I chose my topic of Young Adult poetry for several reasons. First of all, I love poetry, and I want my students to love poetry. I mean, even teachers are entitled to a bit of selfishness now and again am I right? Secondly, I feel that poetry can inspire reluctant readers as well as reluctant writers. A reader who is in the seventh grade, but whom reads at a fifth grade level might dread the thought of having to read Charles Dickens. However, when they see that the poetry takes less time to read, and that they can understand the concepts presented in these texts, then they are more likely to become motivated to read. Also, I feel that teaching and reading poetry provides students opportunities to play with language in meaningful ways that they wouldn't find elsewhere in a classroom. And finally, I feel that young adult poetry provides the readability to provide students with the access to deeper levels of conceptual knowledge around the issues presented in these texts, which will hopefully lead to transformative education.
Every text presented within this annotated bibliography can serve to assist teachers within their classrooms. The texts touch upon issues of teenage suicide, drug abuse, rape, homosexuality, racism, homelessness, loss of loved ones, and the separation of family. Most of these texts are written in free verse narrative, which I feel is a great way to engage reluctant readers with a novel. Locomotion and talking in the dark provide examples of varying forms and meters, and they both, along with Crank and After the Death of Anne Gonzales, experiment with line breaks in meaningful ways. Slam is a movie about using poetry, and in particular slam poetry, as a means for social justice. I also chose to include the teenage poetry wiki because I think that it is important for teachers and students alike to see that Young Adult poetry is not only written for teens, but is also written by teens.
After the death of Anna Gonzalez by Terri Fields
Fields, T. (2002). After the Death of Anna Gonzales (First ed.). New York, NY: Henry Holt and Co.
Written in verse, and told from inside the minds of 42 students and 5 adults, After the Death of Anna Gonzales tells of the aftermath of one High School freshmen girl's suicide. The poetry is easily accessible, and altogether brutally honest. Throughout every classroom, locker room and hallway, the news of Anna's death has created a ripple effect similar to heaving a boulder into a hot tub. Some of her peers wonder how they could have not seen her pain, whereas others, use the somber tone of the day to their own advantage (e.g. sitting in Anna's old seat in class to be by the boy one girl likes or another using Anna's death as leverage to skip practice). However, the overall tone of the book consists of a deafening sadness, and the unthinkable realization of the fragility of life. It is not until the end of the book until the reader is able to see the truth behind Anna's pain, and the reality of permanence.
Grades 6-12. After the Death of Anne Gonzales is written at about a 6 grade reading level, but deals with the overarching theme of tenacity, except in this case it is perhaps the lack there of. Written from many different perspectives, Fields plays with line breaks and metaphor in meaningful ways. I also think that this book provides many teaching opportunities. Though a heavy subject, teenage suicide is a problem that many schools, communities, and families deal with every day. The reality of the effect a suicide has on a community of people is tremendous. Thinking critically about this text could provide strength to a lonely student, as well as reinforce the positive energy of the human spirit in others. I do feel that this text plays to a lot of stereotypes (i.e. the jock, the flirtatious blonde, the suave "Joe-cool", etc.). Having your students critically read, think, and write about the stereotypes presented could help to dismiss them. Also, it is important for your students to understand that not everyone who commits suicide is doing so with intentions of hurting those they leave behind. This text is an advocate for life, and hopefully a deterrent against the alternative.
Crank by Ellen Hopkins
Hopkins, E. (2004). Crank. New York, NY: Margaret K. McElderry.
Although this book is a work of fiction, Hopkins's Crank is somewhat autobiographical. Crank is a street name for a powder version of the drug methamphetamine; the same drug that nearly destroyed Hopkins's own daughter. This novel is written in verse from Kristina, or rather "Bree", which is the name she gave herself upon her visit to her father's house in Albuquerque, New Mexico. Unlike Kristina, "Bree" isn't lonely, but instead is the wild daring side of Kristina. When Bree meets Adam, she is instantly attracted to him, and likewise becomes attracted to "the monster" Adam introduces her to, which is Crank. Feeling the rush of the chemicals, and the freedom away from her mother and her stepfather Scott, "Bree" feels alive and free for the first time in her life. However, freedom of any kind does not come without a price. After leaving New Mexico and heading back home to Nevada, "Bree" brings her addiction with her. After being raped, "Bree" finds comfort in crank, and soon her life begins to spiral out of control. Crank is a harrowing tale of addiction, loss of innocence, and the reality of substance abuse. Sooner or later "Bree" begins to wonder what exactly happened to Kristina, and if it is too late to save her.
Grades 8-12: This text is highly readable, and completely relevant to teenagers. This book, although only somewhat autobiographical, is an excellent depiction of choices, and the consequences of making the wrong ones. The poetry is written entirely in free verse, but the metaphors and line breaks the author uses are superb. I have seen the consequences of teenage substance abuse with my own eyes, and I know of the pain and suffering that drugs can bring to an individual, family and community. Two years ago, I watched as a good friend of mine carried his brother's casket to its final resting place. I think that a text like Crank allows the opportunity to engage with students about the issues of Drugs without sounding like their parents or some low-budget D.A.R.E. commercial. This book, through a critical examination of authorial point of view and racial identities presented, seems to have a focus audience of white middle class. However, the issue presented does not discriminate by race, class, gender, or even age.
Soul Moon Soup By Lindsay Lee Johnson
Johnson, L. L. (1998). Soul Moon Soup (First ed.). Honesdale, PA: Front Street imprint of Boyds Mills Press.
"Don't add to my burden, Mama says,
when I take a book about stars
from the church giveaway box.
We have to travel light, she says.
Only what's necessary.
I try not to be a burden.
I try to be necessary."
Lindsay Lee Johnson's Soul Moon Soup is the side of the story often not heard, because frankly there is sometimes no one willing to listen. Living out of a suitcase, Pheobe Rose and her mother spend most nights they are able, sleeping in homeless shelters. Pheobe's mother makes Pheobe promise not to tell anyone at school about their "secret," but as Pheobe notes, "Shelter kids don't talk at school. What's to say?" After getting the only worldly possessions they own stolen, Pheobe's mama is forced to send her to stay with her grandmother in the country. Getting used to the country and the commodities of a home, Pheobe finds comfort in drawing and her new found friend Ruby from across the lake. Although Pheobe does find hope, her introspection that is written beautifully in poetry leaves one to wonder of the stability that the future may hold. Nonetheless, this book shows a side of youth that is often not represented in literature, and serves to warm and challenge the heart simultaneously.
Grades 6-8. Although the issue of homelessness is certainly relevant within a high school, I feel that the language is more suitable for use in a Middle School classroom. Also, it may be harder for older students to connect with an eleven-year-old protagonist. Nonetheless this book is written in free-verse poetry, and provides insight and introspection of the life of a homeless child. As Pheobe describes her invisibility within the school, this book provides an opportunity to critically examine whom is served, excluded, heard, and seen within your school. Aside from not having a home, possessions, clean clothes, being a child is not an easy task either, especially if you're all alone. This book could certainly prompt a unit on activism within the community, and even serve to inspire empathy driven community service from your students.
Slam Directed by Marc Levin
Levin, M. (Director). (1998). Slam [Motion picture]. Washington, D.C.: Offline Entertainment Group.
In Slam, Ray Joshua, played by award winning and notable slam poet Saul Williams, finds hope, and even survival, in his poetry. Growing up in the projects of inner-city Washington, D.C., Ray has always been a poet of sorts. From coming up with poems for his friends to recite to their girlfriends, to entertaining the children in his neighborhood, Ray has always used, but never "needed" poetry, until he is sent to prison on drug charges. Ray avoids being assaulted in the prison yard by using his gift of spoken word, advocating for his fellow black inmates to fight against the system, and not against each other. Inspired by Ray's words, a fellow inmate pays Ray's bail, and Ray sets out to change the hearts and minds of his friends in Dodge City. Invited to a Slam Poetry event by his former prison tutor, Ray seeks to show others what it means to rise up for social justice.
Grades 10-12. Slam is a film I would certainly show and analyze in class during a poetry unit. Slam, like most of the books in this annotated bibliography, has to do with the themes of tenacity and perseverance. The message of Slam is a clear one, and that is that literacy is not an independent school based practice, but can serve to empower an individual as well as a community. This text is written by, and serves to advocate for black males to rise against oppression. Though I certainly would agree, I feel that white people depicted in the film (i.e. prison guards, policemen, etc) are symbolically shown only to oppress. Nonetheless, the overarching message concerning the power of literacy, specifically with regards to spoken word poetry, is both powerful and relevant to the classroom teacher. The content of this film in terms of violence and language is probably too much for the middle school classroom. Also, you may want to send permission forms home to parents or guardians so they have no objections, or can voice their objections before the film is shown.
Internet Public Library's Teen Space Poetry Wiki
This is an online wiki, where teenagers can cooperatively share, edit, discuss, as well as learn about poetry. Set up by the Internet Public Library for Teens, this wiki allows any teen to sign up and collaboratively learn about poetry in a safe and anonymous environment. The "Open Mic" page allows teens to upload their poetry, edit someone else's (if they choose), as well as respond in an open discussion page. The "Word Play" page gives examples of many different forms of poetry, with information on rhyme schemes, and exemplar poems written by wiki members are chosen each week to display as "The Poet of the Week" for each form of poetry. There is also an "inspiration" page where teens can upload songs, videos, and poems that have inspired them as poets.
Grades 7-12. This teen poetry wiki not only expresses real teen issues, but the issues written about are written by actual Teens. Since the teenage members of the wiki primarily do the editing and revisions of the wiki, the learning is almost entirely done by themselves. The possibilities of using a wiki like this in the classroom are seemingly endless. Students are able to publish finished work, explore and experiment with writing different kinds of poetry, give and receive feedback, as well as edit and make changes to others' work as well as their own. By writing, publishing, editing, and discussing, students are able to see literacy as a valuable and relevant practice, instead of only writing five-paragraph essays on loose-leaf paper.
Talking in the Dark by Billy Merrill
Merrill, B. (2003). Talking in the dark: a poetry memoir (first ed.). New York, NY: Push.
Written entirely in poetic verse of various forms and rhyme schemes, but primarily in free verse, this autobiographical memoir will lead any reader to wonder about the moments in life that have made them who they are. Beautifully connected, Merrill's poems range from his coping with the divorce of his parents to his acceptance of his homosexuality. However, this book is mostly about adolescence, about growing up and wondering whom you are, and about finding and holding true to that person. The poetry is beautiful and honest, but not shocking. His portrayal of teenage life is real, heartfelt, and as bittersweet as a day in any teenagers' shoes.
"I dreamt I was nothing
but a kite's anchor, collages of men's faces,
makeshift buildings of paper. Years later
I'll wonder how I didn't know I was lonely
when everyone around me did."
Grades 9-12. Although the issues of divorce, identity construction, and homosexuality are relevant to all adolescents, the sexual nature of some of the poems is far too graphic for anyone below grade 9. Nonetheless, I would certainly have this available within my classroom library or teach as a whole class text. I think that young adult literature, or any other literature we find in schools, is often lacking texts that contain issues around homosexuality. It is a proven fact that gays are among the highest population of teens whom commit suicide each year, and I believe that is partly due to the indifference of our educational system. However, the poetry written in this text is of high enough quality to teach in any senior English class, and I would be shocked to meet one adolescent that couldn't make some connection to the brutal honesty Merell displays.
Locomotion by Jacqueline Woodson
Woodson, J. (2010). Locomotion (Reprint ed.). New York, NY: Speak.
Locomotion will make any reader want to pick up a pen and find the truth and power of the written word. The story is written in poetry from the perspective of Lonnie Collins Motion, or Lo-Co-Motion. Lonnie begins writing poetry for his poetry portfolio in Ms. Marcus's English Class. Lonnie, who lost his parents in a fire four years earlier, finds strength within his poetry. Lily, Lonnie's little sister, leaves uptown with a foster mother who didn't want to take him as well. Though unhappy with his separation from his sister, Lonnie's foster mother is loving, kind, and understanding of his quiet and sad demeanor. Throughout Lonnie's poetic narrative he is experimenting with many different forms of poetry and their respective rhyme schemes. Lily, who is still young and doesn't quite understand their separation, says that if Lonnie finds God then they can be together. Reading the Bible by night, writing poetry by day, and occasionally attempting to take the bus to see his sister, Lonnie begins to cope with the death of his parents, and to hope that his family will one day be built from the ashes of his past.
Grades 6-10. Written at approximately the 5th grade reading level, I would suggest the use of this text within a middle school classroom. However, I also think high school students would enjoy this text, and reluctant long-term literacy learners may find this text engaging. I would also teach this text during a 9th or 10th grade poetry unit as an introductory text to the unit. The poetry forms and rhyme schemes Lonnie is experimenting with would be excellent examples for your students to critically dissect. When Lonnie writes a haiku, I might ask my students what the characteristics of a haiku poem are, or is Lonnie using the correct rhyme scheme? Also, I think that this book is great for both reluctant readers and writers because it is a great story, has many relevant themes to teenage life, and provides a developmental example of how one's reading and writing can improve through everyday literacy practices.
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