cummings. After I cover “l(a” with them, they are always eager for more poetry, and they are especially eager for more Cummings. I generally follow-up with Cummings’ “old age sticks,” and kids love interpreting the meaning and implications of the poem:
old age sticks
up Keep
Off
signs)&
youth yanks them
down(old
age cries No
Tres)&(pas)
youth laughs
(sing
old age
scolds Forbid
den Stop
Must
n't Don't
&)youth goes
right on
gr
owing old
Before I begin any discussion of the poem, though, I set the stage by explaining that there are TWO VERY IMPORTANT WORDS in the poem – TWO WORDS that elevate the poem beyond its fundamental meaning. Then we start the conversation.
Of course, students quickly pick up on the aspects of the poem that convey old age versus youth, and it’s always fun to discuss generational differences (especially with examinations of music, dance, clothing, hair styles, trends, fads, and so on). Particularly astute students notice that all of the language in the poem representing “old age” is confined within parentheses while the words representing “youth” are not.
After we examine the words, the mechanics and the structure of the poem, I remind them about the TWO VERY IMPORTANT WORDS– and the students try to figure out what I’m talking about. We examine their ideas, and then I underline what I think are the TWO VERY IMPORTANT WORDS: “owing old” – taken from the words “growing old” in the final two lines of the poem.
I explain that while there are always generational differences and that teenagers always rebel and stretch the limits, they really “owe” those who came before them: What past musicians influenced the styles of current musicians? What past artists paved the way for the work of contemporary artists? What historical thinkers opened doors for the ideas of modern-day thinkers?
Yes, there are always generational gaps and rifts – but youth “goes right on growing old” – just as we are all always “owing old.”
old age sticks
up Keep
Off
signs)&
youth yanks them
down(old
age cries No
Tres)&(pas)
youth laughs
(sing
old age
scolds Forbid
den Stop
Must
n't Don't
&)youth goes
right on
gr
owing old
Before I begin any discussion of the poem, though, I set the stage by explaining that there are TWO VERY IMPORTANT WORDS in the poem – TWO WORDS that elevate the poem beyond its fundamental meaning. Then we start the conversation.
Of course, students quickly pick up on the aspects of the poem that convey old age versus youth, and it’s always fun to discuss generational differences (especially with examinations of music, dance, clothing, hair styles, trends, fads, and so on). Particularly astute students notice that all of the language in the poem representing “old age” is confined within parentheses while the words representing “youth” are not.
After we examine the words, the mechanics and the structure of the poem, I remind them about the TWO VERY IMPORTANT WORDS– and the students try to figure out what I’m talking about. We examine their ideas, and then I underline what I think are the TWO VERY IMPORTANT WORDS: “owing old” – taken from the words “growing old” in the final two lines of the poem.
I explain that while there are always generational differences and that teenagers always rebel and stretch the limits, they really “owe” those who came before them: What past musicians influenced the styles of current musicians? What past artists paved the way for the work of contemporary artists? What historical thinkers opened doors for the ideas of modern-day thinkers?
Yes, there are always generational gaps and rifts – but youth “goes right on growing old” – just as we are all always “owing old.”
Using Poetry for PD for Teachers
I am an administrator at a middle school near Charlottesville, Virginia, and an on-going focus at some of our faculty meetings has been "culturally relevant teaching" (i.e., using the cultural knowledge, prior experiences and performance styles of diverse students to make learning more appropriate and effective; teaching to the strengths of the students).
At one of the meetings I presented E. E. Cummings' poem "old age sticks” (that poem and my approach for leading a discussion on it is noted in my Goodreads.com blog entry dated June 13, 2012). Following the discussion of the poem, I showed a picture of a rather complicated Venn diagram, and we had additional discussion about the numerous and complex factors involved with establishing and maintaining positive relationships with students:
• Age
• Race
• Heritage
• Gender
• Economic Class
• Residence
• Social Class
• Affiliation
• Level of Education
• Language
• Dress
• Music
• Interests
• Etc., Etc., Etc.
Next, I displayed four quotes by E. E. Cummings:
1. To be nobody but yourself in a world that’s doing its best to make you somebody else is to fight the hardest battle you are ever going to fight.
2. It takes courage to grow up and become who you really are.
3. We do not believe in ourselves until someone reveals that deep inside us something is valuable, worth listening to, worthy of our trust, sacred to our touch. Once we believe in ourselves we can risk curiosity, wonder, spontaneous delight or any experience that reveals the human spirit.
4. I would rather learn from one bird how to sing than to teach 10,000 stars how not to dance.
Teachers then broke into groups of four to discuss each of the quotes. For each, they were to consider the following:
A. Regarding the meaning of each quote, what is the implication for teachers and their delivery of instruction?
B. Which specific student(s) could they associate with each of the quotes?
Following the group work, we reconvened as a faculty to consider the individual students that the teacher groups discussed in relation to the four Cumming’s quotes – and finally in relation to one other quote, this time from Howard Gardner: “The biggest mistake of past centuries in teaching has been to treat all children as if they were variants of the same individual and thus to feel justified in teaching them all the same subjects the same way.”
I’ll post additional information about how I’ve used poetry with profession development in future blog entries, and for more on curiosity/wonder (see quote #3 above), see my blog post dated June 9, 2012.
At one of the meetings I presented E. E. Cummings' poem "old age sticks” (that poem and my approach for leading a discussion on it is noted in my Goodreads.com blog entry dated June 13, 2012). Following the discussion of the poem, I showed a picture of a rather complicated Venn diagram, and we had additional discussion about the numerous and complex factors involved with establishing and maintaining positive relationships with students:
• Age
• Race
• Heritage
• Gender
• Economic Class
• Residence
• Social Class
• Affiliation
• Level of Education
• Language
• Dress
• Music
• Interests
• Etc., Etc., Etc.
Next, I displayed four quotes by E. E. Cummings:
1. To be nobody but yourself in a world that’s doing its best to make you somebody else is to fight the hardest battle you are ever going to fight.
2. It takes courage to grow up and become who you really are.
3. We do not believe in ourselves until someone reveals that deep inside us something is valuable, worth listening to, worthy of our trust, sacred to our touch. Once we believe in ourselves we can risk curiosity, wonder, spontaneous delight or any experience that reveals the human spirit.
4. I would rather learn from one bird how to sing than to teach 10,000 stars how not to dance.
Teachers then broke into groups of four to discuss each of the quotes. For each, they were to consider the following:
A. Regarding the meaning of each quote, what is the implication for teachers and their delivery of instruction?
B. Which specific student(s) could they associate with each of the quotes?
Following the group work, we reconvened as a faculty to consider the individual students that the teacher groups discussed in relation to the four Cumming’s quotes – and finally in relation to one other quote, this time from Howard Gardner: “The biggest mistake of past centuries in teaching has been to treat all children as if they were variants of the same individual and thus to feel justified in teaching them all the same subjects the same way.”
I’ll post additional information about how I’ve used poetry with profession development in future blog entries, and for more on curiosity/wonder (see quote #3 above), see my blog post dated June 9, 2012.
The Crescent Moon
Did you see the crescent moon last night? Yes, it was beautiful, but it reminded me of one other strategy I’ve used in the classroom to get students excited about poetry.
Recently I posted two blog entries about how I’ve introduced poetry to students by using two works by E. E. Cummings, “l(a” (see my blog post dated June 11) and “old age sticks” (see my post dated June 13). Students always love the innovative approach Cummings used with the structure and placement of words and letters to create effect and understanding beyond the surface meaning. Students are always excited by his inventive use of language, and they are inspired by their own varied interpretations.
To maintain their enthusiasm and interest, I often follow the lessons on Cummings with an exercise centered around a poem by Emily Dickinson, “The moon was but a chin of gold.” Before I actually share the poem with them – or even the first line – here’s what I do: I project a picture of a crescent moon, and I challenge the class to see if they can figure out the exact image that Dickinson used to describe it. The students are intrigued and begin to offer ideas which could suggest a crescent moon: a canoe; a banana; a hammock; the letter “C”; an apostrophe or comma; and so on. In my experience, the list of ideas can grow quite extensively, but students never guess that Dickinson’s crescent moon is a chin — an image that works beautifully as her metaphor progresses:
The Moon was but a Chin of Gold
A Night or two ago—
And now she turns Her perfect Face
Upon the World below—
I will admit, though, that when presenting this poem in its entirety there can be issues with vocabulary and comprehension. However, that’s where the shared experience of reviewing Cummings’ “l(a” will come in handy because the students will easily recall the recent lesson learned about taking time to appreciate and consider concepts that are not entirely obvious from the start. Also, after the other shared experience I explained in my entry on June 18, students are more likely and excited to share and discuss their ideas and views.
Recently I posted two blog entries about how I’ve introduced poetry to students by using two works by E. E. Cummings, “l(a” (see my blog post dated June 11) and “old age sticks” (see my post dated June 13). Students always love the innovative approach Cummings used with the structure and placement of words and letters to create effect and understanding beyond the surface meaning. Students are always excited by his inventive use of language, and they are inspired by their own varied interpretations.
To maintain their enthusiasm and interest, I often follow the lessons on Cummings with an exercise centered around a poem by Emily Dickinson, “The moon was but a chin of gold.” Before I actually share the poem with them – or even the first line – here’s what I do: I project a picture of a crescent moon, and I challenge the class to see if they can figure out the exact image that Dickinson used to describe it. The students are intrigued and begin to offer ideas which could suggest a crescent moon: a canoe; a banana; a hammock; the letter “C”; an apostrophe or comma; and so on. In my experience, the list of ideas can grow quite extensively, but students never guess that Dickinson’s crescent moon is a chin — an image that works beautifully as her metaphor progresses:
The Moon was but a Chin of Gold
A Night or two ago—
And now she turns Her perfect Face
Upon the World below—
I will admit, though, that when presenting this poem in its entirety there can be issues with vocabulary and comprehension. However, that’s where the shared experience of reviewing Cummings’ “l(a” will come in handy because the students will easily recall the recent lesson learned about taking time to appreciate and consider concepts that are not entirely obvious from the start. Also, after the other shared experience I explained in my entry on June 18, students are more likely and excited to share and discuss their ideas and views.
A Riddle
Some of my recent posts have been about how I’ve introduced and excited kids about poetry –
see my entries dated June 11, June 13, and June 24. Also, on June 18, I wrote about a very quick and easy high impact activity that helps kids feel comfortable in voicing their opinions when discussing and analyzing poetry.
Another very quick but effective activity that supports students having a voice in class discussions involves a riddle: Ask your students, “What is one thing you can sit on, sleep on, and use to brush your teeth?” Allow for plenty of wait-time, and be sure to repeat the question once or twice: “What is one thing you can sit on, sleep on, and use to brush your teeth?”
Once the students have pondered the brainteaser for a bit, give them the answer: “A chair, a bed, and a tooth brush.” Yes, the answer was “as plain as the nose on your face,” as the saying goes* – and yet more than likely students were afraid to give such a response so as “not to get it wrong.” With this lesson (and like the one described in my blog post dated June 18) you can help set the stage for students to feel comfortable in offering their thoughts and views when discussing and interpreting poetry.
*Speaking of noses - if I remember correctly I believe I heard this riddle in the movie "Roxanne" - the spoof of "Cyrano de Bergerac" starring Steve Martin.
see my entries dated June 11, June 13, and June 24. Also, on June 18, I wrote about a very quick and easy high impact activity that helps kids feel comfortable in voicing their opinions when discussing and analyzing poetry.
Another very quick but effective activity that supports students having a voice in class discussions involves a riddle: Ask your students, “What is one thing you can sit on, sleep on, and use to brush your teeth?” Allow for plenty of wait-time, and be sure to repeat the question once or twice: “What is one thing you can sit on, sleep on, and use to brush your teeth?”
Once the students have pondered the brainteaser for a bit, give them the answer: “A chair, a bed, and a tooth brush.” Yes, the answer was “as plain as the nose on your face,” as the saying goes* – and yet more than likely students were afraid to give such a response so as “not to get it wrong.” With this lesson (and like the one described in my blog post dated June 18) you can help set the stage for students to feel comfortable in offering their thoughts and views when discussing and interpreting poetry.
*Speaking of noses - if I remember correctly I believe I heard this riddle in the movie "Roxanne" - the spoof of "Cyrano de Bergerac" starring Steve Martin.
How Happy Is The Little Stone
In a blog entry on June 15, 2012, I wrote about how I have used poetry in staff development for teachers. This entry includes another example.
First, in earlier faculty meetings, we included reviews of high-yield teaching strategies, elements of engaging lessons, features of “brain friendly” lessons, and aspects of culturally responsive teaching. The previous examinations emphasized how these four areas contribute to the establishment of a safe classroom environment that allows for risk taking, validation, affirmation, and affiliation (a sense that students’ work is valued and shared).
Following a recap of our earlier work, I then projected a quote from Lawrence Cremin:
Education is “the deliberate, systematic, and sustained effort to transmit, evoke, or acquire knowledge, values, attitudes, skills, or sensibilities, as well as any learning that results from the effort, direct or indirect, intended or unintended.”
At that point, I conducted a “think-pair-share” and asked each teacher to identify and discuss in pairs the single most important word in the quote. Of course, there could be different possible answers to my question, but after some conversation I told them that in my mind, the key word in the quote is “deliberate.”
Yes, it is true that a person with a natural talent for teaching might be a "good teacher," but by being deliberate with planning, instruction, and assessment – and by being deliberate with high-yield instructional strategies, elements of engaging lessons, features of “brain friendly” lessons, and aspects of culturally responsive teaching – one will become an even better/more effective teacher.
Okay, so here is where the poetry came in:
With that thought in mind (i.e., the deliberate work of a highly effective teacher), I had the teachers work on an activity centered on the poem “How happy is the little stone” by Emily Dickinson:
How happy is the little Stone
That rambles in the Road alone,
And doesn't care about Careers
And Exigencies never fears—
Whose Coat of elemental Brown
A passing Universe put on,
And independent as the Sun
Associates or glows alone,
Fulfilling absolute Decree
In casual simplicity—
Here are the instructions I gave the teachers:
1. Read the poem and discuss in pairs.
2. Create (in the pair) a "bumper sticker" of exactly 6 words to reflect a main point or theme of the poem.
3. Once your "bumper sticker" is ready, practice a bit of “word association” by posting it by one of four Albert Einstein quotes displayed throughout the room. Post it by the quote which closely relates to the bumper sticker and the theme/idea of the poem. Here are the four quotes:
A. Reality is merely an illusion, albeit a very persistent one.
B. We can’t solve problems by using the same kind of thinking we used when we created them.
C. Education is what remains after one has forgotten everything he learned in school.
D. Insanity: Doing the same thing over and over again and expecting different results.
Once all the pairs were ready and the bumper stickers were posted around the room, we discussed the poem, the bumper stickers, and the quotes – all centered on "perception" (for at this point, I had also projected a slide of an optical illusion of a man on a horse who appeared to be approaching or leaving a park – it all depended upon how one looked at it). A main point on which we centered our discussion was that teachers could not be like "the little stone"-- i.e., "happy" with the way things are. Instead, they had to be "deliberate" with their approach, with their strategies, and with their positive relationships with their students if they wanted to maximize growth in student achievement.
After all, if a teacher is not deliberate, then he or she might as well just follow the advice of the Cheshire Cat:
"Would you tell me, please, which way I ought to go from here?"
"That depends a good deal on where you want to get to," said the Cat.
"I don’t much care where--" said Alice.
"Then it doesn’t matter which way you go," said the Cat.
"--so long as I get SOMEWHERE," Alice added as an explanation.
"Oh, you’re sure to do that," said the Cat, "if you only walk long enough."
First, in earlier faculty meetings, we included reviews of high-yield teaching strategies, elements of engaging lessons, features of “brain friendly” lessons, and aspects of culturally responsive teaching. The previous examinations emphasized how these four areas contribute to the establishment of a safe classroom environment that allows for risk taking, validation, affirmation, and affiliation (a sense that students’ work is valued and shared).
Following a recap of our earlier work, I then projected a quote from Lawrence Cremin:
Education is “the deliberate, systematic, and sustained effort to transmit, evoke, or acquire knowledge, values, attitudes, skills, or sensibilities, as well as any learning that results from the effort, direct or indirect, intended or unintended.”
At that point, I conducted a “think-pair-share” and asked each teacher to identify and discuss in pairs the single most important word in the quote. Of course, there could be different possible answers to my question, but after some conversation I told them that in my mind, the key word in the quote is “deliberate.”
Yes, it is true that a person with a natural talent for teaching might be a "good teacher," but by being deliberate with planning, instruction, and assessment – and by being deliberate with high-yield instructional strategies, elements of engaging lessons, features of “brain friendly” lessons, and aspects of culturally responsive teaching – one will become an even better/more effective teacher.
Okay, so here is where the poetry came in:
With that thought in mind (i.e., the deliberate work of a highly effective teacher), I had the teachers work on an activity centered on the poem “How happy is the little stone” by Emily Dickinson:
How happy is the little Stone
That rambles in the Road alone,
And doesn't care about Careers
And Exigencies never fears—
Whose Coat of elemental Brown
A passing Universe put on,
And independent as the Sun
Associates or glows alone,
Fulfilling absolute Decree
In casual simplicity—
Here are the instructions I gave the teachers:
1. Read the poem and discuss in pairs.
2. Create (in the pair) a "bumper sticker" of exactly 6 words to reflect a main point or theme of the poem.
3. Once your "bumper sticker" is ready, practice a bit of “word association” by posting it by one of four Albert Einstein quotes displayed throughout the room. Post it by the quote which closely relates to the bumper sticker and the theme/idea of the poem. Here are the four quotes:
A. Reality is merely an illusion, albeit a very persistent one.
B. We can’t solve problems by using the same kind of thinking we used when we created them.
C. Education is what remains after one has forgotten everything he learned in school.
D. Insanity: Doing the same thing over and over again and expecting different results.
Once all the pairs were ready and the bumper stickers were posted around the room, we discussed the poem, the bumper stickers, and the quotes – all centered on "perception" (for at this point, I had also projected a slide of an optical illusion of a man on a horse who appeared to be approaching or leaving a park – it all depended upon how one looked at it). A main point on which we centered our discussion was that teachers could not be like "the little stone"-- i.e., "happy" with the way things are. Instead, they had to be "deliberate" with their approach, with their strategies, and with their positive relationships with their students if they wanted to maximize growth in student achievement.
After all, if a teacher is not deliberate, then he or she might as well just follow the advice of the Cheshire Cat:
"Would you tell me, please, which way I ought to go from here?"
"That depends a good deal on where you want to get to," said the Cat.
"I don’t much care where--" said Alice.
"Then it doesn’t matter which way you go," said the Cat.
"--so long as I get SOMEWHERE," Alice added as an explanation.
"Oh, you’re sure to do that," said the Cat, "if you only walk long enough."
What Fifty Said
In my first-ever goodreads blog entry on June 6th I opened with some thoughts on Robert Frost’s poem, “What Fifty Said.” I noted that, “As an educator, I find these lines (in the first stanza) quite depressing since the speaker (i.e. the student) had to give up ‘fire for form’ due to a traditional approach of teachers presenting mind-numbing content in an uninspiring fashion.” In light of some of my recent posts concerning the use of poetry in professional development for teachers, I thought that I would revisit that poem.
Of course, at this time of year most schools are out for the summer, and students and teachers are enjoying their vacations; however, school administrators like myself are busy preparing for the 2012-2013 school year – so perhaps a school administrator or two will see this discussion and/or some of my previous posts and incorporate poetry into some of their planning for the new school year. With that said, here is the entire poem by Frost:
WHAT FIFTY SAID
When I was young my teachers were the old.
I gave up fire for form till I was cold.
I suffered like a metal being cast.
I went to school to age to learn the past.
Now I am old my teachers are the young.
What can't be molded must be cracked and sprung.
I strain at lessons fit to start a suture.
I go to school to youth to learn the future.
Of course the opening line of the poem conveys an obvious truth — that youth is taught by those who are “old,” those who have come before them and who, themselves, are educated. However, the remaining lines of the of the stanza reveal that this education – learning “the past” from “the old” – can be excruciating when one must give up “fire for form.” How sad it would be for any youth to be cast into a conventional mold due to the obsolete approach of an outdated teacher. That image brings to mind two quotes from E. E. Cummings:
• I would rather learn from one bird how to sing than to teach 10,000 stars how not to dance.
• It takes courage to grow up and become who you really are.
Back to the Frost: the tone of the poem turns with the opening line of the second stanza as the speaker reveals that he is now old himself. As the stanza concludes, he notes that he has “cracked and sprung” from his mold as he now “learn(s) the future” from the youth. Hmmm – this makes me wonder just how exhilarating Frost would view – and learn from – the youth of the digital age. Are current teachers joining the collaboration revolution and learning from their students? Are they joining their students as they journey into the 21st Century to become collaborators, creators, publishers, audience, reporters, and digital citizens? This brings to mind yet another quote from Cummings:
• Always the beautiful answer who asks a more beautiful question.
Of course, at this time of year most schools are out for the summer, and students and teachers are enjoying their vacations; however, school administrators like myself are busy preparing for the 2012-2013 school year – so perhaps a school administrator or two will see this discussion and/or some of my previous posts and incorporate poetry into some of their planning for the new school year. With that said, here is the entire poem by Frost:
WHAT FIFTY SAID
When I was young my teachers were the old.
I gave up fire for form till I was cold.
I suffered like a metal being cast.
I went to school to age to learn the past.
Now I am old my teachers are the young.
What can't be molded must be cracked and sprung.
I strain at lessons fit to start a suture.
I go to school to youth to learn the future.
Of course the opening line of the poem conveys an obvious truth — that youth is taught by those who are “old,” those who have come before them and who, themselves, are educated. However, the remaining lines of the of the stanza reveal that this education – learning “the past” from “the old” – can be excruciating when one must give up “fire for form.” How sad it would be for any youth to be cast into a conventional mold due to the obsolete approach of an outdated teacher. That image brings to mind two quotes from E. E. Cummings:
• I would rather learn from one bird how to sing than to teach 10,000 stars how not to dance.
• It takes courage to grow up and become who you really are.
Back to the Frost: the tone of the poem turns with the opening line of the second stanza as the speaker reveals that he is now old himself. As the stanza concludes, he notes that he has “cracked and sprung” from his mold as he now “learn(s) the future” from the youth. Hmmm – this makes me wonder just how exhilarating Frost would view – and learn from – the youth of the digital age. Are current teachers joining the collaboration revolution and learning from their students? Are they joining their students as they journey into the 21st Century to become collaborators, creators, publishers, audience, reporters, and digital citizens? This brings to mind yet another quote from Cummings:
• Always the beautiful answer who asks a more beautiful question.
What ELSE Could Be Going On?
Here’s a quick, fun way to introduce a unit on poetry.
1. First, post the following statements:
A businessman had just turned off the lights in the store when a man appeared and demanded money. The owner opened a cash register. The contents of the cash register were scooped up and the man sped away. A member of the police force was notified promptly.
2. Second, using a “think-pair-share,” ask students to think about and then discuss “what is going on here?” After pairs of students have had an opportunity to discuss “what is going on,” have students report what they discussed. In most if not every case, students will report that there was some sort of crime committed.
Ask what evidence they have from the statements to support their ideas – and ask for specific words from the statements. Most students, for example, will point out “turned off the lights,” “a man appeared,” “opened a cash register,” the contents were “scooped up,” and so on.
As you discuss this, ask the students, “What time of day is it?” They will likely say “night time.” Again, ask which word(s) led them to this conclusion – especially since no specific time of day is mentioned. Students will note that the business “had just turned off the lights.”
3. Next, after you have discussed “what is going on here” and you have asked students to give specific words/phrases to support their ideas, ask, “WHAT ELSE could be going on?” Have them think about and discuss in pairs some OTHER story that could have happened where these statements fit. After students have had time to discuss this in pairs, have volunteers tell what stories they devised where these statements would make sense. Again, have them explain how specific words and/or phrases support their new accounts.
That’s it! That’s a quick and easy way to introduce a unit of poetry – by discussing the short passage above and noting how it can be understood in various ways simply by interpreting the language differently. At this point, you’re ready to introduce the first poem in your unit! Read your poem with your students and ask, “What is going on here? What ELSE could be going on? What specific words and phrases led you to your interpretations?”
1. First, post the following statements:
A businessman had just turned off the lights in the store when a man appeared and demanded money. The owner opened a cash register. The contents of the cash register were scooped up and the man sped away. A member of the police force was notified promptly.
2. Second, using a “think-pair-share,” ask students to think about and then discuss “what is going on here?” After pairs of students have had an opportunity to discuss “what is going on,” have students report what they discussed. In most if not every case, students will report that there was some sort of crime committed.
Ask what evidence they have from the statements to support their ideas – and ask for specific words from the statements. Most students, for example, will point out “turned off the lights,” “a man appeared,” “opened a cash register,” the contents were “scooped up,” and so on.
As you discuss this, ask the students, “What time of day is it?” They will likely say “night time.” Again, ask which word(s) led them to this conclusion – especially since no specific time of day is mentioned. Students will note that the business “had just turned off the lights.”
3. Next, after you have discussed “what is going on here” and you have asked students to give specific words/phrases to support their ideas, ask, “WHAT ELSE could be going on?” Have them think about and discuss in pairs some OTHER story that could have happened where these statements fit. After students have had time to discuss this in pairs, have volunteers tell what stories they devised where these statements would make sense. Again, have them explain how specific words and/or phrases support their new accounts.
That’s it! That’s a quick and easy way to introduce a unit of poetry – by discussing the short passage above and noting how it can be understood in various ways simply by interpreting the language differently. At this point, you’re ready to introduce the first poem in your unit! Read your poem with your students and ask, “What is going on here? What ELSE could be going on? What specific words and phrases led you to your interpretations?”
The Case of Jackson v. Franklin -- Part 3
On July 25 and 27 I posted blog entries about the similarities and differences of two “complete” volumes Emily Dickinson poetry, one edited by Thomas H. Johnson, and another edited by R. W. Franklin. I started this appraisal of the two books when I discovered that my copy of Johnson’s collection, published in 1955, did not include additional poems by Dickinson that had been discovered late in the twentieth century.
Of course the most discernible difference between the two volumes is the ordering and numbering system employed by the two editors (see my post dated 7/25). Other differences range from minor changes in spelling and punctuation to substantial modifications in structure, word choice, and complete lines and stanzas (due to the process each editor used in selecting alternate versions of Dickinson’s poems to publish).
I have to admit, as I was comparing the poems in the two books, I was even surprised to discover a subtle difference in two different versions of “After great pain, a formal feeling comes” (J 342 and F 374). See if you can spot it.
Here is the version in Johnson’s book :
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions was it He, that bore,
And Yesterday, or Centuries before?
The Feet, mechanical, go round –
Of Ground, or Air, or Ought –
A Wooden way
Regardless grown,
A Quartz contentment, like a stone –
This is the Hour of Lead –
Remembered, if outlived,
As Freezing persons, recollect the Snow –
First – Chill – then Stupor – then the letting go –
Here is the poem as it appears in Franklin’s collection :
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions ‘was it He, that bore,’
And ‘Yesterday, or Centuries before’?
The Feet, mechanical, go round –
A Wooden way
Of Ground, or Air, or Ought –
Regardless grown,
A Quartz contentment, like a stone –
This is the Hour of Lead –
Remembered, if outlived,
As Freezing persons, recollect the Snow –
First – Chill – then Stupor – then the letting go –
Franklin’s version of the poem, of course, added single quotation marks in the first stanza to indicate the stiff Heart’s questions: “was it He, that bore,” and “Yesterday, or Centuries before.” But other than that new punctuation, the poems are almost identical – except for one other interesting modification. Did you spot the altered line order in the second stanza? Which order do you prefer? Why?
Typically, both Johnson and Franklin included a single version of each poem. However, in a few cases, Johnson included a second adaptation. For example, he included two adaptations of “Safe in their Alabaster Chambers” (J 216), one from 1859 and the other from 1861. The poem from 1861 matches the one Franklin’s book (F 124), although Franklin has the poem dated 1859.
Johnson also included two variations of “Going to Him! Happy Letter!” (J 494). Both poems date from 1862, but only the first version appears in Franklin’s book (F 277) – and Franklin’s copy seems to have remained true to Dickinson’s spellings (for example “did’nt” versus “didn’t”; “was’nt” instead of “wasn’t”; and “Boddice” in place of “Bodice”) and structure (for example, “And begged to be ended –
What would it hinder – so – to say?” appears in two lines instead of the one line in Johnson’s version).
I’m not sure why Johnson decided to include two versions of some poems but not for most others. Why two renderings of J 216 and J 494 (mentioned above) but not J 217 (“Savior! I’ve no one else to tell”), J 311 (“It sifts from Leaden Sieves”), or others? However, whether comparing two versions from the Johnson text or by contrasting one version in Johnson to another in Franklin, I think these different adaptations offer teachers of writing and poetry a unique opportunity to have students explore the development and progression of the writing and artistic process. What mood is evoked through the use of one word versus another? How does the poet’s message change by shifting the placement of a word, a phrase or a sentence? What different direction does a poem’s meaning take with the use of one image or metaphor as opposed to another? Teachers can have students examine and explore these kinds of questions using Dickinson’s own variations. After all, it was Dickinson, herself, who said in J 412 / F 432:
I read my sentence – steadily –
Reviewed it with my eyes,
To see that I made no mistake
In it’s extremest clause –
Well, I’ve veered off track a bit from my discussion of poems found in Johnson’s collection compared to those in Franklin’s, and there is still one very perplexing mystery I’ve uncovered. I’ll try to wrap up my take on this topic next time and reveal that final riddle.
Of course the most discernible difference between the two volumes is the ordering and numbering system employed by the two editors (see my post dated 7/25). Other differences range from minor changes in spelling and punctuation to substantial modifications in structure, word choice, and complete lines and stanzas (due to the process each editor used in selecting alternate versions of Dickinson’s poems to publish).
I have to admit, as I was comparing the poems in the two books, I was even surprised to discover a subtle difference in two different versions of “After great pain, a formal feeling comes” (J 342 and F 374). See if you can spot it.
Here is the version in Johnson’s book :
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions was it He, that bore,
And Yesterday, or Centuries before?
The Feet, mechanical, go round –
Of Ground, or Air, or Ought –
A Wooden way
Regardless grown,
A Quartz contentment, like a stone –
This is the Hour of Lead –
Remembered, if outlived,
As Freezing persons, recollect the Snow –
First – Chill – then Stupor – then the letting go –
Here is the poem as it appears in Franklin’s collection :
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions ‘was it He, that bore,’
And ‘Yesterday, or Centuries before’?
The Feet, mechanical, go round –
A Wooden way
Of Ground, or Air, or Ought –
Regardless grown,
A Quartz contentment, like a stone –
This is the Hour of Lead –
Remembered, if outlived,
As Freezing persons, recollect the Snow –
First – Chill – then Stupor – then the letting go –
Franklin’s version of the poem, of course, added single quotation marks in the first stanza to indicate the stiff Heart’s questions: “was it He, that bore,” and “Yesterday, or Centuries before.” But other than that new punctuation, the poems are almost identical – except for one other interesting modification. Did you spot the altered line order in the second stanza? Which order do you prefer? Why?
Typically, both Johnson and Franklin included a single version of each poem. However, in a few cases, Johnson included a second adaptation. For example, he included two adaptations of “Safe in their Alabaster Chambers” (J 216), one from 1859 and the other from 1861. The poem from 1861 matches the one Franklin’s book (F 124), although Franklin has the poem dated 1859.
Johnson also included two variations of “Going to Him! Happy Letter!” (J 494). Both poems date from 1862, but only the first version appears in Franklin’s book (F 277) – and Franklin’s copy seems to have remained true to Dickinson’s spellings (for example “did’nt” versus “didn’t”; “was’nt” instead of “wasn’t”; and “Boddice” in place of “Bodice”) and structure (for example, “And begged to be ended –
What would it hinder – so – to say?” appears in two lines instead of the one line in Johnson’s version).
I’m not sure why Johnson decided to include two versions of some poems but not for most others. Why two renderings of J 216 and J 494 (mentioned above) but not J 217 (“Savior! I’ve no one else to tell”), J 311 (“It sifts from Leaden Sieves”), or others? However, whether comparing two versions from the Johnson text or by contrasting one version in Johnson to another in Franklin, I think these different adaptations offer teachers of writing and poetry a unique opportunity to have students explore the development and progression of the writing and artistic process. What mood is evoked through the use of one word versus another? How does the poet’s message change by shifting the placement of a word, a phrase or a sentence? What different direction does a poem’s meaning take with the use of one image or metaphor as opposed to another? Teachers can have students examine and explore these kinds of questions using Dickinson’s own variations. After all, it was Dickinson, herself, who said in J 412 / F 432:
I read my sentence – steadily –
Reviewed it with my eyes,
To see that I made no mistake
In it’s extremest clause –
Well, I’ve veered off track a bit from my discussion of poems found in Johnson’s collection compared to those in Franklin’s, and there is still one very perplexing mystery I’ve uncovered. I’ll try to wrap up my take on this topic next time and reveal that final riddle.
