Joshua Seigal: “So How Did You Get Into Poetry, Then?

This is one of the most common questions I get asked when I visit schools. It is not an easy question to answer, and I am tempted to say that I simply ‘fell into’ it. But this is a cop out. My journey can best be adumbrated by my encounters with five poets.

Michael Rosen

Michael visited my primary school when I was around 8. I remember being captivated by his performance in assembly, where he acted out his poems and really brought them to life. I bought his book Don’t Put Mustard in the Custard, and we listened to its accompanying casette in the car every day on the way to school for about a year! I wasn’t necessarily inspired to write my own poetry at this stage, but the kernel of Michael’s visit obviously lodged in my mind. Later on, Michael taught on my MA at Goldsmiths, and was good enough to write an endorsement for the cover of my first book with Bloomsbury.

Niall O’Sullivan

I didn’t really begin writing poetry until my late teens. I had studied Larkin for A Level and my initial efforts were an embarrassing attempt to ape him. During my first year at UCL I discovered the Poetry Cafe in Covent Garden, which has a weekly open mic night hosted by Niall O’Sullivan. For a couple of years I regularly stood up and read my poems there, and was furthermore exposed to a wide variety of performance and writing styles. Niall hosted the night with humour and panache, and it was by attending these evenings that I developed my chops as a performer and (I hope) a humorist.

Neal Zetter

Neal helped me turn a hobby into what is now a career. I first came across his name in the Evening Standard, where he spearheaded a literacy campaign in 2012. He was described as a ‘comic poet who works in schools’, and then it hit me: this could be a proper job! I emailed Neal for some advice, and he responded with such warmth and encouragement that I shall be forever grateful. Heck, we are good friends now, and I even invited the man to my wedding. We are also poetical collaborators, and have our second joint book out with Troika in 2021/2.

Brian Moses

I took a humorous children’s poetry show to the Edinburgh Fringe in 2012, where I met Brian. I foisted a copy of my first, self-published book into his hands, and asked whether he might help me find a proper publisher. I am extremely thankful for the advice he gave me. He said that my comic poetry was all well and good, but to concentrate on serious, emotional and heartfelt themes as well. I have since tried to synthesise a broad range of styles and feelings into my repertoire, and Brian’s advice has undoubtedly helped me grow as a writer.

Roger Stevens

Roger gave me my first publication in an anthology and invited me on the wonderful ‘poets’ retreat’ in 2014, where I met many other wonderful poets too numerous to mention. In his bounteous munificence, he also put my name forward to a bunch of editors he knew, which helped secure my first book deal with Bloomsbury in 2016. So now I was a poet writing and performing in a variety of styles, who both made a living working in schools and had a proper publishing deal to boot! I could not have made it this far without the aforementioned poets.

Joshua Seigal

Joshua Seigal is a poet, performer and workshop leader based in London. His latest collection, Welcome To My Crazy Life, is published by Bloomsbury, and he was the recipient of the 2020 Laugh Out Loud Book Award.

Please visit www.joshuaseigal.co.uk for more info.

Laura Mucha: You Think You Like Poetry?

You Think You Like Poetry?

‘You think you like poetry? You don’t like poetry…’ said Mrs Flowers.

‘You’ll never like it until you speak it – until you feel it come across your tongue, through your teeth, over your lips, you will never love poetry.’

Her student, Maya Angelou, ran out of the house. But Mrs Flowers didn’t give up – she followed Angelou to the store and said, pointing her finger, ‘You don’t like poetry’.

She continued harassing her student for months until finally, after five years of not saying a single word, Angelou spoke for the first time. And when she did, she spoke poetry. (You can listen to Angelou’s account of her experience here.)

Mrs Flower’s description of speaking poetry made me think of the phrase ‘hau gum’ or ‘mouth-feel’ in Mandarin. It’s usually used in the context of food, but I think it applies just as much to poetry. It’s all very well reading poems silently on the page, but, as Angelou’s teacher pointed out, that doesn’t give you a sense of the texture and sound of the language, the ‘mouth-feel’.

That’s why, when I run workshops with young people, I try to get them to co-write – and co-perform – a poem. The performance is just as important as the writing as they both inform the other. It’s only when you perform a poem that you fully appreciate the tiny signposts the poet has left you in the form of commas, line breaks and white space – and can reflect on the signposts you might use in your own writing.

But often, when poetry is taught in the classroom, the teacher is the only one that performs, while the students sit and listen – at least according to Joy Alexander at the School of Education, Queen’s University Belfast.

Teachers can easily solve this by asking students to perform poems in pairs. When one of Alexander’s student teachers realised her pupils were ‘not at all proficient’ in reading or performing poetry, she found it improved drastically with just a little practice. She also found that the practice was helped by playing the audio of the poems to students before asking them to say the poems themselves. Not only did this help them perform better, but it also made them more engaged with the poem more generally. BOOM!

Even if you don’t speak it, listening can be game changing. Seamus Heaney once wrote that until you had found the work of T.S. Eliot, you had not ‘entered the kingdom of poetry’. But for a long time, he found Eliot obscure and bewildering – until he heard the actor Robert Speaight reading Eliot’s Four Quartets. By listening, Heaney discovered that what he ‘heard made sense’.

That’s why it’s so important to find ways to take poetry off the page. “If your genuine goal is to share poetry,” argued Ariel Bissett, a prominent booktuber at this year’s annual Poetry Summit, “then you shouldn’t just be doing it in print. Print is preaching to the choir. What we need are new readers who don’t yet know that they love poetry.”

Taking poetry off the page and getting it into the mouths (and ears) of young people makes poetry more accessible. And perhaps that shouldn’t be surprising because, as Mrs Flowers said, ‘You’ll never like poetry until you speak it.’

 

Laura Mucha

Audio sample of Dear Ugly Sisters, Laura’s debut poetry collection for children:

 

Laura Mucha

Laura Mucha’s debut collection, Dear Ugly Sisters is out now and comes with a free accompanying audiobook (a sample of which is provided above).

Her debut non-fiction book, Love Factually / We Need to Talk About Love was published last year and Richard Curtis describes it as ‘much better and more useful than my film’.

Laura has won two international prizes for children’s poetry (the Caterpillar Prize and the YorkMix Prize) and her poems have been featured on BBC Radio 6 Music, BBC Radio 3, Classic FM and CBBC. You can read more of her work at lauramucha.com. @lauramucha

Lorraine Mariner: Poems Go Green! at the National Poetry Library

Poems Go Green! at the National Poetry Library

As I write this the Southbank Centre’s Imagine Children’s Festival is in full flow and the Royal Festival Hall is bursting at the seams with children and their grown-ups. The Imagine Festival takes place annually during February half-term and for the last five years we have been holding a Day of Poetry in the National Poetry Library for ages 0-11. We like to think of it as a Poetry Festival within the bigger festival.

This year our day of poetry was devoted to eco poetry. The idea for the day was sparked by Poems from a Green and Blue Planet edited by Sabrina Mahfouz, a wide-ranging and majestic nature anthology published last autumn. Wouldn’t it be wonderful to have a whole day of eco poetry at this time of climate emergency, when so many children, inspired by Greta Thunberg, are taking a stand?

Our day of poetry began at 10.30am with Rug Rhymes for under-5s and Ed Boxall joined us for this Eco Edition. He shared a picture book he has recently illustrated, Dragons’ Wood (Troika, 2019), of a poem by Brian Moses. We all took a walk through the wood with our dog catching glimpses of dragons. At 11.30am we had a workshop run by the UK’s Green Poet Martin Kiszko. Martin has worked with Sir David Attenborough composing music for nature documentaries such as BBC’s ‘Wildlife on One’ and has published two collections of green poetry for children illustrated by Nick Park (of Oscar winning Wallace and Gromit fame). Our workshop was aimed at ages 6-10 and Martin got the children writing in different forms; an animal kenning and a clerihew about an environmental issue.

Ed and Martin were back with us for our 1.30pm reading, aimed at ages 5-7, along with poet Carole Bromley, for Poems Go Green! Ed had realised that sticks feature quite a lot in his poems and his gentle, contemplative poems got us looking closely at nature. Carole took us to Australia, a country she recently visited, and which the children were aware had been tackling catastrophic bushfires. One of her poems reminded us to care for the less loveable animals and insects along with the cute koalas. Martin finished this set with his exuberant, rhyming word play, celebrating, amongst other environmentally friendly energy options, poo power.

Our final event of the day was a 3pm reading for ages 8-11, Poems from a Green and Blue Planet, where poet and editor Sabrina Mahfouz shared poems from the anthology along with contributing poet Liz Brownlee. The UK had just been battered on two consecutive weekends by Storm Ciara and Storm Dennis, so the reading began with a selection of stormy poems. Sabrina also got the children thinking of words to describe a storm and we combined these with objects. I think my favourite was “clattering candle”. Highlights of some of the classic and newly commissioned poems that Sabrina and Liz shared were Adrian Mitchell’s ‘Peace and Pancakes’, Hollie McNish’s ‘Anything!’ and Imtiaz Dharker’s ‘How to Cut a Pomegranate’ (with pomegranate prop!).

At 4pm it was over. It was a hectic day but all of our events sold out, poets sold and signed books, and I left work feeling less eco-anxious and hope the children that attended felt the same. We’d asked the poets for green tips and Martin advised that you should love the planet in the same way as you would your parents, brothers and sisters or pets. Nature poetry is a great way to foster this love and we have some wonderful collections and anthologies in the National Poetry Library that we recommend – please click here to see our list on the National Poetry Library Catalogue.

Lorraine Mariner

Lorraine Mariner is an Assistant Librarian at the National Poetry Library and has published two poetry collections for adults with Picador, Furniture (2009) and There Will Be No More Nonsense (2014).

Pie Corbett: 16 Things in a Hobbit’s Knapsack

16 things in a Hobbit’s Knapsack

I developed this idea with Brian Moses about 38 years ago. In those days, we had our children writing lists along the lines of ‘5 things you’d find in Margaret Thatcher’s handbag’. This is the version that I wrote at the time to use as a model for children (Ian McMillan has also written several similar list poems).

Six things found in a Hobbit’s Knapsack

A wasp’s sting to startle unwary goblins.

Two leather-bound books. One titled, ‘Tunnel digging for beginners’ and the other, ‘Wolves and methods for their avoidance’.

A purse of never-ending wishes.

A pot of gold found at the end of a rainbow.

A pair of twelve league boots.

A fur-lined cape, the colour of rock, for keeping warm in the winter and using as camouflage.

© Pie Corbett

  1. Read the model through and discuss the ideas.
  2. Brainstorm a list of other possibilities.
  3. Use shared writing to create a few lines
  4. Inject a sense of urgency by giving a time limit for independent writing, to aid concentration.
  5. Children share and polish their ideas.
  6. Hear examples. Copy favourites for display or to make a booklet.

This is an example from working with a year six class.

We started with a rapid class brainstorm of possibilities: a hammer forged from underground mines; a dagger for dragon attack; oat cake or seed cake; a small block of hardened cheese; a flagon of water for rehydration; a clarinet, reed pipe or recorder; flint and steel; a map of The Misty Mountains; a quill and slate for writing runes, communication or sending a message; a silver pen for writing which can only be read by the light of the moon; a diamond for bargaining; a sack for treasure; an invisibility cloak and some pork pie.

We then did shared writing of a few lines:

A silver pen for secret statements concealed safely beneath a moonless night.

An enchanted reed pipe to fool your advancing foe by summoning a slither of moonlight.

Here is a list made by four of the year 6 children:

Sixteen things found in a Hobbit’s Knapsack

Two fire-flies in a jam jar to light up your way.

A book of myths and legends though some would call them truths.

A quill of wise words that writes runes to summon a thread of starlight.

A silver pen that can only be seen by the light of the moon.

Gandalf’s pocket-watch where you spin the hands to turn time.

An enchanted reed pipe for summoning a slither of moonlight to guide you in the night.

A charmed recorder for fooling or hypnotising your foe.

A cauldron of wishes at the edge of an inquisitive mind.

Homely, hard cheese for a fireless night.

A flagon of never-ending water to quench any dwarf’s thirst.

A golden feather, plucked from the finest eagle and a strip of slate forged in goblin mines to contact the nearest village, using an ancient map of The Misty Mountains.

The fang of a dragon to slay fleeing foe.

A completely crystal dagger, able to pierce through any armour and wound even the deadliest of creatures.

A pair of relatively light boots which can endure months of crossing rivers, navigating woods and stumbling through seemingly endless caves and caverns.

A steel-lined cape to protect you from fire, piercing blades and the strongest of incantations.

Of course, the lists could be about what you would find in a troll’s rucksack, a giant’s suitcase, a unicorn’s saddle bags or a goblin’s backpack!

© Pie Corbett 2020

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.

Andrea Reece: Poetry ‘for keeps’; a history in 240 issues

Poetry ‘for keeps’; a history in 240 issues

Among the anniversaries to be celebrated in 2020 is one very important landmark for children’s literature: Books for Keeps, the children’s book magazine, is 40. In its very first issue, way back in 1980, editor Pat Triggs explained what the magazine would be: ‘Helpful, practical, stimulating, informative, entertaining, sometimes provocative and always enjoyable to read’.  And so it has remained, as a dip into the archives reveals. Past issues are all available to read for free on the website, four decades worth of serious (though never earnest) scrutiny of writing for young people.

Unsurprisingly, poetry for children has been a major preoccupation of BfK editors and contributors, and the archive is a revealing commentary on the contemporary history of the genre, the highs, lows, rise of new poets, and growing concentration on its importance to children themselves.

‘Every teacher needs a personal bookshelf of anthologies and collections of favourite poets. Every classroom needs poetry in the book corner.’ Editor Pat Triggs again, in 1983, lines that are just as true today, and need as much emphasis. She was writing in the era of the Signal Award for Poetry, a period when there was an unparalleled energy in the publishing of the genre, prompted perhaps, as Brian Alderson wondered at the time, by the presence of the Award itself. Such was the healthy state of poetry that in 1988 BfK was able to publish a guide to children’s poetry, edited by Chris Powling and Morag Styles.  It was revised and updated in 1991. Authorgraph subjects of the 1990s include Roger McGough, Kit Wright, Charles Causley, John Agard, Grace Nichols, Michael Rosen and James Berry – and a delightfully playful conversation with Lewis Carroll no less, as imagined by Naomi Lewis. (For non-BfK readers, the Authorgraph is our feature interview, an in-depth discussion with leading writers for children).

In an article in 1996, then Puffin editor now agent Philippa Milnes-Smith was able to celebrate the impact poetry for children was having, and even to grumble that poetry accounted for less than 5% of children’s books published and was never considered for the Carnegie Medal. She was happy to stand up for comic verse too, and just as well, because there was a surprising amount of public hostility, as demonstrated by her favourite press clipping of the time: MUM CALLS FOR BAN ON REVOLTING NOSE POEM.

Come 2001 however and things feel gloomy. Robert Hull is forced to ask, ‘What hope for children’s poetry?’, worried that children’s understanding of poetry is being driven out by the curriculum. Comic poetry is no longer a laughing matter, and Morag Styles, judging the CLPE Poetry Award in 2004, worries about the preponderance of ‘relentlessly jokey books of second rate verse printed on rough paper’.

Jumping ahead a decade however, and things are on the up again. A trawl of BfK makes the reasons clear: the reinvigoration of the CLPE Poetry Award, now CLiPPA, which, like the Signal Award in the 20th century, gave publishers reason again to invest in poetry; the combined efforts of organisations such as CLPE, NLT, UKLA, National Poetry Day and the Poetry Society to promote poetry for children; the work of campaigners such as Kate Clanchy, not to mention that of individual poets themselves in schools, festivals and, significantly, digitally. A search of recent issues will find articles on the influence of rap and hip-hop, on the liveliest techniques for encouraging children’s poetry writing, while round ups of the best new poetry feature books by 21st century stars Rachel Rooney, Karl Nova and Kate Wakeling. Recent Authorgraph subjects have included Joseph Coelho, A F Harrold and Sarah Crossan and the July issue will feature Carnegie winning verse novelist Elizabeth Acevedo.

In fact, as we mark the 40th anniversary, the time seems right to create another Books for Keeps Guide to Children’s Poetry. July seems the right time – coinciding with the announcement of the CLiPPA. What do you think?

Andrea Reece

Andrea Reece is Managing Editor of Books for Keeps.

Morag Styles: Early Children’s Poetry at the British Library

Of Rossetti, Robins and Rhymes: Early Children’s Poetry at the British Library

Tom Thumb’s Pretty Song Book, c1744, Children’s Chapbook, Public Domain, Held by British Library

My head has been deep in the British Library collection of early children’s poetry, some of which has been digitised and is soon to be showcased on a forthcoming website. To be able to see Tommy Thumb’s Pretty Song Book of 1744 in all its glory on the screen is a rare treat. And likely to please young readers as it is full of delightful rhymes and illustrations – and rude in parts!

Little robin red breast

Sitting on a pole

Niddle, noddle,

Went his head,

And poop went his hole.

I haven’t yet looked online at Christina Rossetti’s manuscript copy of Sing-Song: a Nursery Rhyme Book, 1872, but as I have actually held it carefully in white gloved hands I can tell you it is quite wonderful to see her handwriting and her own little pencil-drawn illustrations. Even better is to witness some of the small changes she made to her text. This exceptional collection is not as well known as it ought to be with its tender and lively variety of poetry for young readers.

‘Sing Song’: a volume of 121 nursery rhymes, 1868/70, Christina Rossetti, Copyright Unknown, Held by British Library.

Something must have been in the air as Lear’s brilliant Nonsense Songs and Stories was published the same year as Sing-Song and Carroll’s inspired parody of Jane Taylor’s The Star just a few years earlier in Alice’s Adventures in Wonderland:

Twinkle, twinkle little bat

How I wonder what you’re at…

Even now, hard to beat those two great humorists in verse.

Songs of Innocence and Experience [A facsimile of a coloured and gilded copy of the first edition], 1923, William Blake, Held by The British Library, Public Domain.
I’ve also been revisiting Blake’s dazzling Songs of Innocence of 1789, Browning’s Pied Piper of Hamelin, 1842, his tragic and thrilling tale of mayhem, madness and mendacity, and A.A. Milne’s much loved When We Were Very Young, 1924, with E.H. Shepard’s outstanding illustrations. So many poems in these volumes are still winners with the young. If you haven’t looked at them for a while, they are more than worthy of your attention on the British Library’s website. The new Discovering Children’s Books site will launch in late February 2020.

I was delighted to be asked to write about these works in the context of making connections with contemporary poets writing for children, especially if the British Library or Seven Stories, with whom they have worked in partnership, hold their manuscripts. John Agard, James Berry, Valerie Bloom, Jackie Kay, Roger McGough, Grace Nichols, Michael Rosen, Benjamin Zephaniah and others come into this category and are perfect choices for considering links and contrasts with early poetry when talking about nursery rhymes, humour and storytelling in verse. Many themes that work in children’s poetry are timeless and one of those is the natural world. Poets have always served children well in drawing environmental issues to their attention in a way that makes them care.  Never more important than now.

Morag Styles

Morag Styles is Emeritus Professor of Children’s Poetry and the author of From the Garden to the Street: 300 years of poetry for children. She has written many books and articles on children’s poetry, edited several volumes on children’s literature, and is editor of numerous anthologies of poetry for children.

 

Teresa Cremin: Profiling Poetry this December

Profiling Poetry this December

It’s Yuletide – a time for carols, songs, stories and poetry– a time to tempt children with the words and tunes, rhythm and rhyme that play into this space of celebration. Over the decades, teachers have made this time special in school, offering class, whole school and community events that involve giving, receiving and so much more.

It is also a rich opportunity to read, write and perform poetry together and to seize those liminal spaces when half the class are at a play practice or are finishing making cards for instance. So, in this Christmas blog, given there is scant time for thinking as we rush from job to job, planning food, writing cards and generally panicking (well I am!),  I thought I’d simply share some ideas for profiling poetry this December.

Advent Calendar Poetree: This idea was developed by Miss Graham, an NQT from Edge Hill University who is working at Kingsmoor Junior in Carlisle, Cumbria. Eager to foster children’s reading for pleasure @MissGrahamteach hid 24 wrapped poems in each classroom, children find the day’s poem and share it! Each dated poem also has a challenge on the back- a discussion question relating to the topic or form of the poem to get children buzzing about poetry!

Poems as Christmas Gifts: Inviting the class to write their own poems as gifts for family members always works well. Focusing on a chosen relative or friend, rather than the jolly red stereotypes of Christmas is often more engaging. The key, as George Szirtes highlights, is to avoid platitudes and clichés, but to let the pressure of such avoidance ‘be felt at every juncture of each line and each word. That pressure is the pressure of the imagination, the auditory imagination if you like’. You could explore what makes their grandma so special – what are the objects in her house, her voice,  style, typical expressions and so forth. Or you could play the furniture game and encourage them to imagine their grandad as a piece of furniture ‘a deep leather sofa creased and loved’ perhaps? Printed on card and illustrated, this will be given with love.

Poetry Recommendations for Parents: Encouraging poetry gift giving, schools can offer a recommended booklist of their top ten poetry collections, perhaps on the school website or newsletter.

Pop-up Poets: Why not interleave  opportunities to share poetry – the children’s own and others – when parents come to see their children’s work or attend events? You could create pop-up poets who, having prepped their chosen poem in small groups, are at the ready when a governor, parents or others come by? They can then rush off and perform their poem – ‘Talkin turkeys’ by Benjamin Zephaniah or ‘The computer’s first Christmas card’ by Edwin Morgan would work well amongst many others.

Poetry in Christmas gatherings: Most schools will be joining together in a special assembly or performance. Why not interleave the printed programme with children’s own poems? Or offer live poetry during the interval?  Saint Andrew’s C of E Primary school Halstead hold an annual candlelight service for the children who sit in a circle around the candles while each member of staff reads a poem or an extract. One teacher there, Claire Williams (@borntosparkle), tells me that the sense of peace and ‘togetherness’ is tangible, especially when the headteacher closes by reading ‘A visit from Saint Nicolas’ by Clement Clarke Moore. Sounds very memorable.

Regardless of the way you enjoy poetry with your class this December, I hope you and the children will be tempted by the words and tunes, the ideas and images that such rich language provides.

Teresa Cremin

Teresa is Professor of Education (Literacy) at the Open University. An advocate of teachers’ creative artistry, Teresa is also passionate about developing readers for life and leads a professional user-community website based on her research into reading for pleasure. The site supports over 80 OU/UKLA Teachers’ Reading Groups and 24 HEI partnerships across the country. Teresa Cremin’s OU webpage.

Kate Wilson: Packing Meaning Into a Small Space

I am lucky.

At so many times in my career, I have been able to… um, let’s call it what it sometimes feels as if it is, indulge my love of children’s poetry.

I wasn’t brought up in a particularly bookish household, but on my seventh birthday, I received a book that was, for me, transformative. It was The Book Of A Thousand poems – small, thick, densely packed with poetry, much of which I can still recite by heart. I still have my copy of the book, the top of it forested with little triangles of faded pink torn paper that I used, at some point, to mark my favourites. These were fairly traditional poems. I was responding, of course, to experiences of rhythm and rhyme and sometimes other language patterns – assonance, alliteration, repetition – building on the bedrock of English-language nursery rhymes that should be the bedrock of every English speaking child, which is not, of course, to discount the richness of children’s rhymes in other languages from Akan to Zulu. But I was also responding to the way that poetry packed meaning into a small space, to be mentally and emotionally unfolded, not just at the moment of reading, but later, on reflection as I rolled remembered words around in my brain.

I went on to study English at university, and emerged with a determination to “get into publishing”, without, really, knowing what that meant other than that I wanted to work with books.

Spectacularly, I got a job at Faber, and so had not only the joy of sharing a lift with Seamus Heaney, but also selling – mine was a sales role –  The Rattle Bag, poetry by Water De La Mere and Old Possum’s Book of Practical Cats. Some of the children’s poetry I encountered there was new to me, some was deliciously familiar.

After a while, I found myself as the children’s publisher at Macmillan, publishing, and, once, meeting Charles Causley. Up until that point, I am ashamed to say now, my experience of poetry had been, well, silent. It happened in my head. I read poems. I didn’t read them aloud. But at Macmillan I had the experience of publishing poets who worked in schools: worked with audiences of children – Valerie Bloom, Paul Cookson, Ian Macmillan and Pie Corbett among others. It was an honour to watch children’s responding to poetry read out loud. These were words, I realised belatedly, not just to roll around in your brain, but words to roll around in your ears, roll around on your tongue.

It made me think about picture books, which so often demand to be read out loud too: theatre for an audience of one or two. Macmillan already had on its list Bringing The Rain To Kapiti Plain, a rhyming picture book classic. But I published Valerie Bloom’s funny, sunlit rhyming picture book about counting, Fruits, further brightened by Valerie’s use of Jamaican patois. And I published The Gruffalo. At the time, to publish rhyming picture book texts was risky: the received wisdom was that the challenge of translation made it hard for them to achieve the kind of international sales that make the high cost of publishing books in colour financially viable. But The Gruffalo was a hit internationally, and has opened the door to a panoply of picture books that tell stories saturated with rhythm and rhyme.

Inspired by The Book of A Thousand Poems, though, I kept faith with the idea of the pick ‘n’ mix delights of the anthology. The first, rather glorious, National Year of Reading ran from 1994 to 1995, and, thinking of ways to support it, I came up with Read Me: A Poem a Day for the National Year of Reading, now still published as Read Me: A Poem for Every Day of the Year. It was the best idea I’d had in the bath for a long time.

Still later, here at Nosy Crow, we’re publishing both rhyming picture books – by, among others Caryl Hart, Tracey Corderoy and Lou Peacock – and poetry anthologies. I am interested in sort of combining the two: bringing the richness of picture book illustration to poetry. Our first, hugely ambitious shot at this is I Am The Seed That Grew the Tree: a Nature Poem for Every Day of the Year, published a year ago. It’s a big, beautiful book published in partnership with The National Trust that both invites children into poetry, and invites children into nature, as the poems describe the seasons, animals, weather, and plants that the child can observe, or at least imagine, happening and living outdoors at that moment.

The success of this book – commercial and critical – has been such a justification of its publication: at no point in the making of the book did it seem remotely possible that it would do anything other than lose us a bucket of money. I am proud of it… and seeing that it worked and was welcomed, has made us plan several others that we’ll be announcing in the months to come.

Kate Wilson

Kate Wilson loves books. She read avidly as a child, studied English at Oxford and got into publishing as soon as she could wangle a job typing and taking her boss’s shirts to the dry cleaner. She’s worked in international rights selling and then as a publisher at Faber, Egmont, Macmillan, Scholastic. After being fired from an adult publishing job, she founded Nosy Crow, and is managing director there, working with co-founders Adrian Soar and Camilla Reid and 50 other people to publish over 100 new books for children aged 0 to 12 a year. Nosy Crow has won many industry and business awards, most recently this year, and for the second time, Children’s Publisher of the Year at the British Book Awards.

Hannah Rolls: Poetry and Illustration

Poetry and Illustration

The first poetry book I can remember reading is You Can’t Catch Me by Michael Rosen. Bits of those poems are buried deep in my memory – lines like ‘Shuttup, Stinks! YOU CAN’T RULE MY LIFE,’ or ‘I’ve got you, I’ve got you, and I’ll never let you go,’ or the fact that you might meet a dog down behind the dustbin. I must have read them (or had them read to me) over and over again.

But there’s another thing about You Can’t Catch Me which is memorable and that’s what I want to focus on in this blog. Because that book isn’t just by Michael Rosen, it’s by Michael Rosen and Quentin Blake. Blake’s illustrations are classics – from the scruffy dog Ranzo (Who rolled in the mud behind the garage door? Who left footprints across the kitchen floor?) to the strange and brilliant pastiche of Goya’s nightmarish ‘Saturn Devouring His Son’ which illustrates the poem ‘Jojo’. Those artworks are just as much part of the book as the poems are.

 

That’s a challenge to a poetry editor like me. Not all books can be illustrated by a great like Quentin Blake, but at Bloomsbury the vast majority of our children’s poetry books do have illustrations. Finding an illustrator whose style and tone suits a collection or anthology, whose work the poet likes and who our sales team are excited about can be difficult (especially when you factor in the tight schedules and budgets we’re often working with). Part of my job as an editor is to work with our design team to try and find just the right person and to write a brief for them.

It is something I find endlessly fascinating – part of the reason I became an editor is because I’ve always been interested in books as objects, not just as texts. I also can’t draw for toffee and so the magic of seeing what illustrators come up with based on a poem I’ve suggested they illustrate, or a few sentences I’ve written as part of a brief remains an utter delight. I find it completely magical.

A couple of books I’ve worked on here at Bloomsbury this year show this magic at work. Back in July we published Spaced Out, an anthology of poems about space edited by Brian Moses and James Carter and illustrated by Del Thorpe. As is often the case with anthologies the poems in this book have a variety of moods and so we needed an illustrator who could handle serious and beautiful poems as well as humour. As the examples below show, I think Del handled that challenge with ease.

 

Another book I’ve worked on recently is Midnight Feasts, an anthology edited by A.F. Harrold and illustrated by Katy Riddell. Katy is a young illustrator who hadn’t worked on many projects before this one but her distinctive style and quirky sense of humour are a perfect fit for A.F. Harrold’s brilliant selection of poems on the theme of food which includes poems by everyone from Ian McMillan and William Carlos Williams to Joseph Coelho, Sabrina Mahfouz and Imtiaz Dharker, as well as A.F. Harrold himself.

Of course it is much too soon to say whether either of these books will become classics in the way in the way You Can’t Catch Me did (still available as part of Mustard, Custard, Grumble Belly and Gravy, thirty eight years after it was first published).

But I hope the combination of poems and pictures in them will delight today’s children and worm their way into memories in the same way as Michael Rosen and Quentin Blake’s work did all those years ago.

Hannah Rolls

Hannah Rolls is Editorial Director for educational fiction and children’s poetry at Bloomsbury which is both 2019 IPG PLS Education Publisher of the Year and 2019 IPG Blackwell’s Children’s Publisher of the Year. Her list includes everything from early readers to high low fiction for teenagers, and children’s poetry of all kinds.

Tracey Guiry: Making the Children’s Poetry Archive

Making the Children’s Poetry Archive

I don’t remember poetry being spoken of in my house as I grew up and certainly not spoken out loud. We lived on a remote farm and I spent from dawn to dusk outdoors, which in the 60’s and 70’s meant truly outdoors,  being given a cheese sandwich and some orange squash and told to be back before it got dark. The stories I most loved as a child reflected that sense of freedom, of being master of my own destiny, an explorer and an adventurer no less brave or able than my brothers.

From an early age I knew the name of pretty much everything I came across in the fields and woods around our village so it is really no surprise that the first poems which snagged my imagination were about the things I knew best. Poems like John Clare’s Mouse’s Nest, with his lovely made-up words like ‘prog’, and Ted Hughes’ Thought Fox, ‘and again now, and now, and now’ brought a shock of recognition which I can still recall with a smile. These poems filled my mind with pictures even if, at the time, I thought they truly were only about a mouse and a fox. There is nothing can compare to the moment we discover something we know speaks to us alone.  I remembered these feelings as we made the decision to create a Poetry Archive dedicated to children.

The Poetry Archive exists to produce, acquire, preserve and share the world’s finest poetry read out loud and it wasn’t long into our history of making recordings that we knew children’s poetry should have its own website.  We believe passionately that poems are not only words on a page but equally have a life in the mouth and on the ear and we wanted to break down any barriers which might exist between a child and a poem. The quality of writing for children has always been high – children are the most discerning and demanding audiences – but there were few websites specifically designed with a younger user in mind.

Young people today are technologically savvy in ways I couldn’t even have imagined at their age, and our site needed to reflect that. The ‘favourite’ function next to each poem allows users to click on the and save poems to their very own collection in ‘My Archive’. From there they can create their own poetry playlists, listen back to their own curated collections and share the poems they like with their friends. The ‘eyes closed, ears open’ button allows them to switch off all the other sights and sounds on the page except for the poet and their voice.

We want children to discover poetry for themselves. There is no fanfare of description on the Children’s Poetry Archive, no lessons on meaning, or other people’s opinions, though these can be found by anyone wanting to search. When a child arrives at the Children’s Archive they will find only the poet’s voice, the sound their words make, and a head full of pictures all their own which they can recall with a smile all their lives.

Tracey Guiry

Children’s Poetry Archive.

Tracey Guiry is the Director of the Poetry Archive. She worked in the Giant Screen film industry before learning how to build very big cinemas. She then went on to build even bigger Visitor Attractions and Science Centres which brought art, science and nature education to the public, becoming a Director at ‘We the Curious’ in Bristol before it launched in 2000. Her passion for poetry and literature led to her co-founding Literature Works with Alex Cluness in 2008 to provide developmental support to writers – this became a national portfolio organisation of the Arts Council in 2009. She joined the Poetry Archive in 2016, working to ensure their poetry collections and education materials can continue to be shared free-of-charge with as many people as possible. The Children’s Poetry Archive was developed with the kind support of the T S Eliot Foundation.