Close Reading and Personal Connection: The Power of Poetry
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Close Reading and
Personal Connection:
The Power of Poetry
SUMMARY At a time when the artistically and ethically by making
connections to: other texts, ideas,
Literary forms such as Common Core Learning Standards are
cultural perspectives, eras, personal
poetry are important front and center in terms of educators’
events, and situations.” (p. 47)
and vital elements of the time and attention, and the focus is on
curriculum. This author emphasizing informational text, the
describes how poetry “Create poetry, stories, plays, and
importance of the arts in obtaining and other literary forms…” (p. 57)
can be used to inspire
and engage learners. It sustaining student engagement cannot
is a form of text that be neglected. Poetry as an art form can Curran (2013) notes that the anchor
can serve as the focus of elicit deeply personal expression, ener- standards found in the CCLS/ELA call
a close read, similar to
gize the classroom environment, and upon students to demonstrate many
other texts. She offers
examples of text-depen- contribute to a range of educational skills that are enhanced through the use
dent questions that can goals. And yes, students can benefit of poetry — such as making inferences,
be used in conjunction from a close reading of this type of text analyzing themes, interpreting words
with questions that seek as well as simply letting the sense of a and phrases, and assessing how point of
personal connections and
expressions. poem spark their imagination for cre- view shapes a text. The CCLS/ELA
ative writing or discussion. There is Instructional Shifts related to staying
value in both. deeply connected to the text and
responding to ideas presented in the
The New York State P-12 Common text are demonstrated in the following
Core Learning Standards for English description. Poetry can be used as the
Language Arts & Literacy (CCLS/ focus of a close read as well as a jump-
ELA) address poetry in multiple stan- ing-off point for personal expression
dards. For example, students will: and exploration. Poetry can impact
“Interpret, analyze, and evaluate students’ attitudes about themselves as
narratives, poetry, and drama, valuable, creative and engaged learners.
Lindamichelle Baron is an assistant professor and chair of the Department of Teacher Education at York College,
City University of New York.
E d u c a t o r ’ s V o i c e n V o l u m e V I n P a g e 4 8
Lindamichelle Baron, Professional Staff Congress
Nurturing the Creative Spirit in or out of school — with our friends,
Within families, and communities. Poetry can be
As a very young child, I would often
The majority of educators standing in
used as the focus
play with words and ideas — simple
rhymes written in iambic pentameter.
front of secondary school classes today of a close read
are not facing self-identifying readers,
Children often believe, as I did, that
poets and writers. Even if a minority of
as well as a
the primary function of poetry is as a
students do see themselves as creative jumping-off
place to hold rhythms and rhymes
artists (writers, poets, media makers),
rather than to communicate ideas. My point for personal
most are disconnected from contem-
early attempts at poetry gave no indica-
porary classics and even from compel- expression and
tion that I would one day grow into an
individual who would be a published
ling young adult works. Beyond the exploration.
literacy consequences of this discon-
poet. “I have a cousin named Gerard/I
nection in terms of addressing the
think his ears are very odd” and “My
Standards and standardized test
mother is the best/better than all the
demands, these adolescents are at a
rest” gave no hint of my inner wishes,
crucial juncture in terms of their evolv-
hopes or talent. They were simplistic
ing self-definition as adults in relation-
rhymes.
ships, in work, and in society. They
Flash forward to a time when growing require an accessible syntax to concret-
emphasis (overemphasis, some would ize emotional turmoil as they forge
argue) is being placed on what can be ahead to define themselves.
measured by standardized tests of
My quest as a teacher, consultant,
achievement. How do we reinforce the
poet, professional developer and edu-
joy of living a literate life, so that stu-
cator of teachers is to develop
dents are better able to face the chal-
approaches that bring students the joy
lenges of the range of skills described
of living a literate life. Given my own
by the Standards? How can we dem-
development as someone who uses
onstrate that the arts, valuable in and of
poetry as the vehicle for self-definition,
themselves, are also a way for celebrat-
I have found ways to create opportuni-
ing our accomplishments and coping
ties for others to do the same. Poetry as
with our difficulties — whether they be
continued on following page
E d u c a t o r ’ s V o i c e n V o l u m e V I n P a g e 4 9Close Reading and Personal Connection: The Power of Poetry
How do we pedagogy can be used by any teacher Most disaffected students do not
to help move students from discon- grow up experiencing literature as I
reinforce the joy of nected readers to excited, engaged did. With that in mind, I authored a
living a literate life, and reflective individuals. My goal is poem dealing with one student’s
to have students find the joy in cre- negative literacy experience:
so that students are ative expression through the arts, so
better able to face that they begin to create for them-
selves, in the classroom and beyond.
the challenges of
the range of skills Life, Literacy, and . . .
When he walked into the library,
described by the it was so big and clean and beautiful
Standards? he felt like he was going to
receive his lottery prize.
But when he found the book the teacher had assigned,
There were so many words he had never seen before
he felt like someone had reached into his pocket
and stolen his prize-winning ticket.
The library became a giant locked safe
With all the riches of the world
Stored alphabetically, on the shelves.
But he didn’t know the combination.
He handed the librarian the book
with his library card tucked inside.
Transaction completed,
she handed both back with a smile.
But when he thought she wasn’t looking
He scratched an obscenity on the counter
in large letters
and put the book
he knew he was never going to read
on top of his disappointment . . .
And left. — Lindamichelle Baron
E d u c a t o r ’ s V o i c e n V o l u m e V I n P a g e 5 0I use this poem to directly engage and I might ask text-dependent questions.
“speak to” students — particularly stu- These questions require the student to Teachers can, of
dents who struggle with literacy skills. refer explicitly back to the text course, choose
Teachers can, of course, choose from (Student Achievement Partners,
an infinite range of topics and themes 2012). For example: from an infinite
which directly speak to the specific
n Which words or lines provide any range of topics
student population experience. Here is
how I proceed:
information about the adolescent and themes
in the poem?
which directly
n What does the text tell us about
Step One: Reading and/or him? What do the words tell us
speak to the
Enacting a Poem as Dramatically
as Possible
about his thoughts about reading? specific student
With a poem such as the above, stu- n What does the individual in the population
poem tell us is important to him?
dents can be selected to “act out” the experience.
scene, playing the student and the n Do the words tell us directly or do
librarian. I read it with as much street we infer?
cadence as I can muster as a female
senior citizen from another world. Infer is a difficult word, so this moment
Interestingly, the poem seems to give will present an opportunity to teach or
me “street cred” as far as my student reinforce past teachings about impor-
audiences, who do not care about my tant academic vocabulary (Instructional
credentials as a literacy educator. It is Shift 6: Building Transferable
the poetry that is seemingly connected Vocabulary). This word is both
to their world view that allows them to abstract and crosses curriculum areas.
hear me.
With these close reading questions, I
may add some that are not — that is,
Step Two: Close Reading they are geared to engaging the student
Students are asked to think about the at a personal level:
adolescent’s perspective. This is the
close reading component: “a careful n What questions or thoughts come
and purposeful rereading of a text. It’s to your mind as a reader and
an encounter with the text where stu- listener?
dents really focus on what the author
n Have you had a reaction to feeling
had to say, what the author’s purpose
like you can’t do something that
was, what the words mean, and what
you want to — something that’s
the structure of the text tells us”
important to you?
(Fisher, 2012).
continued on following page
E d u c a t o r ’ s V o i c e n V o l u m e V I n P a g e 5 1Close Reading and Personal Connection: The Power of Poetry
Step Three: Rereading and I address students who are not habitu-
Poetry has the Exploring al readers or writers. Some of these
power to connect The poem is read again, and students students are deliberately and proudly
students over a are asked to discuss its nuances with “oppositional” to the traditional litera-
each other. I guide their discussions cy exercises and test-driven curricu-
broad spectrum of with one or two broad questions. lum. While they may be disconnected
prior experience. They talk with each other about their from the curriculum, through this
own questions and thoughts. Through poem and others — they become
this student discussion, the reluctant engaged. What I’ve noticed, as I work
students begin to identify aspects of with students who are considered to
the personally applicable position, be achieving at a low-level, is that
arguments, and actions of the poetry questions aimed at the higher levels of
persona. Students are drawn into a Bloom’s Taxonomy are often more
discussion and conversation about the effective. For example: What was the
viewpoints of the adolescent in the librarian’s likely reaction when she lift-
poem. ed up the book and found the obsceni-
ty? How might she have reacted if the
Then I explain that the author of the student had shared his issue with her?
poem is a female educator over 40 I am inevitably surprised, every time,
who loves reading and trains teachers by students’ responses to poetic
and students in literacy. I ask: expression.
n Why do you think the author
decided to write a poem about a
student who leaves his library book Step Four: Writing
behind and scratches an obscenity Students are asked to write their own
on the counter? responses — in prose, argument, dia-
logue or poetry format. Some deliber-
Other questions might be pointing to ately choose to react from two or more
solutions: perspectives: student, librarian, teach-
er and even custodial worker who has
n What are some ways a student can to remove the obscenity. Within an
talk to a teacher when feeling
hour or so, this profile of an angry
frustrated?
young library user has created a com-
munity of literacy issue conversational-
n What would help you build your
skills and confidence as a reader ists. From here we can shift the
and writer? conversation to engaging with building
literacy skills for both personal expres-
sion and success in life.
E d u c a t o r ’ s V o i c e n V o l u m e V I n P a g e 5 2Poetry has the power to connect students
over a broad spectrum of prior experi-
ence. Young people can talk to us in
authentic, creative voices and engage in
intellectual discourse when we provide
the opportunities. They can call on their
insights, intellect and enthusiasm. When
we provide the opportunity in the class-
room, they will respond from the depth
of who they are. It’s doable and achiev-
able for all — one student-relevant poem
at a time.
References Resources
Baron, L. (2007). For the love of life: Life lyr- Hale, J. H. (2001). Learning while Black:
ics from an oral tradition. Garden City, NY: Creating educational excellence for African
Harlin Jacque Publications. American children. Baltimore & London: The
John Hopkins University Press.
Curran, B. (January 15, 2013). When poetry
meets the common core. Education Week. Rose, D. H., & Gravel, J. W. (2010). Universal
Retrieved from http://www.edweek.org/tm/ design for learning. In E. Baker, P. Peterson,
articles/2012/01/14/tln_curran_poetry.html?t & B. McGraw (Eds.), International encyclope-
kn=WYYFkVJg%2BD2hje2B6Dstm9lYBC3W dia of education (3rd ed.). Oxford: Elsevier.
nGTEn%2Fy2&cmp=ENL-TU-NEWS1
Fisher, D. (2012). Close reading and the com-
mon core state standards. McGraw Education
Common Core State Standards. Retrieved
from http://www.mhecommoncoretoolbox.com/
close-reading-and-the-ccss-part-1.html
New York State Education Department. (2011).
New York State P-12 common core learning
standards for English language arts & literacy
in history/social studies, science, and technical
subjects. Albany, NY: Author.
Student Achievement Partners. (2012). A guide
to creating text dependent questions for close
analytic reading. Retrieved from http://
www.achievethecore.org/steal-these-tools/
text-dependent-questions
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