Integrating Poetry and "To Kill a Mockingbird"

Author(s): Susan Arpajian Jolley

Source: The English Journal, Vol. 92, No. 2, Multigenre Teaching (Nov., 2002), pp. 34-40
Published by: National Council of Teachers of English
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 Multigenre Teaching I

Integrating
Poetry and
To Kill a Mockingbird

SUSAN ARPAJIANJOLLEY

Mockingbird, Mockingbird! Wherefore art thou so popular? And wherefore

art thou so maligned? So popular, in fact, that the mayor of Chicago would ex-
hort his denizens to read and discuss you en masse? So popular that more than
30 million copies of you have been sold since your publication in 1960 (Car-
rier 216)? And so maligned that writer Francine Prose calls you a "sentimental, mid-
dlebrow favorite" (76), refers to your presence in public school curricula as "grisly"
(77), and urges that high school students be shielded from your likes and exposed to a
strict diet of top-flightwriterslike Kafka,Shake- ninth grade classes to the study of the novel. I de-
speare, and Twain. veloped lessons in vocabulary,personal writing, ex-
I maintain, however, that you are not as sim- pository writing, history, and poetry to accompany
plistic some people would have us believe. You
as our reading.
are rich enough in thematic material and accessible The most interesting and rewarding ap-
enough and moving enough to open the eyes of proach I took to teaching the novel, however, was to
many an American high school student to worlds experiment with integrating it with the study of po-
and perspectives they need to see. The good you can etry. Studying selected poems along with Mocking-
do in a high school classroom and the possibilities bird can tremendously enhance the themes as well
you present for multigenre teaching certainly out- as deepen students' worldviews and awareness of
weigh any damage. the lives of others. And while the novel concerns
tragedy and injustice, heartache and loss, it also car-
ries with it a strong sense that we need to develop
Why Continueto TeachMockingbird?
courage, compassion, and an awareness of history to
I had been away from To Kill a Mockingbird for be better human beings.
twenty years, and when I found myself about to The themes of courage and compassion, as
teach it again, I wondered how my view of it might well as what we can learn from history, are what I
have changed. I also wondered how well it has held looked for when I selected poems to accompany the
up over the years. So, while I looked forward to novel. These themes are popular and ever-present
revisiting it, I also had some doubts. What I did in literature. Most important, however, is that they
find was perhaps a dated novel, but a moving one are especially valuable for teenagers to examine as
nonetheless. I found in particular that the themes they grow and find their way in the world, especially
do remain relevant. It is precisely because these the troubled world we are now facing, a world in
themes in Harper Lee's only novel are appropri- which we must understand those who are different
ate for twenty-first century American teenagers from us. A multigenre approach involving poetry is
that I decided to devote a large chunk of time in my exciting and challenging;it can also expand students'

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awareness, extend meaning, and lead to more cre-
ative expression.
Kinds of Courage
I started with the theme of courage. Even before we
began the book, I asked students to contemplate the
concept of courage. Through journal writing and
brainstorming, we shared our thoughts on the sub-
ject, comparing and contrasting different types of
courage-physical, moral, and emotional. Rudyard
Kipling's poem "If" sheds light on so many issues
and provides a wonderful starting point for discus-
sion. I introduced this poem before the students
began reading Mockingbird and returned to it peri-
odically as we progressed through the novel.
One of my goals was to lead students to the
realization that human beings of all ages are capable
of demonstrating courage. Children are called upon
to be brave, even though they do not necessarily
identify their actions as such. The five-year-oldmust
be brave on the first day of kindergarten, and, as my
students tell me, they themselves often need to
muster courage to show their report cards to their
parents. As adolescents, we must develop courage
to deal with peer pressure, and as adults to deal with
family, career, and community issues. All people
must ultimately develop the courage to face the end
of their lives.
Once students get to thinking about these is-
sues, "If"speaks to them personally as well as to the
characters in Mockingbird. All of these types of
courage are examined in both the poem and the
novel. The youngsters in the novel-Scout, Jem, and
their neighbor, Dill-face their fears of the specter-
like Boo Radley by inventing ways to demystify him:
acting out skits, touching the Radley house on a
dare, peeking in the window, returning to a danger-
ous scene of mischief to retrieve a pair of pants. The
young narrator,Scout, in particular,exhibits a kind
of physical courage by fighting those with whom she
has conflicts. These are the types of courage chil-
dren must summon.
It is the courage of Atticus Finch, however,
that is the centerpiece of the novel, and it is this
courage that is most accurately reflected in Kipling's
"If."In fact, ifAtticus were more verbal or more con-
sciously poetic, he himself could have written the
poem to his son Jem, with the pronouncement that,
after following said advice, Jem would be a man.
As my students and I read Part One of the
novel, we turned back to "If."Scout and Jem learn
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from their father'sexample to keep their heads
(Kiplingline 1). Theylearnfromtheirfather'sdeal-
ingswith Mrs.Dubose,the cantankerousold neigh-
bor,who continuouslyinstructsthe childrenaswell
as Atticusto not "givewayto hating"(line 7). They
learn from Atticus'srespectful treatment of all
humanbeingsto "talkwith crowdsandkeep [their]
virtue,/ Orwalkwith Kings-nor lose the common
touch"(lines25-26). Finally,the childrenlearnfrom
the way Atticusreactswith equanimityto the ver-
dict in the TomRobinsoncase:
If you can meet with Triumphand Disaster
And treat those two impostersjust the same ...
you'll be a Man, my son! (lines 11-12, 32)
Kipling's"If"definescourageandmanhood,asdoes
Lee'sToKilla Mockingbird.
There are many other poems that can ac-
company Part One of Mockingbird.Tennyson's
"TheChargeof the LightBrigade"chroniclesphys-
ical couragein a particularhistoricalcontext.Anne
Sexton's"Courage"is about the fortitude every
humanbeing needs to journeythroughlife andcan
even remind us of the unpleasantMrs. Dubose,
who fights to end her life on her own terms, be-
holdento no one. Therearemanymorepoems and
certainly even short stories that the resourceful
teachercanofferstudentson the theme of courage.
In addition,a poem like RobertFrost's"TheRoad
Not Taken"canintroducestudents,nearthe end of
Part One of Mockingbird,to the moralchoices-
the courageit takes to make them and the result-
ing consequences-that Atticusmakesduringthe
courseof the novel.
The Development of Compassion
As teachersof literature,we often have the oppor-
tunityto help ourstudentsunderstandotherpeople
and theirviews.As we enteredPartTwoof Mock-
ingbird, Atticus'swords from Chapter3 began to
resonate.In thatchapter,he tellshis daughterScout
that "younever really understand a person until you
consider things from his point of view..,. until you
climb into his skin and walk around in it" (30). Thus
Harper Lee's belief in man'sneed for compassion is
set forth through the mouth of Atticus, and eventu-
ally through his example. The young protagonists
learn compassion for others: Dill cries when he wit-
nesses the "simple hell people give other people-
without even thinking" (201); Jem cries after the
Tom Robinson verdict is announced, saying, "It ain't
ENGLISH JOUrnatL
right,Atticus"(212);andScoutfinallystandson the
Radleyporch at the end of the book and sees the
world from Boo Radley'spoint of view. Those
lessonsareobvious.Thereareotherlessonsof com-
passion,not quite so obvious,that can be brought
hometo the youngreaderthroughthe studyof some
well-chosenpoems.
I beganby presentingstudentswith Babette
Deutsch'sshortpoem, "Ape,"in which the animal
thrustshis hand out of his cage in an attempt to
make contactwith his "grinningpublic"(line 13).
He is, of course, rejected repeatedly;as the poet
says,the ape"putscompassionto the test/ Andfails"
(lines4-5).
A reaction in their journals got students
thinkingabout the creaturein the poem, how he
feels, what he seeks, why he is so misunderstood.
In discussion,students'perspectiveson compassion
emerged. We also tried to examine what makes
some individualsmore empatheticthan others. Is
compassionan inherent trait? Do one's circum-
stancesin life influenceone'sabilityto developcom-
passion?I told studentsof studiesthat have shown
thatinfantswho arenotproperlynurturedmaygrow
into adultswho havedifficultyfeelingempathy.We
discussedother factorsthat mightinfluencea per-
son'sdegreeof empathy,suchas unfortunatefamily
circumstancesor the treatmentan individualre-
ceives in his or her life. In To Kill a Mockingbird,
whyis it thatcertaincharacters,particularly the typ-
ical white Maycombresidents,show absolutelyno
empathy for their black neighbors?Why is Tom
Robinson'sexpressionof pity for Mayellaregarded
as untenableby the white community?How do the
youngestcharactersin the novelcome to feel more
compassionthananyoneelse?Perhapswe canlearn
somethingfurtheraboutthe subjectof compassion
frompoetry.
I lookedforpoemsthatmadepowerfulstate-
mentson theirownandalsocouldshed lighton the
positionsof certaincharactersin Mockingbird.For
instance, Theodore Roethke's "My Papa'sWaltz"is
the speaker's recollection of the terror he felt as a
young child encountering his drunken father, who
pulls the boy through the house in a metaphorical
waltz, presumably to put him to bed. The speaker
comments that he "held on like death" (line 3); his
ear is scraped against the father'sbelt buckle, the fa-
ther pounds on the boy's head, and the smell of
whiskey pervades the room.
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This poem always elicits a strong reaction
from students. Is the father beating the boy? Is he
merely putting the child to bed a little too roughly?
Does the father also abuse the mother, who is briefly
seen in the second stanza? Does the speaker realize
only in retrospect what is happening? What is the
tone of this poem? How does the waltz-like rhythm
of the poem affect the reader?
After reading this poem, my students came
up with some questions for Mayella Ewell, the
young white woman who accuses the black man,
Tom Robinson, of rape. Mayella'scircumstances as
a child could not have been so different from the
speaker's in "My Papa'sWaltz."Some questions for
Mayella: How do you feel when your father drinks?
When he beats you? When you, even though you're
so young yourself, must take care of all your siblings?
When you're so lonely that you'll break the code that
forbids a white woman contact with a black man?
Even Atticus, the lawyer defending Tom Robinson
against Mayella's lies, models compassion for the
young woman in his closing argument to the jury
when he states, "I have nothing but pity in my heart
for the chief witness for the state" (203). Perhaps a
reading of "My Papa's Waltz" can help students
stand in Mayella'sshoes for a moment.
The character of Calpurnia, the Finches'
maid, also deserves some examination.What is it like
to stand a black woman's shoes in the Alabama of
in
the 1930s? Harper Lee gives us but a hint. We see
Calpurnia primarily as she interacts with the white
world. We see her in her own milieu only once-
when she takes Jem and Scout to church with her.
Maybe a poem can help us see more. Alice Walker's
tribute to her mother and her mother's contempo-
raries, "Women,"describes in metaphors the gen-
eration of black women who worked as domestics,
fought prejudice, and sacrificed to make sure their
children were educated. These mothers are por-
trayed as generals in a war-figuratively speaking,
the war againstbigotry.They fight this war,and even
though they themselves can't read, their object is to
win an education for their children.
Calpurnia,unlikethe women in Alice Walker's
poem, can read. She has taught her son to read. She
has a job and is treated well by the Finches. But
most students will not give much thought to what it
is like to be Calpurnia-traveling back and forth
between the black and white worlds in Alabama,
serving a white family, changing her position and
 poem can
changingher speechas she goes.Walker's
help open theireyes.
The poems of Paul LaurenceDunbarpro-
vide specialinsight.The mostobviousconnectionis
between the caged bird in "Sympathy"and the
metaphoricallycaged mockingbirdsin Lee'snovel.
BothBoo Radley,shutup in hisownhouse,andTom
Robinson,imprisonedin a world of prejudice,are
reminiscent of the bird in Dunbar'spoem who
"beatshis wing"(line8) againstthe barsof the cage;
who "beatshis barsand ... wouldbe free"(line 17);
who sendsa prayerto heaven"fromhis heart'sdeep
core"(line 19). BothBoo RadleyandTomRobinson
are misunderstood,as is Dunbar'scaged bird that
people mistakenlythinkis singinga happysong.
But perhaps the most powerful
lessons that can be learned through
multigenre study involve the
history of our country.
Lessobviousto youngreaders,however,may
be the connectionbetweenDunbar's"WeWearthe
Mask"andthe blackcommunityin Mockingbird. To
make this connection, the reader must confront
some delicateissues,particularlythe ones thatarise
in Chapter24, whenAuntAlexandra, Atticus'ssister,
hoststhe meetingof her localmissionarycircle.The
ladiesof Maycombdisplaytheirgossipyignorance,
bigotry,and insensitivityin their every comment,
Miss Maudiebeing the only participantto demon-
strategood sense and fairness.A characternamed
Mrs. Merriweatherdoes the best job of makingus
squirmwhen she describesher blackmaid'sreac-
tion to the gross injusticeperpetratedin the Tom
Robinsonverdict:
I tellyouthere'snothingmoredistract-
"Gertrude,
ing than a sulkydarky.Their mouths go down to
here. Just ruinsyour day to have one of 'em in the
kitchen. Youknow what I said to my Sophy,
Gertrude?I said, 'Sophy,'I said, 'you simply are
not being a Christiantoday.Jesus Christnever
went aroundgrumblingand complaining,'and you
know,it did her good. She took her eyes off that
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floor and said, 'Nome, Miz Merriweather,Jesus
never went aroundgrumblin."'(232)
The blackmanorwoman'sdilemmain beingunable
to expresstruefeelingsin frontof whitesis no more
poignantlyillustratedthan in Dunbar's"WeWear
the Mask":
We wear the maskthat grins and lies,
It hides our cheeks and shades our eyes,-
This debt we pay to human guile;
With torn and bleeding heartswe smile,
And mouth with myriadsubtleties. (lines 1-5)
Thispoem, as well as "Sympathy," speaksto the is-
sues in Mockingbirdbut also speaksto adolescents
of all races; adolescents, even those who do not
knowracialisolation,often knowthe painof feeling
trapped,or the painof beingunableto expresstheir
true selves. Studyingthese workscan aidin the de-
velopmentof compassionand understanding.
Learning History through Literature
The poems I've mentionedand myriadotherscan
leadus closerto anunderstanding of whatit is liketo
standin someoneelse'sshoes.Butperhapsthe most
powerfullessonsthatcanbe learnedthroughmulti-
genre studyinvolvethe historyof our country.Any
studyof ToKilla Mockingbirdshouldencompassa
studyof the civilrightsmovement.It is surprising that
so manyAmericansknownothingaboutthe Scotts-
borotrialson whichthe courtcasein Mockingbird is
based, a fact lamentedin Countee Cullen'spoem
"Scottsboro, Too,IsWorthIts Song."Therearemany
sourcesavailableon the topic,particularlyonline,and
lastyearPBSproduceda superbdocumentary on the
trialsand their aftermath.I show this video as stu-
dentsarereadingPartTwoof thebookandthendelve
into somehistoricalmaterial.
Manystudentsare unawareof the incidents
of lynchingso commonin the firsthalfof the twen-
tieth century.Readingthe lyrics,writtenfirst as a
poem by Lewis Allan, to Billie Holiday's haunting
"StrangeFruit"can give frightening meaning to the
scene in Chapter 15 in which Atticus sits in front of
the jail door to protect Tom Robinson from a possi-
ble lynching:
Southerntrees bear a strangefruit,
Blood on the leaves and blood at the root,
Blackbody swingingin the Southernbreeze,
Strangefruithanging from the poplar trees.
EnGLISH journaL i
 Pastoralsceneof the gallantSouth,
The bulgingeyesandthe twistedmouth,
Scentof magnoliasweetandfresh,
Andthe suddensmellof burningflesh!
Hereis fruitforthe crowsto pluck,
Forthe rainto gather,forthe windto suck,
Forthe sunto rot,fora treeto drop,
Hereis a strangeandbittercrop.
STRANGE FRUIT Wordsand Music by Lewis Allan ? 1939 (Re-
newed) by Music Sales Corporation(ASCAP)InternationalCopy-
rightssecured. All rightsreserved. Reprintedby permission.
These powerful lyrics, made more pointed by Hol-
iday'smoving rendition, readily availableon cassette
or CD, are something students will not soon forget.
Neither is "Ballad of Birmingham,"Dudley
Randall'spoem written about the 1963 bombing of
the Sixteenth Street Baptist Church in which four
young black girls were killed. The poem opens as a
dialogue between a mother and her daughter, who
is asking if she may go downtown to march in a free-
dom rally. The mother, fearing for her daughter's
safety, sends her instead to church. Instead of find-
ing safety there, the girl dies in an explosion. As with
"Strange Fruit," "Ballad of Birmingham"provides
rich lessons in irony, imagery, the power of poetry,
and the history of our country.
It is not difficult to find poems that illumi-
nate Harper Lee's historical perspective in To Kill a
Mockingbird, which, while set in the 1930s, was
written with a 1960 sensibility.Although written be-
fore the civil rights movement, "If We Must Die,"
the sonnet by Claude McKay,can open a discussion
about how to respond to injustice. So can Randall's
"Booker T. and W.E.B." However, really studying
the two views in this poem may require more time
than a teacher can allow, since the reader needs to
understand the lives and philosophies of both
Booker T. Washington and WE.B. du Bois.
The teacher who is willing to devote a sig-
nificant amount of time to the history covered in To
Kill a Mockingbird can also turn to prose, particu-
larly nonfiction, and even to artworkto provide ad-
ditional dimensions. Excerpts from RichardWright's
Black Boy address the question of how to respond
to injustice and whether or not to fight back physi-
cally. Martin Luther King Jr.'s"Letter from Birm-
ingham Jail"is also a natural connection to make as
it deals with the same issue. As Harvardlaw profes-
sor Randall Kennedy states, King'spacifist ideas are
often oversimplified for our schoolchildren. He
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writes that King, in addition to being remembered
for advocatingnonviolence, should be recognized as
the "boat-rocker"that he was:
He rockedblackcommunities byinsistingthat
AfricanAmericans playa moredynamicpartin
theirownemancipation. Andhe rockedwhite
communities the terriblecostsin-
byemphasizing
curredbythosewhooppressothersor sitby lazily
orindifferently
as thosewhohavebeenoppressed
continueto suffer.(A7)
Even Norman Rockwell's1964 painting, "The Prob-
lem We All Live With," in which an African Ameri-
can schoolgirl must be escorted by US marshals to
her newly desegregated school, can provide a most
effective history lesson. The point of integrating
these works with the reading of Mockingbird is to
enrich the experience with the novel by broadening
perspectives and reinforcing themes.
An Extension: Poetry Writing
and Multigenre Projects
For the Mockingbird/poetry unit to be complete, I
felt I needed to include creative writing activities
and a multigenre project. Inspired by Tom Ro-
mano'sBlendingGenre,AlteringStyleandKenneth
Koch'sWishes,Lies, and Dreams:TeachingChil-
dren to Write Poetry, I tried several techniques.
I approached poetry writing casually, so as
not to intimidate. Although Koch'sbook is about his
experiences teaching poetry writing to elementary
school children, much of what he says applies to
students of all ages. I had already tried with some
success his suggestions about collaborative poetry,
each child contributing a line, all of which center on
an idea or motif. As Koch says, in this context, a
"teacher shouldn't correct a child's poems ... If a
word or line is unclear, it is fine to ask the child what
he meant, but not to change it in order to make it
meet one's own standards"(28). Also, Koch says, a
teacher shouldn't "single out any poems as being
best or worst" (27). I liked these ideas, even at the
ninth grade level, and especially when students were
insecure about their ability to write poems. My goal
was to create a safe environment where everyone's
work was accepted and applauded.
I began by looking at the structureof some of
the poems we had read and asking students to write
originalcouplets or quatrainsin theirjournals.At first
they balked, but when I modeled or suggested they
writeaboutsomethingimportantto them, they had
no problem.Willing students read their couplets
aloud or wrote them on the board.Then, using an
idea I had readin an articleby MatthewSharpeen-
titled"TheCrisisin the Classroom:ObjectLesson,"
I asked my students to write a series of couplets
abouta characterin ToKilla Mockingbird.I wanted
them to writeovera periodof a week, as theywere
readingPartTwoof the book,to see theirchanging
perspectives on the character.Their lines were
heartfelt.Davidwrotethe following:
Scoutis notlikeothergirls,
Shedoesnot careforjewelsandpearls.
Shewantsto actjustlikethe boys,
Adventureandtoughnessareherjoys.
Whatdelightedme the mostwasthattheselinesand
others like them capturedthe qualitiesof Harper
Lee'scharacterssuccinctlyandhonestly.
I praised and welcomed everyone'slines.
Then somethinghappenedthatI hadnot expected.
Shortlyafterwe beganexperimentingin this infor-
malwaywithwritingverse,studentsbeganbringing
me poetrythatthey hadwrittenin the pastor were
inspiredto writenow.Theywereeagerto sharetheir
writingwiththe class,andI waspleasedthattheyfelt
safe enoughandencouragedenoughto do so.
I ended the Mockingbirdunitby assigninga
multigenreprojectthat includedfive components:
poetic, visual,historical,dramatic,and personal.I
wantedeach of these componentsto be, as Romano
states,"self-contained,makinga pointof its own,yet
connectedby theme or topicandsometimesby lan-
guage,images,andcontent"(x-xi).I askedstudents
to do the following:find or write a poem relatedto
the ideasin the novel;createa visualrepresentation
of somethingsuggestedin the novel;do furtherre-
search on historyrelated to the events or ideas in
Mockingbird;write a dialoguethat takesplace fif-
teen years after the action of the story,using the
charactersin the novel or creatingnew ones; and
write a personal response to an aspect of the novel.
My students approached the project enthusiastically
and came up with beautiful work.
A typicaltheme runningthrough these multi-
genre projects involved understandingothers. Mike's
project is representative of the responses I got. He
began by presenting the poem "Understanding"by
Sara Teasdale, part of the collection Flame and
Shadow, which he found in an online poetry site. He
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quoted the line "Yourspirit'ssecret hides like gold"
and wrote that it reminded him of Boo Radley and
"hownobody knew anythingabout him."In his imag-
inary dialogue between an adult Scout and Dill, who
are now married, Scout tells Dill that she wishes she
had been older when the Tom Robinson trial took
place. When Dill asks her why, Scout says, "Because
I feel like I should have done something to help him
out." Finally,in his personal reflections Mike wrote,
"One of the main lessons that he [Atticus] taught his
children was not to judge a person until you walk
around in his skin. I know that I don't alwaysdo this
in my life but now that I am aware of how important
it is, I will start."I found that Mike had even achieved
the kind of unity Tom Romano advocates in a multi-
genre paper: he unified his paper around the idea of
compassion. After I read Mike'sand others'writings,
I knew my lessons about courage, compassion, and
history had reached my ninth graders.
I ended the Mockingbird unit
by assigning a multigenre
project that included five
components: poetic, visual,
historical, dramatic, and personal.
Conclusion
It takesplentyof time to plana multigenreunit,but
it takesmuch more time to actuallyteach it. There
is a dangerthata teachercouldstretcha unitouttoo
farandrisklosingthe interestof the class.Thereare
severalremedies for this, however.Most teachers
know how much a class can absorband when it is
time to move on. A teacherwho is skillfulin man-
agingtime andvaryingactivitiescanpacethe unitin
a waythatholdsstudents'interest.Mostimportant,
however,in engagingstudentsis the teacher'sown
passionfor the literature.I loved workingwith To
Kill a Mockingbirdand all the poems I have men-
tioned. The teacher'spassionaboutthe worksand
themes can andwill transferto students.Soon,they
EnGLISH journaL
themselves will begin, as my students did, to do what
the teacher does in preparing such a multigenre
unit: look for connections among fact and fiction,
the past and the present, their own lives and litera-
ture, and even among genres.
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SUSANARPAJIAN teaches at Delran High Schoolin
JOLLEY
New Jersey.

WHO
answersfor ONEARTH?
(page2)

from
1. BACON from
2. JEREMY
MACON 3. MARIS
LARAMIE from 4. KATIE
PARIS from 5. ALEXIS
HAITI from
TEXAS YUMA
6. UMAfrom 7. LAURENCE
from
8. DENNISfrom
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9. ROMAfromTACOMA MOBILE 12. SCARLETTfrom
11. PACINOfromRENO 13. MAPLESfrom
CHARLOTTE
from
14. SLATER
NAPLES DECATUR from
15. VOIGHT from
16. HESTON
DETROIT 17. CRYSTAL
DESTIN from
BRISTOL from
18. PINKY 19. COLIN
HELSINKI
20. KRANTZ
fromSOLON FRANCE
from from
21. SALES WALES 23. REESE
22. FONDAfromLUANDA GREECE
from 25. MIAfrom
24. ITOfromQUITO SOUTH
KOREA
26. DOLLYMALI
from 27. DeVITO
from
SAUSALITO from
28. JASPERCASPER from
29. ALICEDALLAS from
30. PAYTONDAYTON from
31. RINGO
SANTO 32. HOOVER
DOMINGO from 33. REBECCA
VANCOUVER from 34. KORMAN
MECCA from 35. KELSEY
NORMAN from
CHELSEA from
36. GRETAMARI-
BONUS:
ETTA Hills
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m novemBer 2002

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