Describes two "found poetry" projects that provide a bridge between verse and prose, and which help students focus on a particular poet or literary character. (MM)

Describes a method of teaching poetry in which students are handed random volumes of poetry and instructed to browse through them, starting with the first poem and not stopping until they find one that engages them. Reports that on average students browse through 22 poems before finding one they like. Gives excerpts from five student responses to…

Asks the reader to try to make sense out of one student's response to Adrien Stoutenberg's poem "Reel One." Presents the student's reading and an analysis of the student's reading. (HB)

Presents the third part of a six-part series in which the authors respond to a ninth grader's first impressions of "Reel One," a poem by Adrien Stoutenburg. Urges readers to participate by reading the student's impressions and reflecting on the student's interpretations. (MM)

Reports on a study that examined the responses of young people to a new poem. Covers the background, procedures, processes, conclusions, and implications of the study. (EL)

Recounts the effective use of unusual teaching methods for poetry: (1) allowing students to read and write about Wordsworth outside on a warm spring day, and (2) asking students to keep a journal while reading the poetry of Hughes. Suggests that these approaches allow students to "bring their own experiences" to the poetry text. (NH)

Defines four kinds of poetry readers: paraphrasers, thematizers, allegorizers, and problem solvers. Recommends an approach to reading a poem that treats the poem as an expansive space in which to romp and play, to explore and travel. Illustrates problem making and lists questions for students. Discusses how to respond by questioning. (PRA)

States that psychological models help shape students' responses to literature. Explains how a Freudian model can be used to explore the meanings inherent in Emily Dickinson's "A Narrow Fellow in the Grass." (MM)

Explains how teachers can use written compilations of student-generated questions and comments as a basis for discussions of novels and poems. Shows that student brainstorming ideas can be used effectively as the basis for writing assignments. (TB)

To encourage creative thinking, high school teacher Kelly Courtney-Smith asked her students for creative responses to Hesse's novel, using a technique she learned from coauthor Michael Angelotti. Students painted or wrote poems interpreting their reading, then responded to the creations of their classmates. The students found that these…

Probes William Wordsworth's relationship to the young reader. Concludes that although many young people today cannot have the direct, immediate experience of nature that overawed Wordsworth, they can, in a room where they sit down together and read a poem, "learn a contemplative solitude--and respond to [a] poem in their individual…

Describes a teacher's personal memories which, when shared with students, helped make the poetry of Wordsworth and Whitman more meaningful. Suggests that for true comprehension of poetry to occur--Romantic or otherwise--teachers must lead students and model from within their own personal connections. (NH)

Describes a unit of study for teaching writing in the context of trying to foster an awareness and compassion among students toward homelessness. Recounts some of the memorable student responses and reactions to the unit. Samples some of the poems written by students as a result of the unit. (HB)

Describes an exercise to elicit student interpretations of Robert Wallace's poem, "Ungainly Things." (MM)

Uses Martin Jamison's "Rivers" to illustrate a reader-response approach to poetry. Describes the process of students creating their own "poems," while analyzing the author's poem. Concludes that this approach encourages the necessary personal connection required for poetic involvement. (JAD)