Less can often be more—especially as students explore the theme of a work of literature through analytical writing. Writing haiku offers a student in the final draft stages of a paper an innovative way to determine if the paper says what he/she means it to say. Students can “lose their way” when writing analytical papers, resulting in wordy, tangled papers with the thesis obscured. To alleviate this problem, students create haiku that, in seventeen syllables, encapsulate the heart of the paper. Because of its brevity, haiku promotes clarity of thought. It further challenges students to work on focused revision.

Ezra Pound thought she ruined imagism, but her erotic lyricism turned it into a style all her own.

Students read, analyze, and discuss medieval English ballads and then list characteristics of the genre. They then emphasize the narrative characteristics of ballads by choosing a ballad to act out. Using the Venn diagram tool, students next compare medieval ballads with modern ones. After familiarizing themselves with ballad themes and forms, students write their own original ballads, which they will perform in small groups. Finally, students engage in self-reflection on their group performances and on the literary characteristics of their ballads.

Although some students insist they cannot write poetry, the haiku's short form and its lack of rhyme will make the students less apprehensive of the task. Because of their brevity, haikus are perfect for teaching students how to use Animoto, an online web tool to create short slideshows. After reading haikus and examining the haiku format, students write their own haikus that they then animate using Animoto.

Anne Bradstreet became a cultural icon for speaking out. Anne Hutchinson was banished.

Are these pieces translations, inventions, or interventions that add to a story that has been lost to us?

Students are prompted to challenge their notion of synonyms being words that "mean the same" by investigating key words in Robert Frost's poem "Choose Something Like a Star." First they build an understanding of connotation and register by categorizing synonyms for the title word choose. Then they develop lists of synonyms for words of their choice elsewhere in the poem and collaborate on a full analysis, focusing on the relationship between word choice and the elements of speaker, subject, and tone.

In this lesson, students explore how writers use sensory imagery as a literary device to make text more meaningful for the reader. They begin by using all of their senses to describe known objects such as pasta, chocolate, or grapes. Students first feel and listen to the object, in a bag, before then taking it out of the bag to look at, smell, and taste it. They then use at least three senses to write a poem about the object they've described. Next, they evaluate how this literary device functions in Pat Mora's poem “Echoes.” As students read this poem, they look for sensory images and write an explanation of how these images contribute to the meaning of Mora's poem. Finally, students think about how sensory images work in their own poems and then make appropriate revisions to their work.

In this lesson, students are introduced to Cubist and Precisionist painting, and they explore how the poetry of William Carlos Williams adapts similar artistic strategies. Students learn how to analyze a painting, create Cubist- and Precisionist-inspired drawings in response to Williams's poetry, and write an essay comparing Williams's poem “The Great Figure” to Charles Demuth's ekphrastic response to that poem in his painting The Figure 5 in Gold.

Hillman’s lecture draws on her experience as a teacher of poetry as well as her own poetry’s engagement with difficulty and complexity.

This lesson helps students explore the aesthetics of poetry and music by developing their own criteria. Students begin by examining what makes a good song. They then read criteria for what makes a good poem and examine two examples of ars poetica. Next, they read about the different aesthetic elements for poetry. Finally, students develop their own aesthetic criteria by which to judge poetry by finding poems that they like, designing an aesthetic crietera they can use to evaluate future poems, and then defending their own judgment.

In this lesson, students participate in a Directed Listening–Thinking Activity (DLTA), in which they listen to "The Tell-Tale Heart" by Edgar Allan Poe and answer prediction questions at designated stopping points during the reading. Students then discuss and write a written response to the story at the conclusion of the lesson, in the form of either an acrostic poem or comic strip. This lesson works well at Halloween or at the beginning of a mystery unit.

In this cross-curricular poetry and biology unit, Li-Young Lee's poem “Mnemonic” is used to explore how memory works. Students begin by brainstorming a list of their own memories and circling interesting words and phrases that they share with the class and then incorporating these words and phrases into a piece of writing. Students next discuss the brain and how memory is stored, leading students to dissect Li-Young Lee's poem “Mnemonic.” As they apply this scientific information to the poem, students better understand the kinds of memories the speaker has in the poem and where those memories might be located in the brain. Groups of students then plan and complete projects in which they create a product that relates to memory, in one of three categories: informational, creative, or personal.

In this lesson, students read and analyze sonnets to discover their traditional forms. Students chart the poems' characteristics, including the poetic features and their emotional responses to the poems. They then review the details for similarities, deducing traditional sonnet forms that the poems have in common. After this introduction, students write original sonnets, using one of the poems they have analyzed as a model.

Poetry is written to convey the essence of a greater meaning, and it can bundle a great deal of passion in a small package. In this lesson, students begin by discussing the impact of social context on one's goals and choices. Students analyze examples of contemporary youth poetry and the poetry of Langston Hughes to determine how a writer's environment influences his or her writing. Students then work in groups to conduct research on how events in the world shaped Hughes's work. In a group presentation to the class, students cite specific examples that link their interpretation of the poem to the sociohistorical context in which it was written. The lesson culminates with each student creating an original poem that communicates a personal view on a current world issue.

In this lesson, students explore ekphrasis—writing inspired by art. Students begin by reading and discussing several poems inspired by works of art. Through the discussion, students learn ways in which poets can approach a piece of artwork (for instance, writing about the scene being depicted in the artwork, writing in the voice of the person depicted in the artwork, speaking to the artist or subject of the painting, etc.). Students then search online for pieces of art that inspire them and, in turn, compose a booklet of poems about the pieces they have chosen.