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beths0103's review against another edition
3.0
I got a few good take-away ideas from this book:
On pp. 50-51:
I often asked students how their poems made them feel, and I'd receive a small, quick answer -- "Good" or "Fine." But then what?
One question I ask instead is, "Does the poem make your heart beat faster, or not?" Not all poems have to have this effect, but we should feel more than just, "So what?" The Japanese say that after hearing a poem we should feel the "ahness" of poetry; we should feel something. Sometimes I suggest that students measure what they have in their hearts against what's down on the paper; if the two are far apart, there's still work to do. Sometimes they find the "So what?" parts and try to rewrite them with more feeling.
On p. 90
Unfortunately, the two forms most teachers know and teach are haiku and cinquain. The haiku at least is certainly a legitimate form, but there are so many other possibilities. It's like serving the same two foods over and over; eventually students begin to believe this is what all food tastes like.
On pp. 50-51:
I often asked students how their poems made them feel, and I'd receive a small, quick answer -- "Good" or "Fine." But then what?
One question I ask instead is, "Does the poem make your heart beat faster, or not?" Not all poems have to have this effect, but we should feel more than just, "So what?" The Japanese say that after hearing a poem we should feel the "ahness" of poetry; we should feel something. Sometimes I suggest that students measure what they have in their hearts against what's down on the paper; if the two are far apart, there's still work to do. Sometimes they find the "So what?" parts and try to rewrite them with more feeling.
On p. 90
Unfortunately, the two forms most teachers know and teach are haiku and cinquain. The haiku at least is certainly a legitimate form, but there are so many other possibilities. It's like serving the same two foods over and over; eventually students begin to believe this is what all food tastes like.
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