Poetry Written by Young Adults: Things I Have to Tell You

BIBLIOGRAPHY

Franco, Betsy. 2001. Things I have to tell you. Ill. by Nina Nickles. Somerville, MA: Candlewick Press. ISBN 9780763610357

CRITICAL ANALYSIS

In Things I Have to Tell You, Betsy Franco compiles prose and poetry written by teenage girls expressing very real and raw emotions: fear, passion, gratitude, and frustration, to name a few. Each girl’s voice has a distinguishing quality evidenced in the vocabulary, rhythm, and tone. A handful of poems such as “Secrets” and “A Bad Hair Day” include rhyme. The majority of the poems are free verse, allowing the writers’ feelings and ideas to freely flow.

Considering the amateur status of the writers, some of the poets have a knack for using figurative language and unique style. The poem “Clouds Rolling In” is a beautifully constructed metaphor for fighting. “My Heart Is In My Throat” and “The Consequence of Loving Me” are two examples of poems that include a repetitious phrase—techniques not typically exhibited by novice poets.

When reading poems such as “I’m Sayin’” and “Be Perfect,” the reader can hear the teens’ voices speaking the words with their own personal passion.  Regardless who is reading this collection, the reader will appreciate the authors’ forms and careful selection of phrasing.

Because teenage girls wrote the poems about issues real girls face, this collection will appeal to teenage girls. As I read through the book, I couldn’t help thinking how a counselor could use the writings to address problems girls must deal with as a way to reassure young women that they are not alone in their struggle. The openness of the poems will strike familiar chords with readers.

For anyone looking to understand the teenage girls’ mind, this collection nails it! Although the authors, moods, and styles vary, the quality of the poems does not. Each poem does an astounding job of articulating the writers’ true emotions.

A handful of the poems in this collection first appeared in a young adult publication called YO!.  Another poem can be found in Franco’s book The Secret Life of Words.

A contributing factor to the realness of the book is found in the black and white candid photographs taken by Nina Nickles. One large photograph is assigned to each of the poem or prose writings. As Nickles explains in her preface, the photos were not intentionally paired to illustrate a specific piece. However, the combinations nicely complement one another.

For easy access to a specific piece, Franco includes a table of contents with page numbers. The poems do not seem to appear in any particular order, such as by author, topic, length, etc. The mixture of moods takes readers on the roller coaster ride of adolescent girls’ lives. The authors should be commended on their honesty and sincerity as well as their proficient use of language.

POETRY SPOTLIGHT

 “Clouds Rolling In”, p. 41

By Melissa Leigh Davis, age 14

my friend and i

got caught in a storm

with tears for rain,

and shouts for thunder,

lightning fists

lashing out.

i pause,

puzzled.

we fight all the time,

don’t know why.

i want to ask

but am afraid of the reason.

it’s my fault

(always is).

he says so.

he’s never wrong.

uses this weather to prove it.

i am afraid of lightning.

don’t let it strike me again

                              again

                              again

i am the sun

that these black clouds cover up.

why won’t they go away

and let me shine for once?

i’m afraid of storms.

Because this poem is the cry of so many teenagers and to do the piece justice, a group of girls ought to read the poem—one voice for each phrase. The punctuation serves as a stopping point for each reader. To add to the metaphor, play thunderstorm sounds in the background.

To follow up with this emotional poem, allow students to brainstorm events that cause them some spike in emotion—whether an emotional high or low. Examples of such events could include being recognized for a great accomplishment, losing a loved one, finally getting the guy, or being pushed away from friends. 

Students will compare this event to an event in nature (as this poem compared fighting to a storm). Events could be droughts, spring rain showers, hurricanes, blizzards, cool autumn days, etc. Encourage students to share their feelings through verse about a specific event using an occurrence in nature as a metaphor. Allow students who volunteer to share their compositions. 

Lee Bennet Hopkins Poetry Award Recipient: Button Up!

BIBLIOGRAPHY

Schertle, Alice. (2009). Button up! Wrinkled rhymes. Ill. by Petra Mathers. Orlando, FL: Harcourt. ISBN 9780152050504

CRITICAL ANALYSIS

Button Up! Wrinkled Rhymes by Alice Schertle presents 15 poems about clothes. Each poem features one article of clothing and the name of a critter that dons it. Schertle uses a predictable rhyme scheme that creates a playful and energetic tone.

While the rhyme keeps the poems mostly upbeat, the poems vary in mood. Most articles of clothing—jerseys, hiking hats, jammies—are proud to be worn and love their owners. About halfway through the book, however, a single poem of bitterness and despair (“Tanya’s Old Shirt”, p. 18), tells how a shirt feels when its owner outgrows it. The mood is quickly lightened back up with poems about swimsuits, Halloween costumes, and a hand-me-down sweatshirt.

Schertle uses literal language to paint a picture of events as told by the clothing. Schertle uses sound words like “Squash—galosh” in “The Song of Harvey’s Galoshes” (p. 9) to mix in some sound effects. Schertle’s descriptions of the adventures on which the garments go give the reader a clear picture of the relationship between a creature and his or her attire.

With the inclusion of several poetic forms such as quatrains of the poems and spirited rhyme, Button Up! will hold readers’ attention. Young children seem to have a favorite garment that makes the task of getting dressed the most special. Readers will be quite entertained by the clothing’s unusual viewpoint.

The poet also manipulates the font type to indicate difference in dynamics: larger, bolder letters indicate the reader shout the word or phrase. Italicized words and phrases require some form of emphasis—whether in volume or stress of each syllable.

Schertle uses funky phrasing to describe some garments, adding in puns. For example, “Bertie’s Shoelaces” (p.4) are described as “not up tight”, as in not tied up tight. The way the poet words this line creates an image of a laid-back guy with his relaxed laces. The silliness of such poems stimulates enjoyment among even older readers.

Because Schertle chose to write about such a basic topic as clothing, readers should be inspired to write about common, familiar items from the perspective of the inanimate object. The quality of the poems is consistent throughout the book, acting as a guide for those who dare to create their own verses.

This particular piece is a recipient of the 2010 Lee Bennett Hopkins Poetry Award.

The two-page spread arrangement prominently features a single poem, making it the most important at the time. Petra Mathers’ watercolor illustrations perfectly accompany the poem and the highlighted article of clothing.

Schertle provides easy access to specific poems with a page-numbered table of contents found at the front.

No matter their age, children will love the crazy ideas and thoughts Schertle shares via numerous animals’ clothing.

POETRY SPOTLIGHT

“Tanya’s Old Shirt” (p. 18)

I live in a bucket shoved under a stair.

They call me a dust rag!

I don’t think it’s fair.

I’m still the same size as when I was new.

I didn’t shrink—

it was Tanya who GREW.

She started out small and we fit to a T.

Now she’s big as a sofa!

She’s tall as a tree!

She’s out of control, and they’re dusting with me!

You’ll never, not ever

hear anyone say,

“She’s gotten too big, she’s just in the way,

let’s dust the piano with Tanya today.”

As a dramatic way to present this poem to the class, display a bucket with a shirt hanging out of it (see the illustration in the book). The single voice that reads the poem should not be the center of attention—it should be the bucket. Standing off to the side or behind students, read the poem with all the emphasis and emotion Schertle incorporates through text modifications.

Show and describe the book to the whole class. Challenge them to think of an inanimate object they use daily—crayons, sunglasses, toothbrush, spoon, etc. Rather than writing a poem from the perspective of this object, write a diary entry or letter to the user describing the object’s feelings toward the user. For example, the toothbrush could write to its user to persuade him or her to limit the amount of candy eaten or encourage flossing. A pair of sunglasses may write in its diary how it wishes it could see what “inside” was like since it only gets to see “outside.”

Allow readers to share their diary entries and letters. Encourage students to have fun with the activity—be silly, be totally unrealistic, be descriptive! 

Sidman Poetry: The World According to Dog: Poems and Teen Voices

BIBLIOGRAPHY

Sidman, Joyce. (2003). The world according to dog: Poems and teen voices. Ill. by Doug            Mindell. Boston, MA: Houghton Mifflin. ISBN 9780618283811

CRITICAL ANALYSIS

The World According to Dog: Poems and Teen Voices by Joyce Sidman is a unique collection of both poetry and prose. Intertwined with Sidman’s dog-centered free verse are canine anecdotes written by teenagers and their pet memories.

Sidman’s authors note explains how her dog’s companionship during a trying time was the inspiration for this book. The poems, written mostly for one voice, record many various topics about dogs from their shedding to separation to a comparison of noses. Dog owners and lovers will experience a warming of the heart as they read the poems of personal, relatable encounters with their canine pet.

The rhythms of the poems vary from triumphant in “The Banner of Dog” to slow and sad in “Separation.” Others are playful and cheery such as “Dog and Squirrel: Steps in a Flirtation” and “Foot Fetish.”

Sidman accurately describes so many aspects of owning a dog that readers will be eager to continue reading through the text to discover all the other tales. The inclusion of teens’ personal accounts adds so much depth to the book. The stories of how dogs play hard, love deeply, and find a special place in a family will remind readers of their own relationships with pets.

The subject of a dog’s world alone will appeal to readers. Sidman’s accounts of dog stink, loneliness when the family is away, and troubles a pooch finds will stimulate readers’ emotions as they think back to or wish for their own canine friend.

To add to the appeal, Doug Mindell supplies photographs of various breeds that make the perfect companion to each poem. The slightly blurred images draw the focus in, like the book, onto the dogs. Many of the teenagers also supply photos of their dogs, adding a personal, sincere element.

To aid the reader, Sidman provides a table of contents at the front of the book dividing up the poems into four units. Page numbers help readers allocate a specific section, prose piece, or poem. A fun feature at the conclusion of the book is called “Doggy Bag”. It is an alphabetical section of idioms and expressions that give meaning to “dog” phrases such as “in the doghouse” and “dog tired”.

Each poem exhibits Sidman’s quality writing and Mindell’s stunning photographs. The prose is written so eloquently by such young writers. The excellence of both is joined to make one magnificent piece of literature about man’s best friend.

POETRY SPOTLIGHT

“Dog and Squirrel: Steps in a Flirtation”

The bushy flick of your tail

catches my attention.

            I am aware of your presence,

            but I am ignoring you.

You are now my bull’s-eye.

This will be a fine game.

            It may be a game,

            but I set the rules.

Whenever you lower your guard,

I step forward.

            I never lower my guard.

            All escape routes are intact.

My body is an arrow

pointing at your heart.

            O large clumsy one,

            have you any idea how fast I can run?

I draw closer.

The space between us is nothing.

            Odd how the sunlight

            kindles your dark fur.

I can taste the silk of your tail.

You can’t possibly get away now.

            I know the precise point at which

            I must flee. Still, those eyes…

Gaze locked. I pounce!

And you are…

            Gone, of course.

            My heart pounds! See you tomorrow?

This fabulous poem, meant for two voices, will be an amusing real-aloud. There are two ideal ways to present this poem. If two readers are willing to go solo, they can each take a part and present the poem. However, a more involved method is to divide the whole group into two smaller groups. Group one will read the part of the eager dog while group two reads the part of the crafty squirrel. Having the groups read with expression will create quite the comical chorus of verse!

Because the poem ends with “See you tomorrow?”, the continuation is open for interpretation. In response to the poem, have groups of students script out a short skit showing the interaction between the squirrel and dog the following day. Allow volunteer groups to perform their skits. 

Messing Around on the Monkey Bars and Other School Poems for Two Voices

BIBLIOGRAPHY

Franco, Betsy. (2009). Messing around on the monkey bars and other school poems for two voices. Ill. by Jessie Hartland. Somerville, MA: Candlewick Press. ISBN 09780763631741

CRITICAL ANALYSIS

Betsy Franco features 19 light-hearted, fun poems about school designed for two voices in Messing Around on the Monkey Bars and Other School Poems for Two Voices. Each poem describes fairly normal and realistic events that occur on any given school day. The rhyme schemes vary from poem to poem. Some, such as “Animal Reports” (p. 14), follow an AABB… couplet rhyming pattern while others like “Jump Rope Jingle” (p. 29) use an ABAB…pattern. Others like “Anatomy Class” (p.18-19) do not follow a set pattern but use free verse. Most of the poems have some sort of rhyme.

Franco uses onomatopoeia words to aid in setting the rhythm and aiding in the sound of several poems such as a tapping sound that repeats through “Jenny’s Pencil” (p. 12-13) and the bouncing sound that resounds through “Backboard Rap” (p. 30-31). 

Because of the topic and voice intended, each poem has a unique rhythm. Some are designed to be performed a little slower than others to help fit the meaning. One such example is “Our Tired Teacher Must Not Be Listening” (p. 40-41). Because of the anticipatory nature of “I Can’t Wait” (p. 22), this poem could be performed a little faster.

Franco did firsthand research for these poems—she spent time in schools with real kids to observe their everyday experiences. Those incidents inspired these poems. Because the poems relate to kids’ own experiences, kids will enjoy reading the melodic verse that describes in quirky language some of their own happenings. The topic is completely relevant to the readers!

Because most of the poems contain a rhyming pattern, readers will stay attentive. Also, the poems are generally short—no more than 2 pages with generous amounts of spacing—so the amount of text on a page is unintimidating.

Franco has interesting ways of interpreting everyday events in school. For example, “Anatomy Class” describes inanimate objects that are regularly used as having living parts like arms, faces, hands, and legs. This example of personification will intrigue readers and urge them to think of other non-living object described as possessing animate parts.

So many of the poems will induce laughter (“Lunch Money”, p. 26-27) and eye rolling (“In the Library”, p. 16-17) as well as grunts of agreement (“Me and Joe Lining Up After Recess”, p. 34-35). Hopefully these relatable events will inspire readers to create their own poems based on typical occurrences at school!

Most of the poems found in this book were written based on the author’s observations at a local elementary school. However, Franco lists the names of three poems that were based on previously published poems.

As previously mentioned, the arrangement of the poems on the page is inviting to even reluctant readers. The font sizes and style vary from page to page as each poem warrants the variation. The illustrations by Jessie Hartland complement the fun, silly, playful tone of the poetry.

Franco provides a table of contents at the beginning of the book along with two helpful features for readers. At the front of the book is an explanation of how the font is formatted: voice 1 is regular type, voice 2 is in bold-faced font, and both voices together is in bold, italicized font. Franco also offers some ideas for larger groups dividing up into Voice 1 and Voice 2 parts. At the end of the book, Franco offers suggestions for creative ways to perform select poems with unique twists such as using an actual pencil to make the taping sound effect in “Jenny’s Pencil.”

Messing Around on the Monkey Bars will appeal to schoolchildren of all ages. The use of two voices opens readers up to a world of possibilities for performing these amusing and charming poems!

POETRY SPOTLIGHT

“Backboard Rap” (p. 30-31)

bounce, bounce

bounce, bounce Dribble, dribble,

bounce, bounce Pass to Trish.

bounce, bounce Shoot a basket.

bounce, bounce Hear the swish!

bounce, bounce Dribble, dribble,

bounce, bounce Pass to Vin.

bounce, bounce Hit the backboard.

bounce, bounce Up and in!

bounce, bounce Dribble, dribble,

bounce, bounce Take a shot!

bounce, bounce There’s the buzzer.

bounce, bounce Yeah! We’re hot!

bounce, bounce

bounce, bounce

bounce

Divide the class into two groups. Explain to students what parts each voice will read. To share “Backboard Rap”, have them read the lines in several different ways. A first way is for Voices 1 and 2 to take turns. Voice 1 would recite “bounce, bounce” then Voice 2 would read the bolded line. Read the poem in its entirety.

As a variation, have the two voices read simultaneously on the lines that include both Voices 1 and 2. (Voice 1 alone would read Lines 1 and 14-16.)

A third way to share this poem is to create the actual “bounce” sound with basketballs rather than voices. This technique can be paired with either of the first two performance strategies. An important text feature to note is the change in font. Larger font means the voices should get louder. Smaller font means voices (or sound effects) should soften.

As a follow up activity, brainstorm a list of onomatopoeia words that students generate. Allow them to work in duos to create their own short poem that incorporates sound words. Allow students to perform their completed piece if they wish.