Tuesday, May 21, 2013

Headache


Pain wracks my brain.
Did I mention it hurts?
Of all the miseries...

This one will put me in a hearse.
For sure, it’s a headache,
A jab in the brain;

Lightning then rain.
Will no one give me rest?
Four little people running around,
Stomping and shrieking and shaking the ground.

I’m writing as my cranium throbs,
I guess we all have our things and our jobs,
My writing is soothing - to others it is pain?

Really, I could do without this in my brain.


--Chandler Hamby




Friday, May 10, 2013

Fantasy: What's not to love?


The Three Doors Trilogy
by Emily Rodda
written for ages 9-12 | highly recommended
published in 2011-2012 | Scholastic | 288 pages

Reviewed by Clare Cannon


I've always thought that the fantasy genre is like philosophy in images. Literary images. Metaphysical realities like good and evil, love and hatred, are visualised—in words—through a story which, though beyond our material reality, still has a very clear moral reality.

If you turn someone into a frog, your hatred has taken on a visual metaphor, and the consequences are evident. Fantasy can make hard to grasp realities just a little bit clearer.

Could any character better depict the bourgeois life than the humble hobbit? Or show the miserable, thuggish servitude of the cohorts of darkness than the death eater?

And so I believe it is important to introduce children to fantasy from a young age. Good fantasy, where these metaphysical truths—good and evil—are honoured and explored. C S Lewis or Lloyd Alexander are an obvious place to start.

More recently, Emily Rodda's Three Doors Trilogy is a treat for introducing young readers to the moral inspiration of good fantasy.

The characters are smart and yet humble, daring and yet thoughtful, demanding and yet charitable. There's loads of action and adventure, and the plot twists have your brain working hard to keep pace. The intricate puzzle made up of people, times and places comes together masterfully, revealing a whole new dimension from the finish line.

But above all, it explores deep truths which are normally hidden in everyday reality: courage and selflessness, humility and fortitude, and that moment when the 'hardest way' becomes the path to victory.

The three books in the series are best read from beginning to end without pause in order to get the most from the rich overlap of details. And after that... you'll almost be ready for Tolkien.


Clare Cannon is the editor of www.GoodReadingGuide.com and the manager of Portico Books in Sydney, Australia.


Thursday, May 9, 2013

More Phrase Lyrics


More phrase lyrics. These were written by Middle School students. Their writing teacher is Hope Rapson. See the rubric here.


Sailing
      By Gwyneth Elaine Berry

Gliding over the water
The blowing of a gentle wind
To lay on the deck of the boat
Gliding over the water
  To break from the busy day
The laughing with family and friends
Gliding over the water


Rain
By Hannah O’Malley

Standing in the rain
The rattle of steady drops
To huddle in my jacket
Standing in the rain
To tromp through the deep puddles
The chattering of joyous birds
Standing in the rain


Dark Pines
By Libby Myers

The smell of dark pines
Tugging at my mind
To be free in the forest
The smell of dark pines
To observe the secret life
Standing among the trees
The smell of dark pines


Pendulum
By Nathan Johnson

Dancing behind glass
The steady keeping of endless time
To swing in perpetual motion
Dancing behind glass
To pace the busy day
The keeper of life's timeline
 Dancing behind glass

Wednesday, May 8, 2013

Why read old books?


Victor Davis Hanson


We all know the usual reasons why we are prodded to read the classics — moving characters, seminal ideas, blueprints of our culture, and paradigms of sterling prose and poetry. Then we nod and snooze.

But there are practical reasons as well that might better appeal to the iPhone generation that is minute-by-minute wired into a collective hive of celebrity titillation, the cool, cooler, and coolest recent rapper, or the grunting of “ya know,” “dah,” and “like.” After all, no one can quite be happy with all that.

Classics are more than books of virtues. Homer and Sophocles certainly remind us of the value of courage, without which Aristotle lectures us there can be no other great qualities. Instead, the Greeks and Romans might better remind this generation of the ironic truths, the paradoxes of human behavior and groupthink. Let me give but three examples of old and ironic wisdom.



I. The Race Goes Not to the Swift.

The problem with Homer’s Achilles or Sophocles’ Ajax was not that they were found wanting in heroic virtue. Rather they were too good at what they did, and so made the fatal mistake of assuming that there must be some correlation between great deeds and great rewards.

How many times has the natural hitter on the bench sulked at the novelty that the cousin of the coach is batting cleanup? How often has the talented poet suddenly turned to drink because the toast of the salon got rich with his drivel? He should read his Homer: the self-destructive Achilles should have enjoyed more influence among the dense Achaeans than did the university president Agamemnon. By any just heroic standard, Ajax, not Odysseus, the Solyndra lobbyist, should have won the armor of the dead Achilles.

In the tragic world, thousands of personal agendas, governed by predictable human nature, ensure that things do not always quite work the way they should. We can learn from classics that most of us are more likely to resent superiority than to reward it, to distrust talent than to develop it. With classical training, our impatient youth might at least gain some perspective that the world is one where the better man is often passed over — precisely because he is the better man. Classics remind us that our disappointments are not unique to our modern selves. While we do not passively have to accept that unfairness (indeed Achilles and Ajax implode over it), we must struggle against it with the acceptance that the odds are against us.

Again, think of the great Westerns that so carefully emulated ancient epic: what exactly does Shane win (other than a wound and a ride off into the sunset)? Or Tom Doniphon (other than a burned-down shack)? Or the laconic Chris of The Magnificent Seven (“The old man was right. Only the farmers won. We lost. We always lose.”)? Did he even collect his $20?

Or what about Will Kane (yes, I know, but a buckboard ride with young Grace Kelly to where exactly?)? Or Ethan Edwards (a walk to where after going through that swinging cabin door?)? Medals, money, badges? The lasting admiration of Hadleyville? Hidden gold from the Mexican peasant village? The mayorship of Shinbone? An hour with Jean Arthur?

Society is as in need of better men as it is suspicious of them when it no longer needs them. Most of Sophocles’ plays are about those too noble to change — Antigone or Philoctetes — who cannot fit in a lesser society not of their own making. Read E. B. Sledge’s With the Old Breed and cry over the great Marines who were ground up in the Pacific. So often they were like Lieutenant Hillbilly Jones and Captain Haldane who saved the U.S. and are now all but forgotten. In today’s collective history, they are simply the anonymous cardboard cut-out race and class villains who needlessly decimated the Japanese out of racially driven animus and thereby bequeathed to us the abundance that we take for granted and that allows us such self-indulgent second thoughts.

Thucydides’ Pericles warned us that orators had to be careful when speaking of the dead lest they so emphasize the gifts of the deceased that such praise invoke envy in the listeners, who in anger realize that their own lives fall short of the fallen.


Read it all here.




Friday, May 3, 2013

Clause Poems



Clause Poem Rubric
First Line:  Adverb clause (www.asia.because) ending with a noun or pronoun
Second Line: Adjective clause (who/which) describing the previous noun or pronoun and ending with a verb, noun, or preposition
Third Line: Noun Clause functioning as a DO of the preceding verb, APP of the preceding noun, or OP of the preceding preposition
Fourth Line:  VVSS serving as a conclusion of the stanza’s (paragraph’s) thought.

Example:

God’s Rain
By Hope Ellen Rapson

When I gaze through windows on a rainy day
which seems to fill my whole world with
tears shed by God just for me,
I pray.

Where is the gray cloud of sin inside my soul
which causes You, God, to singly send
the pattering puddles I see?
I ask.

Because I question my self-centered heart
Which often fogs or blurs heaven’s answer,
“Only grace and mercy fall here,”
I trust.




Student work/sample:
The Window

By Libby Myers


When on a dreary day I stare, out a window
That catches pattering raindrops
Like a crystalline giant,
I sit and watch.

If I press my nose upon the cold pane,
That stands between me and the world,
My breath makes obscuring mist upon it,
I watch and wait.

As tears cut wet paths upon my face
That is drawn with unimaginable pain
Emotions raging inside me
They bring bitter relief.