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After a few years of teaching high school English, Michael was disillusioned with uninspiring conventional curriculum. Good students simply tolerated the boring content-driven curriculum better than the less academically inclined students. He started reading about an old concept, through a new term: Emotional Intelligence. An epiphany struck: If emotional intelligence (EQ) development was more of an indication of future success than IQ and was vastly more teachable, why did schools not emphasize the development of emotional intelligence? For the next 25 years as a high school English teacher, Michael drew and learned from vast resources to better understand, articulate, and embed Healthy Habits of the Mind in his everyday lessons. He developed a list of Healthy Habits of the mind which he could discuss with students. Appreciating a curriculum that became relevant and engaging, students invested energy and often discovered their own creativity and voices. Eventually, Michael understood how developing writing skills and Emotional Intelligence strengthen and reinforce each other. Students who took more risks, succumbed to fewer fears, and developed a revision mentality were better at all life’s tasks, not just writing.
The author gives us a vision of educational reform that transcends standards, curriculum, and instructional strategies. He argues for a paradigm shift-a schoolwide embrace of an "ethic of excellence" and with a passion for quality describes what's possible when teachers, students, and parents commit to nothing less than the best. The author tells exactly how this can be done, from the blackboard to the blacktop to the school boardroom.
A poem about city children spend their summer.
Here are the ideas, experiments, and inspiration to unfold your imagination and get your writing to flow off the page! This is the everything-you-need guide to spark new poems and unstick old stories, including lists of big, small, gross-out, and favorite words; adventurous and zany prompts to leap from; dares and double dares to help you mash up truths and lies into outrageous paragraphs; and letters of encouragement written directly to you from famous authors, including: Annie Barrows, Naomi Shihab Nye, Lemony Snicket, C. M. Mayo, Elizabeth Singer Hunt, Moira Egan, Gary Soto, Lucille Clifton, Avi, Betsy Franco, Carol Edgarian, Karen Cushman, Patricia Polacco, Prartho Sereno, Lewis Buzbee, and C. B. Follett. This is your journal for inward-bound adventures—use it to write, brainstorm, explore, imagine—and even rip!
Karyna MyGlynn takes readers on tour through the half-haunted house of the contemporary American psyche with wit, whimsy, and candid confession. Disappointing lovers surface in the bedroom; in the bathroom, "the drained tub ticks with mollusks & lobsters;" revenge fantasies and death lurk in the basement where they rightly belong. With lush imagery and au courant asides, Hothouse surprises and delights. Karyna McGlynn is the author of I Have to Go Back to 1994 and Kill a Girl and three chapbooks. She is currently a Visiting Assistant Professor of Creative Writing and Translation at Oberlin College.
The Poet Laureate's clear and entertaining account of how poetry works. "Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing." As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud. He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart. This ideal introductory volume belongs in the library of every poet and student of poetry.
The Muses Among Us is an inviting, encouraging book for writers at any stage of their development. In a series of first-person letters, essays, manifestos, and notes to the reader, Kim Stafford shows what might happen at the creative boundary he calls "what we almost know." On the boundary's far side is our story, our poem, our song. On this side are the resonant hunches, griefs, secrets, and confusions from which our writing will emerge. Guiding us from such glimmerings through to a finished piece are a wealth of experiments, assignments, and tricks of the trade that Stafford has perfected over thirty years of classes, workshops, and other gatherings of writers. Informing The Muses Among Us are Stafford's own convictions about writing—principles to which he returns again and again. We must, Stafford says, honor the fragments, utterances, and half-discovered truths voiced around us, for their speakers are the prophets to whom writers are scribes. Such filaments of wisdom, either by themselves or alloyed with others, give rise to our poems, stories, and essays. In addition, as Stafford writes, "all pleasure in writing begins with a sense of abundance—rich knowledge and boundless curiosity." By recommending ways for students to seek beyond the self for material, Stafford demystifies the process of writing and claims for it a Whitmanesque quality of participation and community.
Poetry. African American Studies. "Ruth Forman's wisdom, humor and grace brighten every page of PRAYERS LIKE SHOES. Here are the cadences of a woman's true speech rising into a poetry of deep love and warning, loss and survival, building toward a scriptural lyric that leads the reader through the darkness of our times and into an opening of necessary recognition and gratitude. I heard her beautiful voice on every page" Carolyn Forche. "In PRAYERS LIKE SHOES the brilliant Ruth Forman has topped herself. This is what Forman does best: brings us to the heart of all that matters and introduces us to ourselves" Junot Diaz."
Winner of the T. S. Eliot Prize 2020. Poetry Book Society Choice, Summer 2020. Bhanu Kapil’s extraordinary and original work has been published in the US over the last two decades. During that time Kapil has established herself as one of our most important and ethical writers. Her books often defy categorisation as she fearlessly engages with colonialism and its ongoing and devastating aftermath, creating what she calls in Ban en Banlieue (2015) a ‘Literature that is not made from literature’. Always at the centre of her books and performances are the experiences of the body, and, whether she is exploring racism, violence, the experiences of diaspora communities in India, England or America, what emerges is a heart-stopping, life-affirming way of telling the near impossible-to-be-told. How To Wash A Heart, Kapil's first full-length collection published in the UK, depicts the complex relations that emerge between an immigrant guest and a citizen host. Drawn from a first performance at the ICA in London in 2019, and using poetry as a mode of interrogation that is both rigorous, compassionate, surreal, comic, painful and tender, by turn, Kapil begins to ask difficult and urgent questions about the limits of inclusion, hospitality and care.
Naming the Unnameable: An Approach to Poetry for the New Generation assembles a wide range of poetry from contemporary poets, along with history, advice, and guidance on the craft of poetry. Informed by a consideration to the psychology of invention, Michelle Bonczek Evory¿s writing philosophy emphasizes both spontaneity and discipline, teaching students how to capture the chaos in our memories, imagination, and bodies with language, and discovering ways to mold them into their own cosmos, sculpt them like clay on a page. Exercises aim to make writing a form of play in its early stages that gives way to more enriching insights through revision, embracing the writing of poetry as both a love of language and a tool that enables us to explore ourselves and understand the world. Naming the Unnameable promotes an understanding of poetry as a living art and provides ways for students to involve themselves in the growing contemporary poetry community that thrives in America today.