Pie Corbett: The City of Stars

The City of Stars

This game is one of my favourite surreal poetry games. The initial idea is to put the children into pairs. The first pair makes a list of 5 generic places (by that, I mean not ‘Paris’ but ‘city’) and their partner makes a list of similar length of abstract nouns without seeing each other’s lists. Here I have listed 17 ideas for each:
Generic places: city, cellar, beach, cupboard, attic, town, village, house, shop, cathedral, park, forest, planet, alleyway, motorway, patio, kitchen, classroom.
Abstract nouns: wonder, despair grief, greed, sadness, joy, death, hope, peace, kindness, jealousy, war, imagination, creativity, anger, anxiety, happiness.
The pairs then put their two lists together in the order in which the words were written. This is to ensure that the combinations are random and not influenced by logic. The combinations that work most are the fresh and startling juxtapositions when two ideas are placed together have never been heard before and this unique combination often catches the imagination. If I use my first five ideas from each list, it would produce:
The city of wonder
The cellar of despair
The beach of grief
The cupboard of greed
The attic of sadness

You could then choose out one idea and create a list poem:

In the city of wonder, I saw –
A serpent with eyes of rubies,
A song thrush flying from a golden cage,
A sunset slipping over the darkening landscape,

In the city of wonder, I found –
A scarlet rug, softer than an eagle’s feathers,
A crimson pen nib, sharper than pirate’s blade,
A scintillating canary, yellow as mustard blossom.

James Walker from Knowle Park experimented with this idea. He began by banking with the children as many ‘colour’ words as possible plus abstract and ‘magical’ nouns. When randomly combined this gave lists of ideas such as:

Velvet shadows
Ebony whispers
Indigo happiness
Cerise laughter, etc

These ideas were then linked and the children wrote extended sentences:

• Sapphire suns created golden shadows whilst an indigo moon conjured up a velvet nightmare.
• A cobalt truth floated gently through the captured eternity as a gossamer spell darted violently through the ashen sky.

Tom Wrigglesworth from Selby Primary has experimented with different categories. In one game, he gathered with the class a list of ‘collective nouns’ and added these to various sinister abstract nouns.

The class selected four and Tom used shared writing to jointly create a sinister paragraph.

A further development of the game is called ‘split definitions’. This involves each child using a piece of paper divided into four. They write down a concrete noun plus a definition and an abstract noun with a definition. Here are two examples:

 

Door is an opening  from one room into another
Secret is something important that you are not going to tell anyone

 

Train is a vehicle with trucks or carriages that runs on tracks
Greed  is when you really want something that you don’t really need

 

Once everyone has completed their grids then the pieces of paper are cut or torn up and a pile of all the concrete nouns is made, a separate pile of the abstract nouns and one pile of all the definitions. The three piles are shuffled and then everyone selects randomly a new concrete noun, abstract noun and two definitions. Given the two examples above we could end up with the following:

 

A door is when you really want something that you don’t really need.

A secret is a vehicle with trucks or carriages that runs on tracks.

A train is something important that you are not going to tell anyone.

Greed is an opening from one room into another.

 

©  Pie Corbett 2019

 

Pie Corbett is a teacher-poet – his collection ‘Evidence of `Dragons’ is used in many classrooms. He has published and edited over 250 books, runs ‘Talk for Writing’ and was made an honorary Doctor of Letters for services to creativity, poetry and social justice.

Talk for Writing.

Cheryl Moskowitz: The Wild Woods of Summer

 

The Wild Woods of Summer

 

The year speeds by
like a bullet train –
a ramjet, scramjet
supersonic aeroplane
streak in the night
bright meteorite
a shooting star
from where we started
to where we are.

And soon now soon now
very very soon
like a giant sized
tight-filled
helium balloon
big and bursting
(but lighter than air)
we’ll rise up high
and disappear.

You can search the sky
but we won’t be there;
we’ll be out of sight
we’ll be underground
we’ll be with friends
and heading on down
to the wild woods
of summer…

The poem which begins and ends this post is published in the current issue of The Caterpillar, a gorgeous magazine chock full of quality writing for children. The wild woods in this poem could be a real place, and also a metaphor for the imagination, the place where all poetry begins. I wrote it for a graduating class of yr6 pupils at Highfield where I was Poet in Residence for 3½ years, anticipating the summer along with them.

Now the May half-term is over, the month of May finished (and PM May’s term of office too), we are all, no doubt, looking ahead to our respective summers, wherever we are and whatever we may be planning to do.

Summer, with its long languorous days and warm, balmy nights. Summer, when it feels as if ‘life might be beginning all over again’ as F. Scott Fitzgerald’s Great Gatsby says, ‘with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies’. Or the kind of summer which is ‘everything good to eat…’ and ‘a thousand colours in a parched landscape’ according to Scout Finch in Harper Lee’s To Kill a Mockingbird.

For most children, the summer is a time for adventure, play, and time for rest. Away from the hustle and bustle of the classroom it is an opportunity to be by yourself, a time for being outdoors and enjoying a certain peace. For some, it is only when school ends and the summer holidays begin, they can feel free to be truly themselves. In summer it is not only everything around us in nature, but also the imagination that goes wild. No wonder so many great writers pay homage to this season in their poems and stories. Here are some links to three of my favourites.

Lewis Carroll – A Boat Beneath a Sunny Sky
Emily Dickinson – As Imperceptibly as Grief
Eleanor Farjeon – It was Long Ago

Poems, summer poems especially, are often about place: the place we’re in, a place we long to go to, or a place we miss. ‘A person can only be born in one place’, writes Palestinian poet and author, Mahmoud Darwish. ‘However, he may die several times elsewhere.’ Darwish was referring specifically to the experience of exile, imprisonment or the way a person is estranged when their homeland is transformed by war or occupation. Childhood, with all its difficult transitions can be a kind of exile, making us feel like strangers, even to ourselves. Each new phase we enter can feel like a mini-death and rebirth. ‘Poetry,’ says Darwish, ‘is perhaps what teaches us to nurture the charming illusion: how to be reborn out of ourselves over and over again, and use words to construct a better world, a fictitious world that enables us to sign a pact for a permanent and comprehensive peace… with life.’

This time of year, with the pressure of exams and everything out of place with the end of term looming, encouraging pupils to read or write poetry may be low on the school or home agenda. However, for children, parents and teachers alike it might be that poetry is just the thing that is needed to establish a place for yourself and ensure a positive and productive summer.

Here are some opportunities (all FREE to enter):

1) Throughout the summer writers of all ages are invited to write poems about place, heritage and identity, and pin them to the Places of Poetry map. I’ve written some resources to get you started (KS1–KS5, plus teacher guides) available via the Poetry Society or the Places of Poetry website.

2) Betjeman Poetry Prize invites poems on the theme of ‘Place’ by 10-13 year olds.

3) Foyle Young Poets of the Year Award for 11-17 year olds invites poems on any theme!

4) The Winchester Poetry Festival runs the Young Poets and Artists Competition for children living in Hampshire aged 4-16. This year they want poems about ‘Seasons’ – why not write about summer?

The days unfold
like a three-toed sloth –
a crawlback, sprawlback
laze in the undergrowth
tar-drip slow
dreams of indigo
time to chill
from the end of your bed
to the windowsill.

So forget about school
(but not completely!)
break a few rules
but do it sweetly
and this time
when that home bell goes,
kick off your shoes
and wiggle your toes,
hang up your things
put your schoolbag down
turn the corner
and head on round
to the wild woods of summer.

 

Cheryl Moskowitz

 

Cheryl Moskowitz is a poet, performer, playwright and educator. She studied Developmental Psychology at Sussex University and trained in dramatherapy and psychodynamic counselling. In 1996 she co-founded LAPIDUS (The Association for the Literary Arts in Personal Development) and taught on the Creative Writing and Personal Development MA at Sussex University from 1996–2010.

She writes for adults and children, runs workshops regularly in schools and is passionate about getting teachers and pupils to write their own poems. She runs writing projects in a wide variety of community settings often working with the most disadvantaged and vulnerable. Currently she is working with Pop Up and KSENT, a three-year project bringing authors into schools to develop creative resources for use in SEN schools across Kent.

She is an editor for MAGMA poetry magazine, on the organising committee for the European Psychoanalytic Film Festival (epff10) and co-hosts, together with her musician husband, Alastair Gavin, The All Saints Sessions, a bi-monthly experimental music and poetry performances.

Publications include novel, Wyoming Trail, Granta (1998), poetry for children Can it Be About Me? Frances Lincoln (2012) and poetry for adults The Girl is Smiling, Circle Time Press (2012).

Cheryl’s Website.

 

Teresa Cremin: Poetry, Pleasure and Play

Poetry, Pleasure and Play

As the sun comes out and the pressure in school lessens, let’s take the time to play with words and develop approaches that connect to children’s early oral experiences of poetry when they engaged physically, socially and emotionally with language. If we build on the sounds and savours found in nursery rhythms and playground rhymes and popular songs, it is affectively engaging – a place to play.

Why not invite young people to brainstorm such rhymes and then take skipping ropes, hoops and balls onto the playground or to the park? As the ropes hit the tarmac and two balls bounce against the wall, their bodily memories of poems, songs, chants and dance routines will return.

Taking time to revisit these might include identifying patterns and features of such word play, perhaps classifying them into collections of two ball poems, skipping games, counting rhymes, nonsense verse and so forth? This will expand children’s repertoires and foster experimentation and playful performance. Older classes might offer ‘teach-ins’ to younger ones with staff and parents sharing their favourite playground games and songs too.

Using active approaches to poetry in the classroom also nurtures young people’s affinity with rhythm, rhyme and beat and capitalises upon their pleasurable engagement with language. It is not enough that teachers read poetry to children, (although this is of course crucial), it is also important that poetry is voiced by the learners themselves; they need to bring it to life by tasting the word textures, feeling the rhythms and discerning the colour, movement and drama in the text.

Opportunities need to be made available for the young to release the words from the page, and read, chant, move and sing verses into existence. The marriage of poetry and music is centuries old, so percussion and song and even something as simple as a repeating ostináto of a line can help demarcate the rhythm and point up the meaning. Copies of poems also need to be in their hands, preferably in book form so they can explore the rest of the anthology later.

The physical embodiment of verse is also important and can trigger alternative ways of responding to poetry. Children’s performance readings and explorations may include dance and drama, mime and movement which energise their engagement and provoke multiple interpretations of the sense, taste and texture of the words. In choosing their own poems to perform, small groups can select one which has resonance for them and may want to use multiple media as well as their bodies to help them re-present it.

We know from the recent National Literacy Trust survey that almost half the children and young people from the 27 schools involved, engage with poetry in their free time: they read, listened to or watched poetry performances on-line (47%). This is good news. But far fewer, just 10% create it (write or perform it) or do both. Most of those who engaged in poetry said their teachers, parents and carers had encouraged them. Again, more good news. But poetry is felt in the blood and along the bones (as Margaret Meek seminally taught us), so I would argue we should pay more attention in school to children’s physical engagement in poetry, their visceral embodied response.

Collaborating with others to bring the black print on the page to life is a powerful form of responding. children will be playing with language, interpretation and meaning, and supported by their teacher’s creative engagement, new insights about a poem’s meaning, rhythm and structure will emerge.

Let’s make time to play with poetry!

Teresa Cremin

 

Teresa is Professor of Education (Literacy) at the Open University. An advocate of developing teachers’ creative artistry, Teresa researches teachers’ and children’s literate identities and practices. HeR recent books include Writer Identity and the Teaching and Learning of Writing; Storytelling in Early Childhood: Enriching Language, Literacy and Culture, (Routledge, 2017, edited collections); Teaching English Creatively (2015); Researching Literacy Lives (2015); and Building Communities of Engaged Readers (2014). Teresa is passionate about developing readers for life and leads a professional user-community website: Research Rich Pedagogies based on her research into volitional reading. The site supports over 80 OU/UKLA Teachers’ Reading Groups and 24 HEI partnerships across the country in order to enable the development of children’s (and teachers’) reading for pleasure.

Teresa Cremins OU Webpage.