Bean Trees/Poetry

AGENDA:

Respond to the following questions about Ch. 1-3 with a blog post.  Work with a partner or small group.  Be sure to put all your names on the post.


Study Guide for The Bean Trees, Barbara Kingsolver
1. Describe the “voice” or tone of the narrator.
2. How does Alice Greer compare to/contrast with Mr. Hardbine or Mr. Shanks in terms of parenting skills?
3. Why does Taylor leave Kentucky?
4. Describe Taylor’s reaction to the Cherokee Nation.
5. What is a “home”? How does Taylor’s definition of “home” change in Chapter One? (Think in terms of the comment she made in the letter to her mother about taking her “head rights” with her.)
6. How are women (or girls) treated in Chapter One?
7. Describe the shift in narration in Chapter Two. Who is telling the story now?
8. Why is it relevant that Lou Ann came from Kentucky?
9. How is Lou Ann different from Taylor?
10. Describe Angel.
11. How did Taylor react to Arizona? What made her decide to stay there?
12. Why does Taylor find “Jesus Is Lord Used Tires” and “1-800-THE-LORD” so humorous?

Look up the following vocabulary words and write a sentence using each:

1. presume
2. ornery
3. indelible
4. repulse
5. transient

HMWK: Rd. Ch. 4 for Friday   QUIZ
Poetry packets due Fri.

Poetry/ Bean Trees

Today in Class, work on your 5 poems for "The Poetry Project"

1. Sestina
2. Villanelle
3. Ode
4. Haiku/Tanka
5. Dramatic Monologue: http://www.poets.org/viewmedia.php/prmMID/5776
6. Free verse


HMWK:  Rd. Ch. 1-3 in Bean Trees for Wednesday!


Study Guide for The Bean Trees, Barbara Kingsolver
1. Describe the “voice” or tone of the narrator.
2. How does Alice Greer compare to/contrast with Mr. Hardbine or Mr. Shanks in terms of parenting skills?
3. Why does Taylor leave Kentucky?
4. Describe Taylor’s reaction to the Cherokee Nation.
5. What is a “home”? How does Taylor’s definition of “home” change in Chapter One? (Think in terms of the comment she made in the letter to her mother about taking her “head rights” with her.)
6. How are women (or girls) treated in Chapter One?
7. Describe the shift in narration in Chapter Two. Who is telling the story now?
8. Why is it relevant that Lou Ann came from Kentucky?
9. How is Lou Ann different from Taylor?
10. Describe Angel.
11. How did Taylor react to Arizona? What made her decide to stay there?
12. Why does Taylor find “Jesus Is Lord Used Tires” and “1-800-THE-LORD” so humorous?
13. Compare/contrast Mattie’s garden to the Garden of Eden.
14. What is Lou Ann’s conflict in Chapter Four? How does she resolve it? What does this say about her character?
15. What does Chapter Four say about the bonds between women?
16. What does the Tug Fork water symbolize?
17. Describe Fei, La-Isha, and Timothy. How are they different from Lou Ann? Why does Taylor choose to live with Lou Ann instead of the others?
18. What does the description of Mattie’s garden in Chapter Six suggest?
19. Describe the attitude toward men on the part of the characters and author in Chapter Six.
20. How is Estevan different from the other male characters we’ve seen?
21. What does Mattie do for people like Estevan and Esperanza? What clues earlier in the story hinted at her activities?
22. What does the “Miracle of Dog Doo Park” refer to?
23. What does Taylor learn about Estevan and Esperanza’s past? How does this affect Taylor?
24. How does Taylor feel about Estevan?
25. How does Lou Ann demonstrate more confidence in herself in Chapters Ten and Eleven?
26. What does the snake symbolize in Chapter Twelve? Think about what is going on at home with Turtle…
27. What does the trapped bird symbolize?
28. What does Taylor learn about Turtle from the doctor?
29. What does the bird outside the window represent?
30. How does Taylor respond to the news that she has no legal claim over Turtle? How does Lou Ann respond? What perspective does Mattie bring to Taylor about parenting?
31. What does the Night-Blooming Cereus symbolize?
32. Describe what happens at the routine immigration check in Chapter Fourteen.
33. What changes have taken place at the Broken Arrow Motor Lodge?
34. What does Taylor discover about the Cherokee Nation in Chapter Fifteen that changes her impression of the area?
35. Why does Turtle bury her doll?
36. Describe what happens in Chapter Sixteen. What does this moment represent for Esperanza? What does Taylor mean when she says all of them buried someone they loved in Oklahoma?
37. Why does Taylor decide to call 1-800-THE-LORD? How does she feel about the conversation she has?
38. What does Taylor discover about wisteria? How is this discovery related to the theme of the novel?
39. What is a “family”? How does this novel ask you to question your definition of “family”?
40. How is “home” defined in terms of geography? How is it defined in terms of people?
Themes are the fundamental and often universal ideas explored in a literary work.
1. The Shared Burden of Womanhood
2. The Plight of Illegal Immigrants
3. Respect for the Environment
Motifs we will discuss:
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
1. Rebirth
2. Motherhood
 
Symbols we will be discussing:

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
1. Beans and Bean Trees
2. Ismene
3. Birds

 
Vocabulary:
1. presume
2. ornery
3. indelible
4. repulse
5. transient
6. conniption
7. ascendant
8. reticent
9. apoplectic
10. meager
11. dilapidated
12. reverence
13. aptitude
14. pandemonium
15. picayune
16. invocation
17. perturbed
18. prudish
19. compulsion
20. gumption
21. deprivation
22. incarnate
23. dormant
24. pungent
25. noncommittal
26. befuddled
27. cantankerous
28. meandering
29. catharsis
30. rigamarole

Villanelles

http://www.wikihow.com/Write-a-Villanelle

http://www.poets.org/viewmedia.php/prmMID/5796 


A villanelle is a seven stanza poem, that works with rhyme, meter and repeated lines.  There are two lines that repeat through the poem;  they also rhyme with each other.  For notation purposes, I call the first repeated line “A1″ (like the steak sauce) and the second repeated line “A2″ (not to be confused with the Pakistani mountain).   (Under rules of poetic notation, these are both referred to as “A” lines because they rhyme with each other, the “A” rhyme.)
Other lines which rhyme with A1 and A2, but which are not the repeated lines, are denoted below as just plain “A”.
The remaining lines of the poem, which do not rhyme with the A lines, but which rhyme with each other, are denoted as “B”.
Here’s the basic form:
A1
B
A2
A
B
A1
A
B
A2
A
B
A1
A
B
A2
A
B
A1
A2
An “easy” way to remember the form is that the all the stanzas. except the last one, have three lines.  The first one begins with your A1 line and ends with your A2 line;  the next four stanzas are in a kind of order with the first ending with A1, the second A2, the next A1, the next A2 again.  (It’s sort of like shampooing your hair—”wash, rinse, repeat.”)  The B lines intersect each stanza (sort of like a basting stitch.)
The last stanza has four lines, ending with a couplet made up of A1 and A2.

Japanese Forms: Haiku/Tanka

Haiku

http://www.wikihow.com/Write-a-Haiku-Poem

Tanka

http://www.tankaonline.com/ 

Frog Pond journal

http://www.hsa-haiku.org/frogpond/ 

About our own former teacher, Tom Painting:

http://www.robynhoodblack.com/blog.htm?post=936478 

Here are some examples of his work:



crickets
the pulse in a hollow
of her neck

Acorn #10, 2004



spring plowing
a flock of blackbirds
turns inside out

Frogpond XXV:2



detour
she returns my hand
to the wheel

Frogpond XXVI:3



year's end
the weight of pennies
in the mason jar

Modern Haiku 39:2



Indian summer
bison graze the shadow
of the Bitterroots

Modern Haiku 43:1



summer stars
my children ask me
to name a favorite

The Heron’s Nest, June 2011


All poems ©Tom Painting. All rights reserved.
 

Tips for Writing Odes

An ode poem is a poem that is about only one specific thing that you think is truly amazing and praiseworthy. This type of poem can be centered upon an object, an idea, or even a person. The trick to writing an ode poem is to write using the same structure throughout, while using different words to communicate the one thing you are writing about. Here are some tips to help you out if you’re interested in writing an ode poem:

1. What really makes you emotional, either in a positive or negative way? Think of an object, person, or idea that you are deeply connected to, and this will be the topic of your ode poem. Remember, an ode poem can only be focused on one thing, so make sure that whatever you pick is something that you feel strongly about, so you have enough to write.
2. When someone brings the “something” you have chosen to write about up in a conversation, how do you react? Write down what you would say in such a situation, and next, think of specific adjectives to describe how you feel about the topic of your ode. Throughout the poem, you will have to use many words that have the same definition or meaning, so you might want to check out a thesaurus if you get stuck with this part.
3. How long do you want your poem to be? Odes are traditionally long poems, because chances are, if you’ve picked a topic you really feel passionately about, you will have a lot to write. Start by splitting up your poem into groups, or stanzas, of ten lines. Most odes have three of these stanzas, but if you want to write more, by all means do!
4. How do you want your poem to rhyme? It’s up to you how you want to format the rhyme scheme of this poem. You can make every two lines rhyme, every other line rhyme (most odes do this), or make up your own pattern- just make sure that whatever pattern you choose, you use the same one for the whole poem.
5. If you have written this ode about someone you know, make sure to read it to them or even give them a copy as a present so they know just how amazing you think they are. Then, post this ode poem to PowerPoetry.org so your fellow poets can learn what you feel passionately about!

ODE TO THE PRESENT
by Pablo Neruda
This
present moment,
smooth
as a wooden slab,
this
immaculate hour,
this day
pure
as a new cup
from the past–
no spider web
exists–
with our fingers,
we caress
the present;we cut it
according to our magnitude
we guide
the unfolding of its blossoms.
It is living,
alive–
it contains
nothing
from the unrepairable past,
from the lost past,
it is our
infant,
growing at
this very moment, adorned with
sand, eating from
our hands.
Grab it.
Don’t let it slip away.
Don’t lose it in dreams
or words.
Clutch it.
Tie it,
and order it
to obey you.
Make it a road,
a bell,
a machine,
a kiss, a book,
a caress.
Take a saw to its delicious
wooden
perfume.
And make a chair;
braid its
back;
test it.
Or then, build
a staircase! Yes, a
staircase.
Climb
into
the present,
step
by step,
press your feet
onto the resinous wood
of this moment,
going up,
going up,
not very high,
just so
you repair
the leaky roof.
Don’t go all the way to heaven.
Reach
for apples,
not the clouds.
Let them
fluff through the sky,
skimming passage,
into the past.You
are
your present,
your own apple.
Pick it from
your tree.
Raise it
in your hand.
It’s gleaming,
rich with stars.
Claim it.
Take a luxurious bite
out of the present,
and whistle along the road
of your destiny.
ABOUT THE AUTHOR: Pablo Neruda (1904-1973) was the pen name of the Chilean poet, diplomat and politician Neftali Ricardo Reyes Basoalto. He chose his pseudonym after Czech poet Jan Neruda. In 1971, Pablo Neruda won the Nobel Prize for Literature. Neruda often wrote in green ink because it was his personal symbol of desire and hope. Colombian novelist Gabriel García Márquez called him “the greatest poet of the 20th century in any language.” (Source: Wikipedia)

Sestinas

Sestinas

Sestinas

/www.poets.org/viewmedia.php/prmMID/5792

Elizabeth Bishop's Sestina
www.poemhunter.com/poem/sestina/  

KNOW THE PATTERN. A sestina consists of six sestets (6-line stanzas) and one tercet (3-line stanzas). Each sestet contains the same 6 end-words, but in different a order for each stanza. The final stanza, the tercet, contains 2 "end-words" per line. Following is the pattern for the sestina ==> stanza 1: 1,2,3,4,5,6; stanza 2: 6,1,5,2,4,3; stanza 3: 3,6,4,1,2,5; stanza 4: 5,3,2,6,1,4; stanza 5: 4,5,1,3,6,2; stanza 6: 2,4,6,5,3,1; final stanza: 1&2,3&4,5&6.

2

CHOOSE YOUR 6 WORDS. When deciding on your 6 words, focus on versatility in terms of parts of speech, meaning, and usage. For example, the word "hand" can be a verb or a noun (as in the sentences "Hand me the towel" and "We shook hands," respectively.) "Hand" can be used in idioms (e.g. give me a hand, on the other hand). And finally, "hand" just has a plethora of definitions (e.g. a poker player's cards, a worker).

3

REVIEW & REVISE YOUR 6 WORDS. Are all of your words nouns? Are they all verbs? Do they seem to point to one specific subject matter you're planning to write about? If so, I'd suggest diversifying. Throw some adjectives in there; open a magazine or book, put your finger on the page, and write whatever word it lands on; or add a word that seems completely unrelated to the others.

4

ORGANIZE. Although it might seem tedious to organize ahead of time, it will save you from the grief that comes when realizing you've finally perfected your sestina, but you accidentally messed up the pattern in the third stanza, making the patterns in stanzas 4, 5, 6, and 7, also incorrect. So, on a piece of paper, make 3 columns. The first column is for the number pattern, the second is for the end-words, and the third is for your lines of poetry. If you are staring at a blank computer screen, make a table with 3 columns and 7 rows. Go to your TABLE panel or dropdown, click "Insert Table," and enter the number or columns and rows. (READ STEP 5 before writing the end-words down.)

5

WRITE. There are many ways to start a sestina, so experiment and find what is right for you. As for me, I like starting the first stanza without a particular order in mind for my 6 words. I just make sure one of the 6 words is at the end of each line. Only after writing that first stanza do I fill in my end-word column.

6

USE OTHER DEVICES. Don't let the end-words fool you; they are not necessarily the most important part of the sestina. Don't be afraid to repeat other words, too. This can actually draw some attention away from the end-words, adding a different type of rhythm and also warding off the dreaded monotony that can result from a sestina gone wrong. Enjambment can also create this effect.

7

BE FLEXIBLE. If you are accustomed to writing free verse, the sestina's constraints may seem to take away from what you want to say or what you're trying to do in your poem. However, I suggest that instead of not quite writing the poem you wanted to write, allow yourself to write a different poem than what you'd imagined when you began. There are many surprises to be found when writing in forms.

More Poetry

Poems for Women's History Month

The Academy of American Poets was founded eighty years ago by a visionary woman, twenty-three year old Marie Bullock. In honor of her and all women, here's a roundup of poems to celebrate Women's History Month.

  

"Duality" by Tina Chang

"won't you celebrate with me" by Lucille Clifton

"I May After Leaving You Walk Quickly or Even Run" by Matthea Harvey

"Scenes From the Battle of Us" by Cate Marvin

"Fifty-Three" by Eileen Myles 

"Diving into the Wreck" by Adrienne Rich

"Duende" by Tracy K. Smith

"Stanzas in Meditation" by Gertrude Stein 

"Lady Tactics" by Anne Waldman 

"On Being Brought from Africa to America" by Phillis Wheatley
https://owl.english.purdue.edu/exercises/3/5/15

Rule No. 1: In a simple series, use a comma to separate the elements, but don’t put a comma before the conjunction.	Rule No. 2: Use a comma to separate two independent clauses connected by a coordinating conjunction.
Rule No. 3: Use a comma following an introductory clause or prepositional phrase of four words or more.	Rule No. 4: Use commas to set off modifiers that are not essential to the reader's ability to identify a particular person, place or thing.
Rule No. 5: Use commas to separate adjectives of equal rank.	Rule No. 6: Use commas to set off words that add emphasis, shift attention or provide a fuller explanation (parentheticals, "yes," "no," names in direct address).
Rule No. 7: Use commas to set off participial modifiers that come at the beginning of a sentence or after the verb.	Rule No. 8: Use a comma, carefully, to set off quotes or paraphrases.
Rule No. 9: Use a comma with hometowns, ages, years with months and days, names of states and nations with cities, affiliations and most large numbers.	Rule No. 10: Use a comma to separate duplicate words to eliminate confusion.