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.