This lesson plan is the eighth in the "Incredible Bridges: Poets Creating Community" series.It provides a video recording of the poet, Richard Blanco, reading the poem "Translation for Mama." The companion lesson contains a sequence of activities for use with secondary students before, during, and after reading to help them enter and experience the poem.

Each of these twenty-one poems or poetic forms for AP Literature and Composition includes a link to the poem and multimedia resources such as EDSITEment lessons and EDSITEment-reviewed websites that discuss the poem, the poet, and its context.

For each of the twenty-one poems or poetic forms for AP Literature and Composition, students and teachers will find a link to the poem and additional multimedia resources. These include EDSITEment lessons as well as EDSITEment-reviewed websites that discuss the poem, the poet, and its context.

British literature and culture during Queen Victoria's long reign, 1837-1901. Authors studied may include Charles Dickens, the Brontes, Lewis Carroll, George Eliot, Robert Browning, Oscar Wilde, Arthur Conan Doyle, Rudyard Kipling, and Alfred Lord Tennyson. Discussion of many of the era's major developments such as urbanization, steam power, class conflict, Darwin, religious crisis, imperial expansion, information explosion, and bureaucratization. Fiction, nonfiction, and poetry; syllabi vary.

A poetry lesson that is housed in a hyperdoc and includes point of view and poetry analysis

This lesson focuses on the music and poetry of Afghanistan, but teachers may conduct an analysis on global music in any given period of history, depending on what is pertinent to the grade level. Students will take into consideration important political events or conflicts, the ruling party of the area, the belief systems in place, and specific cultural features. Students will also learn to identify traditional musical instruments, consider the value of oral traditions, study the ghazal as a form of poetry and song, while creating their own musical works and poetry.

Clues to Walt Whitman's effort to create a new and distinctly American form of verse may be found in his Notebooks, now available online from the American Memory Collection.  In an entry to be examined in this lesson, Whitman indicated that he wanted his poetry to explore important ideas of a universal scope (as in the European tradition), but in authentic American situations and settings using specific details with direct appeal to the senses.

In this lesson, students explore the historical context of  Walt Whitman's concept of "democratic poetry" by reading  his poetry and prose and by examining daguerreotypes taken circa 1850.  Next, students will compare the poetic concepts and techniques behind Whitman's "I Hear America Singing" and Langston Hughes' "Let America Be America Again," and have an opportunity to apply similar concepts and techniques in creating a poem from their own experience.

This article describes ways to supplement a science unit on the water cycle with the book Water Dance by Thomas Locker. Ideas for art, writing, poetry, and creative movement are included.

In this unit students will explore the difficulties of having a learning disability and how a learning disability influences the way a person feels about themselves by reading the core text, The Wild Book. Throughout the unit students will be challenged to think about multiple thematic topics—believing in ourselves, accepting differences, persevering through challenges, and trusting in family during difficult times. Exploring the themes will allow students to develop a deeper appreciation for people’s unique differences and struggles and learn to accept everyone for their strengths. It is our goal that this unit, combined with others in the curriculum, will help students see the world as a diverse place, not just in terms of race but also in terms of abilities, and that no matter what, everyone can be successful.

The text, The Wild Book, was chosen not only for its powerful themes but because Margarita Engle, the award-winning Latina author, uses verse to bring to life a difficult historical period in Cuba. The book tells the story of Margarita Engle's grandmother who grew up in Cuba during a time of lawlessness. Margarita Engle tells her grandmother's story in a way that helps readers build empathy and understanding of the hardships our ancestors may have faced. Simultaneously, students also see the power of poetry and its influence on Cuban culture in the early 20th century. Seeing that despite the hardships the country faced, it was also a place of artistic beauty.

This unit builds on previous units in which students have learned the features of poetry; however, in this unit students begin to see poetry as not just stand-alone poems but as an art form in which a poet can express himself or herself freely. When discussing and writing about poetry, students should be able to refer to the specific structural elements of a poem and explain how the elements enrich the text. This unit also challenges students to deeply analyze how authors develop theme within individual poems and also across a longer work. Students will analyze how characters are developed, how word choice and imagery are used to bring power and meaning to different verse, and how the author uses varying experiences to reveal theme. Doing deep text analysis of the poems on an individual level and also on a more broad level will help students understand the power of the various themes and how the author develops them.

Since 1995, Rhode Islanders have come together each February to read and celebrate the life of one of America's finest poets and writers, Langston Hughes (1902-1967). Made possible through a grant from the Rhode Island Council for the Humanities, an independent state affiliate of the National Endowment for the Humanities, the annual Langston Hughes Poetry Reading is a shining example of what public humanities can pass on to communities far and wide. In addition to videos of readings given by participants at the annual event, this page includes resources and related materials for teaching about Langston Hughes.

"This semester, we will read writing about travel and place from Columbus's Diario through the present. Travel writing has some special features that will shape both the content and the work for this subject: reflecting the point of view, narrative choices, and style of individuals, it also responds to the pressures of a real world only marginally under their control. Whether the traveler is a curious tourist, the leader of a national expedition, or a starving, half-naked survivor, the encounter with place shapes what travel writing can be. Accordingly, we will pay attention not only to narrative texts but to maps, objects, archives, and facts of various kinds. Our materials are organized around three regions: North America, Africa and the Atlantic world, the Arctic and Antarctic. The historical scope of these readings will allow us to know something not only about the experiences and writing strategies of individual travelers, but about the progressive integration of these regions into global economic, political, and knowledge systems. Whether we are looking at the production of an Inuit film for global audiences, or the mapping of a route across the North American continent by water, these materials do more than simply record or narrate experiences and territories: they also participate in shaping the world and what it means to us. Authors will include Olaudah Equiano, Caryl Philips, Claude L?vi-Strauss, Joseph Conrad, Jamaica Kincaid, William Least Heat Moon, Louise Erdrich, ?lvar N

Explore the traditions and conventions of haiku and compare this classic form of Japanese poetry to a related genre of Japanese visual art.

In this lesson, students practice reading the poem "The Glass Frog" fluently (RF.3.4). Then they participate in a teacher-led Language Dive of the poem. This Language Dive guides students through the text's challenging vocabulary and language structures to help them understand the meaning of the poem (RL.3.1, RL.3.2, RL.3.4, RL.3.5, RF.3.4, L.3.1a, L.3.1h, L.3.3, L.3.4a).
Students will participate in a Language Dive that guides them through the meaning of a stanza from the poem "The Glass Frog." All students learn how to decipher the stanza and will use this knowledge in their further exploration of frog adaptations. Students will apply their understanding of the structure of this stanza when interpreting poetry during the mid-unit assessment in Lesson 7.
In Work Time B, students continue to analyze the narrative model "Why the Poison Dart Frog Is So Colorful." This text is used as a model throughout the drafting process, in addition to "Why the Frog Has a Long Tongue." "Why the Poison Dart Frog Is So Colorful" is an exemplar of narrative writing for students at the third-grade level.
In Work Time C, the teacher and students write the end of the class draft of a narrative text together, both contributing their thoughts and ideas to the process while the teacher acts as scribe (W.3.3a, W.3.4, W.3.5). Shared writing enables teachers to make the writing process concrete and visible to students. This allows students to focus exclusively on the thinking involved in writing, not the process.
Shared writing is also a powerful way to model and guide key skills and concepts related to the writing process (e.g., organizing, drafting, revision, mechanics, and conventions). Students gain competence and confidence in their writing skills as the teacher models and guides the thinking process writers go through. Consider modeling, revising, or editing the completed narrative "Why Do Polliwogs Wiggle?" based on students' identified areas for improvement.
The research reading students complete for homework helps to build both their vocabulary and knowledge pertaining to frogs and specifically frog adaptations. By participating in this volume of reading over a span of time, students will develop a wide base of knowledge about the world and the words that help describe and make sense of it.
Students practice their fluency in Work Times A, B, and C by following along and reading silently as the teacher reads "The Wood Frog" and "Why the Poison Dart Frog Is So Colorful" aloud, as well as choral reading.

In this lesson, students consider the question "What inspired you to write poetry, and where can you see evidence of this in your poem?" as they begin to write their presentations for the performance task. They begin by analyzing the structure of a model presentation in triads, and then move on to focus on the introduction, generating criteria for an effective introduction before writing their own presentations (W.4.2a, W.4.2b, W.4.4, L.4.1f).
At the end of the lesson, students generate criteria for reading fluency on the Fluent Readers Do These Things anchor chart (RF.4.4).
In this lesson, the habit of character focus is on working to become an effective learner. The characteristic that students are reminded of specifically is collaboration, as they work in a triad to analyze the structure of the model.
The research reading that students complete for homework will help build both their vocabulary and knowledge pertaining to poetry and creative writing. By participating in this volume of reading over a span of time, students will develop a wide base of knowledge about the world and the words that help describe and make sense of it.
This lesson is the final in a series of three that include built-out instruction for the use of Goal 2 Conversation Cues to promote productive and equitable conversation (adapted from Michaels, Sarah and O'Connor, Cathy. Talk Science Primer. Cambridge, MA: TERC, 2012. Based on Chapin, S., O'Connor, C., and Anderson, N. [2009]. Classroom Discussions: Using Math Talk to Help Students Learn, Grades K-6. Second Edition. Sausalito, CA: Math Solutions Publications). Goal 2 Conversation Cues encourage students to listen carefully to one another and seek to understand. Continue drawing on Goal 1 Conversation Cues, introduced in Unit 1, Lesson 3, and add Goal 2 Conversation Cues to more strategically promote productive and equitable conversation. As the modules progress, Goal 3 and 4 Conversation Cues are also introduced. Consider providing students with a thinking journal or scrap paper.

In this lesson, students revise their pourquoi tales with a specific focus on comparative and superlative adjectives and word choice (L.3.1g, L.3.3a). Although student work may or may not feature comparative and superlative adjectives, this is a time to learn and practice the rules associated with the use of these words.
Students also continue to practice reading their pourquoi tale aloud in preparation for the Frog Festival in the next lesson. They self-assess their performance against the Reading Fluency Self-Assessment Checklist to identify skills to work on before the Frog Festival. If using the Reading Fluency component of the Additional Language and Literacy block, students will already be familiar with this checklist, and so less time will need to be spent reading the criteria. Please note that students will be formally assessed on RF.3.4 during the festival.
The research reading students complete for homework helps to build both their vocabulary and knowledge pertaining to frogs and specifically frog adaptations. By participating in this volume of reading over a span of time, students will develop a wide base of knowledge about the world and the words that help describe and make sense of it.
Students practice their fluency in this lesson by reading their pourquoi tale aloud in Work Time C.

This course is an examination of the formal structural and textual variety in poetry. Students engage in extensive practice in the making of poems and the analysis of both students' manuscripts and 20th-century poetry. The course attempts to make relevant the traditional elements of poetry and their contemporary alternatives. There are weekly writing assignments, including some exercises in prosody.