!As you work through each. English 10 Poetry Package Love and Relationships. Name: Date: Essential Questions:

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1 Annotate!! English 10 Poetry Package Love and Relationships Essential Questions: If any, what are the boundaries between love and sacrifice, and where does one draw the line between them? How is conflict an inevitable part of relationships? How do we know if a relationship is healthy or hurtful? How do we know when we are in love? What personal qualities hinder and help relationships? How are people transformed through their relationships with others? Write a few essential questions about love and relationships that come up as you read the poems:!as you work through each poem, annotate them!! Then answer the questions. Name: Date: Ms. Inden kinden@sd91.bc.ca

2 Note your thinking: How to annotate a poem - Write on it!! You must commit to reading several times Note words you don t know and look them up What is happening in the poem? Work on theme statements. o Topic and theme? o Symbols Note figurative language, like simile, personification, metaphor Note literary devices, like alliteration, strong imagery, and onomatopoeia First Frost by Andrei Voznesensky Look up words: flimsy means light, thin her coat is thin (translated by Stanley Kunitz) A girl is freezing in a telephone booth huddled in her flimsy coat, her face stained by tears and smeared with lipstick. What is happening: This is an older poem-she s had to leave her house to call someone she is upset. Find figurative language: Fingers like ice simile comparing her flesh to frozen water. Shows how cold she is. She breaths on her thin little fingers. Fingers like ice. Glass beads in her ears. She has to beat her way back alone down the icy street. What is happening: Earrings?? Find literary devices: repetition and alliteration first frost of telephone phrases ( ) (On your paper, circle the letters you mean.) Figure it out: Telephone phrases the person must have broken up with her on the phone. First frost. A beginning of losses. The first frost of telephone phrases. It is the start of winter glittering on her cheek, the first frost of having been hurt. Notice theme and symbolism, literary devices: This poem is about the impact of broken hearts on us as people. The young woman in the poem is actually cold, but this is also about the damage that the coldness of loss creates. Actual frost damages human tissue. Loss damages us as people. The poet uses this metaphor to show how the person in the poem is moving from the spring of youth to the start of winter glittering on her cheek (11). This change is permanent and relates to the essential question of How are people transformed through their relationships with others? This poet is examining the damage that can happen when we lose people we love. This is true of romantic and other relationships as well.

3 Annotate!! Your Turn to Annotate The Photo by Tamara Holmes (student) A girl I once knew as my sister hair long as a fitted shirt lake brown eyes alive with the moonlight falling on her baby moon face, sat on the veranda last night and I reminded her of the days when we were like clouds in a thunder storm those cling-on days, the two of us growths hanging from our mother s legs, and how once when we sat on the swing my father got out his new camera and the ruffles on our dresses waved like the days going by our smiles still competing in that one picture Dad took. fighting for attention How did you do? Poetry Analysis Snapshot Exceeding Fully Meeting Meeting Not Yet The student offers an analytic, thorough interpretation of poems that feature complex ideas and language. Work is thorough, insightful, and often speculative and may take risks to include unusual interpretations and personal connections. The student appears to be engaged by the text. The student offers a logical interpretation of poems that feature complex ideas and language. Goes beyond retelling, to offer some analysis and well developed personal connections. The student appears to interact with the text confidently. The student offers a narrow or superficial interpretation of poems that feature complex ideas and language. Focuses on retelling, with limited analysis and evidence. Responses tend to be broad, undeveloped generalizations. The student is focused on understanding the text. The student is unable to offer logical interpretation of poems that feature complex ideas and language. Often very short, with little evidence or development, and may misinterpret key features of the text. Appears to struggle to understand the text, with little success. Ms. Inden kinden@sd91.bc.ca

4 A Great Need by Hafiz Out Of a great need We are all holding hands And climbing. Not loving is a letting go. Listen, The terrain around here Is Far too Dangerous For That. Use the rubric on this page to understand how you should be answering questions. Always begin by annotating the poem. Use evidence from the poems to support your positions. Explain your thinking. Go outside the box provided if you have more to say. Dig deeply into themes. Bring yourself into the writing. Remember the more times you read the poem the better chance you will have to make connections and get a sense of it beyond the words on the page. Pick an Essential Question you think this poem addresses. Annotation and understanding of A Great Need Use the guidelines outlined in the above box to write a paragraph about the poem. Use specific lines of text to illustrate what you have found. Make a comment about the poem from your own perspective. Your paragraph should be at least 5 sentences long. Personal response questions Meaning: Engagement, originality Details and examples Personal Connections Exceeds Expectations Fully Meets Expectations Meets Expectations Not Yet Within Expectations *Writing is mature and engaging, demonstrating considerable originality, *Details and examples enhance the reader s involvement *Transforms the topic into a strong, personal statement *Writing is mature, generally engaging, demonstrates some originality *Supporting detail relevant and sufficient *Topic is connected to personal experience *Sporadically engaging *Some relevant supporting details and examples *Minimal connection to personal experience *Writing is not engaging, difficult to follow *Limited use of details, examples *No evidence of personal involvement with the topic

5 Annotate!! I am a Rock by Simon and Garfunkle A winter's day In a deep and dark December; I am alone, Gazing from my window to the streets below On a freshly fallen silent shroud of snow. I am a rock, I am an island. I've built walls, A fortress deep and mighty, That none may penetrate. I have no need of friendship; friendship causes pain. It's laughter and it's loving I disdain. I am a rock, I am an island. Don't talk of love, But I've heard the words before; It's sleeping in my memory. I won't disturb the slumber of feelings that have died. If I never loved I never would have cried. I am a rock, I am an island. Give two examples of alliteration: Give an example of personification. Explain what is being personified. Be clear and show me you know what personification is. Explain the central metaphor of the poem (I am a rock, I am an island). I have my books And my poetry to protect me; I am shielded in my armor, Hiding in my room, safe within my womb. I touch no one and no one touches me. I am a rock, I am an island. And a rock feels no pain; And an island never cries. Find this song on You Tube and listen. Ms. Inden kinden@sd91.bc.ca

6 The Summer I Was Sixteen Find a simile: by Geraldine Connolly The turquoise pool rose up to meet us, its slide a silver afterthought down which we plunged, screaming, into a mirage of bubbles. We did not exist beyond the gaze of a boy. Shaking water off our limbs, we lifted up from ladder rungs across the fern-cool lip of rim. Afternoon. Oiled and sated, we sunbathed, rose and paraded the concrete, danced to the low beat of "Duke of Earl". Past cherry colas, hot-dogs, Dreamsicles, we came to the counter where bees staggered into root beer cups and drowned. We gobbled This poem was written a few decades ago. What lines give you clues? Write a few lines of poetry or a stanza that would bring into your own lives at 16. cotton candy torches, sweet as furtive kisses, shared on benches beneath summer shadows. Cherry. Elm. Sycamore. We spread our chenille blankets across grass, pressed radios to our ears, mouthing the old words, then loosened thin bikini straps and rubbed baby oil with iodine across sunburned shoulders, tossing a glance through the chain link at an improbable world. Consider the last line. Look up improbable. What do you suppose the author means? Reflect on your own friendships and this essential question: People are transformed by their relationships with others.

7 Annotate!! Fanny Alger, by Barbara Coupe Emma s fired up. Keeps complaining about how I miss the corners sweeping, don t move stuff dusting. I try. I do. It s just so hard, so hard doing anything feeling this way. Lunch always rises up, lodged in the top of my throat. I want to puke every breath of the day. Or sleep. But a hired girl can t sleep the day away. I hate it when she is mad at me. I love her. I do. I love her. But Joseph s the one whispering in the middle of the night. Sneaks in like a cat, hopping on my bed all hands & breath & mewing release. I d much rather be in her arms. Not in that way, of course, but you know. Like a daughter. I wish I hadn t agreed to be his wife, 16 was too young. It s been a whole year now. God, just the thought of eggs makes me want to retch. Provide a simile: Explain what is happening in the poem. Why is she feeling unwell? Reflect on the question, people are transformed by their relationships with others. Ms. Inden kinden@sd91.bc.ca

8 With his venom by, Sappho With his venom irresistible and bittersweet In what manner is figurative language is used in this poem? Explain. that loosener of limbs, Love reptile-like strikes me down Once you have read all the poems, think about a few that might go with this one from a thematic point of view. (Relate to the same Essential Question) Explain.

9 Annotate!! Morning Mood M. Panegoosho I wake with the morning yawning in my mouth, With laughter, see a teakettle spout steaming. I wake with hunger in my belly And I lie still, so beautiful it is, it leaves me dazed, The timelessness of the light. Grandma cares for me, and our family needs nothing more. They share each other for pleasure As mother knows, who learns happiness From her own actions They did not try to be beautiful, only true, But beauty is here, it is a custom. This place of unbroken joy, Giving out its light today - only today - not tomorrow. Those Winter Sundays by Robert Hayden Sundays too my father got up early And put his clothes on in the blueback cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him. I d wake and hear the cold splintering, breaking. When the rooms were warm, he d call, and slowly I would rise and dress, fearing the chronic angers of that house, Speaking indifferently to him, who had driven out the cold and polished my good shoes as well. What did I know, what did I know of love s austere and lonely offices? Ms. Inden kinden@sd91.bc.ca

10 Read, Those Winter Sundays and Morning Mood. Discuss, with detail and explanation, the similarities and differences between these poems.

11 Annotate!! Annotate these poems so that you understand what they mean that is, paraphrase them. Put them in your own words. This one will take some effort and use of a dictionary! Start with knowing all the vocabulary. Sonnet 18 by William Shakespeare Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance, or nature's changing course, untrimmed; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. Sonnet 130 by William Shakespeare My mistress eyes are nothing like the sun; Coral is far more red than her lips red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no roses see I in her cheeks; And in some perfumes there is more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress when she walks treads on the ground. And yet, by heaven I think my love as rare As any she belied with false compare. Ms. Inden kinden@sd91.bc.ca

12 Discuss the similarities and differences between these poems, including direct references to the poems.

13 Annotate!! i carry your heart with me by e.e. cummings i carry your heart with me(i carry it in my heart)i am never without it(anywhere i go you go,my dear; and whatever is done by only me is your doing,my darling) i fear no fate(for you are my fate,my sweet)i want no world(for beautiful you are my world,my true) and it's you are whatever a moon has always meant and whatever a sun will always sing is you here is the deepest secret nobody knows (here is the root of the root and the bud of the bud and the sky of the sky of a tree called life; which grows higher than the soul can hope or mind can hide) and this is the wonder that's keeping the stars apart i carry your heart(i carry it in my heart) Hour by Carol Ann Duffy List some of the metaphors and similes in this poem. Love s time s beggar, but even a single hour, bright as a dropped coin, makes love rich. We find an hour together, spend it not on flowers or wine, but the whole of the summer sky and a grass ditch. For thousands of seconds we kiss; your hair like a treasure on the ground; the Midas light turning your limbs to gold. Time slows, for here we are millionaires, backhanding the night so nothing dark will end our shining hour, no jewel hold a candle to the cuckoo spit hung from the blade of grass at your ear, no chandelier or spotlight see you better lit than here. Now. Time hates love, wants love poor, but love spins gold, a gold, from straw. Ms. Inden kinden@sd91.bc.ca

14 Aggregate by Katherine Bell I am from unwashed wool, carders, spinning wheels, and looms. I am from gunpowder, shells, and freezers stuffed with beaver pelts. Write a poem titled, I am from I am from scrabble, backgammon, mah-jong. I am from women gathered around our dining table - laughing, smoking, drinking thick coffee and playing rummoli late at night with pennies and tired eyes. I am aggregate - sandcastle building and jumping the waves. I am from fresh crab and homemade rootbeer. I am from snow angels, snow caves and icicles three feet long. I am from easter at grandma's turkey and stuffing, mashed potatoes with gravy, brussel sprouts (fed to the dog under the table), olives and pickles, yams and sweet potatoes, grandpa s dandelion wine. I am from eat a little bit of everything, if you are going to fight go outside, get an education first, and love, unspoken.

15 Annotate!! In the Past What is the story being told in this poem? by Lesley-Anne Bourne Ten years her father s seen her die almost. He still asks why did she starve so long? How? Under the hospital window he thought she couldn t hear When can I trust her again? The nights he d sign her out for baseball games in Lee Park, returning at ten to the fourth floor Is conflict an inevitable part of relationships? How are we transformed by our relationships with others? as if normal. His heart breaking each time they passed ice cream stands. Or lunch hours he walked from the office to watch her not eat. In the past ten years she s come back a pound at a time. He pretends not to count. Playing catch in the yard when she visits, they throw fast balls and curves without effort or hurting each other that bad Ms. Inden kinden@sd91.bc.ca

16 Fast Car By Tracy Chapman You got a fast car I want a ticket to anywhere Maybe we can make a deal Maybe together we can get somewhere Anyplace is better Starting from zero got nothing to lose Maybe we'll make something But me myself I got nothing to prove Find this song on You Tube and listen. You got a fast car And I got a plan to get us out of here I been working at the convenience store Managed to save just a little bit of money We won't have to drive too far Just across the border and into the city You and I can both get jobs And finally see what it means to be living You see my old man's got a problem He lives with the bottle that's the way it is He says his body's too old for working I say his body's too young to look like his My mama went off and left him She wanted more from life than he could give I said somebody's got to take care of him So I quit school and that's what I did You got a fast car But is it fast enough so we can fly away? We gotta make a decision We leave tonight or live and die this way See I remember we were driving, driving in your car The speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped 'round my shoulder

17 Annotate!! And I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone You got a fast car We go cruising entertain ourselves You still ain't got a job And I work in the market as a checkout girl I know things will get better You'll find work and I'll get promoted We'll move out of the shelter Buy a bigger house and live in the suburbs See I remember we were driving, driving in your car The speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped 'round my shoulder And I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone You got a fast car And I got a job that pays all our bills You stay out drinking late at the bar See more of your friends than you do of your kids I'd always hoped for better Thought maybe together you and me'd find it I got no plans I ain't going nowhere So take your fast car and keep on driving See I remember when we were driving, driving in your car The speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped 'round my shoulder And I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone You got a fast car But is it fast enough so you can fly away? You gotta make a decision Leave tonight or live and die this way Ms. Inden kinden@sd91.bc.ca

18 Read, Fast Car and In the Past. Consider the following essential question in light of these two poems. If any, what are the boundaries between love and sacrifice, and where does one draw the line between them? Do any of the other poems deal with the topic of love and sacrifice?

19 Annotate!! Berrypicking by Allison Mitcham Before choosing a mate I would need to have him as my berrypicking companion all one summer from the time of the first wild strawberries till the cranberries and blackberries were frost-finished Then I would know all about his character Whether he persevered Despite blackflies and sunburn Whether he picked the berries clean or carelessly tore off leaves as well Whether he stayed to fill the pail or bored by buzzing loneliness of field and wood left it half-filled and went off to join the others in the house Whether he worked with ease and pleasure at my side or angry one day that I had almost filled my pail and he had not pushed my hand so that my berries spilled on the ground were trampled underfoot Should he pass these natural tests of berrypicking I would know he was just right for me Ms. Inden kinden@sd91.bc.ca

20 The Invitation by Oriah It doesn t interest me what you do for a living. I want to know what you ache for and if you dare to dream of meeting your heart s longing. It doesn t interest me how old you are. I want to know if you will risk looking like a fool for love for your dream, for the adventure of being alive. It doesn t interest me what planets are squaring your moon... I want to know if you have touched the centre of your own sorrow if you have been opened by life s betrayals or have become shriveled and closed from fear of further pain. I want to know if you can sit with pain mine or your own without moving to hide it or fade it or fix it. I want to know if you can be with joy mine or your own if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful to be realistic to remember the limitations of being human. It doesn t interest me if the story you are telling me is true. I want to know if you can disappoint another to be true to yourself. If you can bear the accusation of betrayal and not betray your own soul. If you can be faithless and therefore trustworthy. I want to know if you can see Beauty even when it is not pretty every day. And if you can source your own life from its presence. I want to know if you can live with failure yours and mine and still stand at the edge of the lake and shout to the silver of the full moon, Yes. It doesn t interest me to know where you live or how much money you have. I want to know if you can get up after the night of grief and despair weary and bruised to the bone and do what needs to be done to feed the children. It doesn t interest me who you know or how you came to be here. I want to know if you will stand in the centre of the fire with me and not shrink back. It doesn t interest me where or what or with whom you have studied. I want to know what sustains you from the inside when all else falls away. I want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.

21 Annotate!! Read, Berrypicking and The Invitation. Consider this essential question in light of these two poems. How do we know when we are in love? What kinds of qualities do you think are important in a parter? Explain. Ms. Inden kinden@sd91.bc.ca

22 Final Assessment: Bring in a few poems or song lyrics about love and relationships that go with or contrast with the poems in the package. Write poetry to add to the collection if you like. Consider all these poems as a group Cut them out and arrange them. Which ones go together? Explain why you connect them. Do some poems fit into more than one category? In what way? Compare and contrast. Look back at the front page of the package. Which essential questions go with which poems? Write about these questions in light of both the poems and your own experiences. Think about what other topics and essential questions arise from these poems on love and relationships. Use this thinking routine: o What do you think? o Why do you think that? o What is your reasoning? How do you know this? Use evidence from the poems. o o o Connect with what you have experienced, read, seen. Tell me more. Extend your thinking, share further evidence. What questions do you still have? Ask questions, and where possible, try to answer them. Poetry Analysis Exceeding Fully Meeting Meeting Not Yet Snapshot The student offers an analytic, thorough interpretation of poems that feature complex ideas and language. Work is thorough, insightful, and often speculative and may take risks to include unusual interpretations and personal connections. The student appears to be engaged by the text. The student offers a logical interpretation of poems that feature complex ideas and language. Goes beyond retelling, to offer some analysis and well developed personal connections. The student appears to interact with the text confidently. The student offers a narrow or superficial interpretation of poems that feature complex ideas and language. Focuses on retelling, with limited analysis and evidence. Responses tend to be broad, undeveloped generalizations. The student is focused on understanding the text. The student is unable to offer logical interpretation of poems that feature complex ideas and language. Often very short, with little evidence or development, and may misinterpret key features of the text. Appears to struggle to understand the text, with little success. Your final poster will look something like this: [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull [Type a quote from the document or the summary of an interesting point. You can position the text box anywhere in the document. Use the Drawing Tools tab to change the formatting of the pull