Professional Documents
Culture Documents
Wilson
Roseway Heights K—8
Portland, Oregon
August 2009
General Focus:
Public Speaking
Imagery/Emotion
Sounds/Fluency/Punctuation
Alliteration/Assonance/Metaphor
Word Choices/Meanings/Sense of Place
Writing Expressively
Session One:
Poem: At the Salt Marsh
Beginning: Pass out copies of poem. Give three — five minutes of
silent reading time with the instruction to prepare oneself to read
aloud to class; alternatively, break class into groups; each group has
to choose one member to read poem aloud. Request students to stand
and read as it provides a greater arena to get them comfortable with
public speaking (how to hold their bodies, where to put their hands
and poem, how to make eye contact, etc.).
Discuss the act of reading poetry aloud. Practice reading above the
paper and across to the audience. Help students to come out from
behind the paper. Remember to discuss this aspect afterwards as well
– who was more easily heard; had eye contact; differed their voice for
emphasis, etc….
Emphasize that everyone has a job to listen to each reader.
Ask students to read aloud to class.
Note and discuss differences in individual breathwork, fluency,
stresses. Note and welcome differences: offer any takers a chance to
reread aloud; challenge them to read poem aloud differently and then
ask class how certain lines or words or the whole of poem is
heard/understood differently.
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Second Stanza – At the Salt Marsh
Definition:
A figure of speech in which an implied comparison is made between two unlike things that
actually have something in common. A metaphor expresses the unfamiliar (the tenor) in
terms of the familiar (the vehicle). When Neil Young sings, “Love is a rose,” “rose” is the
vehicle for “love,” the tenor. Adjective: metaphorical.
Examples:
“Between the lower east side tenements the sky is a snotty handkerchief.” (Marge
Piercy, “The Butt of Winter”)
“The streets were a furnace, the sun an executioner.” (Cynthia Ozick, “Rosa”)
“But my heart is a lonely hunter that hunts on a lonely hill.” (William Sharp, “The
Lonely Hunter”)
“Men’s words are bullets, that their enemies take up and make use of against
them.” (George Savile, Maxims of State)
Third Stanza – At the Salt Marsh
Discuss the imagery and the action in the third stanza. Look for the
metaphor and explore the possible meanings in “felt through the
feathers all the dark”.
Note the quietness happening in this poem. What specific alliteration
reinforces this sense of quietude? Why?
Is there emotion expressed or alluded to here? Note that the I returns
to a “we” again. Note the juxtaposition of the dark with the light.
Define “killed the river”. What is the reader’s initial emotional reaction?
Define turbine and flume — use photos off of the internet.
Who is the old man?
What are the ghosts of the game?
What game is being referred to?
Why are the shapes “deep dumb”?
Who/What are the Chinook? Silverside?
Explain uses of semi:colon, colon, long dash, white space.
Have several students read the whole of the first sentence aloud.
Compare the readibility some of the line structures, such as, “They
wire to here a light”. The structure of this second line is oddly written
and when spoken comes out rather haltingly.
Welcome, note and discuss differences in how students find their own
rhythm when they speak the line.
Ask students to find other areas that seem hard to read smoothly.
Get a feel for what stressed means in those lines and compare to first
line of poem.
What is the effect of these stressed syllables for the reader? See how
students can describe it. If there aren’t any takers for this question,
then ask them to think about the structure of the language as
“stopping up one’s tongue, much as the water is stopped, pooled in a
dam”.
Ask students to think about the usefulness of the punctuation and the
extra white spaces as markers to slow the reader’s breathwork and
change the emphasis of the poem. Could this change the reader’s
comprehension.
Ask them to think of things that they have heard said with emphasis
as if punctuated, ie., STOP!, HALT!, WATCH OUT! or Hey! — wait—up!
vs. Hey, wait a minute. Practice all the different ways of saying hello
or hi and talk about how certain ones might be punctuated.
Pictures of Dams
275, Bonneville Dam and Mount Hood, 1946, R. Atkeson
283, Untitled, 1950s, R. Atkeson – Long Narrows/potholes
295, Untitled, March, 1951, unknown, USACE – 7,800 cubic feet per second
297, Untitled, May, 1951, unknown, USACE – 599,400 CFS
299, The Dalles Dam Blast, 1952, R. Atkeson
311, The Dalles Dam Under Construction, 1955, Everett Olmstead
315, The Dalles Dam, 1957, R. Atkeson
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CONTINUATION OF WILD BEAUTY SIDEBAR:
How many students have seen the Columbia Gorge?
Compare and contrast photos. Note the sense of silence and power in
photos. Compare with the use of punctuation to create silence between
words and/or sentences.
Which photos reveal what Lewis and Clark saw? Which photos show
how much the river has changed? How much has the use of the river
changed?
4. Write a poem about how where you live has changed since you lived
there.
In the Deep Channel August 7, 1953 (Iowa City) (Stories That Could
Be True)
Read aloud.
Show 2 pictures of trotline from internet.
Show pictures of channel cats from internet.
Try a choral read where everyone reads a line. Practice lines to help
students get the shared rhythm demanded when “performing” a choral
read. Try several times until students get comfortable with the words
and their shared timing. If doing this in groups, suggest that there are
two or three trotline setters (readers) and a channel cat and have
them practice acting out the poem while reading it aloud. Each stanza
is its “own” play – so students can switch out being the channel cat.
Discuss how that might have felt to William “Billy”, to his father or to
you and to your father? What are some possible emotional reactions?
Fear? Anger? Laughter? Horror? Sorrow? Rage? Joy?
Notes continued:
The interesting things about this story to me as a child was that there was no
sense of failure, or punishment. It’s just something that happened, and was
unfortunate, but funny.
Poem: Ceremony
Start to look at Stafford’s writing process. Ideally, teacher will need
one computer set up to project on screen or overhead and internet
connection to the William Stafford Archives.
Really look at the edits that Stafford chose on the Daily Writing archive
page and the final version.
Examples:
a) second finger to third
b) muskrat splashed that evening to whirled and bit to the bone
c) realer than escape, a swirl the mountains heard
d) owl softens to quavering...
Sidebar: Incarnadined
From The Maven!s Word of the Day:
www.randomhouse.com/wotd/index.pperl?date=19980708
As an adjective, incarnadine is slightly older. Its original sense, and its etymological
sense, is ‘flesh!colored’!the word is related to incarnate ‘given a bodily form’, and
the root, carn! ‘flesh’, is found in many English words, including carnal, carnivore,
and carnation. However, by influence of Shakespeare, it is now usually used in the
sense ‘blood!red; crimson’.
“Incarnadine is one of my all!time favorite words, based chiefly on this remarkable
passage from Shakespeare, wherein Macbeth ruminates on his murder of Duncan:
Will all great Neptune’s ocean wash this blood
Clean from my hand? No; this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.
!!Macbeth, II.ii
This is the first use of incarnadine as a verb, meaning ‘to make red’. "And in a bonus
to bardolators, it’s also the first use of multitudinous, a remarkable twofer in one line
of poetry.#
You are right that incarnadine is not a terribly common word, and that’s chiefly
because English already has words such as red or crimson to express similar color
concepts. Incarnadine is a more poetic, rarer, and harder variant; even Shakespeare
had to translate it, in effect, in the next line "“Making the green one red”!note that
there is some disagreement over the parsing of even this line; “one” may not refer to
“ocean,” but may mean ‘entirely’#.
Still, the word is found in the works of various Good Writers: “You’ll...calmly wash
those hands incarnadine” "Byron, Marino Faliero#; “Repose had again incarnadined
her cheeks” "Hardy, Far from the Madding Crowd#; “’Wine! Wine! Wine!/Red
wine!’!the Nightingale cries to the Rose/That yellow cheek of hers to incarnadine”
"FitzGerald; “The Rubayiat of Omar Khayyam”#. Nabokov also was a fan of the
word; he uses it in Lolita and other works. If you write in this manner, by all means,
use the word.”
Session Four Exercises: