Poetry and Science

Poetry and Science

Utilizing the Tools of Poetry for Science Inquiry

by Jim Martin
CLEARING consultant

pril is National Poetry Month. Can we celebrate it by using poetry to facilitate teaching science as inquiry? What does the flow of thoughts, images of relationships, grammar and syntax, in poetry have that would make it an effective element to use while engaging in the process of science inquiry? Is it possible? Let’s see.

So, what would it look like, engaging a science inquiry in a natural place with the tools of poetry? Might be interesting; might be a flop, depending on my own interest, familiarity, and confidence in science and in poetry. A natural concern, yes, but I do know that my students would become invested in their work when I decided to spring something unexpected on them. How would I go about this now?

One thing I’ve learned from looking for curricula outside my classroom, even in school parking lots, is that curricula of all kinds are actually there, embedded in the world. If you think about it, school is learning about the world outside the classroom. We just insulate our classrooms from the world, then teach about the world from within them. It takes dedicated work to make our curricula connect with the world it teaches about. The arts and humanities do open the mind to clear thinking and good work. We might consider using them more often to make those connections.

Which gets us back to poetry. We are human, all of us; we use the arts and humanities to communicate. Not just writers, artists, musicians, and actors, but suits running a powerpoint for other suits at a table, or a man with a cardboard sign saying, “stranded, anything helps.” Without that grounding, we might stumble through life; and, on a larger scale, lose sight of our on-going move toward a global civilization. We need the arts and humanities as much as we need science and technology.

 

Does poetry really relate to scientific inquiry in riparian areas?

How do I tell this need for the arts and humanities to a streambank? We can combine the streambank and the arts and humanities as we teach; the place and the tools. My own experience tells me that doing science with the assistance of the arts and humanities does work, does engage students in their studies, and does empower them as persons. When students draw what they observe on-site or at a lab bench, and condense each drawing to a word or phrase, use these to build an illustrated poem, write a story, or draw an accurate “photo” point then return in another season to re-draw and analyze it, they easily attain new concepts, and develop conceptual memories that remain with them. These memories tie the work to a personalized picture in their mind; the laying down of a conceptual memory. It is those kinetic, verbal, and visual records of what they experience which help build the strong conceptual memories that they will carry into their lives as something understood; just ‘common sense’.

Poetry, coupled with a drawing, can do this. Here’s a simple example of using the arts and humanities to help clarify conceptions in a stream study. Students are studying a section of a side-channel of the stream, comparing it with the main channel. You have them start the project by observing a reach they choose along the stream. As they decide on their particular reach, they get to know it by observing things there that they think might play a role in maintaining the main and side channels as habitat. This helps them begin to develop an incipient concept of a riparian area as an integrated organization of collaborating entities.

As they work, you ask them to express what they have observed with an incipient poem about the things, themselves, and their place in the stream; how they think that these things help maintain the work of the stream, and the life it supports. This poem is a work in progress, so they’ll add elements to it as they encounter them; updating it as they discover and understand more. Once they are engaged, you ask them to draw a birds-eye-view map of their reach, from stream bank to stream bank. When this is done, you ask them to use their observations, work, and poem to date, to build a section at the end of their poem that ties the parts of the map together within a conceptual framework to express the life of this stream.

 

They, not you, pull the work they’ve done on-site, and express it as a conceptual schematum

When their work is done, you bundle up and return to the classroom to begin to pull meaning from the evidence and thoughts they have engaged. And, to present each group’s findings and products to the class. The final presentation begins with a seminar report from each group on their work, results, interpretations, and recommendations. This presentation will utilize students’ data, insights, map, and poem, in a way that works best for them. They may wish to keep the map projected on a screen for their entire presentation, with verses of their poem interspersed to the place where they will fit best, or make the most sense. Some groups may wish to include an artful representation of their map. Others may wish to complete their presentation with a performance of their poem. Others may do the same, but with their map, data, etc., included in the performance in spots where they work well. Your job will be to comment on what each presentation brings to the goals and outcomes you had planned to achieve. The first time through, this is an interesting experience, sometimes with a challenge or two. A perfect learning experience for any teacher! Take notes, and incipient preparations for the next time you do this.

By this time, your students should have reached a place where they own their work, and know it intimately enough to begin to intuitively make decisions about it on their own. After the presentations are completed, each group hangs or posts their map and poem in the classroom. The class can then discuss the information in their posted maps and poems, and in their data and analysis sheets, to come to some consensus about connections among the elements of the stream, its environment, and its channels.

Then, they discuss and comment upon a question posed at the beginning of this article: “Can we celebrate our work in the field and lab by using poetry to facilitate teaching science as inquiry? What does the flow of thoughts, images of relationships, grammar and syntax, in poetry have that would make it an effective element to use while engaging in the process of science inquiry?” They’ll be ready to provide specific examples to support their thinking about this. As they share their thoughts, observe carefully for evidence that they have assumed ownership of the work, involvement and investment in their shared learnings, and personal empowerment. When you see evidence of this, ask some questions about it. How did they feel? When did they know they were on a profitable trail? What most helped them get to where they are? And, what part did the poem play in their inquiry? Was it effective in helping you think about the work, relationships around the components of the system?

 

Something for you to do:

If you did try this in some form or another, and it worked somewhat, but needed tweaking or major surgery, write a blog about your experience and post it to clearingmagazine.org. Or, post it as a comment here, just below the end of this blog, and I’ll get back to you.

 

 

jimphoto3This is a regular feature by CLEARING “master teacher” Jim Martin that explores how environmental educators can help classroom teachers get away from the pressure to teach to the standardized tests, and how teachers can gain the confidence to go into the world outside of their classrooms for a substantial piece of their curricula. See the other installments here, or search Categories for “Jim Martin.”

The Value of Creative Teaching – Art and Environmental Education

The Value of Creative Teaching – Art and Environmental Education

The Value of Creative Teaching

Place-based environmental education through the lens of art and creative writing

 

by Tess Malijenovsky

lace-based environmental education is taking front seat inside and outside classrooms across the country in part to prepare future generations for the environmental challenges they’ll face ahead. That is, climate change, natural resource competition, ocean acidification, sea-level rise, and rampant species extinction. In the famous words of Albert Einstein, the significant problems we face today cannot be solved with the same thinking we used when we created them.

This is why we mustn’t undermine the value of creative thinking in outdoor environmental education. While our education system tends to emphasize critical thinking skills for good reason, sometimes the critic within must be silenced for the improvisation of ideas and solutions: In a study published by PLOS ONE journal, researchers Charles Limb and Allen Braud found that the parts of the prefrontal cortex associated with self-monitoring and conscious control were suppressed in jazz musicians playing improv. Despite differences in the analytical- and creative-thinking processes in the brain, however, both entail a sophisticated application of knowledge.

Nature-themed art and writing exercises are ways for educators to elicit creative thinking in students when teaching environmental education. What’s more, nature illustration outdoors, for example, can break through learning barriers and focus the attention of students from diverse backgrounds and learning levels while delivering life science lessons, as witnessed by Straub Environmental Center’s executive director, Catherine Alexander.

Alexander recently spent a day at the Little North Fork of the Santiam River with 20 elementary-aged summer campers studying and drawing the plants, fungi, and animals surrounding their beautiful setting in an old-growth ecosystem. The students, representing a variety of learning styles and backgrounds, took their seats on mossy patches of sunlight, encapsulating science concepts in a portrayal of their immediate watershed environment.

Imagine a children drawing an osprey. As she focuses on her drawing, the child listens to her teacher talk about the length of the bird’s wingspan, the purpose of its long, sharp talons, what it eats, and where it lives. According to the brain lateralization theory that more divergent thinking occurs in the right side of the brain, listening while drawing helps distract and relax the student’s inner critic, expanding the reach and flow of new connections in her mind. Less intimidated or hypercritical in the art-making process, the child’s attention focuses on the charismatic creature she is drawing and learning about. The art lesson unravels into an engaged science lesson about the osprey’s ecological niche and life cycle.

“Art is more than a pastime,” says Alexander. “It can be an enabling portal for a number of academic subjects. The summer campers reminded me that art can have rhetorician value for students with learning disability or for whom English is not their first language. It can be a powerful equalizer and high-interest segue into all kinds of educational pursuits.”

One free, online resource to help educators tie art and creating writing activities in life science lessons to Common Core and Next Generation Science Standards is the “Toolkit for Educators,” developed in partnership by Honoring Our Rivers: A Student Anthology, Portland Metro STEM Partnership, and Straub Environmental Center. The toolkit provides teacher-tested life science lessons plans that use Honoring Our Rivers (HOR) with the corresponding learning standards.

The HOR anthology, a program of Willamette Partnership, a Portland-based conservation nonprofit, encourages students to fall in love with rivers and express their connections to them creatively – through art, photography, poetry, stories, and foreign language – in hopes of naturally cultivating the next generation of watershed stewards for the Pacific Northwest species and communities who depend on these vital systems.

Educators who integrate river-watershed-themed art and writing activities into their lessons can not only stimulate the creative minds of their students in an engaging educational way but give them an opportunity to be published statewide by submitting their work to HOR. The program also hosts student art exhibitions and student reading events across Oregon.

Educators can also learn more about nature-themed art instruction at HOR’s upcoming workshops at the Coastal Learning Symposium this Oct. 14 at Newport’s Oregon Coast Aquarium.

Teachers have the power to encourage the creative capacities of our youth while addressing the increasing disconnect between children and the outdoors. HOR exists to help them accomplish this feat. For more information, visit www.honoringourrivers.org, or email info@honoringourrivers.org.

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Tess Malijenovsky is the coordinator of Honoring Our Rivers: A Student Anthology, a program of the Portland-based conservation nonprofit Willamette Partnership. Prior to moving out West, Tess was an environmental journalist and the assistant editor of Coastal Review Online in North Carolina. She studied Creative Writing and Spanish at the University of North Carolina Wilmington

Literacy as a Stepping Stone to Environmental Citizenship

Literacy as a Stepping Stone to Environmental Citizenship

LiteracySteppingStone“The librarian tells me that there have been skirmishes over books, especially on topics we’ve been discussing in class. She and the librarian see this as a problem but not me. I see small steps towards victory with my class. The interest [in Environmental Literacy] is ‘kindled’ and I hope to have a ‘forest fire’ by May.”
— Second Grade Teacher

“Roaches and other small insects continue to lose their lives under the hands and heels of my well-meaning students. How can I change the way they feel about these creatures, especially when their parents feel the same way and have instilled this in their offspring?”
— Pre-Kindergarten Teacher

 

 

by Carole Basile and Cameron White

Environmental literacy is not just learning to read and write about the environment; it’s about acquiring knowledge, skills, dispositions, and feelings that transfer to the real world. It’s about developing a concept of literacy that is more global in nature. Environmental literacy is about helping even our youngest citizens gain knowledge, understanding, and wisdom about the world around them. Citizens who respect living things; can learn about the perspectives of others, share their own views, solve problems, make reasonable decisions; and can take appropriate action. In this time of high stakes testing where literacy has become the primary focus in schools today, environmental educators need to continue to find ways of offering the environment as a contextual framework.

In literacy, context is often forgotten in the midst of phonics worksheets and testing. As Coles (2000) suggests, the meaning of literacy is diminishing and the goals are narrowing. “The narrower the goals, the more they reinforce narrow instruction aimed at a narrow conception of children’s education (p. 108)”. This passion and enthusiasm in the early years is what helps encourage students to enjoy reading and writing. Routman (1996) emphasizes that inquiry and language in authentic use is at the heart of curriculum. Meaning and knowledge are constructed from the learner’s experiences. This step will ultimately be important as the child makes decisions relevant to what they study and what they choose to write about as they get older. The goal is to involve students by encouraging the social construction of knowledge through student-centered approaches (Brooks and Brooks, 1993).

The Environment as a Context for Literacy

We propose four components that teachers should think about as they begin to think about the environment as a context for literacy: (1) teaching children the basic science concepts that they need to understand how environmental systems work, (2) nurturing children’s respect for all living things, (3) facilitating the processes of problem solving, decision making, and critical thinking, and (4) developing environmental citizenship.

Teaching About The Environment

During these years, effective environmental literacy development should begin by providing a knowledge base that is developmentally appropriate, but it should also be meaningful and relevant to students and involve them actively. The use of non-fiction is critical here. There is a myriad of basal readers and picture books for children at all levels that are non-fiction and teach children about environmental systems. Observation of nature can be used as a purpose for writing in a variety of genres.

A group of kindergartners did observations in their schoolyards and wrote the following (translated from inventive spelling):

”I found a ladybug. It tickled me. My friend let me have her ladybug. Then I found a doodlebug. Then my Mom said she was going to help me find the bugs.” “A butterfly was going to land on my house. Then there came another butterfly.”

“I saw a bee was eating my little flower. I scared it. There was stiging at me because I scare it.”

“I found a butterfly and he didn’t bite me. He was my friend.”

“A bee was going to sting me. The grasshopper was bouncing in my hose. I saw two ants eating some food.”

Nurturing Respect

Nurturing respect is a critical component in this process. It teaches children to be not only respect and protect living things but to be tolerant of each other. Literature can enhance discussions about honoring living things and working for peace. Read-alouds using books that focused on respect and peace stimulated conversations and reflections like these with young children.

Gabby, age 7
”Yesterday, we were playing outside and we saw a bird. I think it’s called a killdeer. It doesn’t live in a tree; it lives in the dirt on the ground. I was running and my friend and me were playing and I almost tripped over it. People were coming over and it was acting like it had a broken wing. My teacher was telling us to move away from it. If you kill the bird or step on it, or step on its eggs, or smash them, you will be killing the environment because birds are part of all life. If we just watch the animals outside, if we just leave them alone, we’re not trying to mess with them, so we won’t get hurt and they won’t get hurt either. If we bothered plants and animals, we couldn’t admire anything or we couldn’t smell the flowers or have any energy. One time outside in my backyard I saw an orange cocoon. My brother and his friends were poking at it and I asked my mom if they were supposed to be doing that. She told them to leave it alone and go play somewhere else. I told my mom I was helping to save the environment.”

Ignacia, age 5
“Insects are good for dirt, like rain. And like pill bugs and ladybugs, they help everything. They help the leaves from bad insects; the ladybugs eat little insects that are bad. So we have to take care of them and not kill them or give them poison stuff; we have to be nice to them.”

Beverly, age 6
“We’ve been learning and doing things outside. We must catch and release insects we find because if you keep them, they might die. We are writing about what we see. I see a big bird that is black. I hear all the birds singing. I saw a mommy bird go by; it was finding food. I saw it find a worm and take it back to the nest to feed the babies. We caught a butterfly and took it to our class. We are going to release it now. We need to stop killing animals because sometimes they help us. Once my sister was about to step on a caterpillar. I yelled, ‘No!’ and the caterpillar got away. I told her that they can help us. I told my teacher all about it.”

Jonathan, age 7
“Respecting living things means being nice to stuff outside because its nature and you have to take care of it. What if that was you and somebody was bothering you, doing something bad to you. You wouldn’t like it.”

Facilitating Processes

Environmental literacy is more than just reading and discussing. It’s giving children opportunities for examining processes, problem solving and decision-making. Learning occurs when children are engaged in the process; it’s not necessarily the content itself, it’s what children do with the content that facilitates learning. For example, learning the parts of an insect or the five senses becomes meaningful when the children are engaged in the process of the classification, analysis, and synthesis of the data they collected. Students begin to understand issues when they are involved in the issues.

Young children do have their own issues – not global issues like acid rain, global warming, or habitat loss – but little kid issues like: Should I take this lizard or frog home for a pet?, Should I feed the animals I see in the park?, Why do I need to stay on the trails in the nature center?, Why should I turn the lights off when I leave the room or turn the water off after I get a drink?, Why can’t I throw trash down the storm sewer or out in the schoolyard? Reading, writing, and debating the issues with young children can begin to build foundations and practice the skills necessary to examine larger issues later in life right in their own neighborhood or school community.

Developing Environmental Citizenship

There is an old saying, “think globally, act locally”. Young children need to “think locally, act locally”. The process of environmental literacy must lead to citizenship. Community projects can include: creating a new bird/butterfly habitat where children write their plans or write reflective books about the process; writing school community environmental information bulletins, brochures about recycling, water conservation, or energy conservation, building bat boxes or bird feeders and reading “how to’s” and writing about the process or posters; or creating stories or poems for an Earth Day celebration.

This is an example of a book that was written and illustrated by a group of 2nd graders after they created a garden in their schoolyard. This book along with other they wrote throughout the year were placed in their school library for everyone to see and read.

“Proper Planting Procedures for Wildflower Seeds”
Rake the area to get good seed/soil contact. Remove trash and dead grass from the planting area. First you open the seed packages. Then you pour them into a bucket so you can mix them up. You want to mix the little seeds with the big seeds. Pour half of the mixed seeds into a second bucket. Plant the seeds in two directions: north/south and east/west to make sure the entire area is covered. This is called “feed the chickens” method and is done because most of the seeds are so small. It also allows you to see how much seed has been planted and how much seed still needs to be planted. Next lightly rake the area. Next step on the soil to provide good soil/seed contact. Lightly water the seed to provide moisture for the seeds to germinate. Label a planting pot or bucket with the type of seeds planted in the wildflower area. Put potting soil in the pot and add a pinch of seed to the soil. Water lightly. This labeled pot will make identification of sprouting seeds more easy. Continue to lightly water the area until the seedlings sprout and are several inches tall. The End.

Giving Children Voice

If we can successfully use the environment as a context for literacy, we give young children voice – intellectual, emotional, and social voice.

We often read words that we don’t use in every day language, but these words help us in an intellectual way to understand more about what is happening in the world. The vocabulary that is part of environmental literacy is important and we shouldn’t be afraid to take kids to those levels. It’s fun to hear first graders talk about habitats and symbiosis and find second graders who use words in their writing like recycle, respect, and responsible. It makes them feel smart and gives them language that spurs a higher level of imagination, creativity, and thought.

The intellectual voice allows for the development of critical thinking and problem-solving as children interact with each other, they have more words to use, to express how they feel. The intellectual voice comes from reading and writing about the environment, developing an awareness of what is living around them, showing them how they are part of the ecosystem, and how they affect their world. The emotional voice comes from teaching children to respect living things and developing their passion about protecting and conserving life and natural resources. Giving them the words of feelings, this passion is often transferred home and shared with others. Social voice comes from kids developing their own language, one where they are able to develop their own sense of identity and connection to the world. It embodies a language of both critique and possibility; a language that allows students to locate themselves in history, find their own voices, and establish convictions and compassion necessary for democratic civic courage (Freire and Giroux, 1989). These young children can influence their peers and their families because they have the intellectual, emotional, and social voice — that’s what makes a difference.

Developing Voice through Children’s Literature

As we have seen using children’s literature as an integrating factor can open a new world for literacy learning and teaching. Having literacy discussions within or across grade levels allow teachers to understand what children think about a variety of issues that are meaningful and relevant to them and help children develop their voice about the environment.

The following is a list of suggested children’s literature. This is far from a comprehensive list, but questions following each reference give teachers a look at possible discussion topics.

Baker, J. (1991). Window. New York, NY: Greenwillow.
How has our neighborhood changed? If you could live anywhere, where would it be: country or city? Why?

Bash, B. (1990). Urban roosts. San Francisco, CA: Sierra Club
What are the animals in our neighborhood? How have they adapted to being around people?

Bunting, E. (1991). Night tree. New York, NY: Harcourt Brace.
What are ways we can appreciate mother nature?

Cooney, B. (1982). Miss Rumphius. New York, NY: Viking-Penguin.
What kinds of things can we do to make the world more beautiful?

Fleming, D. (1996). Where once there was a wood. New York, NY: Henry Holt.
How are things in our neighborhood changing? How do you think the changes are affecting the wildlife?

French, V. (1993). Caterpillar, caterpillar. Cambridge, MA: Candlewick Press.
Why is it important to preserve different plant species? What can happen if we don’t preserve them?

Hoose, P, & Hoose, H. (1998). Hey, little ant. New York, NY: Scholastic.
Should we kill insects or other living things just for fun? Is there ever a time to kill living things?

James, S. (1990). Sally and the limpet. New York, NY: McElderry.
Should we touch or catch animals in the wild?

James, S. (1991). Dear Mr. Blueberry. New York, NY: McElderry Books.
How do we find out about things we don’t know or understand?

Larson, G. (1998). There’s a hair in my dirt. New York, NY: HarperPerennial.
What can we do to find out about the real stories of how nature works?

Lasky, K. (1995). She’s wearing a dead bird on her head. New York, NY: Hyperion.
How can we let others know about things we care about? Is there anything we care about that we would like others to know about?

London, J. (1993). Voices of the wild. New York, NY: Crown.
What is our relationship with other animals and living things?

Mazer, A. (1991). The salamander room. New York, NY: Alfred A. Knopf.
Is it okay to take animals out of the wild? When we take them out of the wild, how can we take care of them?

Peet, B. (1966). Farewell to shady glade. New York, NY: Houghton-Mifflin.
What things do we see changing in our neighborhood?

Ryder, J. (1996). Earthdance. Markham, Ontario: Henry Holt.
How can we learn more about our community and our world?

Schimmel, S. (1993). Dear children of the earth. Minnetonka, MN: Creative Publishing.
What is man’s responsibility to other animals and living things? How can we respect living things?

Stewart, S. (1997). The gardener. New York, NY: Farrar, Starus, and Giroux.
How can we create natural habitats in the city?

Ward, L., & Jacques, L. (1993). A walk in the wild. Watertown, MA: Charlesbridge.
Why is some land protected for refuges or parks?

Wood, D. (1992). Old turtle. Duluth, MN: Pfeifer-Hamilton.
What is our relationship to other animals and living things?

At The End: Teachers’ Voices

Literacy, especially environmental literacy, development means much more than promoting traditional reading and writing skills. In fact, just as important to our kids is for us to allow the connections promoted through the use of the environment as a context. We can’t keep censoring our children’s lives by only providing literature that is bland and writing that is meaningless. We can’t take the chance that they’ll get it sometime, but right now they just have to learn to read and write. They should be learning to read and write about something, why not the environment.

As children are developing not only their intellectual being but their emotional and social being why not facilitate their natural engagement in learning and transfer early on through the integration of the environment. Let’s not just make them literate, let’s make them environmentally literate. But don’t take our word for it, listen to the teachers and children. “As a teacher, I wear many hats. I have enjoyed my new naturalist hat. I plan on wearing it every day of every year. I found that I can start my children on a path to being naturalists too. I now include issue-based literature and challenge the children to think about their actions towards the world and the living things on it. I teach them about their relationships with nature – how they are in the web of life. I don’t just teach them about insects anymore. I teach them about respect for life, no matter how small the creature is. I have shown the children that they can be problem-solvers and be active in doing something that will benefit everyone. The children are not passive listeners but active doers. The classroom environment has changed as well. The children protect living things. They cry out when someone is going to kill a bug. They pick up trash when it is not in its place. I have grown as a teacher and I have seen great growth in the children as well.” “We have come a long way baby since that first day in August. I would love to move up to third grade with my class but can’t. I just hope they will remain conscious of the world around them and will continue to nurture it and in turn spread this belief to others. The have truly become environmentally conscious, stewards of the land.”

Children’s Voices

“I think that the world is beautiful. There are things I can do to make the world more beautiful. One of the things that I can do to make it beautiful is I can plant flowers. I would probably plant tulips and amaryllis just like my father. I would plant them in parks, forests, and gardens (2nd grader).”

“I would make a difference because I would recycle lots of stuff and plant some trees and get some of my friends to help me clean up the city not the whole city some of it and plant more plants and make the world a better place (2nd grader).”

“If I could make a difference I would save energy. If you don’t save energy you might not be able to use it again (2nd grader).”

An Earth Poem (3rd grader)

Every day we leave we have
An opportunity to make this world better by
Recycling and cleaning our streets
Today I did my part, tomorrow
I Have to start again.

References

Brooks, J. and Brooks, M. (1993). The case for constructivist classrooms. Alexandria, VA: Association for Supervision and Curriculum Development.

Coles, G. (2000). Misreading reading: The bad science that hurts children. Portsmouth, NH: Heinemann

Routman, R. (1996). Literacy at the crossroads: Critical talk about reading, writing, and other teaching dilemmas. Portsmouth, NH: Heinemann.

Carole Basile is on faculty at the University of Colorado at Denver in the Initial Teacher Education program. Cameron White teaches social studies education at the University of Houston.

On Rain / A Poetic Confrontation

On Rain / A Poetic Confrontation

raindropsby Matt Love

O3n a Thursday in late November 2010, a month that eventually produced the second wettest November since instruments have measured depressing records of this kind, I sat at my desk in my classroom and heard rain falling for the 31st day in a row. I immediately thought of one of Ken Kesey’s enduring riffs about rain from Sometimes a Great Notion: “…there is solace and certain stoical peace in blaming everything on the rain, and then blaming something as uncontrollable as the rain on something as indifferent as the Arm of the Lord.”

True enough. But not true enough for us to survive. Blaming gets you nowhere with rain.

That morning, my patience with rain hung by the thinnest of beaded cobwebs as I schemed how to motivate my listless and intellectually waterlogged students. Soon, they would start streaming in with pale, vacant faces resembling prisoners of war, moisture steaming from their clothing. I suspected many of them had gone insane.

We’ve got to move into the deluge, I thought. It’s the only way to shatter the stasis. Last year, I had employed a similar strategy with the photography class and the resulting black and white photographs of rain they took around campus in 30 minutes revolutionized our thinking about the beauty of rain. I had made up the lesson on the spot and forced them (and myself) to examine rain with a camera on a tight deadline. By the end of the slide show that culminated the assignment, all students were converted into a love cult of rain that I also made up on the spot.

In trudged the creative writing students with their soggy frowns. In recent weeks their angst had secreted like pus from a lanced boil. On the whiteboard in huge black words I wrote the fatal statistics: 19 inches of rain had fallen during the last 30 days, seven the last 72 hours, four since midnight, even heavier rain was forecast for the next couple of days, records were going to be shattered, the county was already underwater, rivers were running well above flood stage but had yet to crest, school might be cancelled for a week, and there was only one thing we could possibly do: go into it, right now.

The students gave me a big whatever. They were in worse condition than I imagined. I climbed on a desk and yelled, “We’re going to confront rain and poetry is our method! Are you with me?”

Whatever began to dissipate, slightly, visibly, sort of like condensation.

I jumped off the desk and told the class to get paper, pen and drain the pus. We were traveling to a new country called the Rainlands and abandoning clichés and complainers. I wrote a prompt on the board and everyone quickly responded with one word or phrase. Then I threw out another one. I asked the students to assist me and several volunteered prompts. Some 15 minutes later we had written on the following:

1. What magic can you perform with rain?
2. Describe your favorite kind of rain.
3. Make a case for or against using an umbrella.
4. Concoct a love potion that has rain as an ingredient.
5. Blame something on rain.
6. Complete this simile: Oregon rain is like_______.
7. What do politicians do with rain?
8. Devise a slogan and sketch a logo for Oregon rain.
9. Pluvial or petrichor?
10. You overhear a tourist say how much she hates rain. How do you respond?
11. Make a case for the greatest song about rain.
12. Defend your preference: running naked in Oregon rain or tanning on a tropical beach.
13. What can you hear if you listen to rain?
14. Rain = _____.
15. Rain helps me understand…
16. What type of rain are you? Construct a rain metaphor for yourself.

It was time for confrontation, to blast a bazooka round into the congealed void of whatever.

“We’re now going outside in rain. Leave your stuff here. Spread out across the football field so you’re at least 50 feet away from another student. Tilt your face toward the sky, close your eyes, open your mouth, taste rain for 30 seconds, and then get back to class.”

I led the charge out the door and 41 students followed me into one of the heaviest rains I have ever witnessed in my life. One boy took off his shirt. One girl started to, but I stopped her just in time. We aren’t quite there as a culture—yet.

Back in class five minutes later, I had the students delete, add, edit and rearrange their responses to construct a poem. Ten minutes later, I asked for readers. I’ll never forget Logan’s poem:

Every November, the Oregon cult
goes to work.
We quarry up each raindrop
to use as our limestones
to construct a great church
to the giver of Oregon’s purpose.

Matt Love lives near Newport and teaches English and journalism at Newport High School. His latest book is Of Walking in Rain and is available through his web site at nestuccaspitpress.com. He can be reached at lovematt100@yahoo.com. This essay was originally published in HIPFISHmonthly – Volume 14, Issue 172, May 2013. hipfishmonthly.com