1 a: metrical writing : VERSE
b: the productions of a poet : POEMS
2: writing that formulates a concentrated imaginative awareness of experience in language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm
b: the productions of a poet : POEMS
2: writing that formulates a concentrated imaginative awareness of experience in language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm
FOCUS TEXTS:
1. "Barbie Doll" by Marge Piercy
2. "The Rose That Grew From Concrete" by Tupac Shakur
3. "The Road Not Taken" by Robert Frost
4. "Harlem" by Langston Hughes
5. "Microwave" by Harmony Holiday
6. "Still I Rise" by Maya Angelou
7. "Those Winter Sundays" by Robert Hayden
2. "The Rose That Grew From Concrete" by Tupac Shakur
3. "The Road Not Taken" by Robert Frost
4. "Harlem" by Langston Hughes
5. "Microwave" by Harmony Holiday
6. "Still I Rise" by Maya Angelou
7. "Those Winter Sundays" by Robert Hayden
Standards:
ELAGSE9-10RL6: Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.
ELAGSE9-10RL7: Analyze the representation of a subject or a key scene in two different artistic mediums (e.g., Auden’s poem “Musée de Beaux Arts” and Breughel’s painting Landscape with the Fall of Icarus), including what is emphasized or absent in each treatment.
ELAGSE9-10RL4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone.)
ELAGSE9-10RL2: Determine a theme and/or central idea of text and closely analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
ELAGSE9-10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)
ELAGSE9-10W5: Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 9–10.)
ELAGSE9-10L5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. a. Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text. b. Analyze nuances in the meaning of words with similar denotations.
ELAGSE9-10RL7: Analyze the representation of a subject or a key scene in two different artistic mediums (e.g., Auden’s poem “Musée de Beaux Arts” and Breughel’s painting Landscape with the Fall of Icarus), including what is emphasized or absent in each treatment.
ELAGSE9-10RL4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone.)
ELAGSE9-10RL2: Determine a theme and/or central idea of text and closely analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
ELAGSE9-10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)
ELAGSE9-10W5: Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 9–10.)
ELAGSE9-10L5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. a. Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text. b. Analyze nuances in the meaning of words with similar denotations.
Framing Question:
How does poetry reveal what we might not otherwise recognize?
Week 1:
DAY #1: INTRODUCTION TO UNIT
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DAY #2: CONTEXT OF COMPOSITION VS. CONTEXT OF INTERPRETATION
Raised by Women by Kelly Norman Ellis
I was raised by
Chitterling eating
Vegetarian cooking
Cornbread so good you want to lay
down and die baking
"Go on baby, get yo’self a plate"
Kind of Women.
Some thick haired
Angela Davis afro styling
"Girl, lay back
and let me scratch yo head"
Sorta Women.
Some big legged
High yellow, mocha brown
Hip shaking
Miniskirt wearing
Hip huggers hugging
Daring debutantes
Groovin
"I know I look good"
Type of Women.
Some tea sipping
White glove wearing
Got married too soon
Divorced
in just the nick of time
"Better say yes ma’am to me"
Type of sisters.
Some fingerpopping
Boogaloo dancing
Say it loud
I’m black and I’m proud
James Brown listening
"Go on girl shake that thing"
Kind of Sisters.
Some face slapping
Hands on hips
"Don't mess with me,
Pack your bags and
get out of my house"
Sorta women
Some PhD toten
Poetry writing
Portrait painting
"I'll see you in court"
World traveling
Stand back, I'm creating
Type of queens
I was raised by women
I was raised by
Chitterling eating
Vegetarian cooking
Cornbread so good you want to lay
down and die baking
"Go on baby, get yo’self a plate"
Kind of Women.
Some thick haired
Angela Davis afro styling
"Girl, lay back
and let me scratch yo head"
Sorta Women.
Some big legged
High yellow, mocha brown
Hip shaking
Miniskirt wearing
Hip huggers hugging
Daring debutantes
Groovin
"I know I look good"
Type of Women.
Some tea sipping
White glove wearing
Got married too soon
Divorced
in just the nick of time
"Better say yes ma’am to me"
Type of sisters.
Some fingerpopping
Boogaloo dancing
Say it loud
I’m black and I’m proud
James Brown listening
"Go on girl shake that thing"
Kind of Sisters.
Some face slapping
Hands on hips
"Don't mess with me,
Pack your bags and
get out of my house"
Sorta women
Some PhD toten
Poetry writing
Portrait painting
"I'll see you in court"
World traveling
Stand back, I'm creating
Type of queens
I was raised by women
TPCASTT | |
File Size: | 150 kb |
File Type: |
DAY #3: TEXTING COUPLETS
"A couplet is a pair of successive lines of metre in poetry. A couplet usually consists of two successive lines that rhyme and have the same metre. A couplet may be formal or run-on. In a formal couplet, each of the two lines is end-stopped, implying that there is a grammatical pause at the end of a line of verse."
Texting Couplets Instructions | |
File Size: | 452 kb |
File Type: | pptx |
DAY #4: ANALYZING MODERN DAY POETRY
Directions:
Step #1- Read the poem three times with your group. Read it for the first time in silence, then have two group members read it out loud to the group.
Step #2- Analyze the poem using TPCASTT
Step #1- Read the poem three times with your group. Read it for the first time in silence, then have two group members read it out loud to the group.
Step #2- Analyze the poem using TPCASTT
TPCASTT document | |
File Size: | 35 kb |
File Type: | doc |
Step #3- Write the gist of the poem. Write a one sentence summary of each stanza of the poem and then merge those sentences into one comprehensive statement about the overall meaning of the poem.
Step #4- Write one C.E.I paragraph [8 sentence minimum] explaining the importance of analyzing this poem. What did reading this poem force you to realize about yourself or about life or about the human experience? How did analyzing this poem open your eyes to a new way of thinking? Consider the deeper meaning of your poem.
Step #4- Write one C.E.I paragraph [8 sentence minimum] explaining the importance of analyzing this poem. What did reading this poem force you to realize about yourself or about life or about the human experience? How did analyzing this poem open your eyes to a new way of thinking? Consider the deeper meaning of your poem.
Group #1: Loud Music by Stephen Dobyns
My stepdaughter and I circle round and round. You see, I like the music loud, the speakers throbbing, jam-packing the room with sound whether Bach or rock and roll, the volume cranked up so each bass note is like a hand smacking the gut. But my stepdaughter disagrees. She is four and likes the music decorous, pitched below her own voice-that tenuous projection of self. With music blasting, she feels she disappears, is lost within the blare, which in fact I like. But at four what she wants is self-location and uses her voice as a porpoise uses its sonar: to find herself in all this space. If she had a sort of box with a peephole and looked inside, what she'd like to see would be herself standing there in her red pants, jacket, yellow plastic lunch box: a proper subject for serious study. But me, if I raised the same box to my eye, I would wish to find the ocean on one of those days when wind and thick cloud make the water gray and restless as if some creature brooded underneath, a rocky coast with a road along the shore where someone like me was walking and has gone. Loud music does this, it wipes out the ego, leaving turbulent water and winding road, a landscape stripped of people and language- how clear the air becomes, how sharp the colors. HINT: CONSIDER THE AUTHORS USE OF LINE DIVISIONS, SIMILES, AND THE SYMBOLISM IN THE LAST 4 LINES. Group #3: Happiness by Jane Kenyon
There’s just no accounting for happiness, or the way it turns up like a prodigal who comes back to the dust at your feet having squandered a fortune far away. And how can you not forgive? You make a feast in honor of what was lost, and take from its place the finest garment, which you saved for an occasion you could not imagine, and you weep night and day to know that you were not abandoned, that happiness saved its most extreme form for you alone. No, happiness is the uncle you never knew about, who flies a single-engine plane onto the grassy landing strip, hitchhikes into town, and inquires at every door until he finds you asleep midafternoon as you so often are during the unmerciful hours of your despair. It comes to the monk in his cell. It comes to the woman sweeping the street with a birch broom, to the child whose mother has passed out from drink. It comes to the lover, to the dog chewing a sock, to the pusher, to the basketmaker, and to the clerk stacking cans of carrots in the night. It even comes to the boulder in the perpetual shade of pine barrens, to rain falling on the open sea, to the wineglass, weary of holding wine. HINT: CONSIDER THE IMPACT OF THE SHIFT AT THE END OF THE POEM. WHAT DOES THIS SHIFT SAY TO THE READER ABOUT HAPPINESS? |
Group #2: Tattoo by Ted Kooser
What once was meant to be a statement-- a dripping dagger held in the fist of a shuddering heart—is now just a bruise on a bony old shoulder, the spot where vanity once punched him hard and the ache lingered on. He looks like someone you had to reckon with, strong as a stallion, fast and ornery, but on this chilly morning, as he walks between the tables at a yard sale with the sleeves of his tight black T-shirt rolled up to show us who he was, he is only another old man, picking up broken tools and putting them back, his heart gone soft and blue with stories. HINT: CONSIDER THE SYMBOLIC MEANING OF THE WORD TATTOO. HOW ARE OUR EXPERIENCES IN LIFE LIKE TATTOOS? Group #4: Wheels by Jim Daniels
My brother kept in a frame on the wall pictures of every motorcycle, car, truck: in his rusted out Impala convertible wearing his cap and gown waving in his yellow Barracuda with a girl leaning into him waving on his Honda 350 waving on his Honda 750 with the boys holding a beer waving in his first rig wearing a baseball hat backwards waving in his Mercury Montego getting married waving in his black LTD trying to sell real estate waving back to driving trucks a shiny new rig waving on his Harley Sportster with his wife on the back waving his son in a car seat with his own steering wheel my brother leaning over him in an old Ford pickup and they are waving holding a wrench a rag a hose a shammy waving. My brother helmetless rides off on his Harley waving my brother's feet rarely touch the ground- waving waving face pressed to the wind no camera to save him. HINT: CONSIDER THE AUTHORS USE OF SYNTAX, ALLITERATION, AND REPETITION. |
Group #5: At the Gym by Mark Doty
This salt-stain spot marks the place where men lay down their heads, back to the bench, and hoist nothing that need be lifted but some burden they've chosen this time: more reps, more weight, the upward shove of it leaving, collectively, this sign of where we've been: shroud-stain, negative flashed onto the vinyl where we push something unyielding skyward, gaining some power at least over flesh, which goads with desire, and terrifies with frailty. Who could say who's added his heat to the nimbus of our intent, here where we make ourselves: something difficult lifted, pressed or curled, Power over beauty, power over power! Though there's something more tender, beneath our vanity, our will to become objects of desire: we sweat the mark of our presence onto the cloth. Here is some halo the living made together. HINT: CONSIDER WHAT THE AUTHOR IS SAYING ABOUT THE HUMAN DESIRE FOR POWER AND CONTROL, VANITY, AND VULNERABILITY IN THE FACE OF STRUGGLE. Group #7: Manifesto of the Lyric Selfie by Becca Klaver
Our “I”s. They are multiple. We shuffle them often as we like. They can tag us. We can untag ourselves. We’ve got our to-be-looked-at-ness oh we have got it. We peer and cross. Go lazy. We’re all girly. We’re pretty selfie. We write our poems. We write our manifestos. While sitting in the photo booth. While skipping down the street. We think: if only my camera could see me now. There is a tranquil lyric but we recollect emotion with the speed of the feed. We pose to show the spontaneous overflow of powerful feelings. There are no more countrysides. There are no more churchyards. We smudge our vistas. We flip the cam around. What is burning in our little hearts? Hashtags of interiority licking like flames. We had been reflective. We have been reflected. HINT: CONSIDER HOW THIS POEM EXPLORES THE IMPACT OF SELFISHNESS. |
Group #6: Eating Poetry by Mark Strand
Ink runs from the corners of my mouth. There is no happiness like mine. I have been eating poetry. The librarian does not believe what she sees. Her eyes are sad and she walks with her hands in her dress. The poems are gone. The light is dim. The dogs are on the basement stairs and coming up. Their eyeballs roll, their blond legs burn like brush. The poor librarian begins to stamp her feet and weep. She does not understand. When I get on my knees and lick her hand, she screams. I am a new man. I snarl at her and bark. I romp with joy in the bookish dark. HINT: CONSIDER THE ROLE OF THE LIBRARIAN VS. THE NARRATOR. WHAT IS THE DIFFERENCE BETWEEN BEING SURROUNDED BY WORDS AND BEING CHANGED BY THEM? Group #8: The Facebook Sonnet by Sherman Alexie
Welcome to the endless high-school Reunion. Welcome to past friends And lovers, however kind or cruel. Let’s undervalue and unmend The present. Why can’t we pretend Every stage of life is the same? Let’s exhume, resume, and extend Childhood. Let’s all play the games That occupy the young. Let fame And shame intertwine. Let one’s search For God become public domain. Let church.com become our church. Let’s sign up, sign in, and confess Here at the altar of loneliness. HINT: CONSIDER THE VALUE OF SOCIAL MEDIA. HOW DOES THIS POEM SPARK CONVERSATION ABOUT WHAT IS PUBLIC AND WHAT IS PRIVATE? |
DAY #5: CHILDHOOD PHOTOS INTO POETRY
FIRST: Using TPCASTT, analyze the following poem by Rita Dove
I was four in this photograph fishing
with my grandparents at a lake in Michigan.
My brother squats in poison ivy.
His Davy Crockett cap
sits squared on his head so the raccoon tail
flounces down the back of his sailor suit.
My grandfather sits to the far right
in a folding chair,
and I know his left hand is on
the tobacco in his pants pocket
because I used to wrap it for him
every Christmas. Grandmother's hips
bulge from the brush, she's leaning
into the ice chest, sun through the trees
printing her dress with soft
luminous paws.
I am staring jealously at my brother;
the day before he rode his first horse, alone.
I was strapped in a basket
behind my grandfather.
He smelled of lemons. He's died--
but I remember his hands.
I was four in this photograph fishing
with my grandparents at a lake in Michigan.
My brother squats in poison ivy.
His Davy Crockett cap
sits squared on his head so the raccoon tail
flounces down the back of his sailor suit.
My grandfather sits to the far right
in a folding chair,
and I know his left hand is on
the tobacco in his pants pocket
because I used to wrap it for him
every Christmas. Grandmother's hips
bulge from the brush, she's leaning
into the ice chest, sun through the trees
printing her dress with soft
luminous paws.
I am staring jealously at my brother;
the day before he rode his first horse, alone.
I was strapped in a basket
behind my grandfather.
He smelled of lemons. He's died--
but I remember his hands.
NEXT: Using a childhood picture from home, create a poem describing the details seen and unseen.
DAY #6: POETRY AND SONG ANALYSIS
Poetry & Song Analysis | |
File Size: | 949 kb |
File Type: | pptx |
DAY #7: 2 VOICES POETRY
2 Voices Poetry PPT | |
File Size: | 1410 kb |
File Type: | pptx |
FIT Poetry Analysis Log | |
File Size: | 19 kb |
File Type: | docx |