I scanned some of Subject titles ofthe postings in the entire favorite Book/Story.

I did not find any mention of either.

The complete poems of Ray bradbury nor
his latest " I live by the Invisible "

I found his poetry to be very accessible and full of emotion and feeling.

Oh and yes! it does make you think.

If anybody has read or is interested in reading and discussing Ray's poetry kindly contact me..Best regards

I own copies of both collections and have read them both. I view ray as primarily a poet who grew up to write short stories.

patrask:

you got that right....

Ray's word choice, and sentence structure.
Are the hues, shades, and strokes of an fine artist's composition. He uses metaphor as a canvas upon which to illuminate, mankinds foibles, and life-force. He carves out the souls desires with a vocabulary of a DaVinci. Truly an original writer, one of a kind born to put colors of life to prose.
That is why his work is fresh, and alive forever in the minds of his readers.

I am doing a freshman & sophomore hs poetry unit at this very time. A technique I incorporate to get them going: I use passages from RB's stories, take them out of context, organize them into a line by line structure (as in a poem) and then discuss imagery, word choice, and effective structure (style).

I ask students to choice a scene (ie, from Ill. Man, F451) that - for them - was "The Most" memorable from the collection/novel. (Yes, a difficult request - there are so many!) But, "one" it is!

Then I have them go back into the story, find the wording, and explain why it worked so well for them. Interesting discussions ensue, and the idea of imagery (the essence of true poetry) comes through a bit clearer to teenage writers.

"patrask" reflects exactly what I am speaking about in the above comment.

That sounds like an interesting exercise. Why did I never think of that? Of course, I don't think anyone wants me to teach poetry . . .

What an innovative idea, turning Bradbury's poetic prose into shaped poetry. I'm sure great discussions ensued.

Mr. Dark: I thought that also when I tried a "major" poetry unit a few years back. To my pleasant surprise, the kids bought into it hook, line, and alliteration! I start by asking them to bring in their own collections of poetry from home. They may also ask their parents or grandparents if they may borrow one of their poetry collections. I was amazed at some of the neat things that came in. Many times a family member has had a collection of personal poems published, and they are very proud to display the works of this related poet laureate.

I then go to the school library and clean out most of the poetry section (with the librarian's permission, of course). I set up a long table and use shelves in the room to present as wide a range of poetry as I can make available. Currently I have a spectrum from Robert Frost, Emily Dickinson, e.e. cummings, to cowboy lyrics of the Old West and other cultural origins, to War Poems from WW II and Viet Nam, and also the Poetry of Rock Music from the 60's. "Far out!" but an interesting review of the imagery of a very intense period in American history.

Each day we study a new form of poetry and read examples, some quite famous others unknown. Styles include couplets, qautrains, cinquains, haiku, narratives, name, definition, limericks, free verse, and YES! Sonnets! Thank you Mr. Shakespeare and Mr. Donne.

Each student must keep a journal with notes on what makes a certain poem what it is. They also get a nightly assignment to produce 2 to 4 samples of their own work in the form studied that day (depending on the difficulty of the poetic structure). Everything goes into the journal.

We work at the board quite a bit, read orally from the class room selections, and from original journal work! Some are more willing to chime in than others, but as time goes by - in the 3 week unit - some of the most impressive writing comes from the quiet students, very thoughtful and personal efforts.

We spend time editting, talking about imagery, using thesauruses, and rewriting. I culminate the study with a required project of 30 original poems typed in the computer lab or at home. They may include illustrations (original or graphics or computer designs) that supplement their works. A title and designed cover page and a table of contents are also needed.

I have saved copies of past efforts completed in classes (9,10) and have them covering a bulletin board to show what others have done before them. It serves to set the bar high enough that they realize that effort and time is needed to be a better writer. Ultimately, though not solely the purpose, it is my intention to get the students to become better composition writers by starting with poetry!

So, in a way, I am tricking them into writing and actually liking it. My composition lessons are more readily handled when the time comes to begin them. The ground work has been done, and all they have to do is open up the narration and apply the mechanics in a longer format. Passages from RB are often studied as a "way to say it with feeling." (Ie, One class is presently writing their own original "illustration that was not revealed in the collection from the book.")

Didn't mean to expound when I started here. Bottomline - give them some time, immerse them in the genre in whatever ways fit your style of teaching and setting, and the students will come up with a collection of poems that shows humor, paints vividly of who they are, and gives insight into their challenges. Ironically, it may even reveal a glimmer of where they are headed!

[This message has been edited by fjpalumbo (edited 11-07-2003).]

Almost 2 years exactly since my first post (according to the site archives). The topic, a poem, of course!? Irony abounds... a Bradbury moment? Yes!

I will definitely share this one with the students participating in the (above) unit!
Here it is as uncovered from an exchange with Lance, Nov. 01 (found in Omni, 4/80, pg. 90):

"They Have Not Seen The Stars"
They have not seen the stars,
Not one, not one
Of all the creatures on this world
In all the ages since the sands
First touched the wind,
Not one, not one,
No beast of all the beasts has stood
On meadowland or plain or hill
And known the thrill of looking at those fires.
Our soul admires what they,
Oh, they, have never known.
Five billion years have flown
In turnings of the spheres,
But not once in all those years
Has lion, dog, or bird that sweeps the air
Looked there, oh, look. Looked there.
Ah, God, the stars. Oh, look, there!

It is as if all time had never been,
Nor Universe or Sun or Moon
Or simple morning light.
Those beasts, their tragedy was mute and blind,
And so remains. Our sight?
Yes, ours? to know now what we are.

But think of it, then choose. Now, which?
Born to raw Earth, inhabiting a scene,
And all of it no sooner viewed, erased,
As if these miracles had never been?
Vast circlings of sounding fire and frost,
And all when focused, what? as quickly lost?

Or us, in fragile flesh, with God's new eyes
That lift and comprehend and search the skies?
We watch the seasons drifting in the lunar tide
And know the years, remembering what's died.


A wonderful poem!

[Tonight - North East Coast - a cold, perfectly clear autumn night. A spectacular full eclipse of the moon for all who chose to see. Thanks folks for the knowledge and ideas you share here.]

fjpalumbo:
I only wish that I had had you for my high school English teacher, I would have become a writer or poet instead of an engineer. The conflict within still rages. Your students are very lucky to have such a dedicated teacher working on their behalf. Bravo!

[This message has been edited by patrask (edited 11-09-2003).]

Ditto

Way, way back...around 1972, when I was in an audience to hear Bradbury speak, it was the only time I cried...when Ray spoke his poem, 'God Thumbprints Thee.' I silently sat there weeping. You live for moments like that.

fjpalumbo:

How often a teacher has no idea the power and influence they wield...

Patrask and Uncle,

Yes, a wonderful teacher like Fjpalumbo would have gone far to encourage you to be a writer and a poet if you had encountered him at the right time.

May I suggest NOW is the right time? And perhaps Fjpalumbo is that very teacher you needed for that inspiration?

It's not too late. You're an engineer now, Patrask, but that doesn't have to stop you from your dreams of being a writer.

I read somewhere that the secret to becoming a successful writer is getting up earlier than everyone else in the household five years ago.

There are lots of courses and books available to help you on your way. The Internet offers all kinds of possibilities for publication.

Like Ray says, jump off the cliff and build your wings on the way down.

Today is that day you longed for. Get started.

And see where you're at five years from now.

Good luck.

Pete

[This message has been edited by pterran (edited 11-09-2003).]

Nard--Can you tell me where I can find a copy of that poem? Thank you!

I think the title of the poem is: "What I Do Is Me -- For That I Came. For Gerard Manley Hopkins".

It has the following stanzas:

"God thumbprints thee! he said
Within your hour of birth
He touches hand to brow, He whorles and softly stamps
The ridges and the symbols of His soul above your eyes."

If this is the poem Nard is referring to, it is in:

A CHAPBOOK FOR BURNT-OUT PRIESTS, RABBIS AND MINISTERS (Cemetary Dance Publications, Baltimore. 2001)

and

I LIVE BY THE INVISIBLE. (Salmon Poetry, Ireland. 2002)

It may be in other places, but I have these two books and it is in both.