I’ve been a little bit frustrated by my first unit in AP Lit. since my first year teaching it. Since this year is my fourth, it was time to make some changes or scrap it altogether, and since I felt it had some real potential, I decided to rethink the selections I was using to introduce literary analysis tools and critical lenses. I’m a little embarrassed it took me three years to figure out the solution. Even more embarrassing? I stumbled on this solution by accident after forgetting I was a day ahead of where I thought I’d be in my lesson plans. But after that serendipitous change went well, I knew what I needed to fix the rest of my unit:Â student agency.
I started peeking into discussions on Twitter at the hashtag #TeachLivingPoetsÂ some time ago. I asked which collections teachers using the hashtag recommended, and they offered a great list. I already had Clint Smith’s Counting Descent, which I highly recommend, and WisÅ‚awa Symborska’sÂ Poems New and Collected. I found Second Space by CzesÅ‚aw MiÅ‚osz, The Vintage Book of Contemporary American Poetry edited by J. D. McClatchy, and Miracle Fruit by Aimee Nezhukumatathil in a classroom, presumably left behind by a teacher who departed our school.
I ordered the following:
- Calling a Wolf a Wolf by Kaveh Akbar
- The January Children by Safia Elhillo
- Electric Arches by Eve L. Ewing
- Citizen Illegal by JosÃ© Olivarez
- American Journal: Fifty Poems for Our Time edited by Tracy K. Smith
- Nepantla: An Anthology for Queer Poets of Color edited by Christopher Soto
- ReliquariaÂ by R. A. Villanueva
I put all these collections in a box I called myÂ Box of Books by Living Poets. Of course,Â MiÅ‚osz andÂ Symborska are not living poets, but they are at least 20th-21st-century poets. I carried the box with me to class.
The books that generated the most interest wereÂ Counting Descent andÂ Citizen Illegal, though students also looked intoÂ Calling a Wolf a Wolf,Â Electric Arches,Â American Journal, Miracle Fruit, andÂ The Vintage Book of Contemporary American Poetry. To be honest, no one cracked open eitherÂ MiÅ‚osz andÂ Symborska. Some students elected to focus on poems they knew and loved by poets as diverse as Rupi Kaur, Allen Ginsberg, Dr. Suess, Eminem, and Emma Lazarus.
The first thing students do with the poems isÂ learn how to use one of several literary analysis tools to help break down the poem. In my AP Lit workshop a few years ago, I learned about DIDLS, TWIST, and SIFTTÂ (video). Lisa Huff had already introduced me to TPCASTT (weirdly, this TPCASTT post on my blog is the one that consistently receives the most traffic). If you know who invented any of these strategies, let me know so that I can give proper attribution. I do not know who created them, but they’re widely shared.
Students worked in groups to use the literary analysis tool to analyze a poem of their choice, create a presentation using Google Slides explaining how to use the analysis tool, and demonstrate their application of the tool to their own poem analysis.
In between using the literary analysis tools and learning critical lenses, students discussed Thomas C. Foster’sÂ How to Read Literature Like a Professor.
Students created a second presentation using critical lenses to deepen their poem analysis. They could use the same poem as before or a different one. Most students chose a different poem, again from the Box of Books by Living Poets or one of their own choosing. Again, students analyzed the poem using one of the literary analysis tools and added the layer of the critical lens.
Some of my takeaways from the change:
Students were much more engaged in this unit this year. It’s probably obvious, but the reason why I think they enjoyed the unit more was the selection of poetry. They had an opportunity to either analyze poetry they really like or they were introduced to poetry by living poets, with the immediacy and relevance of those voices bring with them. Students were really enjoying Clint Smith’s poetry. They were excited by the fact that JosÃ© Olivarez’s book had been released just weeks ago, and they were probably some of the first students to analyze his poems.
Students were reading more poetry than they had in previous years.Â They had to find the poems they wanted, which in itself was a process. Students also shared their poems in presentations, reading the poems they were analyzing before sharing their analyses. Because of the large variety of poems available, students were simply reading more of them.
Students were able to bring in literature that was important to them.Â One student lamented in a recent discussion that she didn’t feel represented well in our school’s curriculum. She had read one major text by an author with her background, and to quote her commentary, “It was weird.” Because of these projects, she was able to bring in poets with backgrounds similar to her own background and share those poems with her classmates. Another student brought in her own poem to analyze. Two other students brought in a poem by a student their age at another school (video).
Students understand the literary analysis tools better. They are better able to articulate why they selected certain tools. For example, they noted the diction was interesting, and it prompted them to use DIDLS. If tone seemed really important, they chose TWIST. They loved TPCASTT for its versatility.
Students understand the critical lenses better. Purdue OWL has revamped their pages on critical lenses, and they are amazing. Having really good introductions to the critical lenses made a huge difference. Also, I think choosing their own poems asked students to think more about which lenses could be used to interpret the poems. For example, students with experience reading Clint Smith’s poems for the first presentation knew he would work well for critical race theory in the second. A student who loves Eminem knew his song “The Monster” was ripe for a psychoanalytical analysis. As a result of having to select their poems, students had to use higher-order critical thinking skills of application and evaluation to do their analysis as opposed to the past, when I selected poems I thought would be good to use for the critical lenses.
I was more engaged in the classroom, too. No, it’s not about me as the teacher, but I was way more interested during the students’ presentations because their own engagement and interest showed through in their work. Watching the presentations this year was really a lot of fun.
My prediction is that students will use both the literary analysis tools and the critical lenses more this year than they did in past years. I am hoping to grab a few minutes to ask their feedback on the unit in the upcoming week, but one student remarked as she left class Friday that “this is fun English.”
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