Poetry

Three books of poetry are reviewed below:

• Award winning book: Technically, It's not my Fault by John Grandits
• Poetry picture book: A Full Moon is Rising by Marilyn Singer
• Novel in verse: Hidden by Helen Frost

Award winning book: Technically, It's not my Fault by John Grandits

  

Plot Summary

    The concrete poems of Grandits' collection are linked thematically and by frequent references to Robert, the main character and first person narrator. The character Robert describes unexpected outcomes; for example, he repeatedly gets in trouble for riding his skateboard, but when he comes inside, he's told to get back outside and skateboard. He creates new inventions such as the spew machine, a frightening and life-threatening roller coaster, and the word "snarpy." He explains how certain natural processes occur; for example, how gas is passed from the perspective of a bubble of carbonation. Two poems are about sports, one baseball and one basketball. 
    All of the poems are concrete poems, and the layout of the words on the page relates to and extends the meaning of the words used. The use of different colors to indicate that a new character is speaking adds to the visual appeal of the poems. Even more than the words themselves, the placement of the words is carefully planned and is an integral component of the writing.

Critical Analysis

     John Grandits' poems are highly entertaining because of their visual appeal and the wide array of subjects addressed in each stand-alone poem. The use of a central character draws the reader to read the book from cover to cover, but each poem could also be analyzed and enjoyed independently. Repetition is frequently used to emphasize an emotion or action.
   Grandits explains his choice of artistic tools (QuarkXPress Software and Bristol China Marker) in an end note. His art, both in word arrangement and additional illustrations, is humorous and relies on a variety of genres to engage the reader. One poem, "The Australian Cane Toad" includes reference book pages to offer background to the reader, and another, "The Thank-You Letter," relies on footnotes for its humor. One poem, "Where New Words Come From: SNARPY," is written as a comic strip made up of dialogue only, and many others follow the movement of persons or objects as they complete the actions the poem describes.

Review Excerpts

• Review from Booklist(2004):  "Grandits stretches the definition of concrete poetry in this collection, which uses inventive shapes and typefaces to hilarious effect.... "The Autobiography of Murray the Fart," written in lines that flow from a soda can-shaped block to a thin line that turns into intestinelike loops, will, like the other selections in this winning, highly creative collection, convince readers that poetry can be loud, outrageous, gross fun."
• Review from Publisher's Weekly (2004): "This graphically inventive sequence of concrete poems, printed in red and black on white, mimes an 11-year-old's sarcastic perspective.... Grandits (Pictures Tell Stories ) weaves Robert's portrait in distorted letterforms, language mazes and comic first-person narration. Atechnically (and imaginatively) inspired typeface experiment."
• Review from School Library Journal (2004): "Grandits combines technical brilliance and goofy good humor to provide an accessible, fun-filled collection of poems, dramatically brought to life through a brilliant book design. The eye-catching title selection, an account of a science experiment gone astray, appears on the front cover and its messy aftermath, a squashed tomato, winds up on the back. Simple drawings, varied typefaces, unusual arrangements of text, and different colors are used to call attention to the words."
• Kirkus Review (2004): " An exuberant celebration of wordplay that's certain to broaden kids' understanding and appreciation of the possibilities of poetry."

Connections

• Students will enjoy hearing these poems read aloud provided they are also offered a copy of the poem to view, either through a projector or through access to a class set of the book.
• The variety of topics selected in Grandits' poetry makes his writing especially engaging. Students can review and discuss the topics he chose, noting how they are related and brainstorming additional topics the character Robert would have been likely to ponder. After brainstorming additional topics, students can begin writing their own poetry.
• This text begs readers to try their hand at writing concrete poetry. Because of the nature of the poetry, teachers can share single poems if time does not allow for sharing the entire collection. It is essential that teachers have a way to show the poetry to the class as it is being shared (for example, by using a document camera and projector or by scanning the selected poem into the computer and projecting it onto a screen).
• If students can access the type of program used to create the visual effects of this poetry, Grandits' work can lead to a lesson that integrates technology with writing in unexpected ways. Grandits notes that he used the program QuarkXPress (information is here). Possible alternatives include Scribus, Adobe InDesign, and Microsoft Office Publisher.
• Other collections of concrete poetry include:
• Blue Lipstick: Concrete Poems by John Grandits (ISBN: 0618851321)
• Meow Ruff: A Story in Concrete Poetry by Joyce Sidman, Illustrated by Michelle Berg (ISBN: 0618448942)
• A Poke in the I: A Collection of Concrete Poems by Paul B. Janeczo and Chris Raschka (ISBN: 0763623768)

Bibliography

Grandits, John. 2004. Technically, It's not my Fault. Ill. by John Grandits. New York, NY: Clarion Books. ISBN 061842833X.

Poetry picture book: A Full Moon is Rising by Marilyn Singer

Plot Summary

     Singer's collection of poetry leads the reader on a journey around the world (and even into outer space) to learn about the different ways the full moon is recognized and celebrated. Beginning with a girl in a New York City crowd who is alone in gazing at and appreciating the full moon between two skyscrapers, the poetry highlights how individuals celebrate the full moon and how the full moon can bring families or communities together. The final scene in which many other onlookers join the girl in admiring the full moon in the New York City landscape is fitting as it solidifies the theme of the full moon providing a shared experience that all people can appreciate together.
    A Full Moon is Rising includes a map with labelled locations from the book, a page that verbally and visually describes the phases of the moon, and a four page "About the Poems" section that provides supporting facts related to each location and/or phenomenon described in the poems. 

Critical Analysis

     A Full Moon is Rising includes a variety of poetic forms that beautifully articulate the awe that people feel when viewing the full moon. From haiku to free verse, the poems sometimes include rhyme (even the basic ABAB rhyme scheme) and often rely on other sound devices for poetic effect. Singer frequently uses repetition, both of words and of syntactic patterns, to reinforce the cyclical nature of the events described. She also frequently uses lists of objects or events in her poetry and uses personification to draw attention to the emotional reaction the full moon often evokes in its viewers. Through careful word choice, Singer emphasizes the value and unique traditions of various cultures while also clearly showing the similar ways in which the full moon brings people together in various cultures throughout the world.
    Julia Cairns' watercolor illustrations greatly enhance the experience of Singer's beautiful poetry. Although the words could stand alone, the illustrations whimsically depict the individual and shared reactions of people of various cultures. Settings, clothing, and possessions are authentically depicted in recognition of unique cultural components. The inclusion of supporting materials, including a world map with locations mentioned in the book specifically labelled, also enhances a young reader's understanding of the content of the book and draws attention to both the author's and illustrator's commitment to scientific accuracy.
    The only drawback to this book is the topic's lack of appeal to young readers. While well-suited for use in a classroom in conjunction with a study of the phases of the moon, younger readers are unlikely to be naturally captivated by the content. The illustrations may provide greater appeal than the words alone, but thoughtful preparation of the audience is essential in order to help students appreciate the content of Singer's work.

Review Excerpts

• Review from School Library Journal (2011):  "Cairns's vibrant watercolors and warm folk-art style successfully capture the excitement of the around-the-world occurrences. Each poem is graced by her artwork on a bold, brightly colored spread.... The combination of descriptive poetry and eye-catching illustrations will invite children to wonder and imagine while the multicultural themes and science facts will excite and satisfy. This title will work quite well as a read-aloud for younger children, and independent readers will find much to think about and appreciate."
• Review from Booklist (2011): "In many selections, Singer neatly folds scientific information into the lyrical lines, as in a scene of ghostly divers moving silently over a reef as the coral prepare to spawn under the full moon. The human figures in Cairns’ watercolor images occasionally have a stiff, awkward quality, but the joyful colors and compositions echo the words’ celebratory tone. More lunar information opens and closes this creative choice for cross-curricular sharing that taps into the moon’s mysterious, awe-inspiring allure."
• Review from Publisher's Weekly (2011): "Singer's sparkling verses celebrate the majesty of the moon as experienced in settings around the world, each distinctly conveyed in Cairns's perceptive watercolors.... The breadth of perspectives creates a stirring portrait of a familiar but no less marvelous sight."

Connections

• The content of Singer's collection of poetry has clear ties to both science and social studies topics. The most obvious connection to subject content would be to share these poems while students are studying the phases of the moon. The writing directly supports learning standards; for example, see the Texas Essential Knowledge and skills §112.15. Science, Grade 4: 8 (C): collect and analyze data to identify sequences and predict patterns of change in shadows, tides, seasons, and the observable appearance of the Moon over time. 
• For a cross-curricular connection, social studies teachers can lead students in a discussion of the variety of cultures represented in A Full Moon is Rising, noting similarities and differences in the way the full moon is recognized and celebrated.
• As poetry, Singer's writing is full of examples of poetic elements, and can be used to show students examples of such devices as repetition, personification, and internal rhyme. Different poetic forms are also used, and examples of haiku, free verse, and various rhyme patterns are also present and can be used for evaluation and imitation.

Bibliography

Singer, Marilyn. 2011. A Full Moon is Rising. Ill. by Julia Cairns. New York, NY: Lee & Low Books, Inc. ISBN 9781600603648.




Novel in verse: Hidden by Helen Frost

Plot Summary

     Hidden is written from the perspective of two girls from very different backgrounds who are brought together during two significant events in each of their lives. Wren is an African-American girl from a stable family who, at the age of eight, is unintentionally kidnapped when a man robs a gas station and then steals her mother's van. She is hidden in the back and only leaves the van when she is locked in the man's garage and is able to hide in a boat also kept in the garage. Wren learns that the man's family consists of an abusive father and his wife as well as their daughter Darra, a red-haired, green-eyed eight year old curious and concerned about the missing girl she hears about on TV. Darra guesses that Wren is hidden in her garage and leaves Wren food and water while forming a plan to help Wren escape. Darra never sees Wren before Wren escapes through a pet door, but afterward, when the police arrive to arrest her father, she holds Wren responsible for the dissolution of her family.
    Six years later, Darra is unexpectedly given a chance to go to the very expensive Camp Oakwood. There she meets a girl named Wren, and both immediately realize that they have a shared secret. Darra is an angry and lonely girl with a father in prison and a broken family, but during her weeks at camp she begins to open up to others. When she and Wren face each other in a water competition, Wren realizes that she feels anger toward Darra because of what happened to her. Darra and Wren finally talk about the events of the past and Darra shares that she has always hated Wren because Wren stole her father. After learning the whole truth, both realize that they must forgive each other and recognize that none of what happened was either of their faults.

Critical Analysis

     Hidden is a highly engaging work, and the format makes it even more rewarding to read. As a novel in verse, it is ideal for young adult readers because it is fast-paced, and the events of the plot are captivating. The main characters are well developed and their distinct writing styles make it easier for the reader to distinguish between the two girls. Wren's point of view is told in short lines with stanzas generally between four and ten lines in length. Darra's point of view consists of unbroken stanzas almost always written in complete sentences, and the reader learns in the "Notes on Form" at the end of the book that the poetic quality of Darra's point of view lies in the secret message hidden in her writing.
    As a work of poetry, Wren's point of view offers more qualities that define this genre. The chapters focusing on Wren's character include very intentional line breaks as well as shifts between actions, thoughts, and dialogue that require close attention and could be studied in greater depth. The entire work does not have many other poetic qualities, such as those of rhythm, sound, language, or imagery. The writing does have a strong emotional quality, however, and the layout of the words on the page gives what could be prose a more poetic feel. Helen Frost explains in the "Notes on Form" that she has created a unique poetic style in this work. Through very intentional word choice, Frost has included additional information by leaving words at the end of Darra's lines of writing that, when read together, form complete sentences offering additional insight into Darra's perspective. This writing strategy is poetic in its high level of creativity and intentionality, and the reader will find pleasure in returning to the story to read Darra's hidden message.

Review Excerpts

• Texas Lonestar Reading List nominee
• Kirkus starred review (2011): "From the award-winning Frost comes a wildly imaginative, thought-provoking novel in verse that centers on the unlikely friendship that arises between two teenage girls as a result of an accidental kidnapping....  Frost’s lyric narrative resolves movingly by alternating between the two protagonists. Frost’s tale exhibits her trademark character development that probes the complexities of intimate relationships.... Both tender and insightful, this well-crafted, fast-paced tale should have wide teen appeal."
• Review from School Library Journal (2011): "This original blend of crime tale, psychological study, and friendship story is a page-turner that kids will love. There are a few plausibility issues, but there are many more strengths. Wren's captivity in the garage is truly suspenseful, and the various interactions of the kids at the sleepover camp are a study in shifting alliances. The book also touches on some deeper issues, like how you can love a parent who is sometimes abusive, and how sensitive kids can blame themselves for things that aren't really their fault. Smoothly written, this novel carries a message of healing and hope."
• Review from Booklist (2011): "Like Frost’s Printz Honor Book, Keesha’s House (2003), this novel in verse stands out through its deliberate use of form to illuminate emotions and cleverly hide secrets in the text."

Connections

• The greatest strength of this book is its treatment of sensitive topics that many adolescents are likely to have at least second-hand experience with. The novel can be used to promote discussion about parental abuse, income disparity, and the importance of forgiveness. Wren's question, "Were Darra and Stacey / and Archie / safer / after West was gone?" (121) can be used to stimulate discussion, and Darra's implicit answer of "No" could be debated or supported by personal stories.
• Hidden can be used to prompt creative writing in free verse. The use of distinct poetic styles to distinguish the two characters is obvious and students should be able to easily articulate similarities and differences between the two. This method of distinguishing characters could be imitated for an enjoyable writing exercise, as could the "secret message" method Frost uses in Darra's writing.
• Hidden is a good recommendation for reluctant readers. Because of the format, the story flows quickly, and the plot details are clear while not simplistic. Other books that might appeal to readers developing interest in this genre include:
• Diamond Willow (ISBN: 0312603835) and Crossing Stones (ISBN: 0374316538), both by Helen Frost
• The Surrender Tree (ISBN:0805086749), The Firefly Letters (ISBN:0805090827), or Hurricane Dancers (ISBN:0805092404) by Margarita Engle

Bibliography

Frost, Helen. 2011. Hidden. New York, NY: Frances Foster Books. ISBN 9780374382216.