Many people are intimidated by poetry. For a big part of my life, I was too. So much of the poetry I had been exposed to was either indecipherable or irrelevant to me. Then I discovered some poems that I loved—accessible poems about subjects I related to. I started collecting poetry books, by both adult and children’s poets. Eventually, I was inspired to write poetry of my own. Today, I’m a poetry advocate, recommending my favorites to anyone who shows interest. The satisfaction I get from poetry boils down to this: When I read a good poem, I think to myself, “Wow, I didn’t know words could do that.”
After writing 14 children’s books about art appreciation, I decided to try my hand at children’s poetry. When I read this collection of haiku by Jack Prelutsky, it was a revelation. Each poem is a first-person description of an animal, full of rich, unexpected language. By writing in first-person, Prelutsky broke one of haiku’s cardinal rules. But it worked—and inspired me to write my own collection in the first person as well. Here’s one of my favorites poems in his book:
Raucously we caw.
Your straw men do not fool us.
We burgle your corn.
Seventeen haiku composed by master poet Jack Prelutsky and illustrated by renowned artist Ted Rand ask you to think about seventeen favorite residents of the animal kingdom in a new way.
On these glorious and colorful pages you will meet a mouse, a skunk, a beaver, a hummingbird, ants, bald eagles, jellyfish, and many others. Who is who? The answer is right in front of you. But how can you tell? Think and wonder and look and puzzle it out!
A creature whispers:
If not for the cat, And the scarcity of cheese, I could be content.
This anthology of concrete poems (also known as shape poems) is a direct influence on my own book. For anyone who loves concrete poetry, or wants to know more about it, A Poke in the Eye is indispensable. Each poem is by a different poet, and each approaches the form in their own way, which got me excited about trying it myself. I do have to say, while I love the mixed collage-style illustrations by Chris Raschka, it made me want to create my own concrete poetry book without supporting illustrations. In my mind, a concrete poem is its own illustration.
"These aren't poems to read aloud, but to look at and laugh at together, with young children and especially older readers, who will enjoy the surprise of what words look like and what can be done with them." — Booklist (starred review)
Concrete poems startle and delight the eye and mind. The size and arrangement of words and letters can add or alter meaning — forming a poem that takes the shape of crows that fly off the page or becoming a balloon filled with rhyme, drifting away from outstretched hands. Here, in a single extraordinary volume, are thirty poems…
When I first became interested in children’s poetry, I found a seven-book series by James Stevenson—all self-illustrated, and all with titles containing the word “corn.” I loved everything about them, including his loose pen-and-ink illustrations washed with watercolor. His style seems effortless, with unique and relatable observations on everyday scenes or objects. A lot of poetry feels like it’s trying too hard. Stevenson taught me the power of not letting the effort show. Here’s a perfect example:
There’s a yellow chair
at the junkyard gate.
Sometimes an old guy sits there
just to make sure
nobody swipes a crane.
The author of Popcorn amasses a collection of short poems with titles such as "The Morning After Halloween," "Dumpsters," and "What Frogs Say To Each Other."
As an example of just how inventive poetry can be, this book is hard to top. The subject of each poem is a fictitious animal created by combining two dissimilar words that share common sounds. For example, umbrella + elephant = umbrellaphant. The rhythm in Prelutsky’s poems is always smooth, making them fun to read out loud. This book makes me want to drop everything and play with words, which for me is the essence of poetry. Here’s an excerpt from "The Ballpoint Penguins":
The Ballpoint Penguins do not think,
they simply write with endless ink.
They write of ice, they write of snow,
for that is all they seem to know.
Jack Prelutsky has written a series of truly inventive and entertaining poems that are perfectly paired with Carin Berger’s witty collage pieces. It’s a beautiful picture book with a look and feel unlike any of Prelutsky’s prior work.
So put on your pith helmet and prepare to explore a wilderness of puns and rhymes where birds, beasts, vegetables, and flowers have been mysteriously scrambled together to create creatures you've never seen before—and are unlikely to meet again!
Your guides—Jack Prelutsky, poet laureate of the elementary school set, and award-winning illustrator Carin Berger—invite you to join them on an adventure you…
I love wordplay, and Douglas Florian is a master. His poems are short, fun, and well-crafted. He also illustrates his books, in a style that is sketchy, childlike, and textural. When I need a bit of lighthearted inspiration for my own poetry, Florian always delivers. He has written dozens of books, but his book about summer called Summersaults captures the essence of his style. Here’s a delicious sample:
"A Summery"
June: We seeded.
July: We weeded.
August: We eated.
What do you like about summer?Mountain hikes? Picking cherries? Curve balls? Ice cream cones?
What do you not like about summer?Blackouts? Bee swarms? Thunderstorms? Ninety degrees?
However you answered, Douglas Florian will convince you that summer is great. His poems and pictures add up to the best vacation imaginable -- and it is one you can have at any time of the year. A companion volume to the highly praised Winter Eyes,Summersaults proves that Douglas Florian is a poet for all seasons.
I don’t remember when I saw my first concrete poetry (also known as shape poetry), but I was hooked from the get-go. I remember reading all the concrete poems I could find, and realized there was room to push the boundaries of this form. So in this book, not only does every poem have a shape, but every title as well. For example, in my poem "Dominoes", the letters of the title are shown on the page falling into each other liked stacked dominoes, while the lines of the poem itself are shown the same way, stacked vertically and falling into each other.
Wet Cement was a long time in the making, so when it received five starred reviews, I was thrilled.
I once saw a play at the renowned Oregon Shakespeare Theatre. A play about Sor Juana. It was a good play, but it felt like something was missing like jalapenos left out of enchiladas. The play kept nudging me to look further to find Sor Juana, and so for the next five years, I did so. I read and read more. I listened for her voice, and that is where I heard her life come alive. This isn’t the only possibility for Sor Juana’s life; it is just the one I heard.
Sor Juana Ines de la Cruz, this brilliant 17th century nun flew through Mexico City on the breeze of poetry and philosophy. She met with princes of the Church, and with the royalty of Spain and Mexico. Then she met a stunning, powerful woman with lavender eyes, la Vicereine Maria Louisa, and her life changed forever. As her fame grew, she dared to challenge the diabolical Archbishop once too often, and he threw her in front of the Inquisition, where she stood, alone.
Sor Juana's work is studied still today, and justifiably so. Scholars study her months on end; mystics…
This astonishingly brilliant 17th century poet and dramatist, this nun, flew through Mexico City on wings of inspiration. Having no dowry, she chose the life of a nun so that she might learn, so that she might write, so that she might meet the most fascinating people of the western world. She accomplished all of that, and more.
One day a woman with violet eyes, eyes the color of passion flowers, entered her life. It was the new Vicereine, Maria Luisa. As the two most powerful women in Mexico City, the bond between them crossed politics and wound them in…
