Margarita Engle's _Hurricane Dancers: The First Caribbean Pirate Shipwreck_

The Plot: In Hurricane Dancers: The First Caribbean Pirate Shipwreck (2011), a 2012 Pura Belpre Honor Book, Margarita Engle tells a story alternating five characters' perspectives: Quebrado, a young slave of Taino Indian and Spanish ancestry; Bernardino de Talavera, a real-life conquistador who became the first pirate of the Caribbean Sea in the 1500s when he stole a boat to avoid debtors' prison; Alonso de Ojeda, a brutal European slave trader and conquistador who was taken prisoner by Talavera; and two young islanders who are secretly in love -- Caucubu, the daughter of a Ciboney chieftain, and Narido, a fisherman. Engle invented the character Quebrado, but the remaining characters are all historical figures-- two European and two Cuban. Engle reveals in her author's note that she "became fascinated by the first Caribbean pirate shipwreck while researching [her] own family history" as one of her ancestors "was a Cuban pirate who used his treasure to buy the cattle each where many generations of [her] mother's family were born" (135). She notes further that she became the subject of the Cuban DNA project and discovered that she carries a genetic marker verifying tens of thousands of years of maternal Ameindian ancestry; Engle is "a descendant of countless generations of women like Caucubu. Indigenous Cubans do survive in body, as well as spirit" (135).

The Poetry: The majority of Hurricane Dancers meditates upon the enslaved life of Quebrado, who is referred to as "broken boy," "spirit-boy," "storm-boy," and "born-of-wind friend" by various characters throughout the narrative. While the experiences of the other characters in the narrative are interesting, the poems told from Quebrado's perspective are the most lyrical and lively on the page. For instance, the first poem in the collection "Quebrado," begins:

I listen

to the song

of creaking planks,

the roll and sway

of clouds in sky,

wild music

and thunder,

the groans

of wood,

a mourning moan (3).

The poem ends as the speaker links the old ship's sounds with the materials used to create it, explaining that the sounds echo the ship's memory of "her true self / her tree self / ... alive" (3). Poems like this one, steeped in metaphor reflecting the natural world and ringing with sound and rhythm, are characteristic of those told from the point of view of Quebrado.

The Page: Hurricane Dancers is divided into six parts: "Wild Sea," "Brave Earth," "Hidden," "The Sphere Court," "The Sky Horse," and "Far Light." Engle begins her verse novel with a quote uttered by Caliban in William Shakespeare's The Tempest and a description of Talavera from Bartolome de las Casas's History de las Indias; a note on her historical setting; and a list and description of the cast of characters. The verse novel ends with an author's note; a historical note detailing her narrative's connection to historical characters and events, culture and language, and literature; and a list of references.

I found Hurricane Dancers to be extremely engaging, and I thoroughly enjoyed Engle's characteristic use of free verse, lyricism, and imagery within her historical narrative. I give Hurricane Dancers four stars and highly recommend it.

Margarita Engle's _The Lightning Dreamer: Cuba's Greatest Abolitionist_

The Plot: Margarita Engle's verse novel The Lightning Dreamer: Cuba's Greatest Abolitionist (2013), a 2014 Pura Belpre Honor Book, is a work of historical fiction based upon the life and writing of Gertrudis Gomez de Avellaneda (Tula) a poet, playwright, and novelist who lived from 1814-73. Avellaneda's boldest and most well-known work is Sab, "one of the world's first abolitionist novels and the earliest one written in Spanish. Sab is also the only known Latin American abolitionist novel that combines proemancipation views with feminist themes" (170). The Lightning Dreamer begins in 1827 when Tula is thirteen years old and is told from alternating viewpoints (including those of Tula, her younger brother Manuel, her mother, her maid Caridad, the Nuns whose library Tula often visits, the Orphans at the theater, and a young boy named Sab). The narrative follows Tula through 1836 when she is twenty-one years old and details her experiences on the marriage market, the blossoming of her passion for writing through discovery of Cuban Romantic poet Jose Maria Heredia's work, and her journey to Havana to write her novel.

The Poetry: Engle's verse novel is full of lyrical verse that combines imagery and metaphor to tell the story of a burgeoning young writer growing up in a time of oppression and injustice. At times Engle employs spare, rhymed verses in her narrative, such as: "I am alone / and my heart / is my own" (108). In other poems in the collection, Tula meditates upon the power of poetry's rhythms and silence: "I study verses with a drumbeat rhythm / like pounding music," "just as often, poetry is a free / dance / of birds in air," and "in each verse; / the stillness / between words" (45). Still other poems ask poignant questions about authenticity and the ethical implications of writing the story of injustices experienced by others:

Can a woman ever write

the true thoughts of a man?

...........................................

Can a free person

really understand one whose dreams

must fly up and soar

high above the depths

of slavery?

Is my imagination enough,

or do I need to add the ways

in which I myself

have felt enslaved? (162).

The Page: The Lightning Dreamer is divided into five parts: "Suns and Rays," "The Orphan Theater," "The Marriage Market," "See Me as I Am," and "The Hotel of Peace." The poems included in these sections are also book-ended by sections containing historical background and notes on the writing of Avellaneda and her mentor Heredia, as well as references. Engle also provides samples of poetry and prose written by both Avellaneda and Heredia in Spanish and with English translations.

Engle has written ten verse novels, several of which I have reviewed. The Lightning Dreamer is my favorite of Engle's verse novels for young readers. I give it five stars and highly recommend it.

Andrea Davis Pinkney's _A Poem for Peter_

The Plot: This week's picture book verse narrative is A Poem for Peter: The Story of Ezra Jack Keats and the Creation of The Snowy Day (2016) written by Andrea Davis Pinkney and illustrated by Lou Fancher and Steve Johnson. A Poem for Peter is a 40-page narrative poem. The narrative tells the story of Keats's family and birth, his early life and career, and the experiences that led him to create his most well-known work for young readers in 1962, The Snowy Day. Pinkney begins with Keats's parents, Polish immigrants who fled Warsaw in 1916 and settled in Brooklyn (9-10). From the age of eight, Keats knew he wanted to be an artist, and although his parents worried about his dream, they supported him in his education and art. Peter, the young protagonist of The Snowy Day, appears throughout the picture book in what Pinkney describes as "a 'peek-a-boo' fashion, waving at the reader, serving as a narrative thread that is stitched throughout" (49).

The Poetry: The long poem that makes up the pages of A Poem for Peter "employs a form known as 'collage verse,' 'bio-poem,' or 'tapestry narrative' in which factual components are layered with a mix of elements" (49). As Pinkney explains, "the use of a verse narrative to present Keats's life echoes Keats's use of collage to tell a story" (49). In addition to these formal attributes, Pinkney also employs anaphora, lyricism, rhythm, and rhyme to tell the story of Keats's life. For example, in the spread on pages 40-41, the reader sees Peter gazing out the window at the tops of buildings and a flock of birds. The last two stanzas on the page read:

Peter,

forging your path in knee-deep wonder.

Peter,

welcoming us into your play.

Peter,

marching out in a whole new way.

The final stanza is bolded for emphasis (as many are throughout the picture book): "With you, Ezra tore off the blinders. / Yanked up the shades. / Revealed the brilliance / of a brown-bright day" (41).

The Page: As Pinkney emphasizes in the end pages (which include a section on "Ezra's Legacy," "Keats, the Collage Poet," acknowledgements, and sources consulted for the creation of the book), Keats's choice to include a young African American child as the main character in his picture book in the early 1960s was groundbreaking: "as an artist who had grown up surrounded by poverty and anti-Semitism, Ezra understood what it was like to be excluded" (46). Pinkney further notes the reasons behind her enthusiasm for this project in her bio: "as an African American child growing up in the 1960s, at a time when I didn't see others like me in children's books, I was profoundly affected by the expressiveness of Keats's illustrations." A Poem for Peter is a complex and striking verse narrative that would pair nicely with The Snowy Day. I give it five stars.

Kwame Alexander's "Seventy-Six Dollars and Forty-Nine Cents: A Story-in-Verse"

The Plot: Kwame Alexander's "Seventy-Six Dollars and Forty-Nine Cents: A Story-in-Verse" is the penultimate story the anthology Flying Lessons and Other Stories (2017) edited by the cofounder of We Need Diverse Books, Ellen Oh. Alexander pitched the work as a "novella-in-verse" or a "story-in-verse" on twitter the day before the book's release in early January. "Seventy-Six Dollars and Forty-Nine Cents: A Story-in-Verse" is a 48-page series of poems about 12-year-old Monk. The series begins with the poem "How to Write a Memoir" which details why Monk begins writing his poems (159). The next poem in the series, a haiku, is entitled "Question About the Assignment" and underscores the unique aspect of this story-in-verse: "I know memoir is / based in fact, but can it have / a little fiction?" (160). The story goes on to detail how after a car accident, Monk develops the ability to read people's minds, and ultimately he uses his powers on Angel Carter, his crush, to impress her enough to maybe get her to go on a date with him.

The Poetry: Alexander's story-in-verse is told primarily in free verse, with the exception of one haiku, and another poem which includes a haiku stanza. In addition to these formal aspects, Alexander also employs rhyme and anaphora sporadically throughout the series, as well as imagery and space on the page. Overall, "Seventy-Six Dollars and Forty-Nine Cents: A Story-in-Verse" is more focused on story than it is on poetic device, which makes sense for a shorter work. One aspect of Alexander's series that is particularly effective is his use of parenthetical aside in several of his poems. For example, in "How to Write a Memoir," Alexander uses five of these asides to develop the voice of his protagonist:

After reading

"Oranges"

by Gary Soto

(who I like)

Mr. Preston

(who I don't)

asks us

if we liked it

(which I did)

then makes us

write

(which I hate) (159).

The use of the short line and the parenthetical aside ask the reader to move more quickly and rhythmically through the poem and mirror Alexander's signature technique in his previous verse novels that focus on rhythm, linguistic play, and voice.

The Page: Like longer verse novels, Alexander's novella- or story-in-verse makes use of the space on the page, and among the nine other works in Flying Lessons and Other Stories, "Seventy-Six Dollars and Forty-Nine Cents: A Story-in-Verse" takes up the most space in the collection. Alexander's use of this shorter form of the verse narrative is new and groundbreaking; perhaps many other verse novelists will turn to this shorter form as poetry and verse narratives become more popular in contemporary children's and YA literature.

You can listen to a soundcloud recording of Alexander reading his story HERE. I highly recommend "Seventy-Six Dollars and Forty-Nine Cents: A Story-in-Verse" and the other nine stories in the collection. I give it five stars.

Skila Brown's _To Stay Alive: Mary Ann Graves and the Tragic Journey of the Donner Party_

The Plot: Skila Brown's 2016 To Stay Alive: Mary Ann Graves and the Tragic Journey of the Donner Party is a historical verse novel that explores the life and experiences of nineteen-year-old Mary Ann Graves, a real-life settler who traveled with her family, the Donner family, and several other families across the country to reach California in the 1840s. Brown bases her narrative on historical records and research to tell a particularly compelling story of a young woman's survival in a time of hardship, chaos, and ultimately horror. The nearly 300-page verse novel takes place over the course of one year, beginning in the spring of 1846 and ending in the spring of 1847. Mary Ann travels from Lacon, Illinois with her family which includes her mother, father, older married sister, three younger brothers, four younger sisters, and a hired teamster named John. Mary Ann is a quilter and a strong young woman who likes to speak her mind.

The Poetry: Brown's To Stay Alive is primarily comprised of free verse poems that make use of rich imagery, lyricism, and the space on the page, but the verse novel also includes a few concrete poems that take the shape of what they describe or allude to in the poem. For instance, the poem on page 3, "Father" is shaped like a sphere on the page and describes Mary Ann's father as "burning like the sun" and "itching" to leave on their journey. Likewise, the poem "Inside the Wagon" spreads single words across the space of the page drawing attention to the fact that riding inside the wagon is bumpy: "never still never / smooth / always bump shake rattle" (41). While these poems were interesting in terms of form and content, the poem that I found most moving and rhythmic was the final poem in the collection, "A New Quilt." This nine-page poem shows Brown's skill in the long lyric poem, something that I have yet to see many verse novelists for young readers do well. In "A New Quilt" Brown uses anaphora, lyricism, imagery, and a rhythmic line that mimics the work of quilting to tell the last bits of Mary Ann's narrative. The repeated refrains "I'm stitching / a new quilt" at the beginning of stanzas and "I stitch" justified to the right side of the page at the end of many lines become a place of meditation for the reader as she considers the ways that Mary Ann copes with her loss of many of her family members.

The Page: In addition to being divided into five sections that reflect the seasonal changes, Brown's verse novel also contains a variety of paratextual documents to aid the reader in understanding the historical time period and Brown's research process. The front papers include an article from The Lacon Home Journal announcing that a local family is headed to the west, as well as a two-page map spread that provides the path that Mary Ann's family followed. The end papers include an epilogue, an author's note, a photograph of the real Mary Ann Graves, a list of individuals who were part of the Donner party divided into families with their ages and survival status listed, and an acknowledgments section. Her website also includes an educational guide to pair with the verse novel and a variety of blog posts with more details about the Donner party.

I found Brown's To Stay Alive to be a surprisingly engaging narrative. While the subject matter (cannibalism) initially made me wary of the author's ability to tackle such a topic in a new way, Brown was able to skillfully and successfully weave Mary Ann's story together through her use of lyric poetry. To Say Alive was a page-turner. I give it four stars and highly recommend it.

Jeannine Atkins's _Finding Wonders: Three Girls Who Changed Science_

The Plot: Jeannine Atkins's Finding Wonders: Three Girls Who Changed Science (2016) is a three-part novel in free verse that explores the lives of three real women: Maria Sibylla Merian, Mary Anning, and Maria Mitchell. Each narrative is roughly 60 pages in length, and explores the life of these young women from pre-teens through middle-age. Maria Merian's story begins when she is 13-years-old living in Frankfurt, Germany in 1660. Maria is the daughter of an artist, and she practices painting, but she is extremely fascinated by caterpillars and their metapmorphosis. Maria travels the country, painting these animals and learning about different types of caterpillars. Mary Anning's story begins when she is 11-years-old living in Lyme Regis, England in 1809. She works together with her father and then her older brother excavating stones on the seashore; unlike her father and brother, who simple chisel the fossils from the earth to sell, Mary is mesmerized by the patterns in the stones and the creatures from the past they discover. Maria Mitchell's story begins when she is 12-years-old living in Nantucket, Massachusetts in 1831. Maria's father is a mapmaker, who teaches her how to make star charts, use telescopes, and repair chronometers for sailors. Maria's family gives her a room of her own to do her work, and she eventually becomes the first female astronomy professor at one of the first colleges open to women, Vassar. Each of these narratives pushes forward into the next, demonstrating the ways in which women in science have advanced despite some of the restraints placed on them by their families, religious beliefs, and communities.

The Poetry: Finding Wonders utilizes lyrical free verse throughout, and the poems are rich with image, sound, and metaphor. For example, the poem "Metapmorphosis" in the first section of the book begins, "In a quiet revolution, Maria paints / on one piece of paper / first how a small egg breaks" (39), continues, "At last the cocoon breaks. / Pushing past sticky strands, / a fragile self unfurls," and finishes "Soft, moist, a moth fumbles / then unfolds four wings that flutter, / making her own faint applause" (40). In this poem, Atkins employs alliteration and the rhythm of soft vowel and consonant sounds. She also uses the caterpillars metamorphsis as a metaphor for Maria's own narrative of development as a young woman of science, pushing back against the suspicion her religious family has toward studying the natural world. Likewise, Mary's story uses metaphors of scientific and self discovery. In the poem "A Face in the Cliffs," Mary and her brother discover a huge fossil of a strange animal in the side of a cliff after their father and younger sibling's funerals. "After the rain, Mary walks by the sea, / which seems wide and empty. Pebbles clatter. / A gull drags its broken wing" (95); in these lines, Mary's feelings of loss and hopelessness are made manifest in the landscape by the speaker of the poem. Once they discover the creature, Mary's desire for knowledge is reignited: "She squeezes her hand, tastes salt on her tongue. / She'll scrape away stone. / Wonder doesn't have walls" (97).

The Page: Atkins's verse novel is divided into three distinct parts, "Mud, Moths, and Mystery," "Secrets in Stones," and "Many Stars, One Comet," and each section begins with an illustration of the young women its narrative charts and a prose paragraph titled "The ____'s Daughter" that locates the narrative in history and place. Interestingly, while each section begins by defining the young women by their father's professions, each of the narrative then turns this idea on its head by demonstrating the ways in which each young woman uses and moves forward from the knowledge she gains from her father. For example, in the last section, Maria's father is depicted as boasting about her accomplishment of locating a new comet, and the speaker notes "He enjoys introducing himself as Miss Mitchell's father" (178). The verse novel contains an author's note, a "reading past these pages" section, and a bibliography of sources.

Atkins's Finding Wonders is a beautifully written verse novel and the narrative is compelling. Atkins's purpose behind her narrative is to encourage young women's interest in the STEM fields and to bring recognition to female historical figures who helped to pave the way. Atkins's essay "Scrap by Scrap: Turning History into Poems" in which she explains her process would be a great pairing for this verse novel. I give her verse novel five stars, and I highly recommend it.

Margarita Engle's _Lion Island: Cuba's Warrior of Words_

The Plot: Margarita Engle's newest verse novel, Lion Island: Cuba's Warrior of Words (2016), is the fifth and final volume in what she calls her "loosely linked group of historical verse novels about the struggle against forced labor in nineteenth-century Cuba" (160). And it is a lovely and powerful work that follows three young, culturally diverse protagonists: twelve year old Antonio, a messenger boy with Asian, African, and European ancestry who eventually becomes a translator  (based upon the historical figure Antonio Chuffat-- a champion of civil rights for the Chinese Cuban community); Wing, a fourteen year old Chinese American boy whose family barely escaped the anti-Asian riots in San Francisco; and his twin sister, Fan, a talented singer and performer. Antonio, Wing, and Fan's stories intertwine to tell the tale of how a group of young friends worked hard to tell their stories and have their voices heard in a time of violence, with injustice, war, and rebellions swirling around them. Antonio works to record, translate, and help give voice to the experiences of those enslaved Africans and near-enslaved Chinese indentured servants who were forced or coerced to sign eight-year contracts to work in the fields of Cuba, while Wing's story leads him to eventually join the rebellion and Fan runs away from home to work at el teatro chino as a singer who assists runaways in hiding on their way to escaping enslavement.

The Poetry: As previously noted, Engle is a prolific verse novelist for young readers, having published nine well-received, award winning verse novels before Lion Island. This volume contains beautiful poetry, and I found the poems which Fan is the speaker of to be particularly moving as she longs to become an artist. Engle's use of imagery, lyricism, and metaphor contribute richly to her work. The poem "That Same Evening" in which the speaker Wing describes being robbed by Spanish soldiers ends with two rhythmic stanzas describing his emotions: "Rage comes and goes in gusts, / like a hurricane's furious / wind" and "Quietly, I return to work the next day, / trapped in the eye of my own / storm" (41). The quiet rhythm and movement on the page of these two stanzas enacts the content of the poem, tracing the rise and fall of the wind as well as Wing's anger. Later in the narrative, in the poem "Mirror," Fan meditates upon her experiences of being a young woman and the twin sister of a passionate brother:

Being the twin of a boy

is like shimmering

in and out of a shiny river,

the constant burst of rushing water

never peaceful enough to see my own

reflection (52).

Toward the end of this same poem, Fan notes that her brother can go anywhere and so or say whatever he pleases, while as a young woman she must constantly guard herself and speak and dream with caution. While Fan and Wing's stories are significant to the narrative, Antonio's experiences are the underlying drive of the work. In the poem "Quiet Truths" toward the end of the verse novel, Antonio examines his place as messenger, translator, and activist,

How difficult it is to describe injustice.

No wonder Fan used a knife on wood,

or a stick in mud, before discovering

her own songs.

.......................................................... 

There's nothing a warrior of words can do

for people who have already been murdered,

nothing but offer comfort so that the living

can begin to feel peaceful in the presence

of memories (142).

This seems to be the overall drive of Engle's series of historical verse novels that examine the struggles and injustices faced by so many during this time period in Cuba. Engle's Lion Island and her series as a whole draw attention to these experiences and histories.

The Page: Lion Island includes seven sections of poems: "Running with Words: Year of the Goat 1871," "The Beast of Hope: Year of the Monkey 1872," "Free Songs: Year of the Rooster 1873," "The Shadow Path: Year of the Rooster 1873," "Dangerous Flames: Year of the Rooster 1873," "Listeners: Year of the Dog 1874," and "Voices Heard Across the Sea: Year of the Tiger 1878." Engle's verse novel is not only rich in poetry and plot, but Lion Island also includes sections book-ending the narrative focused on historical background. Engle includes sections not only about Cuban history, but also about historical figures, and she provides a reference section and further readings for young people.

I give Engle's Lion Island: Cuba's Warrior of Words four stars and highly recommend it.

Roxane Orgill's _Jazz Day: The Making of a Famous Photograph_

The Plot: Roxane Orgill's Jazz Day: The Making of a Famous Photograph (2016) is not your typical verse novel; in fact, some might say that it is not a verse novel. Orgill's 55-page picture book contains 21 poems that tell the story of a day in 1958 when Art Kane photographed a group of 57 jazz musicians and a dozen children in front of a typical brownstone in Harlem. Although Jazz Day seems different from the longer verse novels for young readers, Orgill's author's note provides some clarity regarding her intentions: "I wanted to tell the story of how the photo got made and of some of the people who happened to be in it. What I didn't expect was that I'd begin writing poems. I write prose, not poetry. But this story demanded a sense of freedom, an intensity, and a conciseness that prose could not provide" (44). My conception of the verse novel for young readers, as I've tried to underscore on this blog, is that it uses poetry to tell a story and to meditate upon characters and events. Jazz Day does just that; each poem focuses on a different point of view, a different character, including Kane; unknown neighbor children; and famous musicians such as Dizzy Gillespie, Count Basie, and Eddie Locke, and the poems move through time from 9 am on August 12, 1958 to the day the issue of Esquire in which Kane's photograph was published appeared on newsstands to the present day in which Orgill praises Kane's efforts.

The Poetry: The 21 poems in Jazz Day are mostly told in free verse, but a few of them utilize traditional forms such as the pantoum, "This Moment" (29), and the abecedarian, "What to Wear (from A to Z)" (17-18). Orgill remarks in her author's note that she hopes "the poems contain the sound of jazz music" (44). The poems certainly contain a sense of play and rhythm; for instance "Don't Get Me Started" is a poem told from the point of view of an imagined young boy named Alfred. In this poem, Alfred meditates on a beautiful car that pianist and composer Mary Lou Williams arrives in:

Don't get me started

on her Cadillac

don't let's talk about

tail fins

whitewalls

L-shaped chrome

trim

hooded dash

pan-o-ramic windshield

Imagine the view

"Mary Lou!" (13)

Orgill explains that she used various historically accurate events and sources as "departure points" in order to fill in the gaps of about the group of unknown neighborhood boys. "I gave the boy in suspenders a name, Alfred, and a role in the events, and I had him note the fictionalized arrival of pianist Mary Lou Williams in a Cadillac" (43). Another poem, "At the Window," also focuses on the imagined experiences of the children pictured in the photograph; "At the Window" features a young girl watching the musicians gather from her window, "twirling / a twist / of curly hair" as she leans out her window (28).

The Page: One of the most striking things about Jazz Day are the illustrations; each page consists of a painting by Francis Vallejo that illustrates the poem with which it is paired. The poem "Some Kind of Formation, Please!" is also paired with a fold-out double-page spread of a reproduction of the famous photograph after which the book is written, Harlem 1958. In addition to the previously mentioned author's note, Jazz Day also includes an introduction, seven pages of biographies on the 57 musicians, and a bibliography of sources. Jazz Day follows the form of Carole Boston Weatherford's Becoming Billie Holiday, in that it is a shorter illustrated verse narrative that fictionalizes historical figures and events, and Weatherford's text would actually pair nicely with Orgill's narrative.

I found Orgill and Vallejo's story of the making of Harlem 1958 to be a beautiful and interesting read. I give it four stars.

Linda Oatman High's _A Heart Like Ringo Starr_

The Plot: Linda Oatman High's 2015 A Heart Like Ringo Starr tells the story of 17-year-old Faith Hope Stevens who is awaiting a heart transplant. Faith, who has been sick since she was born, is home-schooled, and her family runs a funeral home, so death seems to always be a part of her life. The narrative follows Faith through her experience of being on the transplant list, to discovering that she will receive a heart transplant, to her life with a new heart and the uncertainties and surprises that arise from this transition in her life. Before her transplant, Faith is depicted as cynical, and she expects that it is not just a matter of if she will die but when. After she receives a new heart, she feels unsure of who she is and longs to have her old, defective heart back. Faith starts her senior year at high school (it is not as exciting as she thought it would be and she feels on-display and invisible at the same time), and she meets a young man while at the beach with her great aunt. The narrative moves surprisingly quickly through each of these events and has a closed, happily-ever-after ending.

The Poetry: Throughout the verse novel, Oatman High utilizes a significant amount of end and internal rhyme, as well as a considerable amount of white space. These two poetic techniques seem at odds with each other throughout the collection. The use of rhyme speeds the narrative up, which seems to contradict the serious subject matter. The white space created by the use of short lines, half-blank page, and alternatively left and right justified text might usually act as a method to slow the reader's pace in verse novels, while in A Heart Like Ringo Starr these techniques juxtaposed with the extensive use of rhyme and the sporadic changes in typography do not seem as purposeful. For example, in the poem "Wintertime," three four to five line stanzas include only one to five words and the facing page leave the top half of the page blank and includes two similarly short stanzas that end the poem:

Bummer.

I so

want summer.

Popsicles.

Not icicles.

This pedicure tickles

                                 my

                                         toes (9).

This use of rhyme and space on the page does little in terms of narrative work or linguistic play, and ultimately the poem falls flat. Other poems such as the title poem, "A Heart Like Ringo Starr" (91), are on the verge of successfully exploring a character's thoughts and feelings with rhyme, rhythm, and lyricism, but in the end the poem is less impactful because of the author's choice of line length and use of white space.

The Page: A Heart Like Ringo Starr is divided into two parts that follow Faith before and after her transplant. As previously noted, the poems make use of white space and typography play. It seems that the author made some of her choices because she sees her work appealing to "reluctant readers." This argument for the use of white space and short lines as inviting to readers because less appears on the page seems to be a mistake and a view that doesn't take young readers seriously as an audience. Ultimately, white space and poetic language within a verse novel are most successful when they encourage a reader to slow down and meditate upon the narrative, emotion, and meaning.

I give Oatman High's verse novel two stars.

K. A. Holt's _Rhyme Schemer_

The Plot: Rhyme Schemer (2014) is K. A. Holt's second verse novel for young readers (following her 2010 Brains for Lunch: A Zombie Novel in Haiku). Holt's Rhyme Schemer follows Kevin Jamison, a seventh grader who is struggling with his home life and his school life. Both of his parents are doctors who are never around, all four of his older brothers ignore him, and he and another student Robin are constantly taking turns tormenting each other. Kevin's one solace is creating poetry through erasure (by defacing classic books for young readers, which most all of his teachers and his principal frown upon). As punishment for his bullying he is forced to work shelving books in the library where he meets Mrs. Little, who encourages him in his poetry. When Robin finds Kevin's poetry notebook and begins posting his work around school, he realizes how much his poetry means to him.

The Poetry: Holt's verse novel follows Sharon Creech's Love That Dog in that it essentially functions as a young poet's writing notebook. Like Creech's verse novel for younger readers, Rhyme Schemer emphasizes the reluctant poet character, his connection to a trusted teacher/librarian, and the young poet's hidden emotional pain. For example in the poem "Friday Rescue" Mrs. Little finds Kevin outside a restaurant alone and crying after his parents send him out for making a scene at dinner. Kevin is astonished when his teacher begins to praise him in front of his parents:

She called me

A schemer, no doubt.

But also?

Smart.

Funny.

Fragile (134). 

Mrs. Little then asks to borrow Kevin and take him to a poetry open mic night at a local coffee house. One of the most interesting and innovative elements of Holt's verse novel is her use of erasure poetry; there are 10 erasure poems dispersed throughout the novel pulled from The Wind and the Willows, Peter Pan, and Hansel and Gretel, among others. There are also a series of quatrains with regular rhyme schemes that Kevin calls "Necktie Poems" (written about his principal).

The Page: Through its writing journal structure, Rhyme Schemer provides yet another unique approach to the verse novel form. Poems are titled as either days of the school year or are pasted in pages of other book pages that Kevin uses to create erasure poems. Verse novels like Holt's and Creech's certainly serve a pedagogical function in that they provide an outline for how developing writers might approach poetry. In this way, the writing journal structure in the verse novel is distinct in its approach and call to young readers who want to be writers in that the form and structure imply a participatory reader experience. The structure serves as a model, one that is referred to by other verse novelists such as Kwame Alexander, whose protagonist reads and refers to Holt's Rhyme Schemer and then creates his own erasure poems after this model.

I found K. A. Holt's Rhyme Schemer to be another fascinating exercise in form and poetic experimentation. I give it four stars.

Margarita Engle's _Silver People: Voices from the Panama Canal_

Earlier this year I reviewed Margarita Engle's Enchanted Air which focuses on US-Cuban relations during the 1950s and 1960s, as well as Engle's own experience growing up and traveling between her two homelands. Once again, in Silver Peeople: Voices from the Panama Canal, Engle explores the Cuban perspective specifically, and Latin American history more generally in this narrative.

The Plot: Engle's 2014 verse novel, Silver People is a polyvocal narrative that includes poems in the voices of imaginary characters, historical figures, and native plants and animals in Panama's forests. Silver People takes its title from the discriminatory silver/gold payroll system in the American-ruled Canal Zone during the construction of the Panama Canal. The verse novel takes place between the years of 1906 and 1915. The narrative begins by introducing the reader to Mateo, a 14-year-old orphaned boy from Cuba, who boards a steamship to Panama after an American Panama Canal recruiter promises food, housing, and pay for his labor. After an arduous journey at sea with no food for three days, Mateo arrives in Panama, and he finds that the recruiter's promises are not truthful. The work is grueling, the working and living conditions are poor, and workers often become ill with malaria and yellow fever. Despite these hardships and the racial discrimination faced by the young laborers, Mateo and his companions manage to make a life for themselves in Panama. Early on in the narrative, he befriends Anita, a local yerbera, or herb girl, and a Jamaican boy named Henry. The narrative alternates between the voices of Engle's imagined characters: Mateo, Anita, Henry, Old Maria (Anita's adoptive grandmother), and Augusto (a Puerto Rican with a PhD in geology from a New York university) and historical figures such as John Stevens, Theodore Roosevelt, George Goethals, Jackson Smith, Gertrude Beeks, and Harry Franck. Engle also includes eight sections of poems that are told from the imagined voices of native plants and animals in the forest including: howler monkeys, trees, vipers, butterflies, crocodiles, and frogs. The inclusion of these personified voices demonstrates the ways in which the landscape of Panama and the individuals who labored on the canal are intimately connected in that both were harmed immeasurably. The epilogue to the verse novel is a letter from Augusto to Mateo, Anita, and Henry noting that at the San Francisco Panama-Pacific International Exposition fails to honor the silver people who labored and died in the construction of the canal.

The Poetry: Engle is the author of nine verse novels for young readers, and her tenth is scheduled for publication in August. Like Engle's many other verse novels for young readers, Silver People relies heavily upon the use of lyricism and imagery to depict the natural world and the emotional lives of her characters. For example, in the poem "The Voyage from Cuba" Mateo reflects upon hunger and the experience of being at sea for three days:

feels like a knife in the flesh--

twisted blade, rusty metal

the  piercing tip of a long

sharp-edged

dagger

called regret (10).

Later in the narrative, Augusto the map maker provides Mateo with art supplies and he begins to sketch the wonders of the forest around him. In the poem "Completely Magnificent" he describes the animals he paints:

two swiftly sprinting whiptail lizards,

and all the gigantic rodents that graze

on gold-zone lawns-- cat-size agoutis

and dog-size capybaras, none of them

afraid to be captured

by my paintbrush (131).

The Page: In terms of form, Engle's verse novel is primarily told through free verse poems in the alternating voices of eleven characters. Each section of poems in the voices of human characters is separated by a section called "The Forest," and in these eight sections, Engle depicts the voices of plants and animals as they respond to the canal's construction. These poems often take the form of visual poetry (shaped verse or concrete poetry). For example, the poem "The Giant Hissing Cockroaches" includes short phrases alternatively right and left justified so that the words appear to flit across the page, mimicking the movement of the cockroach (104).



Engle's Silver People was an interesting and engaging narrative, and she employs her signature lyric free verse to represent a historical moment and give voice to the Cuban experience. I give Silver People four stars and recommend it to those who already enjoy Engle's verse novels.

Kwame Alexander's _Booked_

Earlier this year I reviewed Kwame Alexander's Newbery Medal winner The Crossover (2014). I highly recommend The Crossover, which incorporates some truly electric language and utilizes a variety of different formal approaches to tell a rich story that deals with family, grief, sports, and boyhood in an absolutely innovative way. Alexander's follow up to The Crossover, Booked (2016) is another groundbreaking verse novel that is sure to garner praise from young readers, librarians, educators, and scholars.

The Plot: Kwame Alexander's Booked follows eighth grader Nick Hall-- a wordsmith and avid soccer player-- as he navigates his first crush, his parents' separation, and his relationship with books. Alexander's verse novels have both portrayed highly professionalized parents; in The Crossover Josh's parents were a retired professional basketball player and an assistant middle school principal, and in Booked Nick's parents are a linguistics professor and a former horse racer turned trainer. The narrative begins with Nick daydreaming about soccer and feeling annoyed that his father makes him read a dictionary he wrote called Weird and Wonderful Words in preparation for college. As the narrative continues, the reader learns that in addition to playing soccer, Nick takes regular lessons at Miss Quattlebaum's School of Ballroom Dance and Etiquette (21), where he often gets to dance with April (the girl he has a crush on but is mostly too nervous to talk to). Early on in the narrative, Nick learns that his mother has decided to go back to work with horses in Kentucky and that his parents are separating (57). After learning this news, Nick becomes depressed; he has a hard time sleeping and begins to struggle in his classes. Nick struggles with his parents' separation throughout the novel, while also building up the courage to talk to April, playing against his best friend in soccer tournaments, dealing with being bullied, and resisting his honors English teacher's and his librarian's pleas for him to get more involved in reading because of his strength with words.

The Poetry: One of the most unique and fascinating things about Alexander's Booked is his use of erasure poetry, footnotes, acrostics, and intertextuality throughout. Towards the end of the verse novel, Nick begins to become immersed in literature for younger readers and joins a book club. He describes the experience of reading works like Karen Hesse's verse novel Out of the Dust and Jacqueline Woodson's Peace, Locomotion. In many ways, Booked takes on a pedagogical or didactic function in that it introduces readers to contemporary works for young readers and schools them in vocabulary. While acrostics, poems in which the first letter of a line spells out a word when read vertically, may seem like a commonplace poetic form for works for young readers, Alexander elevates this form by using unfamiliar words and then following up these poems with discussions of the word's meaning. For example the poem "April is" (114) utilizes an acrostic of the word "limerence," which means "the experience of being in love with someone" (119) to describe all of the characteristics he likes about April. When his English teacher asks him to find an example of a malapropism in Mark Twain's The Adventures of Huckleberry Finn, Nick creates an erasure poem from a page of the novel to show two malapropisms he found in the text (51). While Alexander's Booked does not contain the same level of electricity and playfulness in language as his previous work, The Crossover, Booked is innovative in its approach to form.

The Page: Footnotes are another inventive device that Alexander uses throughout Booked. While the footnote might be seen as academic, Nick utilizes them not only to define words, but also to provide his own commentary on the words. For example, in the poem "Busted," Nick's footnote reads: "*malapropism [mal-uh-prop-iz-uhm] noun: the amusing and ludicrous misuse of a word, especially by confusion with one of a similar sound. Here's an example: my English teacher, Ms. Hardwick, is a wolf in cheap clothing" (18).

I found Alexander's new verse novel Booked to be a fascinating and fun read. I give it four stars and highly recommend it.

Ellen Hopkins's _Rumble_

The Plot: Ellen Hopkins's Rumble (2014), her eleventh verse novel for young adults, tells the story of Matthew Turner, a high school senior who is dealing with his younger brother Luke's recent suicide, his parents' separation, and his conflicted feelings toward his evangelical Christian girlfriend Hayden. Most of the narrative in this 500+ page work centers around Matt's anger and resentment toward Hayden's circle of church-going friends who bullied his younger brother mercilessly for being gay before his death. Matt also attends regular therapy sessions in which he meditates upon his anger toward everyone who he feels had a hand in Luke's death, his fear of being left along (by Luke, his parents, and his girlfriend), and his struggles with guilt and forgiveness. Toward the middle of the narrative, Matt reconnects with his girlfriend's former best friend Alexa and they begin to feel more and more attracted to each other. This connection, along with his girlfriend's deepening faith and increased commitment to her youth group ministry, leads to Hayden and Matt's breakup. Matt finds out that Hayden also had a hand in gossiping about Luke to her friends who then posted photoshopped pornographic images to Luke's social media pages before he committed suicide. Matt also begins visiting his uncle's gun range regularly to practice shooting. His uncle eventually gives him a job working at the range where one of his uncle's friends (Gus) comes regularly. Gus is depicted as suffering from PTSD after his military service and regularly comes to the range drunk and tries to obtain his gun. When Matt's uncle has a sudden heart attack and leaves Matt alone at the range, Gus shows up angry and Matt's life is changed (again) forever. There is a lot of drama packed into Rumble, and Hopkins employs her signature angsty teen voice throughout. Ellen Hopkins is the Judy Blume of the verse novel, and Rumble is absolutely a problem novel, filled with the protagonist's confessions and an overarching didacticism concerning ideas about books and censorship, faith and religion, and teenage sexuality.

The Poetry: Hopkins's verse novel is told through a series of free verse poems that have a strong focus on language and utilize internal rhymes and rhythm to move the narrative along quickly. For instance, the first poem in the collection "In the Narrow Pewter Space" begins:

Between the gray of consciousness

and the obsidian where dreams

ebb and flow, there is a wishbone

window. And trapped in its glass,

a single silver shard of enlightenment (1).

In these first few lines, Hopkins sets the focal point of the narrative on the mind and philosophical meditations of her protagonist. This first poem in Rumble utilizes alliteration, internal rhyme, and metaphor to convey the inner workings of Hopkins's character.

The Page: While most of the poems in Rumble focus on moving the narrative forward, several poems take the form of Matt's memories of his younger brother and the discussions they would have about faith, family, and the meaning of life. A few poems also focus on Matt's own writing, including an essay he writes for his English class arguing against the existence of God and a letter to the school board he writes arguing against the censorship of the YA text The Perks of Being a Wallflower.

Overall, Hopkins's verse novel was in the same vein as her other works: full of drama and the frank discussion of serious/taboo topics like sex, drugs and alcohol use, religion, suicide, and PTSD. I give Rumble three stars.

Jacqueline Woodson's _Brown Girl Dreaming_

Published in 2014, Jacqueline Woodson's Brown Girl Dreaming has been awarded the 2014 National Book Award for Young People, the 2015 Coretta Scott King Award, and was named a 2015 Newbery Honor Book. In the summer of 2015, Woodson was named the Young People's Poet Laureate by the Poetry Foundation. On the Poetry Foundation's website, they note that this "title is given to a living writer in recognition of a career devoted to writing exceptional poetry for young readers. The laureate advises the Poetry Foundation on matters relating to young people’s literature and may engage in a variety of projects to help instill a lifelong love of poetry among the nation’s developing readers. This laureateship aims to promote poetry to children and their families, teachers, and librarians over the course of its two-year tenure." This week, I read Brown Girl Dreaming for the fifth time and taught it for the third semester in my Literature for the Intermediate Reader class at Western Michigan University. If you are interested in teaching Woodson's work, HERE is an activity that I use to open up my students' discussion of Brown Girl Dreaming. Each time I come to Woodson's work, I find something new, and it becomes a richer text for me.

The Plot: In Brown Girl Dreaming, Woodson traces the experiences of her first person speaker Jackie (who is the representation of Woodson's childhood self). The narrative begins at her birth and describes what life was like growing up during the civil rights era in both the North and the South. Jackie's parents separate when she is an infant, and she travels from Ohio with her mother and siblings to live with her maternal grandparents in South Carolina. Eventually, her mother moves the family to Brooklyn, New York. In addition to the examination of racism through the eyes of a young person, Woodson also tackles issues of the broken family, religion, death and illness, imprisonment, and her experience with a learning disability. Brown Girl Dreaming is divided into five sections: "i am born," "the stories of south carolina run like rivers," "followed the sky's mirrored constellation to freedom," "deep i my hear, i do believe," and "ready to change the world." The poetry within these sections is further framed by a rich paratext; Woodson includes a family tree, an epigraph from Langston Hughes's poem "Dreams," a scrapbook collection of family photos, and an author's note.

The Poetry: Brown Girl Dreaming is told primarily in lyrical free verse but is interspersed with a series of eleven haiku. No matter what form she employs, Woodson's poetry reflects a deep meditation upon the historical and personal roots that helped shape her speaker as a writer. For example, the second poem in the collection, "second daughter's second day on earth," begins with the language of Jackie's birth certificate. The first three lines of the poem read: “My birth certificate says: Female Negro / Mother: Mary Anne Irby, 22, Negro / Father: Jack Austin Woodson, 25, Negro” (3). The repetition of the final word in each line, “Negro,” emphasizes its significance as a marker, and these first three lines take on the feel of a collaged legal document within the poem. The poem mixes the left justified historical and documentary style narrative with stanzas rich in voice and lyric that are centered and italicized: "I am born brown-skinned, black-haired and wide-eyed / I am born Negro here and Colored there" (3). This poem goes on to reference Dr. King, Malcolm X, James Baldwin, Ruby Bridges, and Rosa Parks as important figures who Jackie might model herself after as she grows up. This blending of personal and national history in the poem suggests Woodson’s desire to locate her story within and next to the stories of those individuals who profoundly transformed the world for brown children forever through their roles and their activism in the civil rights movement.

The Page: One theme that Woodson investigates in her memoir in verse is that of silence and blank space. Woodson has noted, “Memories don’t come back as straight narrative. They come in little bursts with white space all around them. It felt more realistic to write mine as poems.” The haiku series within Brown Girl Dreaming speaks volumes in its use of negative space. For example, the first haiku in the series, “how to listen #1” appears in part one of the verse novel entitled “i am born.” In the poem, memory, body, and emotion intertwine as a reflection of the early life of Jackie and her life in Columbus, Ohio with her mother, father, and siblings: “Somewhere in my brain / each laugh, tear and lullaby / becomes memory” (20). This poem encapsulates the drive of the entire collection—the focus of the narrative is remembering a history in order to gain insight into the self and understand the how personal and cultural history shapes an individual.

Brown Girl Dreaming is a gorgeous exploration of personal and national history. Woodson's use of lyricism, imagery, free verse, and haiku are distinct and moving. I give Brown Girl Dreaming five stars and highly recommend it.

Marilyn Nelson's _How I Discovered Poetry_

Recently, The Lion and the Unicorn published its annual essay in which their panel of rotating judges awarded the 2015 Lion and the Unicorn Award for Excellence in North American Poetry (see the Critical Perspectives tab for citation). This year's judges, Lissa Paul, Kate Pendlebury, and Craig Svonkin, honored two books published in 2014, one of which was Marilyn Nelson's How I Discovered Poetry. This year marks the tenth year of the award's existence, and while I am thrilled that this award exists and that poetry for young readers is consistently acknowledged, I very often disagree with the award panels' views on the verse novel for young readers. Since the award's inception in 2005, although the judges rotate every year, it is always clear that the judges find very little merit in the verse novel as a form. They often dismiss and denigrate works as not being "good" poetry. While I agreed with their selection of Nelson's work as an honor book (they actually never refer to How I Discovered Poetry as a verse novel, so it's my understanding that they don't consider it one), I found their discussion of Kwame Alexander's The Crossover and Jacqueline Woodson's Brown Girl Dreaming unsettling and frustrating. The judges note that "comically inauthentic is the strongest stuff Alexander has, as most of the book relies upon anemic free verse" (339) and that "Woodson too often destroys the strength of her verse with maladroit line breaks and missed opportunities for structural or linguistic repetition... Woodson's ear, sadly, is fallible" (340). It is always clear that the judges of The Lion and the Unicorn Award have a very particular kind of poetry in mind, and it is usually not a poetry that is representative of the current trends in contemporary American poetry. This week, I take a closer look at Nelson's work and will follow up next week with a look at Woodson's verse novel; both works are unique in their exploration of autobiography and the personal, race, childhood, and American history. Marilyn Nelson is the author of poetry for adults and young readers; her poetry has received numerous awards and honors including a Newbery Honor, Coretta Scott King Honor, National Book Award Finalist, and Printz Honor.

The Plot: Nelson's How I Discovered Poetry (2014) includes an author's note at the back (which has become a standard for verse novels that explore the author's past personal history) that explains: "This book is a late-career retrospective, a personal memoir, a 'portrait of the artist as a young American Negro Girl.' The poems cover the decade of the fifties, from 1950, when I was four years old, to 1960, when I was fourteen" (101). The poems in her collection touch on many historical issues and events from the Civil Rights Movement to the Red Scare. Throughout the work, it is clear that place and geography are significant, as each poem is labeled with a location and date. Beginning in Ohio and moving through Texas, Kansas, California, New Hampshire, Maine, and Oklahoma, the narrative follows the speaker's family as they travel across the US. The speaker's father is an officer in the Air Force and her mother is a teacher. The narrative focuses on the young speaker as she discovers her love of books and poetry and as she tries to make friends and understand the changing world around her as her family moves around the country. 

The Poetry: How I Discovered Poetry is a sequence of 50 unrhymed sonnets in iambic pentameter. The poems mostly follow the inner musings of her speaker and play with language and repetition. For example, the first poem in the collection "Blue Footsies" beings by meditating on the word "time": "Once upon a time. Upon a time? / Something got on a time? What is a time? / When it got on a time, could it get off?" (1). This rhythmic questioning continues throughout the poem, and other poems in the collection also emphasize language play. One of the most striking poems in the collection is the title poem, "How I Discovered Poetry," which discloses the speaker's degrading experience at nine years old of having her teacher choose a poem for her to read aloud to her all-white class:

She smiled when she told me to read it, smiled harder,

said oh yes I could. She smiled harder and harder

until I stood and opened my mouth to banjo-playing

darkies, pickaninnies, disses and dats... (97). 

The image created in this poem and the title are striking. I was only disappointed that this was the penultimate poem in the collection; I'd wished this moment would have come sooner in the collection, as it would have given more weight to the events described after, specifically of the speaker's emergence as a young artist.


The Page: Another unique aspect of Nelson's verse narrative is the fact that the pages are illustrated and that there are family photos dispersed throughout the collection. One of the most compelling combinations of word and image comes halfway through the collection on pages 46 and 47. This spread includes the poem "Darkroom" and incorporates an illustration of a string with clothespins holding up three black and white family photos. These same images reappear on the cover. Moments like these draw attention to the book as an artifact and its createdness as a collection of fragments of the author's personal history.


I enjoyed Nelson's How I Discovered Poetry. I highly recommend this collection to anyone interested in autobiography and the verse novel, and I give it four stars.

Kwame Alexander's _The Crossover_

The Plot: Published in 2014, Kwame Alexander’s The Crossover was the winner of the 2015 Newbery Medal and a Coretta Scott King Honor Book. The story follows 12-year-old Josh Bell and his twin brother Jordan (JB) as they lead their middle school basketball team to their first county championship. Their father is a former Euroleague basketball player and their mother is the assistant principal at their middle school. The narrative begins with Josh feeling confident about his locks, his basketball skills, his friendship with his twin brother, and the idea of one day attending Duke University. Throughout the novel, which is divided into six sections (warm up, four quarters, and overtime), things begin to change in Josh’s life: his brother accidentally cuts off five of his locks and he must shave his head, JB gets his first girlfriend and Josh feels neglected, Josh gets suspended from the basketball team, and his family becomes more and more concerned about his father’s health.

The Poetry: Alexander’s verse novel utilizes multiple poetic forms (free verse, rap, concrete, tanka, ode) and devices (rhyme, rhythm, anaphora, lyricism, metaphor, simile) in order to focus on the strong family ties and the significance of language in the life of Josh Bell. Alexander uses free verse in a variety of different poems to push the narrative thread along. Additionally, several poems utilize rhyme and rhythm that mirrors rap or hip-hop lyrics, while others use concrete poetry and irregular font size and placement to emulate movements during basketball games.

The Page: Throughout the narrative, the poems make use of a variety of narrative modes including conversation poems, basketball rules, definition poems, text messages, play-by-plays, and newspaper articles. For example, in the definition poem “cross-o-ver,” the speaker of the poem, Josh, explains the meaning of this basketball term and how it relates to knowledge he has gathered from his education in language, his father, and professional basketball players he admires (29). In the final basketball rules poem in the novel, “Basketball Rule #10,” Josh meditates upon the year that has gone by: “A loss is inevitable, / like snow in winter. / True champions / learn / to dance / through / the storm” (230).

I found Alexander’s verse novel to be one of the best I have encountered thus far. Both the narrative and the use of poetry were compelling. I give The Crossover five stars and highly recommend it.