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Each unit includes the following components: Illustrated poem page -- Pocket chart word cards -- Pocket chart picture cards -- Student illustration page -- Mini book version of the poem -- Home/school connection activity -- Daily activities -- Literature links.
JANIE WHO? It's hard enough being the new kid in school. It's even tougher when all of your new classmates live in big houses and wear expensive clothes, while your parents have little and are risking everything just to give you a chance at a better life. Now Janie's about to do something that will make her stand out even more among the rich kids at Satterthwaite School. Something that will have everyone wondering just who Janie Sams really is. And something that will mean totally unexpected changes for Janie and her family.
Consists of five units: Teddy bears, Leaves, Pumpkins, The nut hunt, and Apples. Each unit contains a full week of thematic lesson plans based on an original poem.
This book's five units are based on original poems related to winter weather, arctic animals, animals in winter, solar system, and dinosaurs. Each unit includes the following components: illustrated poem page, pocket chart word cards, pocket chart picture cards, student illustration page, mini book version of the poem, home/school connection activity, daily activities, and literature links. -- from back cover.
Usher in National Poetry Month with Mr. Tiffin and his students, stars of the hugely popular How Many Seeds in a Pumpkin? and The Apple Orchard Riddle. Once again, Margaret McNamara sets her playful, child-friendly story in the classroom, and this time, poetry—from metaphors to acrostics to haiku—is the name of the game. The focus here is on Elinor, whose confidence falters as she tries to write something "perfect" for Poem in Your Pocket Day and impress a visiting poet. G. Brian Karas's accessible, adorable illustrations add to the fun. Includes a list of Mr. Tiffin's tips for celebrating Poem in Your Pocket Day. "A nimble introduction to poetry as well as a sensitive look at the perils of perfectionism." —The New York Times "Pair this book with the works of Shel Silverstein, Paul B. Janeczko, Jack Prelutsky, Douglas Florian, or Robert Louis Stevenson." —School Library Journal, Starred
This lively collection is packed with kid-friendly, "pocket-sized" poems of eight lines or less by such well-known poets as Eve Merriam, Karla Kuskin, and the anthologist herself, Bobbi Katz. The easy-to-memorize, pint-sized poems reflect many different facets of children's lives and are embellished with witty, winning art by the beloved Marylin Hafner, making a package that will be welcomed by children and their teachers.
During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were “beginning at the end,” skipping the inventive phase of youth for a decadence thought more typical of Europe’s declining empires. Robert Stilling takes up Fanon’s assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art. In Stilling’s account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art’s sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siècle figures such as Wilde questioned the imperial ideologies of their own era. Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups—European decadents and postcolonial artists—maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions.
A guide to haiku uses examples from around the world to convey the importance of the seasons.