The Firefly Letters - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY
Engle, Margarita. 2010. THE FIREFLY LETTERS. New York NY: Henry Holt and Company, LLC. ISBN 9780805090826.

2. BOOK SUMMARY
With a chilling introduction, Engle brings the reader into the world of Matanzas,Cuba in 1851, while the slave trade was still widely practiced there.  This novel in verse carries the reader through the story using different perspectives and voices, including those of: Cecilia, Elena, Fredrika, and Beni (Cecilia's husband). The reader learns gradually about the back story of each character, and through the language of the poems, begins to hear each character's voice more clearly.

The book begins with the voice of Cecilia, a slave who was sold to a trader in Africa. She lives as a slave on an estate in Cuba, on which the young lady Elena, daughter of Papa, lives. We hear a third voice from Fredrika, a Swedish woman who would rather have freedom of voice and expression than her wealthy inheritance, and also believes in the equality of all people, and so she goes to the estate in Cuba as a writer. 

Gorgeous language spans the pages of this book; through all of the different voices, we hear unique phrases and observations of the land and the time. In Elena, we hear the language of a slightly spoiled teenage girl: "her own gloomy, sullen,/annoying way" (speaking about Cecilia, pg. 4). She describes Fredrika with disdain, at first: "the Swedish lady/eats like a castaway/right after the long-awaited rescue/from starvation," (pg. 19).

Fredrika offers a fresh perspective, a woman ahead of her time, and with a highly descriptive vocabulary: "there is always the scent/of rotting tropical vegetation,/a smell that releases a bit of sorrow,/like the death of some small wild thing" (pg. 7). The poem highlighted below is also Fredrika's poem.

The author uses a mix of beautiful words, such as cocuyos (fireflies), etc., to enhance the authentic feel and sounds of Cuba.  She portrays some terrifying and grotesque moments, and also moments of astounding beauty.  Most of the poems are around the same length, from one page + one stanza, to sometimes a bit longer.  This lovely verse novel would appeal to independent readers, and would be a great introduction to the author's other, similar works.

3. POEM HIGHLIGHT
The poem that I chose to highlight from this verse novel is below. Written from the perspective of the Swedish lady, Fredrika, it encapsulates the magic of the fireflies at night, and the hope of a better future for the other two main characters.  As an educational follow-up activity, I would have the children imagine writing a poem from someone/something else's perspective (even an animal's or an insect's point of view). What would that voice sound like? What words would that author use, and what would it describe? What could it see that we cannot? How is that animal/person/entity's experience different from ours? After composing the poems, the students could also share aloud, if they chose.


FREDRIKA

Cuban fireflies are the most amazing
little creatures I have ever seen.
They flock to me at night,
resting on my fingers
so that, while I am sketching
and writing letters,
I need no other lantern,
just the light
from their movements.

I skim my hand across the page
while the brilliant cocuyos help me decide
what to write - there is so much to tell.
How can I describe this shocking journey?

I must speak of Cecilia's homesickness
and her lung sickness

and the way her baby 
is doomed to be born
into slavery.

I must describe Elena's loneliness 
and her longing for a sense of purpose.

Somehow, I must show my readers
the bright flowers and glowing insects
that make Cuba's night
feel like morning.

(By Margarita Engle)

The Arrow Finds Its Mark: A Book of Found Poems - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY

Heard, Georgia (Edited by). Compilation copyright 2012. THE ARROW FINDS ITS MARK. Illustrated by Antoine Guilloppe. New York, NY: Roaring Brook Press. ISBN 9781596436657.

2. BOOK SUMMARY

This book answers the question: how is there poetry in everything, all around us? In a fantastic compilation of "found poems," Georgia Heard demonstrates the beauty of the already-written word, ready to be grasped and mingled with other "found writing," in order to create beautiful, insightful poems with original titles. Heard's small anthology of found poems features work from many poets of today with established reputations and a flair for writing with the young reader in mind. Some of the featured poets include: J. Patrick Lewis, Janet Wong, Naomi Shahib Nye, Joseph Bruchac, Marilyn Singer, and many others.

The specific set of guidelines that governed the creation of poems in this collection included the following:  poets were "encouraged not to change, add, or rearrange words," the poems must be created from text that already exists, they may "change punctuation, tense, plurals, and capitalization," and the titles may be original, in order to give "the poems depth and [add] another layer of meaning" (from the Introduction).  The book includes 40 different poems from a variety of poets, including Georgia Heard herself.

Some of the interesting original titles include: "A POEM TO SNEAK ONTO THE WALL OF A SCHOOL LUNCHROOM" (poem found by Patricia Hubbell, pg. 4) and "NICKNAMES IN THE NBA" (poem found by J. Patrick Lewis, pg. 12). The locations of the "found writing" varied immensely, from book titles in a library or on a child's bookshelf, to street signs, a teacher's memo, the dictionary, Facebook, a cleaning supplies container, calendars, speeches, a computer drop-down menu, other artists' work, such as Van Gogh painting titles, and the words of WALDEN POND by Thoreau. 

Here is a sample from the poem, "PLACES I'D LOVE TO VAN GOGH SOMEDAY," found by Bob Raczka: "Field with Poppies/Orchard with Blossoming Plum Trees... The Dance Hall at Arles/Cafe Terrace at Night" (pg. 22). The images are startling and beautiful, especially in this current arrangement.

Another fascinating sample is this one from "A BIRD POETRY READER," poem found by J. Patrick Lewis, from a book about bird songs in the wild: "see-wee...see-it...seedle-ee...see-o-wit...see-yer/oong-k'-choonk, oong-k'-choonk, oong-k'-choonk," (pg. 30). The poem features the bird calls of 19 different birds, and the poem begs to be read aloud and imitated. This poem is onomatopoeia at its best. What a perfect poem for a story time with children, or for an introduction to a science lesson about birds in the wild.

The poems vary in length, anywhere from two lines to two pages or more. This collection would appeal to younger children, up to reading age, and beyond, especially if they have already had some exposure to the authors, as well as anyone who is fascinated by found words or items.  This book proves the point of its challenge- to find poems in the words all around us, literally everywhere we look.

3. POEM HIGHLIGHT 
The poem I would like to highlight from this outstanding collection is the one that caused me to gasp out loud, with delight. It was found by Susan Marie Swanson, in the American Heritage Dictionary, from the first entry for the word "light." As a fun and educational follow-up activity, the children would look in newspapers, magazines, and around the room (at book titles, etc.) to create their own "found poems," with the option of sharing aloud.

THINKING ABOUT LIGHT WITH THE DICTIONARY OPEN

Light
may be
the human eye.
The brightness of a lamp.
Illumination.
Daybreak.
A source of fire or awareness.

Understanding.
A way of looking
set on fire.

(Found poem by Susan Marie Swanson)

Follow Follow - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY
Singer, Marilyn. 2013. FOLLOW FOLLOW. Illustrated by Josee Masse. New York, NY: The Penguin Group. ISBN 9780803737693

2. BOOK SUMMARY
Marilyn Singer created the intriguing form of poetry that appears in this book, called "reverso" poems. Intricately designed and difficult to execute, the lines of poems appear on the page, giving the reader one impression, and on the opposite side, the lines appear in reverse (with minor changes in punctuation and capitalization, if needed) with a completely different meaning, sometimes the direct opposite of the first. With this fascinating concept, bolstered by beautiful, colorful illustrations by Josee Masse, Singer's book offers a fabulous take on some old favorite fairy tales. This book would appeal to very young children, especially those who have had some exposure to the classic fairy tales that are highlighted throughout the book. Adults may also find enjoyment and a nostalgic look back at a new take on their old childhood favorites.

Within each page, the reverso poems offer a contradictory perspective, often with an element of sly humor. For instance, in the first poem, "FAIRY TALES," the reversed lines look like this:
         I.                                             II.
"I beg your pardon-                  "Fairies helped?
fairies helped."                        I beg your pardon!"

The author demonstrates a lot of thought in each line, because it must be considered both backwards and forwards in the stanza. The illustrations spice up the poems and add a lot of winking humor as well, as in "BIRTHDAY SUIT" (based on "THE EMPEROR'S NEW CLOTHES"), where a nearly naked Emperor appears, with his mirrored reflection showing a man clothed in elegant garb.

Throughout FOLLOW FOLLOW, the reader starts to really understand that there are two sides (or more) to every story. This sets a wonderful example for children, especially in learning about perspective and perception. The word choices are phenomenal and sparse, adding to the impressive feat that is accomplished on each page.

"SILLY GOOSE" (based on "THE GOLDEN GOOSE") is a wonderful example of how to approach and appreciate life, based on a positive vs. a negative attitude:

       I.                                                  II.
 "Laugh?                                        "Who can
 I was born to                                be serious all the time?
 be serious all the time."               I was born to 
                                                    laugh."

The author uses a current approach to the poem titles, updating the classics to fit the modern day, such as: "READY, STEADY, GO" (based on "THE TORTOISE AND THE HARE") and "WILL THE REAL PRINCESS PLEASE STAND UP?" (based on "THE PRINCESS AND THE PEA"). And a clear feminist perspective emerges in "THE LITTLE MERMAID'S CHOICE" (based on "THE LITTLE MERMAID"), which is highlighted below.

Playing on the concept of "the other side of the mirror" and "the devil's advocate," Singer offers a new spin on these classic fairy tales, and of course, the final poem is a perfect ending to send the reader off to sleep: "NOW IT'S TIME TO SAY GOOD NIGHT."

3. POEM HIGHLIGHT
The one poem I would like to highlight from this collection, since I can't share them all, is the new take on "THE LITTLE MERMAID," Singer's "THE LITTLE MERMAID'S CHOICE." The classic side appears first, as the Mermaid debates about whether or not to give up her life, and her voice, in order to please her potential mate. The reverso, from a feminist's perspective, offers a contradictory voice that urges the Mermaid to consider what it's worth to give up her home and her talents. 

As an educational follow-up activity, I would use this poem to introduce a learning section (with slightly older children) about meaning of feminism, the feminist movement, and some of the notable written works about it. I would also lead a written reflective assignment in which the readers will think and write about a time that they chose to give up something they cared very much about, and what kinds benefits or disappointments were the result.

THE LITTLE MERMAID'S CHOICE

For love,                                      You'll never catch me
give up your voice.                       playing
Don't                                            "Catch him."
think twice.                                 You can't
On the shore,                               be docile
be his shadow.                              in the unruly sea.
Don't                                            Keep your home.
keep your home                            Don't
in the unruly sea.                          be his shadow
Be docile.                                     on the shore.
You can't                                      Think twice!
catch him                                     Don't
playing                                         give up your voice
"You'll never catch me!"                 for love.

(By Marilyn Singer)                

Another Jar of Tiny Stars - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY

Cullinan, Bernice E. & Deborah Wooten (Editors). 2009. ANOTHER JAR OF TINY STARS. Honesdale, PA: Wordsong, An Imprint of Boyds Mill Press, Inc. ISBN 9781590787267.

2. BOOK SUMMARY

This treasure of a book features poems by 15 poets, all of whom have received the National Council of Teachers of English (NCTE) Award for Excellence in Poetry for Children. A group of students voted from a selection of poems from each author, and the top five from each appear in this collection. The featured poets include: Arnold Adoff, John Ciardi, Barbara Esbensen, Aileen Fisher, Eloise Greenfield, Nikki Grimes, Karla Kuskin, Mary Ann Hoberman, Lee Bennett Hopkins, X.J. Kennedy, Myra Cohn Livingston, David McCord, Eve Merriam, Lilian Moore, and Valerie Worth. 

This book features, in general, a lot of poems about animals, especially cats, school-related topics, and favorite and least favorite foods, all appealing topics for children. Before each author's section, a portrait of the artist and a personal quote introduce the featured poems. At the end of the book, a bit of interesting  background information is presented about each author. Here are a few highlights from this book's noteworthy authors.

David McCord's poems feature funny rhymes and common things that young children like to do, such as climbing trees and playing with sticks, EVERYTIME I CLIMB A TREE (pg. 4). 

Aileen Fisher's CRICKET JACKET (pg. 14) portrays a fantastic image of a cricket shedding his "pinchy jacket" (skin) and hanging it up on "a bracket," since he's growing a new one.

Myra Cohn Livingston writes about delicate subjects, using pleasantly lilting rhymes and stanzas. In KITTENS (pg. 28-9), a mother cat gently carries her newborn kittens "outside to see how nice a winter day can be," with the help of the dog. LEMONADE STAND (pg. 30) presents an interesting stanza arrangement, with the verses appearing in four-line boxes, arranged side by side, allowing the poem to be read and interpreted in several different directions. This author is the master of one well-placed word that enhances the entire poem, such as "the wild waves calling to my ear" in SHELL (pg. 32), as the author describes listening to a conch shell.

John Ciardi, always a laugh-out-loud favorite, presents several hilarious moments throughout the poems featured here. His rhythms are rollicking, humorous, and pleasurable to read, either to oneself or aloud. In MUMMY SLEPT LATE AND DADDY FIXED BREAKFAST (pg. 42), "Daddy" attempts to cook waffles that "looked like gravel pudding" and, on next attempt, "looked like a manhole cover." Ciardi is not afraid to tamper with the number of beats per line (in order to fit his rhyme), which allows some stanzas to be longer or shorter than others within the poem, adding intrigue.

In Valerie Worth's GIRAFFE (pg. 64), the poem is laid out tall and lanky, like its subject. The head, "so high above" seems quite far from the "back, belly,/And legs," with each section of the "body" almost functioning of its own volition.

Eloise Greenfield's poems express music in the rhythms. In ROPE RHYMES (pg. 79), Greenfield demonstrates this amazing use of rhythm with a strong, constant beat that pounds just like the sound of two jumping ropes slapping the ground, especially when spoken aloud. The beat, "bounce and kick and giggle and spin" (and-one and-two and-three and-four) continues through the poem, until the end arrives, and the narrator calls to "jump/right/out!" (pg. 79).

X.J. Kennedy utilizes hilarious stream-of-consciousness thoughts through his poems. In PACIFIER (pg. 85), curiosity gets the best of the narrator, when "Once I picked one up and bit./What do babies see in it?" The poem featured below in the highlight is also by X.J. Kennedy.

Lee Bennett Hopkins uses only a few words to portray an eloquent, whimsical image in CAT'S KIT (pg. 107): "A/Siamese/seamstress" with "pincushiony toes."

3. POEM HIGHLIGHT

The poem I would like to highlight from this masterful collection is MIXED-UP SCHOOL (pg. 86), by X.J. Kennedy. As a fun follow-up exercise, I would lead the group of listeners to an open area where we could explore walking backwards. Afterwards, the students will explore ideas about what other things can be done backwards, and write a collective group poem, in the style of Kennedy, that combines their creative ideas.

MIXED-UP SCHOOL

We have a crazy mixed-up school.

Our teacher Mrs. Cheetah.

Makes us talk backwards. Nicer cat

You wouldn't want to meet a.

To start the day we eat our lunch, 

Then do some heavy dome-work.

The boys' and girls' rooms go to us,

The hamster marks our homework.

At recess time we race inside

To put on diving goggles,

Play pin-the-donkey-on-the-tail,

Ball-foot or ap-for-bobbles.

Old Cheetah, with a chunk of chalk,

Writes right across two blackbirds,

And when she says, "Go home!" we walk

The whole way barefoot backwards.

(By X.J. Kennedy)

Yum! MmMm! Que Rico! - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY
Mora, Pat. 2007. YUM! MMMM! QUE RICO!: AMERICA'S SPROUTINGS/HAIKU BY PAT MORA. Illustrated by Rafael Lopez. New York, NY: LEE & LOW BOOKS, Inc. ISBN 9781584302711.

2. BOOK SUMMARY
Pat Mora's collection of haiku about delectable fruits, veggies, and foods that are found and/or grown in the Americas. Each haiku tells a brief introductory tale about the highlighted food, what it looks like and tastes like, and how it may be prepared and enjoyed. Juxtaposed on the facing page is an explanatory paragraph, detailing the origins of the food, and sometimes featuring its translation into another language (Spanish, French, or Nahuatl, the language of the Aztecs). 

What a delightful journey for the reader, as Mora leads us through descriptions of cranberries, chocolate, potatoes, corn, and many others. In CRANBERRY, the reader is reminded of the first time she saw a cranberry pop, as "scarlet fireworks." The PINEAPPLE haiku is a great example of alliteration with "stiff, spiky hat" and "syrupy rings." 

Sometimes, a Spanish word is infused into the haiku, adding to the musicality of the language. The PUMPKIN grows "under round luna," the perfect image of a huge harvest moon over a pumpkin field. The reader also learns a great deal from the explanatory paragraphs, such as the fact (from PAPAYA) that "a papaya can weigh as much as twenty pounds." This book is highly enjoyable and educational, for very young children especially, as well as children of all ages. It is also an excellent reference for how to write beautiful haiku poems.

The illustrations, by Rafael Lopez, contribute so much magic to the already tangible moments throughout the book. In POTATO, the "salt and pepper clouds" resemble magical fairy dust raining down on the pile of mashed potatoes. The beautiful haiku verse are enhanced by the gorgeous, colorful, artful illustrations.

3. POEM HIGHLIGHT
The poem I chose to highlight from this wonderful collection (from many contenders) is CHOCOLATE. With ooey-gooey-ness oozing from the poem and the image, this choice also allows for many experimental follow-up activities, including samplings of all types of the foods mentioned within, as well as a practice writing exercise in haiku, about favorite treats. Que rico, indeed!


CHOCOLATE

Fudge, cake, pie, cookies.

Brown magic melts on your tongue.

Happy, your eyes dance.


(By Pat Mora)

Bing Bang Boing - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY
Florian, Douglas. 1994. BING BANG BOING. Orlando, FL: Harcourt Brace & Company. ISBN 0152337709.

2. BOOK SUMMARY
With a huge helping of humor, an interesting variety of word play, and rhymes that occasionally feature made-up words, Douglas Florian's book of poems and illustrations is a delight for children of all ages. Playing on some well-known maxims and sayings, Florian takes the thoughts for a spin around the block, and usually ends up somewhere in the realm of absurdity (to the delight of the reader, of course). For instance, in AN APPLE A DAY (pg. 26), as we all know, one will keep the doctor away, but according to Florian, "if you eat eleven/you'll soon go to heaven."

The illustrations, thick pen and ink drawings by Florian himself, are fun and imaginative, allowing the reader a little more insight into the quirky mind of the poet.

The topics cover a broad range of areas that are typically familiar to children, anywhere from strange aunts and uncles, to creepy monsters, to an aversion to vegetables. Occasionally the poems have a surprise at the end, like in CITY RUSH (pg. 39), which is about people rushing to and fro all day through the city: "to places they don't want to be." Moments like these among BING BANG BOING give the reader pause, causing a "huh" moment, and an opportunity for reflection.

The emotional impact and appeal to children is unmistakable, as page after page, the reader finds things that she has probably experienced during her younger years. In WHAT I WANT FOR MY BIRTHDAY (pg. 44), the reader encounters a child with an extremely long wish list. What child, or adult, has not experienced that type of wishful thinking? There is delightful daydreaming while washing the dishes in DELICIOUS WISHES (pg. 52). Florian's wacky sense of humor really lets loose in poems like AN ANACONDA (pg. 62), who finds himself tied in a knot, and "Squares" (pg. 62), in which the poem writes itself all the way around into a square shape. 

There are hints of influence from Shel Silverstein, especially in SOMETHING'S THERE (pg. 127) about a monstrous, mysterious creature in the refrigerator, which is reminiscent of Silverstein's BEAR IN THERE (featuring a polar bear in the fridge). Some poem titles and stanzas almost seem inspired by classic rock songs of the 60's and 70's. For instance, FOG FLUB (pg. 78) begins with: "In the misty morning fog..." just like the line in Van Morrison's song BROWN EYED GIRL. And the title LIFE IN THE GRASS LANE (pg. 93) must be at least distantly inspired by the Eagles' hit song LIFE IN THE FAST LANE.

BING BANG BOING is a successful mix of innocence and at times, innuendo. Probably everyone who has ever taken a bath can admit to wondering about the possibility of there being a shark, lurking beneath the bubbles, as in TROUBLE BUBBLE BATH (pg. 99). And, FATHER SKY AND MOTHER EARTH (pg. 114), while appearing innocent to young readers, contains surprisingly suggestive undertones (and postures) by the illustrated parties: "Your lofty mountains give me thrills." 

3. POEM HIGHLIGHT
The poem I would like to highlight from this fabulous collection is "I Taught My Cat" (pg. 104). The illustration, which features a cat pulled up to a piano on a stool, playing music, is as enjoyable as the poem. As a follow-up educational activity, I would ask the listeners to write brief and funny poems about their own pets, or pets they they know, followed by a session of practiced "meow-ing."


I TAUGHT MY CAT

I taught my cat to play piano,

To ride a bike,

To sing soprano,

To drive, to draw,

To paint, to plow - 

And she taught me how

To meow.


(By Douglas Florian)

Keeping the Night Watch - Book Review

This post was written as a Master's course assignment for Texas Woman's University.

1. BIBLIOGRAPHY
Smith, Hope Anita. 2008. KEEPING THE NIGHT WATCH. Illustrations by E.B. Lewis. New York, NY: Henry Holt and Company, LLC. ISBN 9780508072020.

2. BOOK SUMMARY
This collection of poems by Hope Anita Smith is a fantastic dichotomy of emotions. Divided into two sections, FALL (20 poems) and SPRING (15 poems), the reader experiences a range of volatile feelings emoted by the narrator, "Cameron James Washington III., aka C.J." The poems center around C.J.'s home life and experiences, and the reader feels the tension and anger rising as C.J. copes with the absence of his father. This collection would appeal to anyone, but especially a young teenager, who is dealing with the difficult emotions of living within a broken family environment.

Words flow freely as Smith writes with raw emotion, colloquial language, and a host of recurring "family members" throughout the collection. The FALL section of poems gathers around the negative feelings that C.J. feels as he grows older, bigger, and wiser about the trends associated with the coming and going of "Daddy." Other "family members" in FALL include: Momma, Grandmomma, Byron, and Zuri (siblings). Two additional characters that emerge in the contrastingly light and exciting SPRING section are PREACHER and MAYA (the narrator's love interest).

Recurring themes throughout the collection include instability in the home life, an absent father, and wishing for things that cannot be obtained (likely due to financial strain). In FAMILY COOKING INSTRUCTIONS, C.J. notes: "We are not done in the middle./We need to bake a little longer" (pg. 5), highlighting the imperfections in everyone, and within the family unit itself. The writing is extremely honest and frank, and hints at the essence of someone who has had to accept a lot of responsibility at a young age, and who maintains an air of bitterness.

The tension is palpable in poems like SHOWDOWN AT THE O.K. CORRAL: "I am like a gunfighter in the Old West./I walk around with my words drawn,/ready to fire" (pg. 13), as though the return of the absent father has provoked a scenario where the house is no longer big enough for both C.J. and his father. In IF YOU CAN'T STAND THE HEAT (pg. 16), we really see the potential for explosive behavior, literally stewing: "I am the worst kind of mad.../I'm a pot with the lid on./I keep all my mad inside."

By contrast, the airy and lighter SPRING section of the book begins with MAYA'S SONNET (pg. 43), and later, in TONGUE TIED (pg. 46), the narrator finds himself tripping over his feelings and words when talking to Maya on the telephone: "Fifty-two-word pile up."  The character PREACHER also makes his debut and plays an extremely important, fatherly role to C.J. through the rest of the book, having a greater and much more positive influence on him than DADDY ever does. Humor arrives, with a breath of relief, in BEST-KEPT SECRET (pg. 61-62), regarding exactly what type of present to buy for Maya. There is a thread of hope for reconciliation with DADDY, but it seems far-off, and a long time from the present.

Illustrations by  E.B. Lewis evoke warm feelings and enhance the strong emotions of the language. The colors used are tactile and real in the portraits, and the faces are life-like and expressive.

3. POEM HIGHLIGHT
The poem I would like to highlight from this collection is MOUNTAIN CLIMBING (pg. 28). This is an emotional masterpiece in 60 words and is an excellent example of how to see the potential to overcome a "mountain" of negative feelings. An exploratory activity that I would lead with children (probably middle school to young high school age) is to begin by reading the poem aloud, and then to have them write down a private letter to someone with whom they have had a struggle. This person could be someone they know- a friend, family member, role model, etc., but should be someone that they have felt wronged or upset by. 

After writing the letters, I would have the children close their eyes, and quietly say out loud, whenever they felt comfortable, "I'm sorry" and "I forgive you," keeping the letter recipient in mind as they speak aloud together. The children could then either ball up the letter and throw it away, keep it to themselves, or even deliver the letter to the recipient. It would be their choice. The purpose of this exercise is to allow the children to feel the potential for forgiving someone, even if it doesn't happen that same day, at that time. The goal is for the children to be able to empathize with what is being experienced by C.J. in this poem- to recognize and acknowledge the feelings, even if the resolution might be a long distance away- and to imagine the possible future release of the build-up of anger/resentment/disappointment etc. that they feel for someone in their lives.


MOUNTAIN CLIMBING

It takes

all of Daddy's energy to 

move his words across the chasm

that separates us.

When he speaks, his words echo

and have lost all meaning when

they finally reach my ear.

I hope, one day,

that my snowy mountain of anger will be

so weighed down with Daddy's apology,

I will be overwhelmed

by an avalanche of forgiveness.


(By Hope Anita Smith)