Minnesota State University Moorhead
Finding Voice and Connection through The Poet X
Poetry Reading Unit
Edmund Buscho, Sydney Hennen, Kenna Kuhn, Lynda Lengenfelder, William Lewandowski
Dr. E. Kirchoff
English 491: Theory and Methods: CA/L Grades 9-12
29 April 2021
Table of Contents
Overview and Rationale……………………………………………………………………….......1
Letter to The Parents……………………………………………………………………………….4
Unit Goals……………………………………………………………………………………….... 5
Calendar……………………………………………………………………………………….......6
Psychology………………………………………………………………………………………...7
Standards…………………………………………………………………………………………..8
Points Breakdown……………………………………………………………………………….. 10
Summative Assessment…………………………………………………………………………..11
Anchor Essay – Summative Assessment…………………………………………………11
Anchor Essay Rubric……………………………………………………………………..13
Poetry Portfolio Assignment Sheet……………………………………………………….16
Poetry Portfolio Grading Checklist………………………………………………………17
Spoken Word / Slam Poetry Day – Assignment Sheet……………………………………18
Poetry Slam Feedback……………………………………………………………………19
Discussion Questions…………………………………………………………………………….20
Lesson Plans..………………………………………………………………………………….....23
Day 1: The Poet X Pre-Reading Activity……………………………………………........23
Day 2: Introduction to Poetry and “I Am From” Poem…………………………………..26
Day 3: Writing Territories and Heart Mapping……………………………………….….30
Day 4: Alliteration, Assonance, Consonance………………………………………….....34
Day 5: Sensory Language…………………………………………………………….......38
Day 6: Say Their Names/Concrete Specifics…………………………………………......42
Day 7: Spanish Language Use and Decoding………………………………………….....45
Day 8: Thoughts and Feelings………………………………………………………........49
Day 9: Voice/Tone/Word Choice……………………………………………………..….52
Day 10: Line breaks and Stanzas……………………………………………………...….57
Day 11: Memoir Poems………………………………………………………………......61
Day 12: Poetry Forms & Impromptu Speeches………………………………………......65
Day 13: Poetry Day…………………………………………………………………...….68
Day 14: The Rule of “So What?” ……………………………………….…………….....72
Day 15: Spoken Word……………………………………………………………….…...75
Additional Materials and Attachments………………………………………………………….79
The Poet X Pre-Reading Activity………………………………………………………...79
Recommended Poems Handout…………...………………………………………..…….81
“The Thing About Dreams” Handout and Key………………………………………..….83
“Same Love” Macklemore Handout and Key…………………………………………….85
“The Raven” Edgar Allen Poe Handout and Key (for ELL differentiation) .......................87
“Through three cheese trees” Dr. Seuss Handout and Key (for ELL differentiation) .......89
“Stopping by Woods on a Snowy Evening” Robert Frost Handout and Key (for ELL
differentiation) …………………………………………………………………………...91
Alliteration, Assonance, Consonance PowerPoint Slides…………………………..…….93
“Supplemental Sensory Language Words” Handout………………………………..……96
“Sensory Language” Handout……………………………………………………….…...97
“Some Common Tone Words with their Meanings” Handout………………………........98
PowerPoint “Writer’s Voice” ……………………………………………………….….102
Line Breaking Concepts Prezi Link……………………………………………..………107
Line Breaking Analysis Handout……………………………………………….……....113
“Questions for Memoirists” Handout……………………………………………..…….115
“The Perfect Cake” Memoir Poem……………………………………………...…........116
List of Poetry Forms Handout……………………………………………...………...….118
Impromptu Scoring Sheet…………………………………………………………….....119
“So What?” Assignment Sheet………………………………………………………….120
Poetry Groups Handout…………………………………………...…………………….121
Peer Review Workshop Checklist……………………………………………………....122
Editors Marks Handout………………………………………………………………....124
Works Cited………………………………………………………………………………….....125
1
Unit Overview and Rationale for The Poet X
Elizabeth Acevedo’s The Poet X, written almost exclusively in free verse poetry, follows
the journey of Xiomara Batista. Xiomara’s poetry is flooded with conflicts, dreams, pain, and
love she endures in her day-to-day life. She uses her poetry as a source of release when there is
no other outlet in a world in which she has trouble finding a place to be herself. As a teenager in
a conservative and religious household, Xiomara must decide if she will allow herself to be who
she is or if she will submit to the rules and regulations imposed on her.
The Poet X has received over thirty-two awards, including a National Book Award
medal, the Michael L. Printz Award, the Boston Globe—Horn Award, and many more. Reviews
claim The Poet X is “a glorious achievement. Required reading for everybody,” (Daniel Jose
Older, author of National Book Award finalist, Ghost), “skillfully sculpt[ed] powerful, self-
contained poems into a masterpiece of a story, and has amplified the voices of girls,” (Ibi Zoboi,
author of American Street), and that “in nearly every poem, there is at least one universal truth
about adolescence, family, gender, race, religion or sexuality that will have readers nodding in
grateful acknowledgment or blinking away tears” (The Horn Book Magazine).
Acevedo’s novel, The Poet X has been included in our curriculum because of its poetics,
diverse culture of the characters and author, the variety of coming-of-age experiences in the
novel, and the myriad of topics relevant and recognizable to the students, including, but not
limited to: religion, family, identity, sexuality, and relationships. This text lends many avenues of
growth for reading, writing, speaking, listening, and communication skills through poetics and
themes. Due to the richness and diversity of this text, The Poet X has been added to the
curriculum.
2
Teaching this book will provide students with a diverse perspective while giving them a
story with which they can connect. The Poet X, which is written mostly in free-verse poetry,
exposes students to a multitude of poetic and literary elements and themes that they can relate to,
and it can be used as a tool for developing empathy and understanding of others’ experiences and
feelings, and recognizing that self-expression through writing is not limited to prose.
The Poet X provides students with different levels of context and understanding of the
bigger picture around them. Milner, Milner, and Mitchell, educational theorists, suggest to
“encourage students to encounter the text from various angles” using three levels of
interpretation of the text: “purely textual (text-to-text), the personal (text-to-self), and the global
(text-to-world)” (35). Using The Poet X, this unit strives to give students a book they can see
themselves in, while gaining worldly insight all the way down to the text itself. As Milner,
Milner, and Mitchell advise, sticking solely to a traditional literary canon is a disservice to
students as it acts as the “exclusion of students from their own experienced lives” (221).
Xiomara’s conflicted emotions provide students a place to connect and see themselves through
her writing, but also gain possible other perspectives and understanding. For this reason, this
novel was chosen for the eleventh-grade classroom.
There are themes and topics that are of a sensitive nature and can be taken offensively.
Possible sources of controversy in The Poet X include but are not limited to: themes and
situations of sex, sexuality, family conflict, religion, questioning of the Bible, misogyny, and
sexism. Xiomara doubts and questions religion, God, and the Bible throughout the book as she
views religion as oppressive due to her mother’s strictness. For these reasons, the theme of
family conflict, which Xiomara tries to remedy by sneaking around and keeping secrets through
3
her poetry journal, may come off as painting a poor picture towards strongly religious
households.
Furthermore, the themes of sex and sexuality may be deemed inappropriate for students.
Xiomara, who is a fifteen-year-old girl, comments on how men treat her and talk about her body,
directly focusing on misogyny and sexism with how grown men behave when they see her. More
so, she describes her sexuality, sexual desire, and deciphering her adolescent thoughts on her
changing mind and body, as she learns to appreciate herself and her looks. On the theme of
sexuality, there is also the topic of LGBTQ+ persons through Xiomara’s brother, Twin, who has
secrets of his own sexuality. Xiomara finds out that Twin is gay and in a relationship with a
white boy, which also bring attention to the idea of interracial dating. Furthermore, Twin’s
inability to share his thoughts and feelings as a gay teen displays not only an aspect of being an
LGBTQ+ individual, but also presents the theme of religion and how religion can impact a gay
individual’s identity and self-expression. These themes and topics can be easily found as
offensive or inappropriate by others, especially parents.
Ultimately, the diversity of the text, the connections the readers will gain from the
themes, and the literary merit of The Poet X give the students a rich environment to build their
literary repertoire, to increase their empathetic and conscientious understanding of others, and to
explore topics in a new fashion through the eyes and mind of a teen character and poetics, which
is why this book was specifically chosen for this unit.
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Moorhead Senior High School
2300 4
th
Ave S
Moorhead, Mn 56560
012-345-6789 X1001
March 22, 2021
Dear Parents and Guardians,
Your child is about to embark on a journey into the world of verse. On Monday April 5
th
, we will be
starting a poetry unit featuring the book, The Poet X, by Dominican American poet and author, Elizabeth
Acevedo. This book is the recipient of several awards: the National Book Award, the Michael L. Printz
Award, the Pura Belpré Award, the Carnegie medal, the Boston Globe—Horn Book Award, the Walter
Award, and more. I have chosen this beautifully composed coming-of-age book because it is accessible
and relatable to young adults of various interests, backgrounds, and abilities. The book is written almost
exclusively in poetic verse and explores themes pertinent to young adults. To further develop an inclusive
learning experience in which all students of various backgrounds are represented, I intend to strengthen
our classroom community so that every student feels safe sharing their voice. Throughout the unit, your
child will engage in activities in which they explore their self-identity, understand their inherent value,
share their unique personality and perspectives with their classmates, and come to appreciate and accept
their individuality.
The Poet X explores relevant themes that young adults find meaningful. Acevedo’s text is both
captivating and approachable. She handles sensitive topics both conscientiously and honestly. The book
centers on the writings of fifteen-year-old Xiomara as she explores her identity in relation to her gender,
ethnicity, sexuality, relationships, culture, family, and language. Xiomara is a young Latina girl in a
religiously observant Catholic family. Although Xiomara struggles with her faith, Acevedo is careful not
to demonize any faith. Some themes in this book are difficult, such as parental abuse, but are handled
with sensitivity and respect. Your child will be able to read Xiomara’s thoughts as she struggles to
determine who she is and who she wants to be as she comes to a place of self-acceptance. English teacher
and YouTube book reviewer, Ali Dunn, recommends this book for students in ninth grade and above. She
believes that there is something special about “being able to express yourself in a way that’s different and
unique.” This is especially important in a time when acceptance of diverse perspectives is a sensitive
issue.
If you would like to discuss anything further, please do not hesitate to contact me. I want to make sure
this unit provides a meaningful learning experience for your child.
Sincerely,
5
Unit Goals for The Poet X
1. Provide students with a diverse perspective that they can connect to while developing
understanding and empathy towards another culture, idea, or point of view.
2. Develop understanding of how the individual students identify with the world and reflect
on the themes that apply to themselves and their peers, including, but not limited to:
family conflict, homelife, parents, familial relationships; sex, sexuality, sexual desire;
questioning or acceptance of God, the Bible, and religion; misogyny and sexism; race,
racism; native language, bilingualism, explicit language; adolescence, body image; dating
and interracial relationships; LGBTQ+, coming out, being closeted, being outed, and self-
identity.
3. Interpret the text on multiple levels, so students connect and interact with the novel using
various mindsets (text-to-text, text-to-self, and text-to-world).
4. Establish a foundation of poetics by breaking down poetic and literary elements to
enhance their reading and writing skills using concepts including, but not limited to:
alliteration, assonance, consonance, sensory language, imagery, concrete specifics, tone,
voice, word choice, line breaks, stanzas, enjambment, end-stops, poetry forms (including
memoir and prose poetry), syllables, meter, rhythm, and rhyme
5. Broaden their perception and appreciation of poetry by not only referencing the text, but
also bringing in a variety of outside supplemental texts, poems, videos, and more to bring
every student’s attention to the world of poetry.
6
April 2021
Monday
Tuesday
Wednesday
Thursday
5
Intro to Poet X Unit/The Poet X
Pre-Reading Activity
● Discussion for 10 minutes
● Lesson/ activity for 55
minutes
● Free-reading for 25 minutes
6
Intro to Poetry / “I Am From...”
poem
● Free-reading for 20 minutes
● Lesson/activity for 70
minutes
7
Writing Territories and
Heart/Identity Mapping (Optional
Personality Tests)
● Discussion for 10 minutes
● Lesson/activity for 70
minutes
● Work/journal time for 10
minutes
8
Alliteration, Consonance,
Assonance
● Discussion for 15 minutes
● Lesson for 75 minutes
12
Say Their Names or Concrete
Specifics
● Lesson for 60 minutes
● Work/journal time for 30
minutes
13
Spanish Language Use and
Decoding
● Discussion for 20 minutes
● Lesson for 40-50 minutes
● Work time for remaining 20-
30 minutes
14
Thoughts and Feelings
● Lesson for 60 minutes
● Journal time for 10 minutes
● Free-reading for 20 minutes
15
Voice / Tone / Word Choice
● Free-reading for 20 minutes
● Lesson/Activity for 55
minutes
● Work time for 15 minutes
19
Memoir
● Discussion for 10 minutes
● Lesson for 70 minutes
● Work/journal time for 10
minutes
20
Poetry Forms
● Lesson for 60 minutes
● Independent Writing for 30
minutes
21
Poetry Day (for National Poetry
Month)
● Discussion for 15 minutes
● Lesson/activity for 75
minutes
● Work/journal time for
remaining class time
22
So What?
● Lesson for 70 minutes
● Free-reading for 20 minutes
26
How to Peer Review / Revise /
Re-draft
● Go over “How to Peer
Review” guidelines
● Time to work on poems and
revise before workshop
27
Workshop / Revise / Re-Draft
● Peer workshop for 40
minutes (Peer Review
Checklist)
● Revise and redraft for
remaining time
28
Work on layout and cosmetics--
Work on final drafts
● Student workday and
spoken word practice day
29
Practice spoken word / slam
Unit Wrap up Day
● Entire class time dedicated
to putting together final
assessment and/or working
on their spoken word or
slam poem.
7
Psychology
Week one the psychology teacher will cover:
● Structure/biology of the brain
○ Function of each part of the brain
● Balance of chemicals in the brain and how they affect functioning
○ Mental disorders
■ Causes and treatments
○ Judgement and decision making
● Puberty and psychology
○ Biological changes in the brain with maturation
○ Development of personal and sexual identity
● Neurological development
○ How pathways change with age and rewire with experience
Week two the psychology teacher will cover:
● Effects of nutrition, drugs, love, and alcohol on the brain
● Reward system
● Fight or flight system
Week three the psychology teacher will cover:
● Abraham Maslow’s Hierarchy
● Erik Erickson’s Eight Stages of Identity Crisis
○ Self-perceptions and how “identities” form
● Moral dilemmas / Societal norms
○ What defines right and wrong
■ Shame/guilt
○ Religion
○ Gender molds
8
Standards
11.1.4.2: Determine two or more themes or central ideas of a text and synthesize their
development over the course of the text, including how they interact and build on one another to
provide a complex synthesis.
11.1.5.2 Evaluate the impacts on meaning and appeal of the author's choices concerning
structuring the text, including how specific parts of the text interact with each other and
contribute to the whole.
11.1.8.1 Analyze the cumulative impact of specific word choices on meaning, mood, and tone of
literary text. (e.g., how the language evokes a sense of time and place; how it sets a formal or
informal tone).
11.3.1.2: Extend conversations by posing and responding to questions that probe reasoning and
evidence; ensure exploration of a full range of positions on a topic or issue; clarify, verify, or
challenge ideas and conclusions; and promote divergent and creative perspectives, demonstrating
preparation for the discussion.
11.4.4.4 Determine the meaning of words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the impact of specific word choices on meaning
and tone, including words with multiple meanings or language that is particularly fresh,
engaging, or beautiful. (Include Shakespeare as well as other authors.)
11.4.5.5: Analyze how an author’s choices concerning how to structure specific parts of a text
(e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic
resolution) contribute to its overall structure and meaning as well as its aesthetic impact.
11.5.3.3 Analyze a complex set of ideas or sequence of events and explain how specific
individuals, ideas, or events interact and develop over the course of the text.
11.5.4.4 Determine the meaning of words and phrases as they are used in a text, including
figurative, connotative, and technical meanings; analyze how an author uses and refines the
meaning of a key term or terms over the course of a text (e.g., how Madison defines faction in
Federalist No. 10).
11.5.5.5: Analyze how an author’s choices concerning how to structure specific parts of a text
(e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic
resolution) contribute to its overall structure and meaning as well as its aesthetic impact.
9
11.5.6.6 Determine an author’s point of view or purpose in a text in which the rhetoric is
particularly effective, analyzing how style and content contribute to the power, persuasiveness,
or beauty of the text.
11.7.3.3 Write narratives and other creative texts to develop real or imagined experiences or
events using effective technique, well-chosen details, and well-structured event sequences.
c. Use a variety of techniques to sequence events so that they build on one another to
create a coherent whole and build toward a particular tone and outcome (e.g., a sense of
mystery, suspense, growth, or resolution).
d. Use precise words and phrases, telling details, figurative and sensory language to
convey a vivid picture of the experiences, events, setting, and/or characters.
11.9.3.3 Evaluate a speaker’s point of view, reasoning, intended audience, and use of evidence
and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis,
and tone used.
11.9.6.6: Adapt speech to a variety of contexts, audiences, tasks, and feedback from self and
others, demonstrating a command of formal English when indicated or appropriate.
10
Unit Breakdown of Points
(Day 2) “I Am From” poem 5 points total
(Day 4) Lyric page 5 points total
(Day 5) Sensory language free verse poem 10 points total
(Day 6) Weekly journal check 10 points total
(Day 9) Biographical poem 10 points total
(Day 10) Line breaking analysis 20 points total
(Day 11) Weekly journal check 10 points total
(Day 12) Impromptu speech score 12 points total
(Day 14) “So What?” handout 10 points total
(Day 16) Weekly journal check 10 points total
(Day 20) Poetry slam participation 10 points total
Final assessment: Anchor essay 60 total points
Final assessment: Poetry portfolio 18 total points
Total Points Possible: 190 points
11
Anchor Essay - Summative Assessment
Due: April 30, 2021 at the beginning of class
Throughout the novel, The Poet X, Xiomara writes exclusively in poetic verse, documenting her
journey of self-identity. Xiomara works through her thoughts and feelings about sexuality,
religion, gender, race, ethnicity, language, sexism, and self-acceptance by writing poems in her
journal. For this assignment, you will write an essay exploring one of these themes and will
discuss its significance in the novel and how it is personally meaningful to you. You will also
draw a connection between how the theme was treated in the novel and how you addressed that
theme in the poems you wrote in your poetry portfolio. In this essay, you will also discuss at
least three poetic devices that you learned about during our poetry unit and that you have used
when writing your own poems. You must find three separate examples from the text that
demonstrate use of each of the three poetic devices. Remember, the tone of this essay is
informal. Part of your grade is based on how well you show your personality, thoughts, and
beliefs.
Major Themes
You may choose at least one (no more than two) of the following major themes from The Poet X
to discuss in your essay. If there is a theme you think is missing from this list, and you feel
passionate about it, you can choose to discuss it in your essay. When discussing the theme(s) you
select, be sure to thoroughly discuss its significance in the novel, as well as how and why it is
meaningful to you personally.
● Sexuality
● Religion
● Sexism
● Feminism
● Self-acceptance
● Self-identity
● Gender
● Language
● Ethnicity
● Family
● Relationships
● Misogyny
● Spoken Word
12
Poetic Devices
Your essay will demonstrate your understanding of at least three of the following poetic devices.
Choose three devices that you have used when writing your own poems for your poetry portfolio.
First, discuss each poetic device (describe what it is—show your understanding) and then quote
three separate examples, one for each device, from the text where they occur. Then identify
examples of these devices in your own poetry and discuss the impact of these devices in your
own work.
• Alliteration
• Assonance
• Consonance
• Sensory Language
• Tone
• Word Choice
• Rhythm
• Rhyme
• Line breaking
• Format
• Enjambment
• Concrete Specifics
Specifications:
Your essay must include the following criteria:
1. Must be word processed using Times New Roman: size 12 font.
2. Must be three to five pages in length: double spaced.
3. Have well developed writer’s voice and tone—show your personality, thoughts, and
beliefs.
4. Demonstrate varied word choice—show your vocabulary skills.
5. Must be clearly written and be cohesive. Ideas must be well integrated and in a logical
order.
6. Demonstrate mechanical skill (grammar, spelling, and punctuation) see the rubric for
more detailed information.
7. include at least three quotes from the text, The Poet X. Make sure to include a page
number for every quote you use.
8. Must discuss three poetic devices that are in the novel AND in your own poems.
13
Anchor Essay Rubric
Criteria
Exemplary
9-10 Points
Proficient
7-8 Points
Developing
4-6 Points
Inadequate
1-3 point(s)
Content: writer’s
voice, tone, word
choice, vocabulary
Score: _______ / 10
Student’s voice and
tone are clearly
expressed in essay—
student’s personality
and attitude are
strongly conveyed
throughout essay.
Students’ thoughts
and beliefs are
expressed clearly.
Student skillfully
chooses strong words
that concisely
express desired
meaning. Word
choice is appropriate
to tone of essay:
essay is subjective
and personal. Student
skillfully uses varied
vocabulary
consistently
maintaining reader’s
interest throughout
essay.
Student’s voice and
tone are moderately
evident in essay—
student’s personality
and attitude come
through but are
somewhat muted.
Student’s thoughts
and beliefs are
somewhat evident.
Student chooses
words that express
desired meaning, but
some words obscure
desired meaning.
Word choice is
mostly appropriate to
tone of essay, but
essay is somewhat
impersonal. Student
uses varied
vocabulary. Essay is
moderately
engaging.
Student’s voice is not
evident in essay—
student’s personality
is mostly absent.
Student’s tone is
significantly weak,
and as a result,
thoughts and beliefs
are imperceptible.
Student frequently
chooses words that
obscure meaning
resulting in
detraction from
intended meaning.
Word choice is at
times appropriate to
tone of essay. student
uses limited
vocabulary. Essay is
flat, impersonal, and
unremarkable.
Student’s voice is
absent from essay—
student’s personality
is not present.
Student’s essay is
flat and lacks tone—
student’s thoughts
and beliefs are not
evident. Student’s
word choice is
significantly limited,
and words are
frequently used
repetitively and/or
incorrectly. Student’s
intended meaning is
unclear rendering
writing incoherent
and confusing.
Major themes: self-
identity, sexuality,
religion, self-
acceptance, sexism,
gender, race,
ethnicity, language,
family, misogyny,
feminism
Score: _______ / 10
Student’s choice of
at least one major
theme is evident.
Student thoroughly
discusses selected
theme and its
significance in the
novel. Student
clearly discusses
connection between
selected theme in the
novel and in their
own poems. Student
clearly discusses
reasoning for
selecting theme and
demonstrates a
personal connection
with selected theme.
Student’s choice of
at least one major
theme is evident.
Student discusses
selected theme and
its significance in the
novel, but discussion
is not thorough.
Student discusses
connection between
theme in novel and
in their poetry, but
discussion lacks
depth. Student
discusses reasoning
for selecting theme,
but connection with
selected theme lacks
depth.
Student focuses on at
least one major
theme in novel.
Student’s discussion
of theme and its
significance in novel
lacks depth.
Student’s discussion
connecting theme
between the novel
and their poetry is
significantly weak.
Student does not
discuss reasoning for
selecting theme and
does not demonstrate
a personal
connection with
theme.
Student does not
focus on at least one
major theme in the
novel, or student
identifies a major
theme but does not
discuss its
significance in the
novel. Student does
not make a
connection between
a major theme and
their own poetry.
student does not
demonstrate a
personal connection
with a major theme
Poetic devices:
alliteration,
assonance,
consonance, sensory
language, rhythm,
rhyme, line
Student skillfully
discusses at least
three poetic devices.
Student demonstrates
knowledge of
selected poetic
Student discusses at
least two poetic
devices. Student
demonstrates
satisfactory
knowledge of
Student discusses at
least one poetic
device. Student
demonstrates limited
knowledge of poetic
device resulting in
Student does not
discuss at least one
poetic device, or
student’s discussion
significantly lacks
knowledge of poetic
14
breaking,
enjambment,
concrete specifics
Score: _______ / 10
devices and
accurately identifies
examples in the text.
Student makes strong
connections between
poetic devices used
in the text and in
their own poems.
Student discusses
their reasoning for
selecting poetic
devices in depth.
selected poetic
devices and
identifies examples
in the text. Student
makes connections
between poetic
devices used in the
text and in their own
poems. Student
discusses their
reasoning for
selecting poetic
devices somewhat
vaguely.
inaccurate
identification of an
example in the text.
Student’s connection
between selected
poetic device in text
and in their own
writing is weak
and/or is based on a
misunderstanding of
the poetic device.
Student’s discussion
of reasoning for
selecting poetic
device is mostly
absent.
device. Student does
not identify an
example of any
poetic device in the
text, or example is
inaccurate. Student
does not make a
connection between
any poetic device in
the text and their
own poems. Student
does not discuss
reasoning for
selecting any poetic
devices.
Supporting
evidence: at least
three quotes from
text
Score: _______ / 10
Student integrates at
least three quotes
from the text.
Borrowed material
strongly supports
each of the three
poetic devices.
Quotes are well
placed and
thoroughly
discussed. Each
quote is referenced
with a page number.
The selected quotes
clearly connect the
novel and the
student’s poems.
Student integrates at
least two quotes from
the text. Borrowed
material supports at
least two of the three
selected poetic
devices. Quotes are
well placed, but
discussion is
somewhat lacking in
depth. Each quote is
referenced with a
page number. The
selected quotes
moderately connect
the novel and the
student’s poems.
Student integrates at
least one quote from
the text. Borrowed
material weakly
supports at least one
of the three selected
poetic devices.
Quotes may or may
not be well placed
and may or may not
be referenced with a
page number.
Discussion of quote
significantly lacks
depth. The selected
quote does not
coherently connect
the novel and
student’s poems.
Student does not
integrate any quoted
material from the
text but instead
loosely refers to
passages in the
novel, student does
not discuss passage
in relation to poetic
device, or discussion
demonstrates lack of
knowledge and/or
significantly lacks
depth. Student does
not draw connections
between the text and
their own poems.
Organization,
coherency,
structure,
transitions,
sequence
The main idea is
evident, clearly
stated, fully
developed, and
supported throughout
essay. Paragraphs
include clear topic
sentences and
supporting points
that fortify the
paragraph topics as
well as the main idea
of the essay. There
are clear transitions
between ideas
throughout essay.
Student uses a
variety of sentence
patterns and
structures. Essay is
well sequenced and
The main idea is
clear but somewhat
weakly stated. Main
idea is mostly
supported throughout
essay. Most
paragraphs include
topic sentences, but
some are not clearly
stated. Paragraphs
include supporting
points, but some do
not clearly support
topic sentence and/or
main idea of essay.
Transitions between
ideas are mostly
clear. Student uses
some variety in
sentence patterns and
structures. Essay is
The main idea is
indicated but is not
clearly stated. The
main idea is not
consistently
supported throughout
essay. Many
paragraphs do not
have a topic
sentence. Supporting
points do not explain
or elaborate on topic
sentence of
paragraph or main
idea of essay.
Transitions between
ideas are either
mostly absent or are
unclear. Student’s
use of variety in
sentence patterns and
The main idea is
difficult to identify
or is absent. The
essay is disjointed
and lacks focus and
clarity. Most
paragraphs lack a
main topic and
supporting evidence.
Essay lacks
transitions between
ideas. Logical
progression is absent
rendering essay
confusing. Student
does not use variety
in sentence patterns
and sentence
structures –
sentences are either
very short or very
15
Score: _______ / 10
logically progresses
from one idea to the
next. Conclusion
strongly supports the
main idea of essay.
moderately well
sequenced and
logical progression
form one idea to the
next is fairly evident.
Conclusion supports
main idea of essay.
structures is limited
rendering writing
unenthusiastic. Essay
is not well sequenced
and lacks logical
progression.
Conclusion weakly
supports main idea of
essay.
long and all
demonstrate similar
structure and
organization. Essay
lacks a conclusion or
conclusion does not
support main idea of
essay.
Mechanics:
spelling,
punctuation,
grammar
Score: _______ / 10
Essay is virtually
free of grammatical
errors—errors are
infrequent and far
between and do not
detract from
meaning. Student
demonstrates
proficient use of
tense and agreement
between grammatical
forms – nouns and
pronouns match in
number and gender.
Essay is mostly free
of grammatical
errors—errors might
cause moderate
confusion but do not
significantly detract
from meaning.
Student demonstrates
satisfactory use of
tense and agreement
between grammatical
forms – nouns and
pronouns mostly
match in number and
gender.
Essay demonstrates
several grammatical
errors resulting in
multiple areas of
confusion. Errors
detract from
meaning. Student
demonstrates
inadequate use of
tense and agreement
between grammatical
forms – nouns and
pronouns
infrequently match in
number and gender.
Essay demonstrates
numerous
grammatical errors
that significantly
detract from
meaning. Essay is
mostly
incomprehensible.
Student demonstrates
insufficient use of
tense and agreement
between grammatical
forms – nouns and
pronouns rarely
match in number and
gender.
Grade ___ /60
16
Poetry Portfolio Assignment Sheet
Due: April 30, 2021 at the beginning of class
Over the course of this unit, you will be reading The Poet X by Elizabeth Acevedo, studying
poetry, and writing your own. You will write poetry frequently in your journal. By the end of the
unit, you will select at least six of your poems to revise and polish. These poems will be turned
in along with an anchor essay (see anchor essay assignment sheet). The poems you write should
deal with one or more of the themes found in The Poet X. In at least three of your poems, you
must use at least one of the poetic devices we will be learning about over the course of the unit.
Themes:
● Sexuality
● Religion
● Sexism
● Feminism
● Self-acceptance
● Self-identity
● Gender
● Language
● Ethnicity
● Family
● Relationships
● Misogyny
● Spoken Word
Poetic Devices:
● Alliteration
● Assonance
● Consonance
● Sensory Language
● Tone
● Word Choice
● Rhythm
● Rhyme
● Line breaking
● Format
● Enjambment
● Concrete Specifics
17
Name _____________________ Total Points ___/18
Title of Poem 1______________________________ (1 pt.)
Title of Poem 2______________________________ (1 pt.)
Title of Poem 3______________________________ (1 pt.)
Title of Poem 4______________________________ (1 pt.)
Title of Poem 5______________________________ (1 pt.)
Title of Poem 6______________________________ (1 pt.)
1st Poem with Poetic Device
Title of Poem_____________________________
Theme__________________________________
Poetic Device_____________________________
Effectively Incorporated Clear Attempt Missing
Theme 2 1 0
Poetic Device 2 1 0
2nd Poem with Poetic Device
Title of Poem_____________________________
Theme__________________________________
Poetic Device_____________________________
Effectively Incorporated Clear Attempt Missing
Theme 2 1 0
Poetic Device 2 1 0
3rd Poem with Poetic Device
Title of Poem_____________________________
Theme__________________________________
Poetic Device_____________________________
Effectively Incorporated Clear Attempt Missing
Theme 2 1 0
Poetic Device 2 1 0
18
Spoken Word / Slam Poetry Day - Assignment Sheet
As your teacher, I want to thank you for all your hard work throughout this unit and with The
Poet X. Your reading and writing skills have expanded immensely, and I enjoyed working with all of you
and watching you grow as students. To show off your amazing poetry, we will have a class Spoken Word
/ Slam Poetry Day. You will get the chance to read one of your favorite poems you wrote this semester.
Make sure you choose the poem you feel best exemplifies you and your work this semester, as
well as displaying those new elements and techniques you mastered this semester. You will need to
present your poem in front of the room, but I will adjust the lighting to make it look like you’re on stage.
(You won’t even be able to see your peers!) We will enjoy a day of poetry and excitement along with
snacks and beverages.
The only thing you need to worry about is choosing your best original poem from your portfolio
and presenting it to the class. This will be graded solely on participation. We want to see you and hear
your wonderful words and masterpieces! This is worth five points of participation. As well, I know you
all want feedback about your poem from your peers. The other five points of participation comes with
providing feedback about each presenter’s poem and presentation.
(In total, the spoken word / poetry slam day will be worth 10 participation points.)
19
Poetry Slam Feedback
Presenter_________________________
Poem Title________________________
Reviewer_________________________
One thing the presenter did well:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
One thing the presenter could improve:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
20
Discussion Questions
The following discussion questions are intended to spark conversation among small groups of
students. The teacher should project the questions on the board via a document camera so that
students can see them. Students are welcome to discuss the questions in any order and should not
feel obligated to address every question. What is most important is that students engage in
conversation about The Poet X.
Day 3 Wed. Apr. 7 pg. 1-61
● Who is Xiomara? What do you know about her life, her family, her identity, etc.? In what
ways do you connect with Xiomara? Think about the themes such as family, friends,
relationships, religion, language, self-acceptance, etc.
● Describe Xiomara’s relationship with her mother. Do you think they have a good
relationship? Why or why not? Do you have a similar relationship to an adult in your life
or do you know anyone who does?
● Xiomara uses some Spanish in her poems. Why do you think she does this? What does it
say about her character, her family, her culture, etc.?
● What does Xiomara think about religion?
● In this section, Xiomara writes a poem called “Caridad and I Shouldn’t Be Friends.” Why
is this? Why are they friends? What is their friendship like?
● What are your first impressions of Ms. Galiano and her English class?
● In this section, Xiomara writes her first assignment. What did you think about both her
rough and final drafts? Why do you think they’re so different? Why did she choose these
topics? What would you write about as the most impactful day of your life? It’s okay if,
like Xiomara, it’s not something you want to share, but think about why that is.
● What is Xiomara’s relationship with Twin like?
● How does Xiomara react to male attention? What does she do in the moment? How does
it make her feel?
Day 4 Thurs. Apr 8 62-92
● What happens at church? How does Xiomara’s mother react?
● What do we learn about Xiomara’s father in this section? What do you think about him as
a father?
● What are your impressions of Aman?
● What do you think about Ms. Galiano and the poetry club? Do you think Xiomara should
join the poetry club? Why doesn’t Xiomara think she should do it?
● What are Xiomara’s mother’s rules about dating?
● Continue discussing any questions from the previous day.
● What else did you notice while reading?
● In what ways do you connect with Xiomara or The Poet X in general?
21
Day 7 Tues. Apr. 13 93-181
● What do you think about Xiomara’s developing relationship with Aman? Why does she
keep spending time with him if she knows she’s not allowed to date? Do you think he’s
good for her? Why or why not?
● How are faith and religion represented differently through Xiomara’s mother and Father
Sean? What effect does each of them have on Xiomara?
● How does Xiomara react when she finds out Twin is gay and dating a white boy? Why do
you think she reacts this way? How does saying something make it different?
● What do you think about Xiomara’s “Rough Draft of Assignment 3” (179)? What does
this poem reveal about her relationship with her mother? Why doesn’t Xiomara choose to
write about her mother for the draft she turns in?
● What else did you notice while reading?
● In what ways do you connect with Xiomara or The Poet X in general?
Day 10 Fri. Apr 16 182-268
● In this section, Xiomara writes a poem completely in Spanish called “A Poem Mami Will
Never Read” (233), along with an English translation on the following page. Why do you
think she writes this poem in completely Spanish? What does the poem say about her
own identity and her relationship with her mother?
● Why is ice skating important to Xiomara (184)?
● What happens after Xiomara and Aman go ice skating? Does this surprise you? Why or
why not?
● What is a cuero (205-206)? Why is Xiomara called a cuero? How does she react to it?
How would you react to being called a cuero by your family?
● What else did you notice while reading?
● In what ways do you connect with Xiomara or The Poet X in general?
Day 11 Mon. Apr 19 269-296
● Why does Xiomara ask Twin if he got in another fight (269)? What is his reaction?
● What is Xiomara’s experience like at the Open Mic Night? Think about her as a person
and as a poet.
● What did Xiomara’s mother give her for Christmas (290-292)? What did Xiomara think it
was? What does this say about their relationship?
● What else did you notice while reading?
● In what ways do you connect with Xiomara or The Poet X in general?
22
Day 13 Wed. Apr. 21 297-357
● How does Xiomara’s mother react to finding her notebook full of poems? Why do you
think she reacts this way?
● In the poem “Verses” (306-307), Xiomara and her mother recite poetry and prayers at
one another. Why do they do this? What does this say about their relationship with one
another? What does this say about the importance of poetry and religion to each of these
characters?
● Why does Xiomara go to Aman’s house after her mother burns her notebook? How does
he react to her?
● What is Ms. Galiano’s response to Xiomara the next day at school?
● Who does Xiomara bring with her to mediate the conversation between her and her
mother? Why does she choose this person?
● Do you think Xiomara’s relationship with her mother improves at the end of the book? If
so, how?
● What else did you notice while reading?
● In what ways do you connect with Xiomara or The Poet X in general?
23
Week One - Day 1 - KK
Title: The Poet X Pre-Reading Activity
Length: This lesson will take 40 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.3.1.2 Extend conversations by posing and responding to questions that probe reasoning and
evidence; ensure exploration of a full range of positions on a topic or issue; clarify, verify, or
challenge ideas and conclusions; and promote divergent and creative perspectives, demonstrating
preparation for the discussion.
Materials:
● Copies of speed dating questions
● Class set of The Poet X novels
Objectives:
At the end of this lesson students will be able to:
1. Predict the possible themes and meaning of The Poet X before reading.
Assessment:
The teacher will use a formative assessment. Students will be assessed on their ability to stay on
task while discussing the speed dating questions as well the quality of their discussion.
Exemplary:
An exemplary prediction displays themes or ideas that could be applicable to the book based on
its initial impression. The proposed themes and ideas stay in tune with the prompts of the activity
questions (Young Adult literature, poetry, cover art, and the contents of the novel), clearly a
product from reflection, deeper thinking, and genuine discussion during the activity.
Proficient:
A proficient prediction presents themes or ideas that could be applicable to the book based on its
initial impression. The proposed themes and ideas stay in tune with the prompts of the activity
questions (Young Adult literature, poetry, cover art, and the contents of the novel), displaying
their deeper thinking and time discussing during the activity.
Developing:
A developing prediction proposes themes or ideas that could be vaguely applicable to the book
based on its initial impression. The proposed themes and ideas stay somewhat in tune with the
24
prompts of the activity questions (Young Adult literature, poetry, cover art, and the contents of
the novel), or are loosely related, displaying little reflection or genuine discussion during the
activity.
Inadequate:
An inadequate prediction includes themes or ideas that are not applicable to the book based on its
initial impression. The proposed themes and ideas do not stay in tune with the prompts of the
activity questions (Young Adult literature, poetry, cover art, and the contents of the novel),
displaying a lack of reflection and genuine discussion during the activity.
Procedure:
1. The teacher will begin class by explaining to students that they are going to begin a unit
on Elizabeth Acevedo’s The Poet X, focusing on the themes in the book: poetry, identity,
family, and sexuality, as well as the psychological aspects of identity as it is a combined
content area unit. Briefly mention the final project/end goal. (8-10)
2. The teacher will explain the pre-reading activity: “speed dating.” (10)
a. Students will have five minutes at each desk to discuss the printed prompt with
the peer across from them.
b. Each student will move one spot to their right after each five minute interval is up
for a new peer/partner and prompt.
c. Here, the teacher will encourage students to have genuine discussion over their
questions and stay on task.
3. Conduct the activity. (30)
4. After students have discussed each question concluding the speed dating activity, use the
remaining class time to go over their responses and what they discussed with one another.
Reign the class back together and have a quick discussion about any questions, thoughts,
or things to share about the speed dating activity. (10-15)
5. Next, allow students to dive into the text. Students will be given 20 minutes to begin
reading part one of The Poet X. (25 minutes)
a. Allow students to move about the room and get comfortable in the first five
minutes.
Psychology:
This book deals with deep topics like sexuality, family and friends, religion, and identity. Ask
students to begin mulling over (but do not discuss yet) how these aspects align with psychology.
Differentiation:
Gifted and Talented: For this lesson plan gifted and talented students will be challenged by
sharing their answers to the questions. In this case, students will be allowed to display as much
knowledge as they choose when discussing with a partner. As the teacher, walking around to
25
ensure students are on task and aiding discussion can be applicable to gifted and talented
students as they can be personally asked more in depth questions to discuss if need be.
ELL: For this lesson plan copies of questions will be available in students’ native languages . In
addition to this, students will be working in close pairs of two which will benefit ELL students as
partner work and smaller groups. Walking around and aiding discussion, a good question would
be asking about language and their identity, pushing for relation with Xiomara.
Citation:
No citations
Attachments:
● Pre-Reading handout
26
Week One - Day 2 - LL
Title: Introduction to Poetry and “I Am From” Poem
Length: This lesson will take 70 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.7.3.3 Write narratives and other creative texts to develop real or imagined experiences or
events using effective technique, well-chosen details, and well-structured event sequences.
c. Use a variety of techniques to sequence events so that they build on one another to
create a coherent whole and build toward a particular tone and outcome (e.g., a sense of
mystery, suspense, growth, or resolution).
d. Use precise words and phrases, telling details, figurative and sensory language to
convey a vivid picture of the experiences, events, setting, and/or characters.
Materials:
● Copy of The Poet X by Elizabeth Acevedo
● Projector
● Computer
● Student’s school issued computers
● Writing utensils
● Notebooks
Objective:
At the end of this lesson, students will be able to:
1. Construct an "I Am From” poem based on elements of their identity.
Assessment:
Exemplary: Student constructed an “I Am From” poem that is based on personal experiences and
thoughts/feelings. Student closely followed “I Am From” template and constructed an original
poem. Student’s poem demonstrates a well-structured event sequence. Student has met or
exceeded line requirement of eighteen lines.
Proficient: Student constructed an “I Am From” poem that is based on personal experiences and
thoughts/feelings. Student followed “I Am From” template mostly accurately. Student
constructed an original poem. Student’s poem demonstrates an event sequence that is mostly
well-structured. Student met or almost met line requirement of eighteen lines.
Developing: Student constructed an “I Am From” poem that is based, or mostly based, on
personal experiences and thoughts/feelings. Student did not follow “I Am From” template
27
accurately. Student’s poem does not demonstrate a well-structured event sequence, or event
sequence is inconsistent. Student did not meet line requirement of eighteen lines.
Inadequate:
Student did not submit assignment, or student submitted an assignment that did not adhere to the
criteria outlined in the assignment description. If student submitted assignment, they did not
complete three or more of the following: follow the template for an “I Am From” poem, write an
original poem, write a poem demonstrating a well-structured event sequence, meet the line
requirement of eighteen lines.
Procedure:
(Students will begin class with free reading for twenty minutes. The lesson begins immediately
afterward.)
1. After greeting students and after they have settled into their seats, ask if any of them
reads poetry. Ask if they have ever written poetry. Ask if they like poetry. Finally, ask
students what poetry is. Listen to student’s ideas. If they do not volunteer answers, call on
them. Lead them toward the answer that poetry is an expression of feelings and that it has
a particular style and/or rhythm. Poetry follows many formats. Tell students that The Poet
X is written entirely in a format called free verse. Inform students that we will be reading
a poem from The Poet X that focuses on identity, and that afterward, they will be writing
a poem about their own identity. Inform students that they will be following a template to
construct an “I Am From” poem (5 minutes).
2. Ask students to turn to page 7 in their books. Have students read the poem, “Names,” to
themselves. Ask students if anyone would like to volunteer to read the poem aloud.
Student can omit swear word in line three if they wish. After the poem is read, ask
students what stood out to them about the poem. Ask students what this poem tells us
about Xiomara – what we learn about her (10 minutes).
3. Inform students that they will be watching a video clip of students reading poems they
have written about themselves following the “I Am From” Format. Have students take
out a writing utensil and their notebooks. Ask students to write down anything that stands
out to them about the students’ poems they are about to hear. Show students the
following two video clips (15 minutes):
(598) Where I’m From | a poem - YouTube
Start this video at 4:16 and play until 12:12 (598) Students Reading 'I Am From' Poems -
YouTube
4. Ask each student to share one thing they wrote down in their notebooks. Ask students to
take out their computers. Have students open PowerSchool. The following link is
available to students in PowerSchool. Have students open the Pen & the Pad link: How
28
to Write a "Where I'm From" Poem (penandthepad.com). Have students read the section
called “How to Write a ‘Where I’m From’ Poem,” followed by the section called
“Prewriting.” Have students use the prompts in the second section to brainstorm ideas for
their own “I Am From” poem. Have students record their thoughts and ideas into their
notebooks (20 minutes).
5. After students have completed their brainstorming, have them open the following link
available to them in PowerSchool: I Am From Poem - Freeology. Have students use
ideas from their brainstorming to follow the prompts. When students have finished
entering the information, have them click on the “create it” button. Have students submit
their poems into the assignment link titled “I Am From Poem.” Ask for volunteers to
share their poems with the class. Students can stay seated while reading their poems
(remainder of period).
Psychology:
Identity, as explored in the “I am From Poems'' is a well-studied aspect of psychology.
Psychologist Erik Erickson proposed that upbringing and early childhood experiences greatly
impact who we grow up to be (we see this in many of Xiomara’s beliefs, specifically her views
on religion and sex). Erickson created the “Stages of Psychosocial Development” which
categorize the development and “identity crises” that come with life into eight separate stages.
Differentiation:
This lesson needs little differentiation. It accommodates various learners of various backgrounds.
Because of the personal nature of the activity, and because students follow a template to
complete the main assignment, gifted and talented, minority students, and ELLs will be
successful in this lesson.
Gifted and Talented: Instead of following the template on the Freeology site, gifted and talented
students may be given the option to construct a poem in their poetry journals. They may exceed
the eighteen-line requirement if desired.
ELL: As seen in the video, many ELL students wrote shorter poems. The line requirement may
be reduced, as necessary, depending on the ELLs’ English Proficiency. Additionally, some of the
questions in the template may be difficult/painful for ELLs to answer. Because of this, they may
be given the option to skip some questions.
Citations:
Acevedo, Elizabeth. “Names.” The Poet X. Harper Teen, 2018, pp. 7-8.
“How to Write a ‘Where I’m From ‘ Poem.” Pen & the Pad, 12 Jul. 2018, How to Write
a "Where I'm From" Poem (penandthepad.com)
“I Am From Poem.” Freeology, I Am From Poem - Freeology.
“Students Reading ‘I Am From’ Poems.” YouTube, uploaded by Aukram Burton, 3 Nov.
2012, (598) Students Reading 'I Am From' Poems - YouTube
29
“Where I’m From / a Poem,” YouTube, uploaded by Ollie, 22 Sep. 2018, (598) Where
I’m From | a poem - YouTube
Attachments:
● No attachments
30
Week One - Day 3 - KK
Title: Writing Territories and Heart Mapping
Length: This lesson will take 55 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.1.4.2 Determine two or more themes or central ideas of a text and synthesize their
development over the course of the text, including how they interact and build on one another to
provide a complex synthesis.
Materials:
● Poetry journals
● Loose leaf paper and writing utensils
● Class set of The Poet X novels
● Elmo/projector and laptop
● Example handouts
Learning Objectives:
At the end of this lesson, students will be able to:
1. Determine the significance of relatable moments, themes, and ideas in writing.
Assessment:
Students will be formatively assessed by the journal entries they complete.
Exemplary:
An exemplary determination includes a fully completed journal entry and contribution to the
discussion. Students journal entry presents a list of ten moments that are original, thoughtful, and
clearly Gatwood-esque. The moments draw on aspects and experiences of the students life like
childhood memories, other anecdotes, and unique experiences that are promising to become
relatable poetry. In addition to this, a student's journal entry contains a heart/identity map with
students perceived defining characteristics. Students contribution to the discussion furthers the
idea of how relatable moments connect readers of the text and author. Student uses a great
amount of textual evidence or a personal reading experience to support this idea, displaying
connection between a text and themselves to the class.
Proficient:
A proficient determination includes a fully completed journal entry and contribution to the
discussion. Students journal entry presents a list of ten moments that are original and echo
31
Gatwood’s moments. The moments draw on aspects and experiences of the students life like
childhood memories, other anecdotes, and unique experiences with the potential to be relatable
poetry. In addition to this, a student's journal entry contains a heart/identity map with students
perceived defining characteristics. Students contributes to the discussion talking about how
relatable moments connect readers of the text and author. Student uses an acceptable amount of
textual evidence or a personal reading experience to support this idea, displaying connection
between a text and themselves.
Developing:
A developing determination presents a partially completed journal entry and little contribution to
the discussion. Students journal entry presents a list of less than ten moments that are broad and
attempt to meet Gatwood-esque standards. The moments are not thoughtful and contain little
student experience. In addition to this, student's journal entry contains a heart/identity map with
few perceived defining characteristics. Students contributes little to the discussion and attempts
to connect relatable moments between the readers of the text and author but uses little textual
evidence or personal reading experiences to support this idea.
Inadequate:
An inadequate determination presents an incomplete journal entry and does not contribute to the
discussion. Students journal entry presents a list of less than five moments that lack effort and do
not meet Gatwood-esque standards. The moments are not thoughtful and contain little to no
student experience. In addition to this, student's journal entry contains a heart/identity map with
little to no perceived defining characteristics. Student does not contribute to the discussion and
does not attempt to connect relatable moments between the readers of the text and author, using
no textual evidence or personal reading experiences to support this idea.
Procedure:
1. The teacher will begin class by asking students what they think of the reading so far. (10)
a. Ask:
i. How do they feel about the book being written in poetry?
ii. Is this what they thought a book written in poetry would look like?
iii. Do they like this style of writing? Why or why not?
2. After discussing, the teacher should remind students that this is a unit with a partial focus
on poetry and psychology. Today, we will be talking about what defines us and ideas for
them to write their poems about for the end of unit collection. To start, the teacher will
ask students to turn to a fresh page in their journal or grab a piece of paper. The teacher
will model/explain how to make identity/heart maps. The teacher will also show
examples and give students time to brainstorm and create their own. (15-20)
a. The teacher may prompt students by asking them to think of their favorite songs,
movies, shows, books, and quotes.
32
b. Have them ask themselves, what defines you? The good and challenging?
i. Family
ii. Mental health
iii. Friends
iv. Religion
v. Hobbies
3. After, ask students to share some of their ideas. Write them on the board for other
students to copy if they wish. (5)
4. Next, the teacher will explain to students that small moments and experiences are just as
promising as our defining traits. The teacher will play Olivia Gatwood’s “We find each
other in the details.” While the video plays, ask students to make a list of ten possible
Gatwood-esque “moments” they could write about. (20)
a. https://www.youtube.com/watch?v=zL0KtVbKqgU
5. Once the video has finished, the teacher will ask students to turn to page 39 in the text
where Xiomara, similar to Gatwood, uses her first period as her subject material in her
poem “Rough Draft of Assignment 1—Write about the most Impactful day of your life.”
The teacher will read the poem aloud and have students follow along. Then, discuss: (15)
a. How do we find each other in the details?
b. How is this poem relatable to us as readers?
c. Why do you think not one but two poets chose this for their subject matter?
d. What does this say about Xiomara's identity?
e. Are there any other poems/moments/details in the book that struck students? Why
or why not?
i. Teacher Note: Guide students to seeing the connection and relatability
from one life to another “in the details” and how Xiomara captures this.
6. Conclude the discussion and have students finish their journal entry. Once their entries
are finished, have them discuss in their pods groups some ideas they listed. (10-15)
7. In the remaining minutes of class have students search the poem list for more ideas about
details/moments or take personality quizzes. Have students hand in their journals before
leaving. (5-10)
Psychology:
Explain to students that identity is an important part of ourselves and a major aspect of
psychology. It builds us from the ground up emotionally, physically, and socially. It gives us
aspects of life and people to believe in or deny. A sense of community, nature, ideas, and how
we view ourselves. Personality test can help us define parts of our personality.
Differentiation:
Gifted and Talented: For this lesson plan the teacher would walk around and push the
gifted/talented students with deeper questions for more elaborate identity/heart maps.
33
ELL: For this lesson plan the teacher would encourage ELL students to contribute aspects of
their personality that may be culturally different from their peers. An ELL teacher will be asked
to help translate should students choose to write or reference aspects in their native language.
The teacher will also turn on subtitles in the students’ native languages if possible.
Citation:
This lesson was inspired by Nancy Atwell’s “Heart Mapping,” pages 12-16, Lessons That
Change Writers, Heinemann, 2002.
Attachment(s):
● Poem handout
○ https://docs.google.com/document/d/1busqg1T-m-
shCtdLAOfxPAkN1czqL1nk6FiB13Xne8Q/edit?usp=sharing
● Personality quizzes for students
○ Free personality test, type descriptions, relationship and career advice |
16Personalities
34
Week One - Day 4 - WL
Title: Alliteration, Assonance, Consonance
Length: This lesson will take up the 75 minutes of the 90 minute block class.
Grade: 11
th
Standard(s) addressed:
11.4.5.5 Analyze how an author’s choices concerning how to structure specific parts of a text
(e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic
resolution) contribute to its overall structure and meaning as well as its aesthetic impact.
11.7.3.3 Write narratives and other creative texts to develop real or imagined experiences or
events using effective technique, well-chosen details, and well-structured event sequences.
b. Use literary and narrative techniques, such as dialogue, pacing, rhythm, repetition,
rhyme, description, reflection, and multiple plot lines, to develop experiences, events, and/or
characters.
Materials:
● Projector, Doc cam, and Computer
● Highlighters (at least three different colors)
● The Poet X text and audiobook
● Alliteration, Assonance, Consonance PowerPoint
● Aiya – Youth Speaks Teen Poetry Slam Finals 2019 video
o (https://www.youtube.com/watch?v=aWbERIVc7BM)
● “Mother to Son” by Langston Hughes handout and key
● “Same Love” by Macklemore lyrics handout and key
o Here is the video if you’d like to play it:
(https://www.youtube.com/watch?v=0eLH0GOXlCM)
● “The Raven” by Edgar Allen Poe handout and key (for ELL differentiation)
● “Through three cheese trees” by Dr. Suess handout and key (for ELL differentiation)
● “Stopping by Woods on a Snowy Evening” by Robert Frost handout and key (for ELL
differentiation)
Objectives:
At the end of this lesson, students will be able to:
1. Identify alliteration, assonance, and consonance in poetry.
2. Apply alliteration, assonance, and consonance in their own writing and poetry.
35
Assessment:
Exemplary:
(Obj. 1) An exemplary identification of alliteration, assonance, and consonance has
nearly all instances of each element marked on the example poem.
(Obj. 2) An exemplary application of alliteration, assonance, and consonance in their own
poetry occurs when the student’s own writing has attempts at each. Their attempts are strong,
and effort was made to produce work that is logical while using the new literary elements. In
other words, their writing makes sense, and the elements were not forced into the work.
Proficient:
(Obj. 1) A proficient identification of alliteration, assonance, and consonance has a
majority of all instances of each element marked on the example poem.
(Obj. 2) A proficient application of alliteration, assonance, and consonance in their own
poetry occurs when the student’s own writing has attempts at each. Their attempts are weak, but
effort was made to produce work that is logical while using the new literary elements. In other
words, their writing makes sense, but the elements were a bit forced or don’t make as much
sense in how they were used.
Developing:
(Obj. 1) A developing identification of alliteration, assonance, and consonance has some
instances of each element marked on the example poem but roughly half were missed.
Identification may be missing one of the elements entirely.
(Obj. 2) A developing application of alliteration, assonance, and consonance in their own
poetry occurs when the student’s own writing has attempts at some but not all elements. Their
attempts are unclear, and more effort could have been made to produce work that is logical while
using the new literary elements. In other words, their writing does not quite make sense because
the elements were forced or do not work with their thoughts.
Inadequate
(Obj. 1) An inadequate identification of alliteration, assonance, and consonance has a
couple or no instances of each element marked on the example poem, over half were missed.
Identification may be missing two or more of the elements entirely.
(Obj. 2) An inadequate application of alliteration, assonance, and consonance in their
own poetry occurs when the student’s own writing has attempted maybe one element. Their
attempts do not produce writing that creates logical work. In other words, their writing does not
make sense and the elements, if present, do not supplement the writing.
Procedure:
1. Introduce the video of Aiya, a 19-year-old finalist for the Youth Speaks Teen Poetry
Slam. The purpose of this video is to show that students can write and perform their own
36
poetry, they don’t have to be older—there are people their own age writing and
performing great poetry. Also, this performance has a lot of assonance, alliteration, and
consonance. (5 minutes)
2. Once the performance is over, ask what students liked most about the video. What did
they notice about the words and the sounds? (5 minutes)
3. Have students open The Poet X to page 87, “Thursday, September 20: The Thing about
Dreams.” Play Elizabeth Acevedo’s reading of this poem from the audiobook (54:06;
Chapter 13 of Audible Audiobook). Do not identify the elements with the students yet,
you will do so in step five when instructing the elements to the students. (5 minutes)
4. Again, discuss what the students noticed about the words and the sounds. (5 minutes)
5. Instruct the class on Alliteration, Assonance, and Consonance using the PowerPoint
presentation. Make sure you point out examples on “Thursday, September 20: The Thing
About Dreams” as you go through the PowerPoint. See attachment for handout for
students (and yourself) to mark up and the key. (15 minutes)
6. After going through the presentation, go through “Mother to Son” by Langston Hughes as
a class, now that they know the elements and what they’re looking for. Show students
how to find each element by deliberately sounding out the words and morphemes to show
where you’re finding the elements. Also, have students point out cases of Assonance,
Alliteration, and Consonance that they can find as well. As you go through the poem,
highlight each instance in a different color for all the students to see, like on the doc cam,
so they can follow along and see how you do it. (15 minutes)
7. After going through “Mother to Son,” have students get into groups of two or three. Pass
out copies of Macklemore’s “Same Love” lyrics to each student. Each group will
collectively go over the lyrics and find as many cases of each element as they can find.
As a hint, you can tell them there are at least X cases of alliteration, X cases of
assonance, and X cases of consonance. (Either you can give a solid number that they
should strive to find, or you can give them the exact number of instances in the lyrics.)
(25 minutes)
8. Once students feel like they have found as many cases of these three elements as they can
find, make sure they each write their name at the top and turn in their lyric page.
Differentiation:
Gifted and Talented: The teacher would advise they also participate in the group activity, as it
should be an exciting and an example of something that’s relevant to them. They can choose to
find another song or poem outside of class to explicate for its alliteration, assonance, and
consonance, if they’d like to. The poem assignment is where they can really let their knowledge
and creativity flourish. They can push themselves by trying to incorporate all three elements into
the same poem.
37
ELL: The teacher would advise that they join a group that they feel comfortable with. They may
not participate as much, but their group members could help them understand a bit more. I think
keeping the student with the class would allow the student to feel included in the fun, as the
group activity is using lyrics of a song many of them know. Supplemental material could be
given to help the student understand each of the elements separately. The student may need to go
over these with the teacher at a different time, during their own time, or during an hour where
they work with a para or resource room. Using three separate poems or parts of poems that
highlight each element specifically, the student can see what each one is like on its own. The
following are examples the student could use for each element: Alliteration: “The Raven” by
Edgar Allen Poe (first two stanzas), Assonance: “Through three cheese trees” by Dr. Suess, and
Consonance: “Stopping by Woods on a Snowy Evening” by Robert Frost. Each example is
provided with this lesson plan as a handout and a key highlighting the instances.
Citation:
Inspired by Mary Oliver’s “More Devices on Sound,” pages 29-34, A Poetry Handbook,
Mariner, 1994.
Attachments:
● “Thursday, September 20: The Thing About Dreams” by Elizabeth Acevedo handout and
key
● “Mother to Son” by Langston Hughes handout and key
● “Same Love” by Macklemore (first verse) lyrics handout and key
● “The Raven” by Edgar Allen Poe (first verse) handout and key (for ELL differentiation)
● “Through three cheese trees” by Dr. Suess handout and key (for ELL differentiation)
● “Stopping by Woods on a Snowy Evening” by Robert Frost handout and key (for ELL
differentiation)
38
Week One - Day 5 - LL
Title: Sensory Language
Length: This lesson will take 70 minutes of the 90 minute block class.
Grade: 11
Standard addressed:
11.7.3.3 Write narratives and other creative texts to develop real or imagined experiences or
events using effective technique, well-chosen details, and well-structured event sequences.
d. Use precise words and phrases, telling details, figurative and sensory language to
convey a vivid picture of the experiences, events, setting, and/or characters.
Materials:
● Copy of The Poet X by Elizabeth Acevedo
● Projector
● Document camera
● Computer
● Handouts (2)
● Poetry journals
● Writing utensils
Objective:
At the end of this lesson, students will be able to:
1. Identify sensory language in a text.
2. Construct a free verse poem using sensory language.
Assessment:
Exemplary: Student constructed a free verse poem that uses sensory language and that is based
on a personal experience. Student included at least ten sensory words. Sensory words are used
skillfully and include words describing all five senses. Sensory words intensify meaning of
poem. Student used a format that enhances the readability and flow of poem. Student met line
requirement of at least ten lines.
Proficient: Student constructed a free verse poem that uses sensory language and that is based on
a personal experience. Student included eight or nine sensory words. Sensory words are used
with some skill and include words describing most of the five senses. Sensory words add to
meaning of poem. Student used a format that enhances flow of poem. Student may or may not
have met line requirement of ten lines.
Developing: Student constructed a free verse poem that uses some sensory language and that is
based on a personal experience. Student included five to seven sensory words. Sensory words are
39
not selected carefully and distract from meaning of poem. Student uses words mostly focusing
on one or two of the five senses. Student does not use a format that enhances flow and
readability of poem. The poem is written in either one or two paragraphs. Student did not meet
line requirement of ten lines.
Inadequate: Student did not hand in a poem, or student constructed a poem that demonstrated
most of the following: poem was not based on a personal experience, student used four or less
sensory words, student did not use sensory words from more than one of the five senses, student
did not use sensory words meaningfully, student did not format their poem, and/or student did
not meet the line requirement of ten lines.
Procedure:
(Lesson begins immediately after students have read independently for 20 minutes)
1. After greeting students and after they have settled into their desks, ask them which
version of the following short poem they prefer. Read the following:
a. I open the pop
put my lips on the can
and drink the contents.
b. I pop the tab
and foam rushes
to greet my lips
as I gulp
the sweet, carbonated bite
of root beer.
Using the document camera and the overhead projector, show both poems to students and
ask them which version sounds more appealing. Ask students what the difference is
between the two poems. Ask them which one they can taste, feel, see, touch, and hear.
Inform students that the difference between the two poems is that one of them uses
sensory language. Tell students that sensory language appeals to the five senses. Ask
students to point out which words in the second poem appeal to the senses. After students
have had an opportunity to identify words, show them the following video clip (15
minutes):
(603) What is Sensory Language - YouTube
2. Have students take out their books, The Poet X, and turn to page 3. Have students read
the poem, “Stoop-Sitting,” on their own. Ask students if anyone would like to volunteer
to read the poem. Before the poem is read, ask students to listen for sensory language.
After the student has read the poem, ask students if they noticed any sensory language.
Although this poem does not have a lot of sensory language, help students identify the
following words: flapping, honking, blaring, echoing, hard slaps, yells, and hard scowls
softening (10 minutes).
40
3. Arrange students into groups of four. Hand out “Sensory Language” worksheet to each
student. Have students brainstorm sensory words together while they fill out the chart on
the worksheet. After students have been working for five to ten minutes, ask each group
to read their answers aloud from one of the columns. Have the first group read the first
column, the second group read the second column, and so on. Have students fill in words
they missed. After students have finished reading their words aloud, provide additional
words they missed from the “Supplemental Sensory Language Words” handout included
with this lesson. There are additional copies of this handout to give to ELL students (15
minutes).
4. Have students return to their seats. Using the list of sensory words they created in their
groups, and Elizabeth Acevedo’s poem, “Stoop-Sitting,” as an example, have students
write a free verse poem about a personal experience in their poetry journals. They can
write about a camping trip, a holiday, a special day, or anything they like. Inform
students that they must include at least ten sensory words in their poem. Inform students
that they can arrange the text in any way they like, they do not have to use the same
format that Acevedo did in her poem, but the text must be arranged in a format that
enhances the readability of the poem. The poem cannot be written in one long paragraph.
Inform students that the poem must be at least ten lines long. Students can spend the rest
of the class period working on their poems. They can hand it in at the beginning of the
next class. As students work on their poems, go around the room to help as needed, to
answer questions, and to check on students’ progress (30 minutes or remainder of class).
Differentiation:
Gifted and Talented: Because the assessment portion of this lesson is based on a personal
experience, it will work for students of varying backgrounds. Gifted students may find the first
part of the lesson underwhelming but will benefit from a refresher on sensory language as well as
the group work portion of the lesson.
ELL: This lesson will work well for ELL students because it provides an explanation of sensory
language as well as demonstrations of how sensory language is used in different texts. ELLs may
struggle when constructing a free verse poem. There is an additional supplement with this lesson
for ELLs, and any other students who would like a copy, providing additional sensory words.
During the last half hour of the class, the teacher can check on the progress of these students to
determine if they need additional assistance. ELLs who are struggling can have an additional day
to hand in their poems.
Citations:
Acevedo, Elizabeth. “Stoop-Sitting.” The Poet X. Harper Teen, 2018, p. 3.
Atwell, Nancie. In the Middle: A Lifetime of Learning About Writing, Reading, and
Adolescents. 3rd ed., Heinemann, 2015.
41
Jordan, Maxim. “Fizzed.” In the Middle: A Lifetime of Learning about Writing, Reading,
and Adolescents, by Nancie Atwell, 3rd ed., Heinemann, 2015, p. 350.
“What is Sensory Language.” YouTube, uploaded by Mometrix Academy, 9 Jan. 2018,
(603) What is Sensory Language - YouTube
Attachments:
● “Supplemental Sensory Language Words” handout
● “Sensory Language” handout
42
Week Two - Day 6 - EB
Title: Say Their Names/Concrete Specifics
Length: This lesson will take 60 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.4.4.4 Determine the meaning of words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the impact of specific word choices on meaning
and tone, including words with multiple meanings or language that is particularly fresh,
engaging, or beautiful. (Include Shakespeare as well as other authors.)
Materials:
● Poet X by Elizabeth Acevedo
○ “Mira, Muchacha” (6)
Objectives:
At the end of this lesson, students will be able to:
1. Analyze the impact of specific language use in public discourse and in The Poet X
Assessment:
This will be formatively assessed as part of the journal check.
Exemplary: An exemplary analysis incorporates specific examples from both public discourse
and The Poet X to further its points. Examples and analysis are well-developed and cohesive.
The teacher is left with no question as to the student’s argument.
Proficient: A proficient analysis incorporates general ideas from both public discourse and The
Poet X. The examples are somewhat helpful to further the argument, but may lack depth or
cohesion. The teacher generally understands the student’s argument, but may be left with
questions about the details.
Developing: A developing analysis only uses ideas from either public discourse or The Poet X,
but not both. It does not use examples, or examples lack depth and/or distract from the argument.
The teacher is left with many questions.
Inadequate: An inadequate analysis fails to address the impact of specific language both in public
discourse and in The Poet X. No examples are used or examples are wildly distracting from the
argument. The teacher is left with more questions than answers.
43
Procedure:
1. The teacher will begin by asking if students saw the news of Daunte Wright’s death by a
police officer. The teacher will briefly go over the details so that everyone is on the same
page in case students haven’t followed the news. This is a difficult subject, so the teacher
should then give space to students who want to express their reactions to this news, but
should not make anyone speak if they do not want to and should be ready to combat
hurtful or dismissive comments including the question “why are we even talking about
this?” (5-10 min)
2. The teacher will then direct the conversation towards focusing on the individual and the
significance of saying their names by asking questions such as the following: Why is it
important to say their names? How does the individual’s story affect our understanding of
the larger institutional/systemic issues? Why is it important to remember that these
systemic issues play out in individuals’ lives and deaths? How does saying their names
help us think about that? (10-15 min)
3. The teachers should stress the duality between how the individuals, how the specific
names, matter on their own and how they matter to and exemplify the collective struggle.
The teacher should be clear and careful not to diminish the significance of the people and
the current climate outside the classroom, but they should pose the question, “How can
we apply this kind of thinking to what we’re studying in the classroom?” The general
idea about the individual, the specific name, is reflected in the idea of concrete specifics
in writing. (5 min)
4. The teacher will then model the differences between general and specific writing with a
few quick examples.
a. General: tree, flower, figurative language, etc.
b. Specific: oak, daffodil, personification, etc. (2-3 min)
5. Acevedo uses concrete specifics throughout the book. The teacher will show the class
“Mira, Muchacha” (6) under the doc cam as an example. The teacher will read the poem
aloud and begin the discussion by noting that Xiomara doesn’t write about how her
mother speaks Spanish, she selects the specific phrase “mira, muchacha.” The teacher
should also note that even habitual things are made specific (see keywords “this time”
and “like usual”). (10 min)
6. The teacher will ask the class to discuss in groups of 2-3 how specific language is used in
both public discourse and The Poet X and its significance. While students are discussing,
the teacher will circulate, listening in and answering questions. (10-15 min)
7. The teacher will call the class back together and ask 2-3 students to share their response.
(5 min)
8. Students will then be asked to journal about this same topic, using specific examples to
analyze the impact of specific language use in public discourse and in The Poet X.
Students have the remainder of the class period to write. Those who finish early should
44
work on drafting their own poetry using the writing territories they brainstormed the
previous week.
Differentiation:
Gifted and Talented: The written analysis of concrete specifics in the form of a journal entry
which will not be shared with other students provided gifted and talented students the
opportunity to expand on their ideas in depth rather than having to operate solely at the level of
their mainstream peers. The privacy of the journal entry also means that more advanced students
do not have to worry about being ridiculed for their deep thinking.
ELL: Understanding and using concrete specifics may be difficult for ELL students who
typically learn general words before learning more detailed options. When students are
discussing in groups, the teacher will take the opportunity to check in with ELL students to make
sure they are understanding the lesson and to provide any clarification needed. Structuring the
lesson to move from small group discussion to journal entry benefits ELL students both in that it
allows them to process the concepts through multiple modalities (spoken and written), and in that
students struggling with the concepts get to hear the information from their peers before they
have to produce their own written analysis.
Citations:
Atwell, Nancie. “The Rule of Write about a Pebble, or ‘No Ideas but in Things.’” Lessons That
Change Writers, Heinemann, 2002, pp. 48-49.
Beers, Kylene. “Tomorrow is Not Simply Another Day at School.” Kylene Beers, WordPress, 6
Jan. 2021, kylenebeers.com/blog/2021/01/06/tomorrow-is-not-simply-another-day-at-
school/.
Attachments:
● No attachments
45
Week Two - Day 7 - EB
Title: Spanish Language Use and Decoding
Length: This lesson will take 40-50 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.5.4.4 Determine the meaning of words and phrases as they are used in a text, including
figurative, connotative, and technical meanings; analyze how an author uses and refines the
meaning of a key term or terms over the course of a text (e.g., how Madison defines faction in
Federalist No. 10).
Materials:
● The Poet X
○ “Stoop-Sitting” (3-4)
○ “Mira, Muchacha” (6)
○ “The Routine” (42)
○ “More about Twin” (45)
○ “People Say” (64)
○ “Lectures” (108)
● Document camera
Objectives:
At the end of this lesson, students will be able to:
1. Analyze Acevedo’s use of Spanish in The Poet X
2. Decode Spanish words in the context of The Poet X
Assessment:
Exemplary:
(Obj. 1) An exemplary analysis clearly identifies and explains at least two reasons why
Acevedo’s inclusion of Spanish words in The Poet X matters. It includes examples from the book
to highlight the cultural significance and/or demonstrate how the words add meaning.
(Obj. 2) An exemplary decoding accurately deciphers the meaning of Spanish
words/phrases. Context clues from both the surrounding lines and the concepts of the book as a
whole are clearly connected to the inferred meaning.
46
Proficient:
(Obj. 1) A proficient analysis identifies and explains at least one reason why Acevedo’s
inclusion of Spanish words in The Poet X matters. It may not draw on specific examples from the
book to back up the ideas.
(Obj. 2) A proficient decoding accurately deciphers the meaning of Spanish
words/phrases, but may lack specificity. Context clues from both the surrounding lines and the
concepts of the book as a whole are somewhat connected to the inferred meaning.
Developing:
(Obj. 1) A developing analysis states that the language used matters but fails to explain
why or provide examples of how.
(Obj. 2) A developing decoding makes a somewhat accurate inference as to the meaning
of the words/phrases in Spanish, but it may be imprecise. Context clues may not be used or are
only vaguely connected to the inferred meaning.
Inadequate:
(Obj. 1) An inadequate analysis fails to make an coherent argument on the use of Spanish
in The Poet X.
(Obj. 2) An inadequate decoding fails to identify the meaning of the words/phrases in
Spanish. Context clues may be used incorrectly, supporting an idea about the meaning, but that
meaning is incorrect.
Procedure:
1. The teacher will begin by asking the students to recall the lesson from the day before.
What was one takeaway, one idea that stuck? If no student mentions it, be sure to stress
the importance of concrete specifics, that both our ideas and our language matter, and
they should be reflected in one another. (5 min)
2. The teacher will also remind the class that they focused on the poem “Mira, Muchacha,”
which clearly uses some Spanish. The teacher will then focus the conversation on the
importance of the language by posing questions like why do you all think Elizabeth
Acevedo chooses to use Spanish words in the book if her audience is mainly English
speakers? What difference would it make if every single word were in English? What
would we lose? This conversation should leave them with the idea that language matters.
(10-15 min)
3. Once the class has established that the specific languages Acevedo uses matter, the
teacher should pose the question, what do we do as readers if we don’t speak Spanish?
How do we figure out what the words mean? Should we stop reading the poem every
time we come across a word in Spanish and look it up? Should we keep reading and look
for context clues in the poem and look it up if we still can’t figure out after reading the
47
whole poem? Students may offer suggestions or share how they went about reading the
text. (5 min)
4. The teacher will then project the poem “The Routine” (42) under the doc cam. This poem
includes the following Spanish: la niña de la casa, La Virgen María, las noticias, and
mira, muchacha. The teacher will read the poem aloud and then mark the Spanish
phrases. To demonstrate the way context clues can help with decoding, the teacher will
begin with las noticias. They will reread lines 8-10 and point out that we know it’s
something Xiomara’s dad watches on his TV. The teacher will ask the class, what do
dads watch other than sports (shown here with the concrete specific a Red Sox game)?
Students should be able to arrive at the translation the news. The teacher will then repeat
the process with the class’s help to decode the other phrases in the poem. For la niña de
la casa, point to the house in line 4 and the central idea of stanza 3 to establish the
emphasis on Xiomara as a girl. For La Virgen María, point to the word altar and the
mother’s previously established Catholicism. The students should be able to recall mira,
muchacha from the day before. (10 min)
5. In groups of 3-4, students will then practice decoding Spanish words using context clues.
They should read the whole poem, mark the word in Spanish, underline important
contextual notes, and discuss how the context of the poem/book informs their
understanding of the Spanish words/phrases. Once they do this, they should also discuss
the impact of these particular words on the poem and book as a whole. Each group will
be given one of the following poems: “Stoop-Sitting” (3-4), “Mira, Muchacha” (6),
“More about Twin” (45), “People Say” (64), “Lectures” (108). It is important to note that
context means not only the other words in the specific poem, but the words or ideas
throughout the book. For example, a lot of the Spanish has to do with Altagracia’s
Catholicism. While students are collaborating, the teacher will circulate, checking in with
students and offering extra support where needed. (10-15 min)
Differentiation:
Gifted and Talented: This activity may come easily for gifted and talented students. They will be
given the poems that use more Spanish phrases rather than individual words to increase the
difficulty of decoding. For a further challenge, the teacher may push them to decode the
individual words within a phrase, teaching them certain Spanish grammar rules such as that -
ando is a gerund suffix like the English -ing, as seen in peleando which means fighting in “More
about Twin.”
ELL: ELL students who speak Spanish or other romance languages may not need to use context
clues to decode Spanish words they already understand, but they will still benefit from practice
with context clues. This is likely a skill they use often when navigating English. They may even
be able to help their non-Spanish-speaking peers. This activity should foster a sense of pride in
their native language and developing multilingualism. This activity will be especially difficult
48
for ELL students who do not speak romance languages. They may need extra help understanding
the English words that would be used as context clues for the Spanish. For this reason, they will
be grouped with classmates who are patient and willing to give more clear explanations.
Citation:
No citations
Attachments:
● No attachments
49
Week Two - Day 8 - SH
Title: Thoughts and Feelings
Length: This lesson will take 60 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.7.3.3 Write narratives and other creative texts to develop real or imagined experiences or
events using effective technique, well-chosen details, and well-structured event sequences.
d. Use precise words and phrases, telling details, figurative and sensory language to convey a
vivid picture of the experiences, events, setting, and/or characters.
Materials:
Copies of The Poet X, writing journals, writing utensils, and a board/document camera to display
instructions.
Objectives:
At the end of this lesson, students will be able to:
1. Construct poems about a person in their life that includes a good usage of thoughts and
feelings.
Assessment:
The teacher will use formative assessment by comparing a student's draft of a poem about a
relationship they have in their life to their edited version, after being instructed on the importance
of thoughts and feelings.
Exemplary: An exemplary poem gives the reader a great insight to how the writer feels about the
person they are writing about. The reader can easily understand the emotion the writer feels for
the person they are writing about and is able to understand the type of relationship they have
without talking to the writer personally. An exemplary poem leaves the teacher with no
confusion as to how the writer feels or why they chose to write about this person as an important
person in their life.
Proficient: A proficient poem allows the reader to see how the writer feels about the person
they’re writing about. The reader can pick up on the emotion the writer feels for the person they
are writing about and is relatively easily able to understand their relationship without personally
talking to the writer. A proficient poem may lack thoughts and feelings details that would aid in
the reader’s understanding, but the reader can still see the basic feelings the writer has.
Developing: A developing poem attempts to show the reader how the writer feels about the
person they are writing about. They use some language that depicts emotions, but more detail is
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needed for the reader to fully comprehend how the writer feels about the person they’re writing
about. A developing poem attempts to meet the requirements listed but lacks the amount of detail
the reader would need in order to understand the writer’s feelings.
Inadequate: An inadequate poem fails to express how the writer feels about the person they are
writing about. There is little to no detail about their relationship, or the emotions felt by the
writer. An inadequate poem is missing all or nearly all of the requirements listed for the poem
and it fails to demonstrate to the teacher what the student feels towards the person they’re writing
about or their ability to add thoughts and feelings into their poems.
Procedure:
1. Introduction (10 minutes)
The students will see a prompt when they come into class that says, “Please get out your writing
journals and write a poem about someone who has had an important role in your life. The poem
can be in any form and about anyone in your life. The poem is just a draft, but you will be
discussing these with peers.” The students will be given the first 10 minutes to write their poem.
The teacher will walk around and observe quietly while the students write.
2. Instruction/modeling (10 minutes)
The teacher will ask them to put their journals away and turn their attention to pages 111-112 in
The Poet X. The teacher will read the poem to them and then ask the students how they know
what Xiomara is feeling at this moment. The teacher will take thoughts from the students and
then add their own instruction about thoughts and feelings. They will highlight certain
words/phrases that depict how Xiomara is feeling and make the reader feel like they are with her
in the moment and are able to feel what she is feeling. The teacher will explain the importance of
adding thoughts and feelings into your work, as a way to engage your readers and help them see
what you see or feel what you feel.
3. Small group work (15 minutes)
Each small group will be assigned a poem from the teacher (possible selections are pages 113,
144-145, 176, 196-197, and 217). All of the poems assigned to the students have to do with
relationships that Xiomara has in the novel. These poems are similar to the ones they were
writing at the beginning of class in their journals. Each group will be asked to look through their
assigned poem and discuss what words/phrases stand out to them as thoughts and feelings. After
the groups are done discussing, the class will come together, and each group will share their
thoughts with the class about the poem they were assigned.
4. Independent work/revision (15 minutes)
Now that the students have been instructed on and practiced finding thoughts and feelings, they
will be assigned to add thoughts and feelings into their own writing. The teacher will ask the
students to get out their journals from earlier and add thoughts and feelings where they are able
in order to help the reader understand what the writer feels about the person they chose to write
about. The teacher will walk around and help when needed.
5. Peer feedback/editing (10 minutes)
When the students are done making their edits, they will be partnered up with one other student
in the class. Each pair will read through and offer feedback to each other regarding the thoughts
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and feelings in their poems. The teacher will move around the room and listen to the discussions
being had within each pairing.
6. Conclusion
To wrap up the lesson, the students will be asked what this lesson has taught them. The teacher
will listen to the student's answers and then add that thoughts and feelings are very important
elements of poetry. They will need to include these details in order to engage their readers and
immerse them into the experiences/people they are writing about.
(After the lesson, students will have 10 minutes to work on journals and then 20 minutes to free-
read)
Differentiation:
Gifted and Talented: Gifted and talented students could use an added challenge to this
assignment. They could be asked to write with thoughts and feelings in mind during the rough
draft, whereas the other students would wait until more instruction was given to them before
writing with that purpose. By allowing the gifted and talented students to write with the purpose
of thoughts and feelings in the beginning, it would allow the teacher to see what they already
know and to then challenge them further during the editing process.
ELL: An ELL student could possibly benefit from being able to read/recite their poems to the
teacher in addition to attempting to write them on paper or type them. If the student can speak
English well, but not write very well, it may be a better option for them to try to tell their poem
to someone instead of writing it. When it comes to writing about thoughts and feelings, the
teacher will provide ELL students with short but concise guides on how to add feelings to their
writing. The guides will have only important information so that the students are able to
understand the main points right away instead of sifting through a bunch of notes that include
things that are irrelevant to the purpose of the assignment. When put in groups, ELL students
will be put with other students who are able to talk slowly and clearly so all group members can
understand what is being communicated within the group.
Citation:
Atwell, Nancie. “Thoughts and Feelings.” Lessons That Change Writers, Heinemann, 2002, pp.
44-47.
Attachments
● No attachments
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Week Two - Day 9 - LL
Title: Voice/Tone/Word Choice
Length: This lesson will take 70 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.5.6.6 Determine an author’s point of view or purpose in a text in which the rhetoric is
particularly effective, analyzing how style and content contribute to the power, persuasiveness,
or beauty of the text.
11.9.3.3 Evaluate a speaker’s point of view, reasoning, intended audience, and use of evidence
and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis,
and tone used.
Materials:
● Copy of The Poet X by Elizabeth Acevedo for each student
● Projector
● Computer
● Handouts (2)
● PowerPoint
● Writing utensils
● Notebooks
● Poetry journals
● White board
● Erasable markers
Objective:
At the end of this lesson, students will be able to:
1. Define writer’s voice and describe tone and word choice and how they contribute to
writer’s voice.
2. Demonstrate effective writer’s voice, tone, and word choice by constructing a
biographical poem.
Assessment:
(The students’ final draft of their biography poem will be assessed using the following criteria)
Exemplary:
(Obj. 1) Student correctly defined writer’s voice in their notebook and accurately
described how tone and word choice contribute to writer’s voice.
(Obj. 2) Student constructed an original biography poem based on their own personal
identity. Student’s poem clearly demonstrates individual writer’s voice revealing student’s
personality. Student’s poem strongly demonstrates tone showing student’s attitude. Student’s
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poem uses descriptive words that are well chosen, correct in meaning, and that strengthen tone
and support their individual writer’s voice.
Proficient:
(Obj. 1) Student’s definition of writer’s voice in their notebook is mostly accurate.
Student’s description of tone and word choice, and how they relate to writer’s voice, is mostly
accurate but student did not demonstrate clear understanding of how tone and word choice work
together to support writer’s voice.
(Obj. 2) Student constructed an original biography poem based on their own personal
identity. Student’s poem demonstrates individual writer’s voice, but student’s personality comes
through somewhat weakly. Student’s poem demonstrates tone, but attitude does not come across
strongly. Student’s poem uses some descriptive words, but many words are weak and not well
chosen. Student’s word choice minimally strengthens tone and somewhat helps reveal their
individual writer’s voice.
Developing:
(Obj. 1) Student’s definition of writer’s voice in their notebook demonstrates weak
understanding. Student does not have a clear understanding of role of tone and word choice and
how they work together to reveal writer’s voice.
(Obj. 2) Student constructed a biography poem that shows little of their identity.
Student’s discussion of their identity lacks depth and is generic. Student’s personality does not
come through in poem or comes through weakly. Tone in student’s poem comes across weakly,
if at all. Student’s poem contains few descriptive words that are not well chosen. Some words are
used inaccurately. Student’s word choice does not strengthen tone and does not help to
demonstrate their individual writer’s voice.
Inadequate:
(Obj. 1) Student’s definition of writer’s voice in their notebook is absent or is incorrect.
Student does not demonstrate understanding of writer’s voice, or how tone and word choice
work together to support and reveal writer’s voice.
(Obj. 2) Student did not hand in biography poem OR student’s biography poem does not
demonstrate most, or any, of the following elements: writer’s voice revealing their personality,
demonstration of attitude through tone, and use of descriptive words that are well chose. Many
words are used incorrectly. Student did not show a good faith effort when writing their poem:
poem is significantly short, contains numerous spelling and /or grammatical errors, and is not
about their personal identity.
Procedure:
(Before beginning the lesson, students will have individual reading time for 20 minutes. Prior to
class, students were assigned to read the article, “Writing Voice: What it means & How to Find
Yours,” by Tucker Max)
1. After greeting students and after they have been seated, ask them what they think identity
is. Ask students what factors define a person’s identity. Lead students to the following
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points: personality, race, ethnicity, culture, family, religion, values, physical attributes,
gender, sexuality, life experience, education, intelligence, health, talents and skills,
strengths and weaknesses, personal potential, hobbies, interests, etc. Write these points on
the white board as students say them aloud, and have students write them down in their
notebooks. Ask students if they know what self-identity is. After hearing students’ ideas,
inform them that self-identity is an individual’s understanding of themselves, their
potential, and their place in the world (10 minutes).
2. Ask students if they know what writer’s voice is. Students were assigned to read an
article on writer’s voice, What is Voice in Writing? [& How to Find Yours] (scribemedia.com),
prior to class, so they should be able to respond with an answer something like “writer’s
voice reflects a writer’s personality, beliefs, experiences, and how they see the world.”
Inform students that throughout the book, The Poet X, Xiomara has a very developed
writers voice and uses poem writing to discover who she is, her potential, and her place in
the world. Ask students to open their books to page 126. Ask students to read the
following poem to themselves: “Rough Draft Assignment 2—Last Paragraphs of My
Biography.” After students have read the poem, ask for a volunteer to read the poem
aloud. Ask students what we know about Xiomara’s identity based on her biography
poem. (10 minutes).
3. Show students the Writer’s Voice PowerPoint. Read and comment on each slide as you
go through the PowerPoint and ask students if they have any thoughts or questions about
the information presented. In their notebooks, have students write a brief description of
writer’s voice and how tone and word choice contribute to writer’s voice (20 minutes).
4. Arrange students into groups of three or four. Provide each student with a copy of the
handout “Some Common Tone Words with their Meanings.” Have students work
together in their groups to determine Xiomara’s tone in the poem “Rough Draft
Assignment 2—Last Paragraphs of My Biography.” Have students use the handout to
help them identify Xiomara’s tone. Ask students to identify strong words that Xiomara
uses to demonstrate her tone and that reveal her writer’s voice. After students have been
working for ten minutes, ask each group to volunteer answers regarding Xiomara’s tone
and the strong words she uses (15 minutes).
5. Have students work independently. Ask them to open their Poetry journals and free write
a rough draft for a biography poem about their own identity using Xiomara’s poem as a
guide. When discussing who they are, their potential, and their place in the world, have
students think about the features of identity discussed earlier in class and that they wrote
down in their notebooks. Remind students to establish a tone and to use strong
descriptive words in their writing. Students can use the handout, “Some Common Tone
Words with their Meanings,” to help them with this part of their writing. Remind students
that their draft is due at the beginning of the next class period, Friday April 16th, and the
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final draft is due on Monday April 19th. Inform students that this poem will be included
in their portfolio (15 minutes or remainder of class).
Differentiation:
Gifted and Talented: Because of the nature of the assessment, a personalized biography poem
demonstrating writer’s voice, tone, and word choice, the activity needs little modification for
gifted and talented students. Students can write poems as long and as detailed as they desire—
there is not a length requirement for this activity. Students can also use a format other than free
verse for their poems. Students can use the handout with the list of words if they desire, or they
can find and use their own words.
ELL students: Some parts of this lesson may be difficult for ELLs. They may have trouble
identifying tone because it is deeply linked to culture. To assist ELLs who may be struggling, the
teacher can work with these students independently or while they are working with their
classmates in groups (step 4). The teacher can use the handout to help students identify tone.
ELLs may also struggle identifying and using descriptive words. While students are freewriting
their drafts, the teacher can work independently with students to help them include descriptive
words, and synonyms of words with general meanings, in their writing. If students need
additional help, the teacher can set up a time the following day or week to work more extensively
with them. ELLs can be given additional time to complete the draft and/or the final draft of the
poem, as needed.
Citations:
Acevedo, Elizabeth. “Rough Draft Assignment 2—Last Paragraphs of My Biography.” The Poet
X. Harper Teen, 2018, p. 126.
Brits, Leona. “Writer’s Voice: What Is It and How to Find Yours.” The Writing Cooperative, 2
Jul. 2018, Writer’s Voice: What Is It and How to Find Yours. | by Leona Brits | The
Writing Cooperative
Dobson, Andrew. “Who am I? Self Identity – How to Build Personal Character.” Mindfit
Hypnosis, 4 Mar. 2020, What is Self Identity? Understand the "Who am I"? Question
(mindfithypnosis.com)
Gardner, Rachelle. “The Writer’s Voice.” Gardner Literary, 13 Nov. 2018, The Writer's Voice -
Rachelle Gardner
Glatch, Sean. “The Importance of Word Choice in Writing.” Writers.com, 24 Aug. 2020, The
Importance of Word Choice in Writing | Writers.com
Max, Tucker. “Writing Voice: What it Means & How to Find Yours.” Scribe Media, 2021, What
is Voice in Writing? [& How to Find Yours] (scribemedia.com)
“TONE Words: List of 300+ Useful Words to Describe TONE of the Authors.” ESL Forums,
uploaded by The English Teacher, 9 Mar. 2019, TONE Words: List of 300+ Useful
Words to Describe TONE of the Authors - ESL Forums
Attachments:
● “Some Common Tone Words with their Meanings” handout
56
● PowerPoint “Writer’s Voice”
57
Week Two - Day 10 - WL
Title: Line breaks and Stanzas
Length: This lesson will take 45 minutes of the 90 minute block class.
Grade: 11
Standard(s) Addressed:
11.5.5.5: Analyze how an author’s choices concerning how to structure specific parts of a text
(e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic
resolution) contribute to its overall structure and meaning as well as its aesthetic impact.
Materials:
● The Poet X book
● Line Breaking Concepts Prezi
● Line Breaking Analysis Worksheet
Objectives:
At the end of the lesson, students will be able to:
1. Define the different aspects of line breaks while implementing textual examples. (line
breaks, stanzas, enjambment, end-stop, capitalization, and savory vs bland line endings).
2. Analyze how the poets use line breaks and stanzas to contribute to the poem’s overall
structure and meaning.
Assessment:
Exemplary:
(Obj. 1) An exemplary definition of the line break concepts cover the underlined details
in the definitions listed in the “Vocabulary” section below. Examples of each aspect are provided
and are clear and direct models of the concept.
● (Ex: “He spends the entire time / playing chess on his phone” is an example of
enjambment (176).)
(Obj. 2) An exemplary analysis discusses how Acevedo’s use of the line breaking
concepts creates meaning and structure to her poetry. The analysis descriptively explains what
affects the concept they chose adds to the poem, incorporating references to the text.
● Ex: Acevedo uses the line breaking concept of stanzas in “What We Don’t Say” to build
meaning and structure to her poem. In the poem, she has seven stanzas to break up her
thoughts. When Acevedo makes a new stanza, she provides little snapshots of the
moment she is describing between Twin and herself. By separating the lines, “He spends
the entire time / playing chess on his phone,” into its own stanza, it shows separation
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between Twin and Xiomara, as well as distancing Twin from the situation that is
currently taking place. The breaking up of thoughts into stanzas in this poem also shifts
view between what Xiomara experiences physically, through sight and sound, and
emotionally, what she feels internally. Acevedo’s use of stanzas in “What We Don’t Say”
creates meaning by adding separation and distance to the poem.
Proficient:
(Obj. 1) A proficient definition of the line break concepts cover a majority of the
underlined details in the definitions listed in the “Vocabulary” section below but miss a couple
key points. Examples from the text of each aspect are provided, though some models are
ambiguous and could be stronger.
(Obj. 2) A proficient analysis discusses how Acevedo’s use of the line breaking concepts
creates meaning and structure to her poetry. The analysis explains what affects the concept they
chose adds to the poem, incorporating references to the text, but the rationale could be stronger
with more explanation and/or detail.
Developing:
(Obj. 1) A developing definition of the line break concepts cover only some of the
underlined details in the definitions listed in the “Vocabulary” section below and are missing
multiple key points. Some examples from the text of each aspect are provided, though the
models are missing, incorrect, or ineffective.
(Obj. 2) A developing analysis discusses Acevedo’s use of the line breaking concepts but
does not discuss much about how the concept creates meaning and structure in her poetry. The
analysis explains what affects the concept they chose adds to the poem, incorporating references
to the text, but the rationale only scratches at the surface and lacks depth or discussion.
Inadequate:
(Obj. 1) An inadequate definition of the line break concepts misses a majority of the
underlined details in the definitions listed in the “Vocabulary” section below. Occasional
examples from the text of each aspect are provided; these models are missing, incorrect, or
deficient.
(Obj. 2) An inadequate analysis discusses Acevedo’s use of the line breaking concepts
but does not discuss how the concept creates meaning and structure in her poetry. The analysis
does not explain what affects the concept they chose adds to the poem. The analysis may
incorporate references to the text, but the rationale is missing and the overall analysis lacks
discussion or depth.
Vocabulary
● Line Breaks: Purposefully chosen divisions (or breaks) that create structure and meaning
to a poem.
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● Enjambment: When a line break ends without punctuation.
● End-stop: When a line break ends with punctuation.
● Stanza: Is a block of text, like a paragraph, in a poem.
● Capitalization: There are no rules regarding if capitalization of each line is required, but
capitalizing each line can change the meaning or how the poem reads.
● Savory vs Bland Line Endings: We want savory words, which hold a lot of meaning to end
the line and not bland words, which are weak and don’t hold a lot of strength to end the
lines.
Procedure:
1. This mini-lesson goes over line breaks and different concepts when it comes to breaking
up poetry. Begin by shifting gears from the reading to a presentation on the different
terms that fall under line breaking. Using “The Shit & the Fan” on page 192, discuss the
terms in the Line Breaking Concepts Prezi. There are examples of each term found within
the poem. As well, this poem is a clearer example to use for the students. Have students
turn to page 192 as you set up the presentation. (5 minutes)
2. Go through the Line Breaking Concepts Prezi and discuss the different terms and relate
them to the poem, “The Shit & the Fan,” on page 192. Show the students, with each
concept, how Acevedo uses that concept in the poem and what difference it makes, why
does she use it, and how it creates structure and meaning. (This is to scaffold and help
them with their own analysis later.) (25 minutes)
3. After presenting the different concepts of line breaking, discuss the two poems, “Ants”
and “I Am No Ant,” on pages 198 and 202. Allow an open, unguided whole-classroom
discussion on what students think about Acevedo’s use of the concepts we learned today.
This is to help them think about a less standard or extreme example of line breaking
concepts. (10-15 minutes)
4. There is a handout/assignment for the students on these concepts that they are free to
work on either during the rest of class or over the weekend that is due at the beginning of
the next class period. (Remaining class time)
Psychology:
Sexuality is an aspect of psychology that is gaining more prevalence and attention in the field
today. It is a constant debate of nature vs nurture. It is a fundamental drive that connects us to
others both emotionally and biologically. In The Poet X, we see these aspects of sexuality in
Xiomara through Twin’s relationship, Xiomara’s sexual awakening with Aman, as well as her
feelings of guilt and shame when sided with her mothers strong sense of religion.
Differentiation:
Gifted and Talented: Gifted students could choose a harder poem to analyze for their assignment.
They could provide a deeper analysis beyond what they are expected to, even writing a paper or
60
essay, rather than filling out the worksheet. They are encouraged to write in their journals with
these concepts in mind to develop strong poetry, where they can exercise lots of creative
liberties.
ELL: To make sure the student is understanding the content, the teacher or a para may want to
help the student work on the assignment during the spare 25 minutes to address and questions or
concern the student had. The concepts of line breaking are mostly concrete, although the reasons
and effects the concepts have on the poetry may cause difficulty. Reading aloud more examples
of different aspects (both good and bad) can provide more auditory understanding of why certain
concepts are used one way and not another. As a means of implementing this in the student’s
own writing, the teacher may encourage the student to write a paragraph on one of the themes
this week (relationships or sexuality). After writing their paragraph, they can break up the lines
in different ways to see how the different line breaks create different moods, sensations, and
meanings.
Citations:
Lesson inspired by LitCharts, “Line Break.”
Atwell, Nancie. “Breaking Lines and Stanzas and Punctuating.” Lessons That Change Writers,
Heinemann, 2002, pp. 132-135.
Bergman, Bennet. "Line Break." LitCharts, LitCharts LLC, 5 May 2017,
https://www.litcharts.com/literary-devices-and-terms/line-break. Web. 17 Apr 2021.
Attachments:
● Line Breaking Concepts Prezi ( https://prezi.com/view/Mdn1fVvP2SVUXAfKtk9j/ )
● Line Breaking Analysis Handout
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Week Three - Day 11 - SH
Title: Memoir Poems
Length: This lesson will take 70 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.7.3.3 Write narratives and other creative texts to develop real or imagined experiences or
events using effective technique, well-chosen details, and well-structured event sequences.
d. Use precise words and phrases, telling details, figurative and sensory language to convey a
vivid picture of the experiences, events, setting, and/or characters.
Materials:
● Document camera
● Copies of The Poet X
● Writing utensils
● Writing journals
● Nancie Atwell’s “Questions for Memoirists,” and copies of “The Perfect Cake,” a
memoir poem example from Nancie Atwell’s Lessons That Change Writers
Objectives:
At the end of this lesson, students will be able to:
1. Create a memoir poem that includes well-chosen details using Nancie Atwell’s
“Questions for Memoirists” as inspiration for information about their lives.
Assessment:
The teacher will use formative assessment by evaluating the poems the students have created.
They will be looking for relevance to the question picked and personal facts about the student’s
life.
Exemplary: An exemplary creation shows relevance to the question that the student picked to
answer. It will be long enough that the teacher can grasp the information that is given about the
student’s life and not too short that meaning is lost. The detail given is well-chosen and specific
to the event they are describing. The poem is clearly focused on the student themselves and not
someone else. An exemplary poem is one that moves the teacher and that has extensive
knowledge in poetry writing and the writing of memoirs.
Proficient: A proficient creation is relevant to the question that the student picked to answer. It is
long enough to understand what they are saying and not too short that meaning is lost. The poem
is focused on the student’s life. A proficient creation answers the prompt appropriately with a
62
good amount of detail, but the teacher would need more information about their answer than
what was written in order to get a clear grasp of what they are trying to say.
Developing: A developing creation is not relevant to any of the prompts the students had to pick
from, and it is unclear what prompt the student chose to write about. The poem may be too short,
which causes there to be not enough detail for the teacher to understand the poem they’re
writing. The organization may also not make sense, causing the teacher difficulty to understand
the story they’re telling in the poem. A developing creation does not sufficiently answer the
prompt but does attempt to give a response. The teacher is unable to clearly see what the student
is trying to tell the reader.
Inadequate: An inadequate creation fails to complete any of the prompts provided to the student.
The poem is either too short for the teacher to understand the writer's point or the poem is
nonexistent. The creation may be present, but the teacher is unable to understand what the
student is saying or how it connects to any of the prompts offered to the students. An inadequate
creation is missing the key elements of the assignment or lacks detail needed for the teacher to
understand their points. It fails to show any understanding of poetry from the student.
Procedure:
(There will be a 10 minutes discussion before the lesson begins)
1. Introduction (15 minutes)
Show students the poem “Explaining My Depression to My Mother” Sabrina Benaim (Sabrina
Benaim - Explaining My Depression to My Mother). Let the students listen to Sabrina recount
the conversation with her mom about her depression. After the video is finished, the teacher will
have the students brainstorm a few hard conversations they’ve had with their parents and draft a
poem about it in their writing journal.
2. Using Poet X to show personal experiences Xiomara used (5 minutes)
The teacher will have the students open to page 108 in The Poet X. The teacher will ask the
students what they think of this interaction between Xiomara and her mother and what it says
about their relationship. The teacher will then point out that in a lot of Xiomara’s poetry, she is
sharing personal events in her own life, like the spoken word poetry they just watched. The
teacher will then introduce memoirs and ask if the students know what they are.
3. Instruction on memoirs/modeling (15 minutes)
The teacher will then pull out a copy of an example memoir poem from Nancie Atwell’s Lessons
That Change Writers. They will put “The Perfect Cake” (160) on the document camera and go
over the writing with the students. The class and the teacher will look for details of the writer’s
life and discuss that memoirs include personal experiences that really happened to the writer
themselves. The teacher will then explain that the students will be expected to write a memoir,
but in a poem form instead. The teacher will pull out “Nancie Atwell’s “Questions for
Memoirists” and put it up for the students to all see. The teacher will then select one of the
prompts in front of the students and write a poem that fits the prompt chosen. The teacher will
walk the students through their writing and ask for input/questions when they arise.
4. Small group brainstorming (10 minutes)
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The teacher will then put the students into small groups and ask them to look at the “Questions
for memoirists.” They will discuss/write down possible prompts that they could pick and ideas
they have for them. The goal is to have each student pick at least 2 prompts and write the
experience that fits the prompts they chose.
5. Independent work time (25 minutes)
After the students have brainstormed, they will return to working on their own to write their
memoir poems. As the students work, the teacher will walk around and observe/give guidance if
needed.
6. Conclusion
Towards the end of the work time, the student’s attention will be called back to the teacher. The
teacher will ask them what they’ve learned from the lesson today. Possible answers will include
how to write about themselves or what a memoir is. The teacher will listen to their answers and
respond appropriately. The teacher will add that for their final summative assessment, students
will be expected to write about themselves, and this assignment is a good activity that will enable
them to do the final assessment more effectively.
(after the lesson, students will be given 10 minutes to work in their journals)
Differentiation:
Gifted and Talented: The lesson outlined above will allow for gifted and talented students to
work at their own level for the most part. Their writing is their own and done independently.
Gifted and talented students could be encouraged to pick prompts that may require more thinking
in order to create a poem from them. By doing this, the teacher is able to challenge them without
assigning extra work to them. The teacher could also remind gifted and talented students that
while they are brainstorming together, the students will not be sharing their work with one
another. Mentioning this to gifted and talented students may make them more willing to write
what they really feel, as the embarrassment of sharing with their peers is eliminated.
ELL: ELL students may benefit from being able to write poems in their native language or that
include their native language. The poems are about them, and their language is an important part
of them. Xiomara often uses Spanish in her poems to add her identity to them, ELL students
should be encouraged to do the same. Examples can be pulled from The Poet X that include
Spanish as an example for ELL students if they wish to incorporate their native language into
their poems. Highlighted notes will also be provided to ELL students during instruction, so they
are able to see the important pieces of the lesson and retain the information that is of the most
importance instead of things that may not be important to their future work. The small groups
that ELL students are put in will also be carefully decided. They will be put with people who are
willing to speak slower and repeat if necessary. The teacher will put ELL students with other
students they are comfortable with, so they are more apt to participate in discussion. When
giving whole group instruction, the teacher will also speak clearly and repeat important
information, so all students have the opportunity to hear and understand them.
Citations:
Atwell, Nancie. “Memoir Poems.” Lessons That Change Writers, Heinemann, 2002, pp.158-160.
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“Sabrina Benaim - Explaining my Depression to my Mother.” YouTube, uploaded by
Button Poetry, 20 Nov. 2014, https://youtu.be/aqu4ezLQEUA
Attachments:
● “Questions for Memoirists” handout
● “A Perfect Cake” poem handout
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Week Three - Day 12 - WL
Title: Poetry Forms & Impromptu Speeches
Length: This lesson will take 60 minutes of the 90 minute block class.
Grade: 11
th
Standard(s) addressed:
11.4.5.5 Analyze how an author’s choices concerning how to structure specific parts of a text
contribute to its overall structure and meaning as well as its aesthetic impact.
11.9.6.6 Adapt speech to a variety of contexts, audiences, tasks, and feedback from self and
others, demonstrating a command of formal English when indicated or appropriate.
Materials:
● Poetry forms list (for speech selections)
● Computers and projector
● Student’s choice in what fashion they take notes
Objectives:
At the end of this lesson, students will be able to:
1. Present an impromptu speech to inform an audience.
2. Outline different types of poetry forms and their features by taking notes.
Assessment:
Exemplary:
(Obj. 1) An exemplary outline of the different types of poetry forms details each of the
poetry forms presented in class. The outline accounts for each poetic form’s name, definition,
traits/rules, and examples.
(Obj. 2) An exemplary presentation of an impromptu speech demonstrates the speaker
knew their topic and what they wanted to say. The speech is informative and focused, providing
a definition of the poetry form, traits of the form, and examples of the form. Delivery is clear,
understandable, and direct.
Proficient:
(Obj. 1) A proficient outline of the different types of poetry forms details each of the
poetry forms presented in class. The outline accounts for each poetic form’s name, definition,
traits/rules, and examples, though some minor details are missing.
(Obj. 2) A proficient presentation of an impromptu speech demonstrates the speaker
knew most information about their topic but wasn’t always sure what they wanted to say, but
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their slip-ups were few or nearly unnoticeable. The speech is informative but a bit scattered and
provides a definition of the poetry form, traits of the form, and examples of the form. Delivery
was clear with a few spots of awkwardness or moments of trying to collect thought or what to
say, but the speech was not distracting or difficult to follow or watch.
Developing:
(Obj. 1) A developing outline of the different types of poetry forms details each of the
poetry forms presented in class. The outline accounts for each poetic form’s name, definition,
traits/rules, and examples, though some major details are missing.
(Obj. 2) A developing presentation of an impromptu speech demonstrates the speaker had
not known enough about their topic and had a hard time figuring out what needed to be said. The
speech is a bit difficult to follow and provides a majority of the following: a definition of the
poetry form, traits of the form, and examples of the form. Delivery was messy and hard to
follow, but the student provided most of their information and was able to share it, even though it
was a little awkward or clumsy.
Inadequate:
(Obj. 1) An inadequate outline of the different types of poetry forms details some of the
poetry forms presented in class but is missing some entirely. The outline accounts for each poetic
form’s name, definition, traits/rules, and examples, though some are missing entirely.
(Obj. 2) An inadequate presentation of an impromptu speech demonstrates the speaker
does not know much about their topic and can’t figure out what needs to be said. The speech is
lacking in information and provides less than half of the following: a definition of the poetry
form, traits of the form, and examples of the form. Delivery was illogical or completely
unstructured with no real structure or development of ideas.
Procedure:
1. Begin class and the lesson by asking students what they know about poetry forms or if
they can name any specific types of poetry forms. Have a small discussion on the topic of
poetry forms to determine what the students know. (5 minutes)
2. Although The Poet X is mostly written in free-verse, poetry that doesn’t have a strict form
or adheres to a set of rules, she does have a few poems that follow a form. There are
Haikus on page 27 and 265, a prose poem on page 248 (or really any of the assignment
pages she writes), and anaphoras on pages 123, 148, 310, 311, and 323. Go through these
examples with the students. (10 minutes)
3. Have students partner up for the class activity. In groups of two, they will each pick from
a list of poetry forms either by drawing out of a hat or randomly selecting one in some
way. They will research the form that they have randomly chosen. They will need to find
a definition, a list of traits or rules for their form, a few examples of their form. (They
will not know at this point that this is preparation for an impromptu speech.) (20 minutes)
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4. Once students have gathered their information, start having students present their poetry
form to the class.
a. Partners will split up the presenting so one presents a couple points, and the other
presents a couple points. They can either stand at their desks or at the front of the
room. As the teacher, you may guide the students through this by asking them for
the parts they miss, as they won’t have any idea they will be doing an impromptu
speech (since they tend to be off the cuff anyway). They will need to give the
name of their form, the definition, the traits or rules, example poems that use that
form. Speeches should only take about a minute per speaker (or about two
minutes, if that, for each pair of students).
b. Students who are not speaking should be taking notes from their peers. These
students should be recording the name of the form being spoken about, the
definition, the traits or rules, example poems that use that form. Students will
want these notes for their poetry journals for their own personal writing, as they
will want to try to use at least one form in their journals. (25 minutes)
Differentiation:
Gifted and Talented: These students may want to find a form that is harder to understand like
sestinas, villanelles, or a rondeau. They are also encouraged to use these different forms in their
poetry journals to creatively incorporate what they’re learning.
ELL: Have the student pair up with someone who works well with this student. Although they
may have difficulty finding the information and compiling it, they may be comfortable
presenting the information instead. This can give the student an opportunity to participate in the
activity. As well, incorporating some of these forms into the poetry journals would solidify
understanding of these forms.
Citations:
Inspired by Ron Padgett’s The Teachers and Writers Handbook of Poetic Forms, Teachers &
Writers Collaborative, Ed. 2, 2007.
Consulted source: Kemp, A. C. “6 Tips for Teaching Impromptu Speaking.” TESOL Blog,
TESOL International Association, 25 Feb. 2021, blog.tesol.org/6-tips-for-teaching-
impromptu-speaking/.
Attachments:
● List of Poetry Forms
● Impromptu Scoring Sheet
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Week Three - Day 13 - KK
Title: Post-Reading Activity/Poetry Day
Length: This lesson will take 65 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.1.5.2 Evaluate the impacts on meaning and appeal of the author's choices concerning
structuring the text, including how specific parts of the text interact with each other and
contribute to the whole.
11.1.8.1 Analyze the cumulative impact of specific word choices on meaning, mood, and tone of
literary text. (e.g., how the language evokes a sense of time and place; how it sets a formal or
informal tone).
Materials:
● Poetry journals
● Class set of The Poet X novels
● Elmo/projector and laptop
● Chrome books
● Coloring utensils
● Sticky notes
Learning Objectives:
At the end of this lesson, students will be able to:
1. Evaluate the deeper meanings and themes in The Poet X.
2. Analyze the effect of poetry in The Poet X.
Assessment:
Students will be assessed based on the poems/six word stories they turn in and their journal
entry.
Exemplary:
(Obj. 1) An exemplary evaluation displays a clear understanding of the themes in The
Poet X through the poetry they write. Exemplary poems/six word stories are easily identifiable as
coming from the character Xiomara’s viewpoint and use diction and anecdotes reflecting the
main ideas of the student chosen themes.
(Obj. 2) An exemplary analysis of the effect of poetry in The Poet X is seen through
students' contribution to the group discussion and the journal prompt. Students' verbal response
uses a perfect amount of textual evidence to support their stance and contributes to the class
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discussion in a manner that furthers deeper thinking of the text. Likewise, students written
analysis addressing the question “Why Poetry?” uses textual evidence to support their stance in
addition to personal reflection of their personal experience with poetry, specifically, how it has
grown, evolved, or changed during this unit.
Proficient:
(Obj. 1) A proficiency evaluation displays understanding of the themes in The Poet X
through the poetry they write. Proficient poems/six word stories are identifiable as coming from
the character Xiomara’s viewpoint and use diction or anecdotes reflecting the main ideas of the
student chosen themes.
(Obj. 2) A proficient analysis of the effect of poetry in The Poet X is seen through
students' contribution to the group discussion and the journal prompt. Students' verbal response
uses an acceptable amount of textual evidence to support their stance and contributes to the class
discussion. Likewise, students written analysis addressing the question “Why Poetry?” uses
textual evidence to support their stance and/or personal reflection of their experience with poetry,
specifically, how it has grown or changed during this unit.
Developing:
(Obj. 1) A developing evaluation shows some understanding of the themes in The Poet X
through the poetry they write. Developing poems/six word stories are not easily identifiable as
coming from the character Xiomara’s viewpoint with an ambiguous narrator. Students poems/six
word stories use little diction and/or few anecdotes reflecting the main ideas of the student
chosen themes.
(Obj. 2) A developing analysis of the effect of poetry in The Poet X is seen through
students' contribution to the group discussion and the journal prompt. Students' verbal response
uses few quotes/textual evidence to support their stance and contributes little to the class
discussion. Likewise, students written analysis addressing the question “Why Poetry?” uses little
to no textual evidence to support their stance and little to no personal reflection of their
experience with poetry, specifically, how it has grown or changed during this unit.
Inadequate:
(Obj. 1) An inadequate evaluation shows no understanding of the themes in The Poet X
through the poetry they write. Inadequate poems/six word stories are not identifiable as coming
from the character Xiomara’s viewpoint. Students poems/six word stories use no diction or
anecdotes reflecting the main ideas of the student chosen themes.
(Obj. 2) An inadequate analysis of the effect of poetry in The Poet X is seen through a
students' lack of contribution to the group discussion and little writing or effort applied in the
journal prompt. Students' verbal responses use little to no textual evidence to support their stance
and does not contribute to the class discussion. Likewise, students written analysis addressing the
question “Why Poetry?” uses no textual evidence to support their stance and no personal
70
reflection of their experience with poetry, specifically, how it has grown or changed during this
unit.
Procedure
1. The teacher will begin class by asking students to discuss/work with their pod members
to create a list of at least 5 themes from the reading. The teacher will encourage them to
reread parts of the book, analyze their favorite poems, and talk about the text. (10-15)
2. Next, the teacher will play the video “The Poet X Live Performance.” (6)
a. https://www.youtube.com/watch?v=YH4gIM6TZkQ
3. Once the video has ended, the teacher will ask students to reconvene and add to or tweak
their lists. (5)
4. After, the teacher will begin a discussion asking pod groups one by one to call out their
themes, writing them on the board, not noting repeat ideas. Create a list of the top four
themes, keeping in mind the “why” Acevedo addressed in the video. Ask students what
evidence in the text points to these being main themes? Discuss why. (15-20)
5. Conclude the discussion then tell students April is actually national poetry month! In
honor of such a great month, we will be celebrating by creating our own one line poems,
or, six word stories. Students must each create a one line poem/six word story for each
theme derived from The Poet X discussion. (Students will create four pieces total).
Explain and model the working of one line poems/six word stories. Students will use
their poetry journals to rough draft and create their pieces, then chrome books to type and
print them. Have students write their names on the back of their printed poems. Give
students time to work. (25-30)
a. Prompt students to write from Xiomara’s point of view or their own experience,
keeping in mind each piece must stick with the theme.
b. Hang up signs on each wall of the classroom for each theme.
c. As students complete and print their pieces, have them tap them up in random
spots below the appropriate sign.
d. Hand out sticky notes while students work, answering questions etc as you go.
6. Once each student has hung up their pieces, have them perform a “gallery walk,”
browsing the pieces leaving notes, suggestions, and comments on their peers' work with
sticky notes. (10-15)
7. Conclude the class day by asking students which peer poems stuck out to them and are
these themes important in life? Why or why not? If there is time, have them journal: Why
poetry? Has The Poet X changed any belief you held about poetry or young adult
literature? (Remaining time)
Psychology:
● Note that psychologist Abraham Maslow created a pyramid defining the characteristics
one needs to survive. According to Maslow, “love and belonging” and “safety” are two of
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the five main components. It is believed that we need these to survive. By finding
relatability and trusted friends/family through shared life experience and written word we
fulfill these needs.
Differentiation:
Gifted and Talented: For this lesson plan gifted and talented students will be challenged by the
ability to write to their specific level.
ELL: For this lesson plan ELL students will be provided with the option of having an ELL
teacher to help translate their poems should they choose to write them in their native language or
need help translating figurative language or other specific words. ELL students will also be given
the option of leaving their poems written in their native language with an accompanying
translation for peers. Turn on subtitles in students’ native language if possible for the video.
Citation:
No citations
Attachments:
No attachments
72
Week Three - Day 14 - SH
Title: The Rule of “So What?”
Length: This lesson will take 70 minutes of the 90 minute block class.
Grade: 11
Standard(s) addressed:
11.5.6.6 Determine an author’s point of view or purpose in a text in which the rhetoric is
particularly effective, analyzing how style and content contribute to the power, persuasiveness,
or beauty of the text.
Materials:
● Document camera
● Copies of The Poet X
● Assignment sheet handout
● Writing utensils
Objectives:
At the end of this lesson, students will be able to:
1. Interpret the meaning behind poems that Xiomara has written in The Poet X.
Assessment:
The teacher will use formative assessment through an assignment given to the students after
reading part 3 of The Poet X (p. 223-337). The students will be asked to choose 3 poems that
Xiomara has written and write the “So What?” for them. They are being asked to interpret what
the author means without taking it directly out of the text.
Exemplary: Exemplary interpretations will be concise and will fit the nature of the poem well.
The interpretations accurately describe what Xiomara is saying in the poem without having to
use her exact words. Exemplary interpretations are easily backed up with evidence the reader has
already learned from previous poems that Xiomara has written. The teacher will have no area of
confusion as to why the interpretation has been given to the poem.
Proficient: Proficient interpretations are concise and go well with the nature of the poem. The
interpretations correctly describe what Xiomara is saying in the poem and sometimes use her
own words. Proficient interpretations can be backed up with textual evidence if needed and show
the student’s knowledge of Xiomara and the storyline so far. Proficient interpretations meet the
requirements listed for the assignment but aren't quite elaborate enough that the teacher could
explain the student’s thinking without asking questions.
73
Developing: Developing interpretations are sometimes wordy and lack focus on the main
purpose of the poem. The interpretations may not be accurate or may have trouble being
defended by textual evidence if needed. Developing interpretations may be close to the correct
purpose but may be off a little bit based on what Xiomara has written in the past poems.
Developing interpretations attempt to meet the listed requirements listed for the assignment but
lack clarity for the teacher to fully understand what the student thinks the purpose of the poem is.
Inadequate: Inadequate interpretations fail to address the meaning of the poems the student has
chosen. The interpretations may not give a purpose at all or the purpose doesn’t align with the
poem chosen. Inadequate interpretations would not be able to be backed up by textual evidence
and lack clarity. Inadequate interpretations are missing all or nearly all of the requirements listed
for the assignment and fails to demonstrate to the teacher what the student has learned or
understands about the purpose of the poems.
Procedure:
1. Introduction (5 minutes)
The teacher will begin the topic of purpose by playing “Ode to Thrift Stores” by Ariana Brown.
(Ariana Brown - "Ode to Thrift Stores") After the students listen to the video, they will be asked
to think for a couple minutes what the purpose is and then the teacher will ask a few students to
share.
2. Small group work (15 minutes)
The teacher will then put the students in groups of 3-4. They will direct the students to a couple
poems in part three of the book and ask them to discuss the purpose of them with their peers
(potential poems: pages 254, 331-332, and 338-339). After the students have discussed amongst
themselves, the teacher will have each group share one purpose they determined in one of the
assigned poems.
3. Instruction/modeling (15 minutes)
The teacher will use Nancie Atwell’s rule of “So What?” in order to teach the students the
importance of finding purpose within their own writing. To begin the lesson, today they will only
be finding the purpose in Xiomara’s work. Hopefully looking for purpose in her work will enable
them to create purpose within their own work. The teacher will discuss “So What?” and use the
poem on page 264 to demonstrate how to interpret a poem. The teacher will get out the handout
the students will receive after instruction and fill out the “So What?” for poem number 1 on the
sheet. The sheet will be placed under a document camera, so all students are able to see what the
teacher is writing. After the teacher finishes writing their purpose for the poem on page 264, they
will discuss it with the students and talk about why they think that is the purpose of the poem.
4. Assignment description (5 minutes)
The students will each be given one of the handouts that the teacher used previously in the
modeling portion of the lecture. They will be asked to pick 3 poems from part 3 of the novel and
write the page number, title of the poem, and what they think the purpose of the poem is. The
students will be reminded to think back on previous poems Xiomara wrote and how that may
help them understand what she is saying in the poems they have chosen
5. Independent work time (30 minutes)
74
The teacher will walk around and assist students as they work on their interpretations. They may
offer help with poem selection or ideas but will try to refrain from telling the students what the
purpose is, as they need to discover that on their own in order for the teacher to be able to rely on
the assessment that is being given.
6. Conclusion
Towards the end of the lesson, the teacher will redirect the student’s attention and ask them what
the purpose was of today’s lesson about finding the “So what?” The teacher will listen to the
students' answers and then remind them that this lesson is important to remember when they are
writing their own poetry. If your writing does not have a purpose, you may need to begin a new
piece.
(after the lesson, students will be given the remainder of the class period to free-read)
Differentiation:
Gifted and Talented: A gifted and talented student could benefit from being encouraged to pick
poems that are less explicit about their purpose. The teacher could select a few of the poems that
may be harder to decipher and ask the gifted and talented students to pick from there for at least
1 of their 3 poems.
ELL: An ELL student could benefit from subtitles in their native language during the video
shown at the beginning of class. Another adjustment that could be helpful to them is to place
them in a group for small group work that they’re comfortable with and are able to share their
thoughts without fear of judgement or lack of understanding. The peers with them could be ones
who are able to speak slowly and more clearly if needed so they can understand where the
conversation is going in English. Printed out notes may be helpful to an ELL student as well. The
notes would have the important words/instructions highlighted so the student knows where to put
their focus.
Citations:
“Ariana Brown - ‘Ode to Thrift Stores.’” YouTube, uploaded by Button Poetry, 7 Dec. 2017.
Ariana Brown - "Ode to Thrift Stores"
Atwell, Nancie. “The Rule of So What?” Lessons That Change Writers, Heinemann, 2002, pp.
38-43.
Attachments:
● “So What?” assignment sheet
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Week Three - Day 15 - EB
Title: Spoken Word Preparation
Length: This lesson will take 55 minutes of the 90 minute block class.
Grade: 11
Materials:
● The Poet X
○ “Spoken Word” (76-77)
○ “Holding a Poem in the Body” (79-80)
○ “First Poetry Club Meeting” (256-57)
○ “Nerves” (258)
○ “When I’m Done” (259)
○ “Compliments” (260)
○ “Here” (264)
○ “Signed Up” (277-78)
○ “The Mic is Open” (279-80)
○ “Invitation” (281-82)
○ “Longest Week” (293)
○ “If Your Hand Causes You to Sin” (304-305)
○ “Burn” (308)
○ the last stanza of “Stronger” (343)
○ “Slam Prep” (344-45)
○ “Ms. Galiano Explains the Five Rules of Slam:” (346)
○ “Xiomara’s Secret Rules of Slam:” (347)
○ “The Poetry Club’s Real Rules of Slam:” (348)
○ “Poetic Justice” (349-50)
○ “At the New York Citywide Slam” (353)
● Poetry Group Assignments
● “For the Loud Families” by Tanesha Nicole and Jose Soto
https://youtu.be/KKxxl6upMfo
● “Blue Genes” by Marvin Hodges https://youtu.be/C5HRBib3hNs
● “Lost and Found: An Oral Tradition” by Chibbi https://youtu.be/b6L3y7Ari0Q
Standard(s) addressed:
11.5.3.3 Analyze a complex set of ideas or sequence of events and explain how specific
individuals, ideas, or events interact and develop over the course of the text.
76
Objectives:
At the end of this lesson, students will be able to:
1. Describe the impact of spoken word/slam poetry on Xiomara in Poet X
2. Apply the ideas of spoken word/slam poetry to their own performance
Assessment:
Exemplary:
(Obj. 1) An exemplary description includes two or more ways or reasons that spoken
word/slam poetry is impactful for Xiomara, for example, as an outlet, in regards to her mother, in
regards to other relationships, etc. It uses specific lines and examples to illustrate the impact. The
description and examples are cohesive and thorough.
(Obj. 2) An exemplary performance moves the audience to admiration. Its tone, pacing,
volume, and gestures all align well with the content of the piece and skillfully add to the impact
of the performance.
Proficient:
(Obj. 1) A proficient description includes just one way or reason that spoken word/slam
poetry is impactful for Xiomara. It uses specific lines and examples to illustrate the impact, but
the description and examples are not as cohesive or thorough as at the exemplary level. OR the
description includes two or more ways or reasons that spoken word/slam poetry is impactful for
Xiomara but fails to illustrate the impact through cohesive use of specific lines and examples.
(Obj. 2) A proficient performance is somewhat engaging for the audience. Its tone,
pacing, volume, and gestures generally align with the content of the piece but may be less
skillfully executed than at the exemplary level.
Developing:
(Obj. 1) A developing description includes just one way or reason that spoken word/slam
poetry is impactful for Xiomara. It does not use specific lines or examples OR lines and
examples do not clearly connect to the impact described.
(Obj. 2) A developing performance is minimally engaging for the audience. Its tone,
pacing, volume, and gestures poorly align with the content.
Inadequate:
(Obj. 1) An inadequate description fails to establish any accurate way that spoken
word/slam poetry is impactful for Xiomara. It does not use specific lines or examples OR lines
and examples are unrelated and distract from the impact.
(Obj. 2) An inadequate performance fails to complete the task. Students do not perform
two poems twice and therefore fail to practice applying tone, pacing, volume, and gestures to
their work.
77
Procedure:
1. This lesson will begin with a review of why spoken word/slam poetry matters to
Xiomara. The teacher will pose that question to the class for open discussion. At this
point, the question does not need a lot of discussion. It is mostly to get students thinking
as they will then use Xiomara’s poems to explore this idea further. (5 min)
2. The teacher will split students into groups of 3-4 and assign each group a number that
corresponds with a list of poems they are assigned to review and discuss. The breakdown
of poems per group is listed on the Poetry Group Assignments Sheet (see attachments).
The teacher does not have to use all groups depending on the class size. The students
should reread the poems they are assigned and discuss what they say about Xiomara’s
relationship with poetry. They should find a couple of key lines from these poems and be
prepared to share with the class. If groups feel they have run out of things to talk about
while others are still engaged in discussion, the teacher should assign them additional
poems from the list. (15-20 min)
3. The teacher will call the class back together. One student per group will share out with
the class a couple key lines and why it matters to Xiomara. Students should hit on ideas
such as the importance of having a voice, being heard, expressing one’s own identity, etc.
The teacher will add these ideas if the students leave them out. (5-10 min)
4. The teacher will then show the following performances of three different poems with
different tones and delivery styles: “For the Loud Families” by Tanesha Nicole and Jose
Soto https://youtu.be/KKxxl6upMfo, “Blue Genes” by Marvin Hodges
https://youtu.be/C5HRBib3hNs, and “Lost and Found: An Oral Tradition” by Chibbi
https://youtu.be/b6L3y7Ari0Q. Students will be asked to pay attention to their delivery.
(10 min)
5. After watching all three videos, the class will comment on what they noticed in each of
the various delivery styles. It is important to note that the delivery matched each poem’s
content. The class will brainstorm a list of suggestions for performing spoken word
poetry. The teacher will write this list on the whiteboard so the class can see it and will
make sure to address ideas such as pacing, tone, volume, and gestures if the students do
not come up with them on their own. The students should copy this list into their
notebooks. (10 min)
6. The students have the remainder of the class period to practice performing the poems
they have been writing throughout the unit. They are allowed to pick their own partner or
two (but partners will be assigned if this causes problems). They can disperse throughout
the classroom and into the hallway. They should take turns performing their own poems
and giving each other feedback. The teacher will walk around during this time, listening
in, making sure students are on task, answering questions that arise. Students should each
practice at least two poems at least twice each before they can choose to use whatever
time is left for writing workshop.
78
Differentiation:
Gifted and Talented: Gifted and Talented students may move quickly through the poems they are
assigned, so to avoid boredom, they are welcome to also discuss the poems assigned to other
groups. The teacher should also challenge them to think more deeply about what the significance
of writing and publishing the book would be for Xiomara if she were to know of the book’s
existence. Because students are allowed to pick their own partners for practicing their
performances, gifted and talented students should feel more comfortable with this activity.
ELL: Each group is assigned only three poems to review, so it should not be too overwhelming
for students. Giving them the poems rather than asking them to search the entire book for
references to spoken word poetry will help them focus their discussion. The teacher should also
check in with ELL students during the group work times to answer any questions, clarify things,
and provide them additional support as needed. Because students are allowed to pick their own
partners for practicing their performances, ELL students should feel more comfortable with this
activity.
Citations:
“Chibbi - Lost and Found: An Oral History.” YouTube, uploaded by Button Poetry, 12 Mar.
2021, youtu.be/b6L3y7Ari0Q.
“Marvin Hodges - ‘Blue Genes.’” YouTube, uploaded by Button Poetry, 4 Apr. 2015,
youtu.be/C5HRBib3hNs.
“Tanesha Nicole and Jose Soto - For The Loud Families.” YouTube, uploaded by Button Poetry,
25 Apr. 2021, youtu.be/KKxxl6upMfo.
Attachments:
• Poetry Group Assignments
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1. Look at the title of the book, The Poet X.
a. Discuss with your partner:
i. What do you think the title means?
ii. What do you think it suggests about the book?
iii. What comes to mind when reading the title for the first time?
iv. Why do you think the author chose this title?
2. Look at the cover of the book.
a. Discuss with your partner:
i. What first impressions does the cover give you?
ii. What elements do you see in the cover, do you think any of them will be
important? Why?
iii. What do you think it suggests about the book?
3. The Poet X is classified as a Young Adult book.
a. Discuss with your partner:
i. What do you think the genre “young adult” encompasses?
ii. What age range defines “young adult.”
iii. What are the characteristics of a “young adult” as opposed to a teenager or
“new adult” ?
iv. What do you think “young adult” literature will entail? Why do you think
this?
v. What might you suspect to see in The Poet X? Why do you think this?
4. The Poet X won the 2019 Michael L. Printz. The Printz award is an award that
“recognizes the best titles in young adult literature in a given calendar year.”
a. Discuss with your partner:
i. With this definition and award in mind, what do you think this says about
the content of the book?
ii. Why might it be important?
iii. Do you think you will find connection with the content? Why or why not?
5. Read the back of the book synopsis:
a. “Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood.
Ever since her body grew into curves, she has learned to let her fists and her
fierceness do the talking. But Xiomara has plenty she wants to say, and she pours
all her frustration and passion onto the pages of a leather notebook, reciting the
words to herself like prayers—especially after she catches feelings for a boy in
her bio class named Aman, who her family can never know about. With Mami’s
determination to force her daughter to obey the laws of the church, Xiomara
understands that her thoughts are best kept to herself. So when she is invited to
join her school’s slam poetry club, she doesn’t know how she could ever attend
without her mami finding out. But she still can’t stop thinking about performing
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her poems. Because in the face of a world that may not want to hear her, Xiomara
refuses to be silent.”
b. Discuss with your partner:
i. What do you think the book will be about?
ii. What questions do you have already?
iii. What do you want to know?
6. Content:
a. Without giving too much away, The Poet X deals with heavy topics such as
identity, family, sexuality, and other coming-of-age themes.
b. With this in mind, discuss with your partner:
i. Do you think it is important we talk about heavy topics like these? Why or
why not?
ii. How can these themes be applicable to high schoolers?
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Recommended Poems
The following spoken word poems address the themes with the corresponding markings.
a.
family
b.
religion
c.
gender identity
d.
language
e.
race, ethnicity, nationality
f.
trauma, mental illness
g.
sexuality
●
c. g.
“We find each other in the details” Olivia Gatwood https://youtu.be/7A66iZQXNh4
●
d. e.
“Unforgettable” Pages Matam, Elizabeth Acevedo, and G. Yamazawa
https://youtu.be/Xvah3E1fP20
●
f.
“In Which I Do Not Fear Harvey Dent” Brenna Twohy https://youtu.be/n4MBiH7lNIU
●
a. f.
“Boxes” Asia Raine https://youtu.be/50sjhC0N0q8
● “My Honest Poem” Rudy Fransisco https://youtu.be/dDa4WTZ_58M
●
e.
“You Ask Me What I So You May Know How to Fear Me” Leah Anderson
https://youtu.be/dOaPWl22_Pg
●
d. e.
“Split Mouth” Franny Choi https://youtu.be/BuQNwlecYdk
●
a. b. f.
“Mother’s Prayers” Patrick Roche https://youtu.be/2BfdCPdj8QE
●
f.
“To This Day” Shane Koyczan https://youtu.be/sa1iS1MqUy4
●
a. f.
“The Writer Meets His Father” Patrick Roche https://youtu.be/O6Oaablv4QA
●
a.
“Surplus” Phil Kaye https://youtu.be/UFuycC8RmWE
●
a. f.
“On Grief & Healing” Rob Gibsun https://youtu.be/lhugfG2uAB4
●
a. b. c.
“And I Will Always Be Your Mother” Golden https://youtu.be/n4oEnLpd3F8
●
d. e.
“For The Black Kids In My 8th Grade Spanish Class” Ariana Brown
https://youtu.be/8Nkh3nsy7k8
●
a. c. d. e.
“On (Not) Forgiving My Mother” Chrysanthemum Tran https://youtu.be/K-
snsLLr7nQ
●
c.
“A Letter to the Girl I Used to Be” Ethan Smith https://youtu.be/Lkn06Y8prDU
●
a. b. c.
Lee Makobe Ted Talk Poem https://youtu.be/S8DwxjDrNNM
●
a. c. e.
“Trans/Generation” Alok Vaid-Menon https://youtu.be/iLPwZZjMqyI
●
c. d. e.
“Cognates” Chrysanthemum Tran https://youtu.be/cjIijPxOLrI
●
a. c. f.
“Facts About Myself” Tucker Bryant https://youtu.be/zL0KtVbKqgU
●
e.
“We Never Did This To Be Beautiful” Ariana Brown https://youtu.be/ZacdD5lHQUg
●
a. f. g.
“21” Patrick Roche https://youtu.be/CwvCBfOrHPU
●
c. d. e.
“Transplant” Chrysanthemum Tran https://youtu.be/5wbMug2cXrU
●
d. e.
“Oral Traditions” William Nu’utupu Giles & Travis T. https://youtu.be/r3pslYJjpDo
●
a. c.
“Baby Brother” Javon Johnson https://youtu.be/J_BrSSsiMMo
●
a. c. e. g.
“The Gift” Saidu Tejan-Thomas https://youtu.be/oqVdjgbrpKg
●
c. e. g.
“The Other Black Man” Natasha T. Miller https://youtu.be/tmAFJ9mPY1w
●
a. d. e.
“Unnamed” Porsha Olayiwola https://youtu.be/DwOY0Av2fxk
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Recommended Books Written in Verse
● Brown Girl Dreaming by Jacqueline Woodson
● Inside Out & Back Again by Thanhha Lai
● A Long Way Down by Jason Reynolds
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Thursday, September 20
The Thing about Dreams
When I get to school
I know I won’t be able to look Aman in the face.
You can’t dream about touching a boy
and then look at him in real life
and not think he’s going to see
that dream like a face full of makeup
blushing up your cheeks.
But even though I’m nervous
when I get into bio, the moment
I sit next to him I calm down.
Like my dream has given me
an inside knowledge
that takes away my nerves.
“I’d love to listen to Kendrick.
Maybe we could do it tomorrow?”
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Thursday, September 20
The Thing about Dreams
When I get to school
I know I won’t be able to look Aman in the face.
You can’t dream about touching a boy
and then look at him in real life
and not think he’s going to see
that dream like a face full of makeup
blushing up your cheeks.
But even though I’m nervous
when I get into bio, the moment
I sit next to him I calm down.
Like my dream has given me
an inside knowledge
that takes away my nerves.
“I’d love to listen to Kendrick.
Maybe we could do it tomorrow?”
“Thursday, September 20: The Thing about Dreams.” The Poet X, by Elizabeth Acevedo,
HarperCollins Publishers, 2020, pp. 87.
Alliteration
Assonance
Consonance
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Same Love
Macklemore (2012)
When I was in the 3rd grade I thought that I was gay 'cause I could draw,
My uncle was and I kept my room straight
I told my mom, tears rushing down my face, she's like,
"Ben you've loved girls since before pre-K"
Trippin', yeah, I guess she had a point, didn't she?
A bunch of stereotypes all in my head
I remember doing the math like "Yeah, I'm good a little league"
A pre-conceived idea of what it all meant
For those who like the same sex had the characteristics
The right-wing conservatives think its a decision
And you can be cured with some treatment and religion
Man-made, rewiring of a pre-disposition. Playing God
Ahh nah, here we go
America the brave
Still fears what we don't know And God loves all his children it's somehow forgotten
But we paraphrase a book written 3, 500 hundred years ago
I don't know
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Same Love
Macklemore (2012)
When I was in the third grade I thought that I was gay 'cause I could draw,
My uncle was and I kept my room straight
I told my mom, tears rushing down my face, she's like,
"Ben you've loved girls since before pre-K"
Trippin', yeah, I guess she had a point, didn't she?
A bunch of stereotypes all in my head
I remember doing the math like "Yeah, I'm good a little league"
A pre-conceived idea of what it all meant
For those who like the same sex had the characteristics
The right-wing conservatives think its a decision
And you can be cured with some treatment and religion
Man-made, rewiring of a pre-disposition. Playing God
Ahh nah, here we go
America the brave
Still fears what we don't know And God loves all his children it's somehow forgotten
But we paraphrase a book written 3, 500 hundred years ago
I don't know
Alliteration
Assonance
Consonance
Rhyme
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The Raven
Edgar Allen Poe (1845)
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
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The Raven
Edgar Allen Poe (1845)
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
Alliteration
89
Through Three Cheese Trees…
Dr. Suess
“Through three cheese trees three free fleas flew. While these fleas flew, freezy breeze blew.
Freezy breeze made these three trees freeze. Freezy trees made these trees' cheese freeze. That's
what made these three free fleas sneeze.”
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Through Three Cheese Trees…
Dr. Suess
“Through three cheese trees three free fleas flew. While these fleas flew, freezy breeze blew.
Freezy breeze made these three trees freeze. Freezy trees made these trees' cheese freeze. That's
what made these three free fleas sneeze.”
Assonance
Assonance
91
Stopping by Woods on a Snowy Evening
Robert Frost (1923)
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
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Stopping by Woods on a Snowy Evening
Robert Frost (1923)
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Consonance
93
Alliteration, Assonance, Consonance PowerPoint slides
94
95
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Supplemental Sensory Language Words
Smell Taste Touch Sound Sight
Salty
Spicy
Smooth
Racket
Bright
Greasy
Sour
Cold
Clang
Dull
Buttery
Raw
Cool
Loud
Dim
Sour
Bitter
Rough
Buzz
Colors
Strong
Delicious
Slimy
Croak
Blurry
Rich
Crispy
Hot
Whisper
Towering
Sweet
Strong
Furry
Ruckus
Sparkling
Burning
Hot
Clammy
Bang
Shiny
Bitter
Cold
Moist
Buzz
Reflecting
Fishy
Overwhelming
Steamy
Soft
Shimmering
Chocolatey
Rich
Soft
Booming
Dark
Cologne
Smooth
Shallow
Laughing
Surrounding
Perfume
Creamy
Gooey
Giggling
Glittery
Rainy
Crunchy
Bumpy
Gentle
Shady
Old
Moldy
Vibration
Swift
New
Rubbery
Hard
Scraping
Spicy
Sharp
Silky
Sizzle
Oniony
Gooey
Scaley
Hiss
Stinky
Grainy
Grainy
Howl
Pungent
Solid
Animal sounds
Clean
Wet
Fresh
Spiky
Lemony
Fluffy
Stale
Slippery
Warm
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Sensory Language
Using sensory language is a writing style. Writers use words to evoke sensations and to create
images in readers’ minds. Writers present their emotions, thoughts, and ideas in an inviting way
that involves their readers. Readers feel like they are in the story experiencing events alongside
the characters. Sensory words are strong nouns, verbs, and adjectives. They enable readers to
smell, taste, touch, hear, and see things in the text they are reading. Using sensory language
brings writing to life.
In the chart below, record sensory words that relate to the corresponding sense.
Smell Taste Touch Sound Sight
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99
100
101
“TONE Words: List of 300+ Useful Words to Describe TONE of the Authors.” ESL Forums, uploaded by
The English Teacher, 9 Mar. 2019, TONE Words: List of 300+ Useful Words to Describe TONE
of the Authors - ESL Forums
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103
104
105
106
107
108
109
110
111
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Line Breaking Concepts Prezi Link: https://prezi.com/view/Mdn1fVvP2SVUXAfKtk9j/
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Line Breaking Analysis
Today, we discussed a variety of concepts relating to line breaks. Your assignment is to
choose one poem from Part II of The Poet X and analyze the poem for the concepts from today’s
lesson. (Total of 20 points)
Part I: In your own words, define each of the terms and give a strong example of the concept
from the poem you chose from Part II of The Poet X. (12 points = 2 points per term/concept = 1
point for the definition and 1 points for the example from the book)
Line Breaks:
Stanza:
Enjambment:
End-stop:
Capitalization:
Savory vs Bland Line Endings:
114
Part II: Now that you’ve defined and provided examples for each of the terms related to line
breaking, you will analyze the poem you’ve chosen. In a short paragraph of at least six to eight
sentences, explain how Acevedo’s use of one of the concepts mentioned in Part I creates
structure and/or meaning to the poem. In other words, how does the concept you’re discussing
affect the poem?
I have added some questions to get your mind thinking about the analysis. Please don’t answer
each question individually—they are there to help you think about how to write your analysis
paragraph and what to include if you’re not sure what to write. Make sure you write in paragraph
form and not just listing or answering the following questions.
(8 points = 2 points for choosing a line breaking concept, 2 points for referencing the text, and 4
points for the analysis of how the line breaking concept adds to the poem)
Questions to think about: How did Acevedo’s use of [x] add to the poem? How would the poem
have sounded/felt had she not added [x] to the poem or done it differently? Why is adding [x] to
the poem a good decision as a writer? What does the use of [x] do for the reader’s experience?
115
Questions for Memoirists
• What are my earliest memories? How far back can I remember?
• What are the most important things that have happened to me in my life so far?
• What have I seen that I can’t forget?
• What’s an incident that shows what my friends and I are like?
• What’s an incident that shows what my pet(s) and I are like?
• What’s something that happened to me at school that I’ll always remember?
• What’s a time when I had a feeling that surprised me?
• What’s an incident that changed how I think or feel about something?
• What’s an incident that changed my life?
• What’s a time or place that I was perfectly happy?
• What’s a time or place that I laughed a lot?
• What’s a time or place when it felt as if my heart were breaking?
• What’s a time with a parent that I’ll never forget?
• What’s a time with a grandparent that I’ll never forget?
• What’s a time with a brother or sister that I’ll never forget?
• Can I remember a time I learned to do something, or did something for the first time?
• What memories emerge when I make a timeline of my life so far and note the most important
things that happened to me each year?
© 2002 by Nancie Atwell Lessons
That Change Writers
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The Perfect Cake
The craving, So we tried again, over and
the craving, over,
for a cake with delicious obsessing to reach our goal.
frosting The Second Cake
smeared like snow on a gave us hope.
mountain summit. Its batter of luscious
The First Cake ingredients
was nothing like our vision. cast a sugary scent around
It was square, flat, and the kitchen.
tasteless, Unlike the first
and we had no frosting to this cake rose to the brim of
cover it. the pan.
We sat there We opened the oven door
and stared blankly at our with hopeful expressions,
creation. but with the first bite
“It could be chocolate,” I we knew we had failed.
said hopefully. Again.
But it wasn’t.
Our dream of the perfect
cake
became the perfect
nightmare.
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The Third Cake? We began to feel defeated. Then I moved, knife in
Not quite sure what to call We dreamed of grand cakes hand.
it-- we now suspected would The sliver I shaved was
not vanilla, never exist. small,
definitely not chocolate. The Fourth Cake but it was all I needed to
I looked at it baking in the we approached with mixed tell me
oven: emotions. if this cake was worth our
our third, we stirred vanilla, effort.
possibly the third horrible flour,
failure. eggs, It was.
It emerged poured the batter I smiled.
with a brown layer encasing slow as molasses into the We had succeeded
the hoped-for soft insides. pan, After many tries,
We each took a sliver from and smoothed the surface. Colleen and I reached our
the edges. But our thoughts of the goal:
I prayed perfect cake The Perfect Cake.
for the right taste to explode seemed now like impossible --Audrey Stoltz
in my mouth dreams.
as I uneasily took a bite-- At last it was ready.
a bite of too much flour. We moved slowly,
With expressions of disgust frightened of what might lie
we threw away the third waiting in the oven.
attempt, We placed the cake
the third disappointment. on the table in front of us.
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List of Poetry Forms
Haiku
Sonnet (Shakespearean)
Couplet
Quatrain
Anaphora
Limerick
Concrete
Ballad
Acrostic
Prose poetry
Blackout Poems
Tanka
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Impromptu Speech Scoring Sheet
Name(s): ______________________________________________________________________
Name of poetry form (1 pts): ______________________________________________________
Definition given (2 pts): __________________________________________________________
_____________________________________________________________________________
Traits/Rules (3 pts): _____________________________________________________________
______________________________________________________________________________
____________________________________________________________________________
Examples (2 pts): _______________________________________________________________
_____________________________________________________________________________
Delivery (4 pts): ________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
Comments:
Score: _____ / 12
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Name_____________
Date______________
Period_____________
Poem #1 page number and title: __________________________________________________________
What is the “So What?” of this poem?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
Poem #2 page number and title: __________________________________________________________
What is the “So What?” of this poem?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
Poem #3 page number and title: __________________________________________________________
What is the “So What?” of this poem?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
__________________________________________________________________________________
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Poetry Group Assignments
Group 1:
- “Spoken Word” (76-77)
- “Invitation” (281-82)
- “Poetic Justice” (349-50)
Group 2:
- “Holding a Poem in the Body” (79-80)
- “Longest Week” (293)
- “At the New York Citywide Slam” (353)
Group 3:
- “First Poetry Club Meeting” (256-57)
- “If Your Hand Causes You to Sin” (304-305)
- the last stanza of “Stronger” (343)
Group 4:
- “Nerves” (258)
- “If Your Hand Causes You to Sin” (304-305)
- “Poetic Justice” (349-50)
Group 5:
- “When I’m Done” (259)
- “Longest Week” (293)
- “Burn” (308)
Group 6:
- “Compliments” (260)
- “Slam Prep” (344-45)
- “At the New York Citywide Slam” (353)
Group 7:
- “Here” (264)
- “Signed Up” (277-78)
- “Ms. Galiano Explains the Five Rules of Slam:” (346)
Group 8:
- “Signed Up” (277-78)
- “Xiomara’s Secret Rules of Slam:” (347)
- “Poetic Justice” (349-50)
Group 9:
- “The Mic is Open” (279-80)
- “The Poetry Club’s Real Rules of Slam:” (348)
- the last stanza of “Stronger” (343)
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Peer Review Workshop Checklist:
Your response to your peers should be thoughtful and help them better their work with positive
critique. Carefully read your peers' poems then work through the checklist below, discussing the
work and offering suggestions.
1. Start With What’s Good
Give some positives about your peers' poems: What did you like? What is working well in the
poem? What struck you the most while reading it?
2. Literary and Poetic Elements
Look at the technical aspects of the poem: Is the form consistent? Is there rhythm and/or a rhyme
scheme? Stanza breaks? How does it flow? What is the word play like? Does the poem use
poetic elements like figure of speech, metaphor or simile, symbolism, allegory, imagery,
repetition, or personification? Are there any other elements you can point out? Make some
suggestions for bettering these elements.
3. Poetry Lesson Points
Look for incorporation of the poetry lessons from the unit: How does it use the five
senses/sensory language? Does it effectively employ tone and diction use? Does it incorporate
alliteration, assonance, consonance? Do you understand the poem's general message? What is the
“so what”? Does the ending leave the reader satisfied?
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4. Spoken Word
After reading the poem, discuss: Will this poem translate well into spoken word? What
stanzas/lines/words have the potential to be most impactful when performed? Where could the
voice be articulated for emphasis? Where could hand gestures or changes in body language be
applicable?
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Works Cited
Acevedo, Elizabeth. The Poet X. Harper Teen, 2018.
“Ariana Brown - ‘Ode to Thrift Stores.’” YouTube, uploaded by Button Poetry, 7 Dec. 2017.
youtu.be/PFZJoU44uOo.
Atwell, Nancie. In the Middle: A Lifetime of Learning About Writing, Reading, and Adolescents.
Heinemann, 2015.
Atwell, Nancie. Lessons That Change Writers. Heinemann, 2002.
Beers, Kylene. “Tomorrow is Not Simply Another Day at School.” Kylene Beers, WordPress, 6
Jan. 2021, kylenebeers.com/blog/2021/01/06/tomorrow-is-not-simply-another-day-at-
school/.
Bergman, Bennet. “Line Break.” LitCharts, LitCharts LLC, 5 May 2017,
www.litcharts.com/literary-devices-and-terms/line-break. Web. 17 Apr 2021.
Brits, Leona. “Writer’s Voice: What Is It and How to Find Yours.” The Writing Cooperative, 2
Jul. 2018, writingcooperative.com/the-writers-voice-what-is-and-how-to-find-yours-
ed82f1884984.
“Chibbi - Lost and Found: An Oral History.” YouTube, uploaded by Button Poetry, 12 Mar.
2021, youtu.be/b6L3y7Ari0Q.
Culham, Ruth. Traits of Writing: The Complete Guide for Middle School. Scholastic, 2010.
Dobson, Andrew. “Who am I? Self Identity – How to Build Personal Character.” Mindfit
Hypnosis, 4 Mar. 2020, mindfithypnosis.com/who-am-i-self-identity/.
Gardner, Rachelle. “The Writer’s Voice.” Gardner Literary, 13 Nov. 2018,
rachellegardner.com/the-writers-voice/.
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Glatch, Sean. “The Importance of Word Choice in Writing.” Writers.com, 24 Aug. 2020,
writers.com/word-choice-in-writing.
“How to Write a ‘Where I’m From ‘ Poem.” Pen & the Pad, 12 Jul. 2018,
penandthepad.com/write-where-im-from-poem-4615832.html.
“I Am From Poem.” Freeology, freeology.com/worksheet-creator/poetry/i-am-from-poem/.
Kemp, A. C. “6 Tips for Teaching Impromptu Speaking.” TESOL Blog, TESOL International
Association, 25 Feb. 2021, blog.tesol.org/6-tips-for-teaching-impromptu-speaking/.
“Marvin Hodges - ‘Blue Genes.’” YouTube, uploaded by Button Poetry, 4 Apr. 2015,
youtu.be/C5HRBib3hNs.
Max, Tucker. “Writing Voice: What it Means & How to Find Yours.” Scribe Media, 2021,
scribemedia.com/voice-in-writing/.
Milner, Joseph O., et al. Bridging English. 5th ed., Pearson, 2012.
Oliver, Mary. A Poetry Handbook. Mariner, 1994.
Padgett, Ron. The Teachers and Writers Handbook of Poetic Forms. Teachers & Writers
Collaborative, Ed. 2, 2007.
“Sabrina Benaim - Explaining my Depression to my Mother.” YouTube, uploaded by Button
Poetry, 20 Nov. 2014,
www.youtube.com/watch?v=aqu4ezLQEUA&list=PLC5PJtWBigV2f4TM4Gx7IlPe1um
mqg5jt&index=5.
“Students Reading ‘I Am From’ Poems.” YouTube, uploaded by Aukram Burton, 3 Nov. 2012,
www.youtube.com/watch?v=tmrAa2neiKU.
“Tanesha Nicole and Jose Soto - For The Loud Families.” YouTube, uploaded by Button Poetry,
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127
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