• Students will find the central idea of the texts.
• Students will identify and analyze similes and metaphors as effective devices in discussing everyday details.
• Students will determine the point of view of the poem and explore alternate points of view.
• Students will craft a poem, inserting rhyme or repetition observed in mentor poems.
• Students will adjust word choice to align with a particular mood.
• Students will revise poems for structure, line breaks, and form to enhance the theme of their poem overall.
• Students will explore new ways to increase impact via poetic devices.
• Students will review and offer feedback on another student’s poems thus far.
• Students will group and order their own poems by theme, and select one to perform.

• Students will learn about retaining culture through poetry.
• Students will learn about the challenges AAPI women face.
• Students will identify the themes and experiences portrayed in the poems, then compare and contrast them to their own life experiences.

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. “Central Idea Worksheet”
3. “Compare and Contrast Worksheet”
4. “Compare and Contrast Worksheet” teacher version
5. “Connotation Denotation Worksheet”
6. “Form Review Worksheet”
7. “Performance Worksheet”
8. “Repetition Alliteration Rhyme Worksheet”
9. “Simile Metaphor Worksheet”
10. “Unit Plan AAPI Women Voices: Identity & Activism in Poetry”
11. “Unit Slide Women Poetry 1 Central Idea”
12. “Unit Slide Women Poetry 2 Compare Contrast”
13. “Unit Slide Women Poetry 3 Simile Metaphor”
14. “Unit Slide Women Poetry 4 Connotation”
15. “Unit Slide Women Poetry 5 Repetition”
16. “Unit Slide Women Poetry 6 Form Review”
17. “Unit Slide Women Poetry 7 Performance”

1. Jetnil-Kijiner, Kathy. Fighting Climate Change with Poems: Kathy Jetnil-Kijiner. United Nations Framework Convention on Climate Change. 3 Dec. 2015. YouTube Web. 27 Nov 2016. Run time 3:56 Source
2. Jetnil-Kijiner, Kathy. Marshall Islands Poet to the U.N. Climate Summit: “Tell Them We Are Nothing Without Our Islands.” Democracy Now! 2 Dec. 2015. YouTube Web. 27 Nov. 2016. Run time 4:01 Source
3. Mirikitani, Janice. Bad Women, a poem by Janice Mirikitani. The Glide Foundation, 2 June 2010. Web. 27 Nov. 2016. Run time 2:58 Source
4. Tsai, Kelly. Spoken Word: “Black White Whatever” Kelly Tsai (Def Poetry). 3 Oct. 2008. YouTube Web. 27 Nov. 2016. Run time 4:30 Source

1. Mirikitani, Janice. Why is Preparing Fish a Political Act? Poetry of Janice Mirikitani. Prod. Russell Leong. Asian Americans Advancing Justice – Los Angeles. 1990. Web. 23 Sept 2016 Source

1. LCD Projector
2. Screen
3. Speakers

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. Bad Women, a poem by Janice Mirikitani. Glide Foundation, Run time 2:58. Source
3. “Central Idea Worksheet”
4. “Unit Slide Women Poetry 1 Central Idea”

1. Projector
2. Speakers

1. Distribute the Central Idea Worksheet.
2. Have students complete the “What Is Poetry Anticipation Guide” in the worksheet.
3. Show “Unit Slide Women Poetry 1 Central Idea”.
4. Get class responses on a few of the “What Is Poetry Anticipation Guide” questions.

1. Show “Unit Slide Women Poetry 1 Central Idea”.
2. The basic structure of a poem.

   Prose Structure:	Poetry Structure:
   Sentence	Line
   Paragraph	Stanza

3. Explain to the students:
   • In this unit we will be using the experiences and poetry of AAPI Women.
   • AAPI is short for Asian American and Pacific Islander.
   • We will explore how poems are used to depict various subjects.
   • Poets often explore different issues, topics, and ways of thinking.
   • Today we will talk about the central idea of the poem, "Bad Women" by Janice Mirikitani.
4. Provide a short background of the poet, Janice Mirikitani:
   • Born, raised in California
   • She is a community organizer.
   • She and her family were incarcerated in Rohwer, Arkansas, concentration camp with the mass internment of 120,000 Japanese Americans during World War II.
   • Co-founder and President of the Glide Foundation.
   • Glide empowers San Francisco’s poor and marginalized communities to make meaningful changes in their lives to break the cycle of poverty and dependence.
5. Ask students to observe the following in the Bad Women video you are about to show:
   • how Mirikitani emphasizes her words
   • how she introduces her topic
   • how she concludes her poem
6. Play the video, Bad Women, a poem by Janice Mirikitani, https://www.youtube.com/watch?v=wvPmygOXHLM (Run Time 02:58)
7. Have students individually reflect after viewing.
8. Have students think-pair-share how their thoughts have changed about poetry and bad women after watching the video.
9. Ask a few students to share their responses with whole class.
   • Do you agree with Janice’s take on being a bad woman?
   • Do you enjoy her poem?
   • What pieces do you like or dislike?
   • Where does her inspiration come from?
10. Poets often surprise us about topics.
    • Ask students to keep all their work in a notebook for a culminating task at the end of the unit.
    • Ask students to brainstorm a few things in their worksheet that others would be surprised to learn about them.

1. Explain the expectation of this class to students:
   • We will exploring 1 or 2 poems each day in class.
   • Study poems as homework.
   • Learn how to write poems.
   • At the end of this unit you will write your own poem.
   • Keep all classwork, homework, and worksheets. They will be helpful in writing your own poem. Bring all your worksheets to class.
   • “AAPI Women Voices: Untold Stories Through Poetry” story contains all the poems for lecture, classwork and homework. Bring it to class every day.
2. Distribute the “AAPI Women Voices: Untold Stories Through Poetry” story. Ask the students to keep it for future lessons.
3. Ask students to turn to “Bad Women” poem.
4. Ask seven students to read aloud the seven stanzas, one stanza at a time.
5. As classwork, ask students to go back to the poem and:
   • Highlight their favorite lines.
   • Star lines that make you think differently about the title Bad Women.
   • Think about the last line, the concluding line, “Bad women can burn.”
     What does it mean?
     Is that the central idea of the poem?
     Mark the lines which support the concluding line.
6. Have students share their findings in pairs.
7. Have a class discussion and encourage students to use the speaking and listening prompts.
   • What is the central idea of the poem?
   • What is Janice Mirikitani conveying in her concluding line?
   • Keep in mind you will need a central idea and a concluding line for your own poem.

1. Homework for all students:
   
   • Read Janice Mirikitani’s biography in the “AAPI Women Voices” story.
   • Read Shirley Geok-Lin Lim’s biography in the “AAPI Women Voices” story.
   • Read “Learning to love America” poem by Shirley Geok-Lin Lim.
   
   Have students turn to the homework page in the Central Idea Worksheet.
   • Ask students to:
     • write their interpretation of the 7 lines in the poem.
     • write how they feel about the concluding line.
2. Additional homework for high school students “One Kind of Hunger” by Lehua M. Taitano.
   • Read Lehua M. Taitano’s biography in the “AAPI Women Voice” story.
   • Read “One Kind of Hunger” by Lehua M. Taitano.
   • Find how Taitano develops the central idea in the poem, “One Kind of Hunger.”
   
   Provide some background information about the poem:
   • The poem is about storytelling, from a grandmother to a boy. That is how tradition and knowledge is passed on from one generation to another.
   • The boy uses a sling to catch birds with stones.
   • The boy has to collect bird beaks for the grandmother to make necklaces before she would tell him a story.
   • Concluding line: “The necklace will be heavy, impossible to wear”,
     The necklace is a metaphor for tradition and knowledge.
     Passing on tradition and knowledge is necessary but it is a tremendous responsibility.
   • Ask students to write their interpretation of each line of the poem “One Kind of Hunger.” Write how the central idea relates to their own experiences.

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. “Compare and Contrast Worksheet”
3. “Compare and Contrast Worksheet Teacher Version”
4. “Unit Slide Women Poetry 2 Compare Contrast”

1. Projector
2. Speakers

1. Ask students the following discussion questions:
   • What is the central idea of “Learning to love America” by Shirley Geok-Lin Lim?
   • For high school students review Poetry Central Idea Homework 2 What is the central idea of “One Kind of Hunger”?
   • Where in the poem do you see these ideas expressed?
2. Have students share their thoughts with the class.

1. Distribute the “Compare and Contrast Worksheet”. Have students bring out their “AAPI Women Voices: Untold Stories Through Poetry” story and turn to the “Evening Prayer” poem.
2. Start “Unit Slide Women Poetry 2 Compare Contrast”.
3. Talk about the poet, Vandana Khanna.
   • Vandana Khanna was born in India
   • She was raised in Falls Church, Virginia.
   • Her poems spotlight challenges immigrants face in the U.S.: youth struggle when choosing between different parts of their identity and are ridiculed or bullied for their identity.
4. Explain the terms used in the poem.
   
   • Hinduism = a religion, or a way of life, found most notably in India and Nepal
   • Hindu = a follower of Hinduism
   • Mandir = A Hindu temple
   • Ganesh (also spelled Ganesa or Ganesha) = a Hindu god, the Lord of Good Fortune
   • Krishna = a major Hindu deity (god or goddess)
   • Arti = a Hindu religious ritual of worship
5. Select students to read one stanza at a time.
6. Vandana Khanna describes her struggle with the religion at home and the one at school.
   “Two Gods: the one in the closet
   and the one from school days
   and both are not mine”
7. Discuss with students:
   • What are the struggles Vandana Khanna has at home and at school?
   • Ask them to write them down in their worksheet. They will use this in their homework.
8. Explain the next set of terms used in the poem.
   • Mantra = a sound, word, or phrase that is repeated by someone who is praying
   • Ram Ram = a chant
   • Christianity = a religion based on the life and teachings of Jesus Christ
   • Alleluia or Hallelujah = In Christianity, translates to "praise the Lord“
   • Bhagavān is generally translated as Lord or God
   • Om Shanti means peace for humankind, other living beings, non-living beings, the universe, and every other manifestation of the cosmos.
9. When students finish reading, discuss with students:
   • Vandana Khanna describes her struggle with two cultures: the culture of her family and the American culture on names, appearance, and food.
   • Ask them to write them down in their worksheet. They will use this in their homework.
10. Have students discuss the cultural struggles they have.

1. For all students, for the “Compare and Contrast Worksheet”:
   1. Read Vandana Khanna’s biography in the “AAPI Women Voices” story.
   2. Read the “Evening Prayer” poem. Highlight/annotate the lines that compare and contrast the author’s experience with the experience of others.
   3. Refer to points #4 and #6 on page 1 of the worksheet. Write down your own struggles, which could be different kinds of struggles than those Vandana Khanna faces.
2. Additional homework for high school students:
   • Read “Blue Madonna” by Vandana Khanna in the “AAPI Women Voices” story.
   • In the Venn diagram, students will compare and contrast the experience of the author and others, and Christianity and Hinduism as portrayed in the poem.
3. Discussion Questions:
   • What does this chart reveal about these religions – particularly, about the role of girls and women?
   • How does the experience of the author mirror or differ from yours? You may talk about religion, culture, family, gender, immigration or any other topic.

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. Marshall Islands Poet to the U.N. Climate Summit: ‘Tell Them We Are Nothing Without Our Islands’. Democracy Now!, Source (Run time: 04:01)
3. “Simile Metaphor Worksheet”
4. “Unit Slide Women Poetry 3 Simile Metaphor”

1. Projector
2. Speakers

1. Tell students: Today, we’ll learn about, identify, create, and analyze similes and metaphors.
   • Distribute the “Simile Metaphor Worksheet.”
   • Start “Unit Slide Women Poetry 3 Simile Metaphor”.
     1. Literal language is used to mean exactly what is written.
        • "It was raining a lot, so I rode the bus.”
        • In this example of literal language, the writer means to explain exactly what is written: that he or she chose to ride the bus because of the heavy rain.
     2. Figurative language is used to mean something other than what is written; something symbolic, suggested, or implied
        • It was raining cats and dogs, so I rode the bus."
        • In this example of figurative language, there were not actually cats and dogs falling from rain clouds, instead, the rain felt so heavy and large that it was almost as if small animals were falling from the sky.
2. Simile and metaphor are figurative language.
   Review the examples and ask the students to explain what they mean.

   	Simile	Metaphor
   	Makes a comparison between 2 things or persons using “like” or “as”	Makes a comparison between 2 things or persons without using “like” or “as”
   1	Life is like a journey.	Life is a journey.
   2	You are like sunshine on a cloudy day.	You are my sunshine on a cloudy day.
   3	You are like a hurricane: there's calm in your eye, but I'm getting blown away.	You are a hurricane.

   
   

   	Simile
   4	Her wit is as sharp as a razor.
   5	For I knew his eyes like an old, old song.
   6	They only know our love was brief And passing like an autumn leaf.
   7	A single dim ray, like the thread of the spider, shot from out the crevice.
   8	The pale moon like a petal floats in the dusk of Spring.
   9	My good intent has fallen short like an arrow.

   
   

   	Metaphor
   10	His answer to the problem was just a Band-Aid, not a solution.
   11	The path of resentment is easier to travel than the road to forgiveness.
   12	The teacher planted the seeds of wisdom.
   13	The wheels of justice turn slowly.
   14	And therefore I went forth with hope and fear into the wintry forest of our life.

3. Ask students to identify which is a simile or a metaphor:

   		Simile or Metaphor
   15	He is as tall as a tree.	Simile
   16	My book bag feels like a bag of rocks.	Simile
   17	He is fishing in troubled waters.	Metaphor
   18	She dances like she was trying to shake a spider off her leg.	Simile
   19	He is the Stephen Curry of his basketball team.	Metaphor

1. Show the slide of Kathy Jetnil-Kijiner and provide some background on the poet and poem:
   1. Kathy Jetnil-Kijiner:
      • Born in the Marshall Islands. Moved to Hawai’i at the age of 7. Moved back to the Marshall Islands at the age of 25.
      • Show where Marshall Islands is on the map.
      • Earned MA from University of Hawai’i
      • Climate activist. Addressed UN’s Climate Summit in 2014.
      • Writes about the U.S. nuclear testing conducted in the Marshall Islands, militarism, the rising sea level as a result of climate change, forced migration, racism in America.
      • From 1946 to 1958, the U.S. conducted 67 nuclear tests in the Marshall Islands.
      • Equals 1.6 Hiroshima-size explosions per day
   2. Play Marshall Islands Poet to the U.N. Climate Summit: “Tell Them We Are Nothing Without Our Islands". Source (run time 04:01)
   3. Have students pull out their “AAPI Women Voices: Untold Stories Through Poetry” story and turn to “Tell Them”.
      • Open the Unit Slides, and advance to the slide to the poem “Tell Them”.
      • Ask students to put the similes in circles and put metaphors in boxes on “Tell Them” while going over unit slides.
      • Turn to stanza 4, and read until “tree stump”, the first simile. Explain the similes and metaphors.

1. “Simile Metaphor Worksheet” for all students:
   • Finish the interpreting simile and metaphor chart in the worksheet.
   • Read Kathy Jetnil-Kijiner’s biography in the “AAPI Women Voice” story.
   • Answer the discussion questions.
   • Complete the simile metaphor exercise.
2. Additional homework for high school students (Homework 2 in the “Simile Metaphor Worksheet”):
   • Read Monica Ferrell’s biography in the “AAPI Women Voices” story.
   • Read Monica Ferrell’s poem, “Geburt des Monicakinds.”
   • Complete the interpreting simile and metaphor chart on “Geburt des Monicakinds.”
   • Complete discussion questions.

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. “Connotation Denotation Worksheet”
3. “Unit Slide Women Poetry 4 Connotation”

1. Explain to students: In this lesson, you will learn that words have denotations and connotations. Words can have similar dictionary definitions but have different emotional associations or implications. Poets employ connotations to convey their message or meaning of a work.
2. Distribute the “Connotation Denotation Worksheet” and start “Unit Slide Women Poetry 4 Connotation”.
   1. Denotation: the literal, dictionary definition of a word.
      Example: Hollywood denotes a neighborhood in the central region of Los Angeles, California.
   2. Connotation: the emotional, social, or cultural implications of a word that go beyond dictionary definitions. Words’ connotations are on a spectrum of positive to negative.
      Example: Hollywood connotes materialist, glamorous, and superficial lifestyles or beliefs.
3. Have students discuss the difference in meaning between the words “house” and “home” in the statement,“I live in a house, but I want to feel like I live in a home.”
4. Use this chart to explain other examples of denotation and connotation.
   
   

   	Denotation	Connotation
   Home	the place where one lives permanently, especially as a member of a family or household	Family, love, security “Home is where the heart is”
   Hollywood	A neighborhood in the central region of Los Angeles, California.	Materialist, glamorous, and superficial lifestyles “A typical Hollywood plot”
   Dove	A small wild bird that is related to pigeons	Gentle “The new policy contains a dovish increase in interest rate.”
   Shark	A large and often dangerous sea fish with very sharp teeth	Ruthless “This loan shark charges 10% interest per week.”

   
   
5. Display on slides two groups of words. Discuss with the class which words have positive connotations and which words have negative connotations.
   
   

   Negative Connotation	General Denotation	Positive Connotation
   Intrusive, Nosy	Interested	Curious, Inquisitive
   Stubborn, Inflexible	Persistent	Strong Willed, Determined

   
   
6. Ask students to decide whether these groups of words with similar denotations have positive or negative connotations. Write their own answers in the chart in their worksheet.
   thrifty, stingy, penny-pinching, cheap, economical, resourceful uncommon, off-the-wall, bizarre, weird, exceptional, extraordinary
7. Display the answers. Discuss with students.
   
   

   Negative Connotation	General Denotation	Positive Connotation
   Stingy, Penny-pinching, Cheap	Thrifty	Economical, Resourceful
   Off-the-wall, Bizarre, Weird	Uncommon	Exceptional, Extraordinary

8. Review the examples and ask the students to explain what they mean.
   Consider these two sentences that describe essentially the same situation, but in different words. How does changing the word choice affect the impression of the sentence?
   1. The activist spoke passionately of his platform at the demonstration.
      Impression: This person cares about changing the world.
   2. The vigilante fanatically preached his ideology at the riot.
      Impression: This person is crazy and sticks to his beliefs even if they are wrong.

1. Have students bring out their “AAPI Women Voices: Untold Stories Through Poetry”, and turn to the poem “Guantanamo” by Shadab Zeest Hashmi.
2. Introduce the author of “Guantanamo,” Shadab Zeest Hashmi:
   • Born in Pakistan and moved to the US at 18 to attend college
   • Writes about the effect of British colonialism on Pakistani identity, relations between the United States and the Middle East, and Arab American issues
   • Works as an editor for MahMag World Literature (magazine) and a columnist for 3 Quarks Daily (blog and magazine)
3. Introduce the background of the poem:
   • Short for Guantanamo Bay Detention Center in the US Cuban Naval Base
   • Imprisons suspected members of al-Qaeda (Islamic militant group) and the Taliban (Islamic fundamentalist group) as part of the larger “War on Terror”
   • Infamous for its many human rights abuses, use of torture tactics on prisoners and lack of due process
4. Class lecture:
   • Ask students to put circles around negative connotations and put rectangles around positive connotations.
   • Discuss the meaning the connotations give to the poem according to the unit slides.

A guard forces you to urinate on yourself Another barks out louder than his dog the names of your sisters who live in the delicate nest of a ruby-throated hummingbird Each will be a skeleton he says	→Stanza 1 Negative connotation for scream Positive connotation for a comfortable home. Negative connotation. Each sister will be killed.
Was there someone who gave you seven almonds for memory, a teaspoon of honey every morning? Cardamom tea before bed? Someone who starched your shirts in rice water, then ironed them? Held your chin To say the send-off prayer before school?	→Stanza 2
You’re tied to a metal coil And memory is a burnt wire.	→Stanza 3 Negative connotation. Destroyed wire. Not functioning, worthless, beyond repair Points out the concluding line to the students.

1. Have students turn to the poem “Desert Flowers II” by Janice Mirikitani.
2. Introduce the background for “Desert Flowers II” by Janice Mirikitani
   1. WWII, 1944: Executive Order 9066 issued by President Roosevelt incarcerated 120,000 Americans of Japanese descent in 10 rural concentration camps around the US.
   2. An injustice born out of racism, wartime hysteria, and plain greed, the internment resulted in lost livelihoods and broken communities.
   3. Mirikitani and her family were incarcerated in Rohwer, Arkansas.
   4. Mirikitani uses “I” in the poem to refer to the community of incarcerated Japanese Americans.
3. Get students to prepare to write their own “I Am” poem.
   Tell students: You will be writing your own poem using “I” to refer to a community.
   • Therefore, pay attention to how Mirikitani uses it.
   • Pay attention to the concluding line.
   • Learn how poets write the concluding line of their poems. This will help you to write your own.
4. Ask a few students to take turns to read the poem aloud.
5. Classwork: Ask students to identify the first 3 connotations. Ask students to put circles around negative connotations and put rectangles around positive connotations. Discuss the meaning of the connotations given to the poem.

Bamboo, mimosa, eucalyptus seed. Resilience, strength, courage. What are you Where are you really from? Go back to where you belong	→Stanza 1 Positive connotation. Stands for Resilience, strength, courage. Asian Americans including those born in the U.S. quite often got asked these questions. Why does Janice feel hurt to be asked these questions?
What are you? I am the wind that shaves mountains, twisted barbed wire of Amache Gate, Poston, Manzanar, Rohwer, Tule Lake I am memory hurling us into history. I am the first of sand that pushed my mother against a wall of silence.	→Stanza 2 Wind is a positive connotation for being strong Negative connotation of the abuses in the camp. →Stanza 3 There were frequent sand storms in the camp. Her mother had to keep her feelings inside amid the abuses.

1. Ask students to turn to the Fold-It Poem in their worksheet.
2. Divide the class into a few groups with about 5 students in each group.
3. Read the instructions to the class.
4. Have each group follow the instructions to write their group poem.
5. Students will have fun reading the group poems.

1. Homework for all students:
   • Practice writing connotations in the homework section of the worksheet.
   • Finish reading “Desert Flowers II”.
   • Identify at least 5 connotations in the rest of “Desert Flowers II”.
   • Complete discussion questions.
2. Additional homework for high school students:
   • Read Sahra Vang Nguyen’s biography in the “AAPI Women Voices” story.
   • Analyze the connotations in Sahra Vang Nguyen’s “Idolize” poem.

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. “Fighting Climate Change with Poems: Kathy Jetnil-Kijiner,” Climate Conference, Run time 3:56 Source
3. “Repetition Alliteration Rhyme Worksheet”
4. “Unit Slide Women Poetry 5 Repetition”

1. Projector
2. Speakers (listen to the poem)

1. Repetition, Alliteration, and Rhyme
   1. Explain to students:
      • We often when we hear repetition, alliteration, and rhyme all create rhythm. They make poems stick with us the way that music does.
      • They can be used at the same time, and help draw the audience’s attention to important lines.
      • Since we perform poetry out loud, we sense these sound devices from hearing them, rather than reading them.
      • In this lesson, they will learn about the three sound devices, how to identify and create them.
   2. Distribute the Repetition Alliteration Rhyme Worksheet. Begin “Unit Slide Women Poetry 5 Repetition”.
      
      Repetition: The use of the same words or phrases to create a beat, rhythm, or develop emphasis.
      • “How they tinkle, tinkle, tinkle, in the icy air of night!”
      • In this example of repetition, the writer is emphasizing and bringing the audience’s attention to the tinkling of the subject [bells].
      
      Alliteration: The repetition of the first sounds of words.
      • “Deep into that darkness peering, long I stood there wondering, fearing.”
      • This example of alliteration, deep and darkness, shows how the device is used to bring attention to certain words to set the tone, mood, or rhythm of the passage.
      
      Rhyme: A type of echoing which uses a correspondence of sound.
      • “It was quite a shock to find my sock sitting atop the rock.”
      • This rhyme example, shock, sock, rock, shows how rhyme can be used to establish a rhythm or beat.
2. Review the first 3 examples of each sound device. Ask the students to identify the rest.
   
   

   	Repetition
   1	I want her to live. I want her to breathe. I want her to be happy.
   2	If you think you can win, you can win.
   3	Almost nothing was more annoying than having our wasted time wasted on something not worth wasting it on.
   4	And miles to go before I sleep, and miles to go before I sleep.
   5	Common sense is not so common.
   6	The horror! Oh, the horror!

   
   
   

   	Alliteration
   7	She walked past the babbling brook every day.
   8	Peter Piper picked a peck of pickled peppers.
   9	I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.
   10	Fair is foul, and foul is fair: hover through the fog and filthy air.
   11	The soul selects her own society.
   12	So we beat on, boats against the current, borne back ceaselessly in the past.

   
   
   

   	Rhyme
   13	I have measles and the mumps, a gash, a rash, and purple bumps.
   14	This precious book of love, this unbound lover, to beautify him only lacks a cover.
   15	From there to here, and here to there, funny things are everywhere.
   16	True words end; lies extend.
   17	Being two beings requires a rage for rigor, rewritable memory, hybrid vigor.

   
   
3. Ask the students to identify which sound device is being exemplified. Discuss how they are identified.
   
   

   		Which sound device?
   18	Through the balmy air of night, how they ring out their delight!	Rhyme
   19	“Breathe, breathe, breathe,” I told myself.	Repetition
   20	What tale of terror, now, their turbulence tells!	Alliteration
   21	Her socks wouldn’t fit Phillip’s feet.	Alliteration
   22	How it tells of the rapture that impels to the swinging and the ringing of the bells.	Rhyme

1. Students will listen to poetry out loud in order to develop skills and ideas on how to perform their pieces at the end of the unit.
   • Ask students to pay attention to the sound devices and performance.
   • Remind them they will perform their own poem.
2. Play the video Fighting Climate Change with Poems: Kathy Jetnil-Kijiner, Run time 3:56 Source
3. Have students bring out their “AAPI Women Voices: Untold Stories Through Poetry.”
   • Turn to the “2 Degrees” poem.
   • Show the “Unit Slide Women Poetry 5 Repetition”. Advance to the “2 Degrees” poem.
   • Ask students to put the examples of repetition in boxes, put examples of alliteration in circles, and underline examples of rhyme on the “2 Degrees” poem while going over unit slides.
   • Ask students to take turns to read aloud to class until “lap, listless LiPeinam”, the example of alliteration. Explain the three sound devices during the lecture

   The other night my 1-year-old was a fever pressed against my chest	→Stanza 1
   We wrestled with a thermometer that read 99.8 degrees the doctor says technically 100.4 is a fever but I can see her flushed face how she drapes across my lap, listless	→Stanza 2 →Have students circle examples of alliteration.
   LiPeinam is usually a wobbly walking toddler all chunks and duck footed shaky knees stomping squeaky yellow light up shoes across the edge of the reef	→Stanza 3
   And I think what a difference a few degrees can make	→Stanza 4
   Scientists say if humans warm the world more than 2 degrees then catastrophe will hit	→Stanza 5
   Imagine North American wildfires increasing by 400% animal extinction rising by 30% fresh water declining by 20% thousands, millions displaced left wandering wondering what happened?	→Stanza 6 →Have students put examples of repetition in boxes →Have students underline examples of rhymes. →Starting here, ask students to identify the sound devices. →Alliteration and rhyme
   At a climate change conference a colleague tells me 2 degrees is an estimate I tell him for my islands 2 degrees is a gamble at 2 degrees my islands, the Marshall Islands will already be under water this is why our leaders push for 1.5	→Stanza 7 →Repetition
   Seems small like 0.5 degrees shouldn’t matter like 0.5 degrees are just crumbs like the Marshall Islands must look on a map just crumbs you dust off the table, wipe your hands clean	→Stanza 8
   Today LiPeinam is feeling better she bobs around our backyard drops pebbles and leaves into a plastic bucket before emptying the bucket out and dropping pebbles in again	→Stanza 9
   As I watch I think about futility I think about the world making the same mistakes since the industrial revolution since 1977 when a scientist said 2 degrees was the estimate	→Stanza 10
   On Kili atoll the tides were underestimated patients with a nuclear history threaded into their bloodlines, sleeping in the only clinic on island woke to a wild water world a rushing rapid of salt closing in around them a sewage of syringes and gauze	→Stanza 11 →Alliteration →Rhyme   →Stop here. Assign the rest of the poem for homework.

1. Homework for all students. Finish the rest of the “2 Degrees” poem.
   • Finish the Interpreting and Recognizing Repetition, Alliteration, and Rhyme chart of the Repetition, Alliteration, Rhyme Worksheet as homework.
   • Complete discussion questions.
   • Complete the Repetition, Alliteration, and Rhyme Exercise.
2. Homework for all students: Write your own “I Am” poem.
   
   1. Ask students to turn to the “I Am” Poem in their worksheet
   2. Tell students this homework is modeled after Janice Mirikitani’s “Desert Flower II” poem.
      • Choose a community you want to write about.
        Examples:
        • A community of causes: environmental, Black Lives Matter, LGBTQ, immigration, women’s rights, labor rights, ethnic rights, language rights, housing rights, education rights, healthcare rights, disability rights.
        • Your family, neighborhood, a group of friends, any community you want to write about.
   3. What are you trying to convey in your poem?
   4. What characteristics or aspects of the community are you trying to emphasize in your poem?
   5. What is your concluding line to convey your message?
3. Homework for high school students: “Filipino Boogie” poem by Jessica Hagedorn.
   1. Describe the background of the poem to students.
      • 1898 - 1933 The Philippines was a colony of America.
      • 1942 - 1945 The Philippines was occupied by Japan.
      • Sitting Bull was an American Indian warrior, 1834–90.
      • Minnehaha is a fictional Native American woman.
      • Mohawk people are an indigenous people of North America.
      • Yellow Peril is a term referring to an unjust and misguided widely held fear of Asians in the West in the late 1800s and early 1900s. It is used as a satire in this poem.
      • Notice how she writes about American cowboys, Native Americans and Filipino Americans.
   2. Ask students to complete Repetition, Alliteration, Rhyme Homework 2: Identify the three sound devices in the “Filipino Boogie” poem, identifying one of each.

1. “AAPI Women Voices: Untold Stories Through Poetry” story
2. Form Review Worksheet
3. Tsai, Kelly. Spoken Word: “Black White Whatever” Kelly Tsai (Def Poetry). YouTube. 3 Oct. 2008. Web. 27 Nov. 2016. https://www.youtube.com/watch?v=uNU_Abkqryc
4. “Unit Slide Women Poetry 6 Form Review”

1. Tell students: Today we’ll be reading Janice Mirikitani’s “Sing with Your Body”
2. Have students bring out their “AAPI Women Voices: Untold Stories Through Poetry” story and turn to “Sing with Your Body” by Janice Mirikitani.
3. Begin “Unit Slide Women Poetry 6 Form Review”.
4. Form and structure of a poem are:
   • the particular pattern and organization of the poem
   • they can be created through the length of the lines, their rhythm, and the use of literary devices like rhyme and repetition
5. Tell students:
   We’ve learned that poems can capture a range of emotions, memories, or even just objects. As we look at the “Sing with Your Body” poem together, try to picture what Janice wants you to feel. Features to notice in the poem, “Sing with Your Body”:
   
   • Observe the unique spacing she uses throughout to mimic dancing.
   • The placement of the line “go quickly”.
   • Your interpretation of each line and the concluding line.
6. Have the students take turns reading the poem out loud to the class.
7. Ask students to reflect on how line spacing helps them to remember certain lines.
8. Have students turn to the “Form: Class Discussion” in their worksheet.
9. Have students share responses on:
   
   

   Question	Class Thoughts	Notes
   What words, phrases or lines in “Sing with Your Body” draw your attention?
   What is Mirikitani trying to convey?
   What does the concluding line, “go quickly to who you are before your mother swallows what she has lost” mean?

   
   One interpretation of the poem is a mother encourages her daughter to explore who she is.
10. Wrap up by saying:
    • One thing poets can do via poetry is to share how to deal with change.
    • What in your life is changing?
    • Is everything the same as it was?
    • Have students quickly record some things that have changed recently for them.

1. Have students turn to “Reviewing Literary Devices” in their worksheet.
   • Ask students to quietly identify the 7 literary devices.
   • Then review with the whole class.

1. Have students bring out their “AAPI Women Voices: Untold Stories Through Poetry” story and turn “Letter to a Bilingual Poet” by Jamaica Heolimeleikalani Osorio.
2. Provide some background on the poet and poem:
   • Native Hawaiian born and raised in Pãlolo Valley, O’ahu.
   • Concerned with the coastal use for commercial fisheries, tourism, military, heavy industry, and other activities
   • Actively participates in discussions to address these issues to protect the Hawaiian ecosystem.
   • Board member of Pacific Tongues, an award-winning non-profit organization that cultivates an active Pacific Islander community of activists, writers, poets, musicians, performers, educators, and leaders
   • Currently a PhD candidate in English at the University of Hawai’i at Mānoa.
3. Have students take turns reading the poem out loud to the class.
4. Ask students to identify the literary devices next to the phrase in their poem.

   I know girls like you The kind to run when seeing stacks of words on top of each other I know the way it makes every part of your body stutter, shake and shatter How the insecurity you think youve locked under your skin Comes flying past the surface I know how the repeating consonants remind you of bars	→(Stanza 1) →Rhyme →Repetition
   And walls Scratch against the back of your throat Like dry chalk How you will cramp and cram your tongue into itself Just to make the sounds seem like they fit falling through your lips	→(Stanza 2) →Simile →Alliteration →Alliteration
   I know how you will write Write Write And not know why Not understand the ocean of water falling out Because you will refuse To let a single word under light	→(Stanza 3) →Rhyme
   Because you are second language Second chance You are back of the classroom Without a hand You are broken body And beaten tongue	→(Stanza 4) →Repetition →Negative Connotation (unable to raise your hand to offer answer) →Metaphor, and Negative Connotation →Metaphor, and Negative Connotation
   You are poems On poems On poems Because the thought of punctuation makes you want to crawl inside of yourself Makes you remember	→(Stanza 5) →Repetition (There are many ways to write poems.)
   You dumb You worthless child With words no worth Illiterate They say Illiterate you believe Because your vocabulary dont stretch far enough to understand The way the attempt at that insult is laughable	→(Stanza 6) →Negative Connotation →Negative Connotation
   No one understands Not even yourself Cant even communicate right Got twice the number of words 4 times the feelings circling in your mind Dont make no sense The ease of the other kids language Only have one world they need to find fitting into their mouth You Clawing at broken century tongue And colonial empire It is a miracle you havent torn yourself completely to pieces just yet	→(Stanza 7)
   So many things you dont know Cant understand Can barely see from inside That cage they built with the rules of their words Make you believe they own your tongue And all the fire your saliva spits They dont know how youve severed all their language in half to make it stable To make it mean How bright that light of you shines Who would have thought your future would be in words	→(Stanza 8) →Metaphor, Negative Connotation →Metaphor, Negative Connotation →Rhyme →Metaphor, Negative Connotation (Your future is determined by the language you speak.)
   Not you, I know And because you were the last to learn of your brilliance It will be your job to remember The fractures of beginning The way you built your own fortress from nothing Took those words they called broken And misused And lined the whitest of Houses with your dirty brown speech	→(Stanza 9) →Positive Connotation →Negative Connotation (broken words)
   Dont let their walls, cages, rules and commas name you anything other than genius Than strong Than beauty Because you are transformation embodied Evolution acquired You are two worlds In one throat The closest thing to coexisting That survives	→(Stanza 10) →Positive Connotation →Metaphor (You are bi-lingual).
   You are Jamaica Heolimeleikalani Osorio A chant sung to the heavens You are made of words Built of language And the last thing you should be afraid of Is yourself	→(Stanza 11) →Concluding line. (You should be proud of who you are.)

• Pair students according to need or self-selection. (Teacher to decide)
• Have each student in each pair read the other’s “I Am” poem and silently record feedback using the “Feedback Form” in their worksheet. Students should be giving feedback on the clarity of central idea, the concluding line, and usage of the seven literary devices.
• Direct student A to share feedback.
• Direct student B to share feedback.

1. What are you trying to convey in your poem? (What is the central idea of your poem?)
2. What is your concluding line to convey your message?
3. What words, phrases or lines do you want to use to draw readers’ attention?
4. How would you revise them using the 7 literary devices you have learned about poetry writing? (simile, metaphor, repetition, alliteration, rhyme, positive and negative connotations)
5. How would you revise your poem with a different form to convey your message?
6. Write your revised poem.

1. Play the video, Spoken Word: ‘Black White Whatever’ Kelly Tsai. Run time 4:00 Source
   • Features to Notice:
     • Observe how Kelly changes scenes to provide emphasis.
     • Think through what she wants the audience to learn. What is her theme?
2. Remind students that they will perform their “I Am” poem in the next lesson in front of the class.

1. “Performance Worksheet”
2. “Central Idea Worksheet”
3. “Unit Slide Women Poetry 7 Performance”

1. Distribute the Performance Worksheet.
2. Each student performs their own “I Am” poem in front of the class.
3. Have students reflect on the poem after each performance on the “Student Shout Out” form.
4. Have a few students share their Shout Out.

1. Revisit What Is Poetry Anticipation Guide in their Central Idea Worksheet from Lesson 1 to help students review what they have learned over the course of the unit.
2. Have students turn to the “Poetry Unit Reflection” in their Performance Worksheet and answer the questions.
   • Of the poems you have read, which is your favorite? Explain why.
   • What is something new that you learned about poetry?
   • How do you these lessons helped or didn’t help relay the messages and themes of your poem?
   • Did your feelings about poetry change as we read more poems and practiced writing them? Explain.
   • Would you like to write poems in the future? Why or why not?
3. Collect students’ I Am poem and Poetry Unit Reflection.