Search Results for: poetry

“We Can’t Rush This Kind of Power”: An Educator on Teaching Poetry to High Schoolers During the Pandemic

surreal moment of a butterfly entering the pages of a book
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During this period of remote learning during the pandemic, poet and educator Paola Capó-García decided to reimagine her senior English class into a more immersive and focused eight-week poetry course. Through poems, she thought, perhaps her teenage students could reflect on “the particular chaos of 2020” and begin to process the loss they’d experienced over the year. In a piece at Teachers & Writers Magazine, Capó-García recounts this special time spent with her students, and how she created a safe, quiet space for them to think, to write, and to heal.

Poetry is so often neglected at the high school level, deemed too difficult, too precious, or too esoteric to tackle. And when it is taught, it’s typically filtered through dead white men. But teaching Whitman and Frost does not fit into my politics as a teacher and human, and it certainly does not fit the narrative of the students my school serves. I’m not interested in widening the gap between them and poetry, between them and knowledge. My goal, now and always, has been to make poetry accessible, exciting, and useful to young people. To teach them that the way they speak and live is already poetic. To help them manage the messiness of 21st century youth with 21st century language. And in this extra-messy age of Covid and Zoom and rightful apathy, poetry felt like the perfect way to make sense of it all.

Between a raging pandemic, civil rights unrest, controversial U.S. election, and graduation on the horizon, the students needed a space to explore the enormity of their feelings. To address this, I designed the writing prompts around the concept of loss. The world we’re living in is punctuated by overwhelming loss, and it must be confronted and articulated in cathartic ways.

I value the elegy as a poetic form for teenagers because it invites healing; it’s a way to give grief a name and exit strategy. I believe that one of our most important roles as teachers is to provide authentic opportunities for young people to heal.

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Making Sense Of It All: High School Poetry in the Age of Zoom

Longreads Pick
Published: Apr 5, 2021
Length: 9 minutes (2,260 words)

The Poetry We Need and the Chitchat We Don’t

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In this week’s episode of the Longreads Podcast, The Rumpus Editor-in-Chief Marisa Siegel joins Essays Editor Sari BottonHead of Audience Catherine Cusick, and Contributing Editor Aaron Gilbreath to share what they’ve all been reading and working on. They discuss poetry, looking beyond humans to understand human behavior, how our bodies other us and bring out our humanity, and the music we write to.


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5:06This is small talk purgatory’: what Tinder taught me about love.” (CJ Hauser, December 7, 2019, The Guardian)

12:56Spines of the Finwomen.” (Lidia Yuknavitch, October 31, 2019, The Rumpus)

20:50 Aaron’s Music Corner, in which he unironically recommends writing to Chill Out Piano Night Jazz, while Sari does not recommend writing to the Beastie Boys’ “Intergalactic

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Produced by Longreads and Charts & Leisure.

Poetry and Prophecy, Dust and Ashes

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“But twenty-three years after Genesis, Alter has completed his work: a finished Hebrew Bible, three volumes lovingly footnoted; an altogether worthier object of contemplation than some fantasy series, or Lyndon Johnson. And I, who am but dust and ashes, review it.”

Source: Plough
Published: Jul 16, 2019
Length: 10 minutes (2,712 words)

What Is Poetry?: A Non-Lecture

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Published:
Length: 8 minutes (2,235 words)

Long Live the Oddly Charming Poetry of the Mail-Order Catalog

Image by Mike Mozart (CC BY 2.0)

In this age of near-universal despair, could America’s longest-running mail-order retailer be the sleeper hero we didn’t even know was still among us? At Chicago Magazine, Nick Greene makes a compelling case that Hammacher Schlemmer, founded in 1881, might just be the goofy, retro anti-Amazon we need.

The catalog’s most obvious hook might be the ridiculous gizmos and novelty items — motorized unicycle, anyone? — that appear on its cover. But what I found especially endearing is the level of care the catalog’s makers invest in the product descriptions.

Beyond being older, today’s prototypical Hammacher Schlemmer customer is also wealthy and educated. “They would definitely be considered top 10 percent in household income, a lot of postgrads,” Farrell says. “That’s why we feel the copy is important.” Where else can one find a backpack described as “Brobdingnagian” or a walking stick crafted from “sustainably coppiced blackthorn (Primus spinosa)”?

The text is matter-of-fact, with odd literary flourishes, and the titles are concise, yet deceptively clever. “I could go on for hours talking about titles,” says John Gagliardi, who, as Hammacher Schlemmer’s senior creative manager, oversees the catalog’s unmistakable copy. “We agonize over titles.” The company employs two full-time copywriters and a stable of contributors to write the extensive product descriptions.

The NASA Strength Sun Hat harnesses “the same technology used in space suits.” That galactic selling point doesn’t overshadow the product’s earthly benefits, like the “wide brim” and a “radiant barrier” that “imparts a UPF 50+ rating to the hat.” If a product is unisex (the sun hat is), then that will always be noted, as will whether or not it requires batteries (it does not). At 153 words, the hat’s description is about the average length for Hammacher Schlemmer. A standard catalog is 88 pages long, give or take, meaning that, at four products per page, there are roughly 53,856 words in every issue. That’s more verbose than The Great Gatsby (47,094 words).

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Rita Dove on Creating a ‘Collage of American Consciousness’ with Poetry

American poet Rita Dove. (Photo by Emaonn McCabe/Redferns)

At Columbia Journalism Review, Brendan Fitzgerald interviews Rita Dove on how she plans to approach her upcoming one-year stint as poetry editor at the New York Times Magazine. Taking over for Terrance Hayes this summer, Dove has free rein to select a new poem that will appear in the magazine each week, along with her short introduction. Dove is the fourth poet to hold the poetry editor position.

My first feeling is not to consider what might constitute the audience’s blinders. In other words, to assume that they are going to be open—that’s for the first read. Something that moves me, I will immediately put into the pile to be considered later.

But there is something else to consider, and that’s something I’ve thought about a lot. That is to imagine what my audience’s lives might be like when they’re not reading my poem. What they bring to whatever venue or event or magazine. To imagine how much time or energy they can devote, and how to pull them in.

I would hope that what would emerge would be a kind of portrait or collage of American consciousness. Which means, there would be poets from the west as well as the east coast as well as the middle, and men and women, and that would shake out, hopefully, to some kind of parity, representative of what the population is like at large. Poems from all races and all cultural ethnicities. But there will not be bad poems because I need a woman or I need an African-American. No. There are so many amazing, beautiful poems out there that we don’t get to see. That’s going to be my goal. Bring a few of them out there.

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NYT Magazine’s Rita Dove on What Poetry Might Grant Unsuspecting News Readers

Longreads Pick

Brendan Fitzgerald interviews Rita Dove on how she plans to approach her upcoming one-year stint as poetry editor at New York Times Magazine. Taking over for Terrance Hayes this summer, Dove has free rein to select a poem that will appear in the magazine each week, along with her short introduction. Dove is the fourth poet to hold the poetry editor position.

Published: May 25, 2018
Length: 7 minutes (1,794 words)

Kevin Young Is Ready to Engage the Public with Poetry

(A. Scott/Patrick McMullan via Getty Images)

Kevin Young, the director of Harlem’s Schomburg Center for Research in Black Culture and author of the National Book Award long-listed Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Post-Facts, and Fake News, became poetry editor of The New Yorker just this past March. In this profile of Young in Esquire, he talks about the “great hoax” of race, the musicality and influences of his own work, and his desire to engage the public anew with poetry, which he says can “take us out of ourselves and bring us back a little bit different.”

Young claims Lucille Clifton, Seamus Heaney, and Rita Dove as important influences, and says he sees music as the essence of his art. Though his poems do not lack for depth, they rarely scan as difficult, let alone forbidding. He likes puns, and freely borrows forms from other fields (the blues, fugitive-slave posters, film noir). In college, he told me, he realized that “poetry was not this thing in the atmosphere. You have to look in your backyard. That’s the stuff to write about.” At the time, he’d never read a poem that represented someone like his grandmother. “I remember thinking, If I can get her in a poem, then I’ll have done something.” Young began to look to poetry as a sort of archive, vindicating evidence of “family—blood, adopted, imagined,” to borrow the dedication of Most Way Home. In “Oblivion,” he writes what might be his motto, or maybe a fervent dream: “Nothing // stays lost forever.”

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