You know how it is: old campfire stories, interesting things you’re doing or seeing or hearing about—they get all mixed up in your dreams and your stories. That’s how it was for Mary Wollstonecraft Godwin. One night in 1816, in Switzerland, when there wasn’t anything on TV (because it wasn’t invented yet), she and her friends decided they’d each write a horror story. By combining her knowledge with the idea what if, 18-year-old Mary made up one about a monster. It’d turn out to be one of the most famous monsters ever. These were some of the ideas that influenced Mary’s thinking:
Hmmm…I’ll bet you can guess now what story Mary wrote! In it, her character, Dr. Victor Frankenstein, gathered parts of dead people’s bodies in his laboratory. His experiment? He’d make a perfect person then bring it to LIFE with the power of lightning – and it worked! But – oh no! Dr. Frankenstein accidentally created a MONSTER! And then a lot of horrible things happened! Mary Shelley’s Frankenstein, which was first published in 1818, never got very good reviews, but never mind. In the almost two centuries since she wrote it, Mary’s monster story has sparked the imaginations of playwrights, moviemakers, cartoonists, musicians, and Halloween costume-makers again and again and again. It kind of makes you wonder about your own ideas and memories. What if you put them together in your imagination? You could spark a story into LIFE! Cheryl Harness is not only a nonfiction author and an illustrator, but she has also written a novel called Just for You to Know. If you would like to read an excerpt from her book, click here.
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One reviewer claimed that my book, The Roots of Rap: 16 Bars on the 4 Pillars of Hip Hop, surprised him. “I didn’t take Carole Weatherford for a hip-hop head,” he confessed. Maybe not. But I have designed and taught a hip-hop course for college students. I write poetry and stories steeped in oral traditions. And I was raised on family lore; street, playground and handclap rhymes; proverbs; spirituals; and the call-and-response of the black church. As a child, I also read Langston Hughes poems and chanted James Brown’s anthem, “Say It Loud (I’m Black and I’m Proud.” I later tuned into Gil Scott Heron’s spoken word manifesto, “The Revolution Will Not Be Televised.” Back in the day, I partied to Whodini, the Fat Boys and Run DMC, but did not fathom the power of rap until 1981 when I heard “The Message” by Grandmaster Flash and the Furious Five. The song confirmed for me that rap is rooted in resistance. Rap originated in the late 1970s among alienated black and Latino youth in the Bronx, Harlem and Brooklyn. The genre has since come of age, and rappers have won Grammys for best album (The Miseducation of Lauryn Hill in 1999) and best song of the year (Childish Gambino’s “This Is America” in 2019). In 2017, Kendrick Lamar won the Pulitzer prize for music, a first for rapper. Today, hip hop is the language of global youth culture. Rap reveries have replaced hoop dreams, especially as a male rite of passage. A vehicle for self-expression, hip hop gives youth validation and agency. Despite rap’s rebellious vibe, the genre has form and makes use of figurative language. Here’s how I harness the power of hip hop in the classroom. I discuss rap’s roots in oral traditions and its use of poetic elements. I show documentaries on the pillars of hip hop: graffiti, breakdancing, deejaying and emceeing. We study how rap influences pop culture, politics and commerce. Finally, I get students to write homages, confessional lyrics, social commentary and/or advertising jingles. My son and collaborator, poet/illustrator Jeffery Weatherford, amps up the excitement with a mini-studio that lets students download beats, record lyrics and mix audio. Mobile apps can produce similar results. Like the genre itself, rap workshops convey to students that their voices deserve to be heard. Carole Boston Weatherford has written many books inspired by oral traditions, including The Roots of Rap: 16 Bars on the 4 Pillars of Hip Hop, illustrated by Frank Morrison. Here is Vicki Cobb's review. How does a virus cause a disease? A virus is not a complete living thing. It is like a free-floating nucleus of cell. It doesn’t “grow” but under certain conditions it can make a copy of itself or reproduce. It invades the cells of other living things to use the internal structure of the host cells to reproduce. At a certain point, the number of new viruses in a cell is so large that the cell ruptures and dies, spilling out newly made viruses to continue the invasion to other uninfected cells. One virus we understand very well is chicken pox. Chicken pox is a very contagious disease that enters the body through the air and affects mostly children. When I was young almost every kid got chicken pox but, since 1995, there has been a vaccine, which makes you immune and protects the spread of the disease to others. Is there another way to explain how this virus works? Suppose I imagine a virus could think, which it can’t. But, imagination gives me the freedom to think differently. So I wrote a poem about an army of chicken pox viruses as they are about to attack a human being, maybe you, my reader. A “battle hymm” is a chant or a song to rally the troups just before an attack. The Battle Hymn of the Chicken Pox Troopers Charge forward, fellow viruses! Invade a cell or two Then let us join together And make a chicken pox on you. Let cells try to fight us No matter what they do Red spots of our graffiti Make a chicken pox on you We make the top skin separate And fill the space with goo, Small, itchy blisters are a stage Of chicken pox on you. And when the blisters break, my friend You think perhaps we’re through But no. Now there is a scab For each chicken pox on you Scratch a scab so it comes off Baring skin that’s raw and new, A scar forever marks the spot Of that chicken pox on you. To the battle, fellow viruses! We’re more noteworthy than flu They just make you feel sick We make our chicken pox on you! Meet your personal superheroes - your body's cells Superhero cells rally together to battle common childhood ailments in this series in which Vicki Cobb explains how your amazing human body heals itself and fights off intruders. Here's her book on yet another virus: Your Body Battles a Cold. See note at end. This is now history. Babies born around this time are now adults. A cowardly bully came out of his cave today to trespass on our shining city. Out of the blue he had the nerve to punch out its two front teeth. The pain is excruciating; Bleeding is everywhere. The remaining stumps are grotesque. We've lost our pretty smile. We can't bite a big apple. It's hard to look at mutilation. Dazed, we check for damage. Although choking on thick air, we are very much alive. Our heartbeat is strong. There is no drop in our vital signs. Blood rushes in to replace blood lost. Slowly we discover we can still chew and make a fist and think. Oh yes, we'll make sure this "holy" terror can never return to our playground or our friends.' But how? How do we shadow box a villain who doesn't play by the rules? We see evidence of our noble, generous, and loving spirit. Yet hate destroys within as well as without. Here then is our challenge: We must keep this wound from festering becoming toxic to ourselves. We must imagine the unimaginable to thwart evil before it comes back for more. We must seek justice, not vengeance to preserve our soul. We must trust our leaders who see more than this one tormenter. We must be brave and patient and faithful. As good as we believe ourselves to be, we must become better. Scar tissue is stronger than unscarred. Text copyright © 2001 by Vicki Cobb Reflection: I wrote this poem on September 12, 2001. I am a New Yorker. One grandson, who was 4, was starting school, a few blocks from ground zero. My husband was working in the city. It was a terrible day. I wrote this poem to try and make sense of it for my readers. Do you think it is still true today? Here I am in 2014 on the 43rd floor terrace in lower Manhattan. The brand-new Freedom Tower, on the site of the Twin Towers lost on 9/11, soars behind me. It is 1776 feet tall.
MLA 8 Citation Cobb, Vicki. "September 11, 2001." Nonfiction Minute, iNK Think Tank, 11 Sept. 2017, www.nonfictionminute.org/the-nonfiction-minute/category/cobb-vicki. The Library of Congress Prints and Photographs Department has a wealth of primary source images. Many are from the Farm Security Administration/Office of War Information (FSA/OWI) Collection, a vast pictorial record of American life between 1935 and 1944. The collection boasts 174,000 black-and-white and 1,600 color photographs taken by government-employed photojournalists such as Walker Evans, Russell Lee, Arthur Rothstein, Jack Delano, Marion Post Wolcott, Carl Mydans, Dorothea Lange and Gordon Parks. I first mined this collection in the 1980s—long before it was digitized or available online. Back then, I was researching my book, Remember the Bridge: Poems of a People (2002). I sought pictures to pair with poems that I had already penned. I found the desired images as well as others that spoke to me and begged for poems. I didn’t realize it then, but I was writing ekphrastic poetry. According to the Poetry Foundation, “An ekphrastic poem is a vivid description of a scene or, more commonly, a work of art.” Romantic poet John Keats’ “Ode to a Grecian Urn” is a famous example. I have since written more ekphrastic poems—two inspired by iconic images from the FSA/OWI collection. Gordon Parks: How the Photographer Captured Black and White America and Dorothea Lange: How the Photographer Found the Faces of the Depression tell the stories behind Parks’ 1942 “American Gothic” and Lange’s 1936 “Migrant Mother.” The resulting verse biographies go beyond describing the images to paint pictures of the photographers themselves. Parks, a pioneering African American Renaissance man, documented racism in the nation’s capital by photographing Ella Watson, a government custodian who supported her family on $1,000 a year. Lange’s photo of a migrant mother and her starving children shows the misery caused by the Dust Bowl. Newspapers published these powerful photographs, exposing poverty and injustice. Are you ready to browse the FSA/OWI collection online? Perhaps, start here. Choose one photograph that moves you. A gaze that will not let you look away. A face full of stories. A scene that draws you in. A landscape that transports you. Then, draft your poem. Write from that time and place, in the voice of the subject, the photographer, or a bystander. Read your draft aloud to yourself. Then, revise. When finished, arrange your poem and the photograph on the same page.
Carole Boston Weatherford writes hybrid genre poetry, nonfiction and biographies. BOX: Henry Brown Mails Himself to Freedom chronicles one of slavery’s most daring escapes. |
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For Vicki Cobb's BLOG (nonfiction book reviews, info on education, more), click here: Vicki's Blog
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