Accessible Poetry December 22
Becky and I have been having a short correspondance in which the issue of accessible poetry came up. I had mentioned that Tigger’s drama class had an end of term performance that had included reciting the whole of The Lady of Shallot (I’ve linked to a fabulous illustrated edition from Kids Can Pres). She mentioned that she had recently met some public school teachers who seemed very concerned that poetry be “accessible” to children and she suspected that I would be accused of forcing my daughter to read (and memorize) inappropriately difficult material. My response got quite long and we think others might be interested. My e-mail forms the basis of what follows. I’ve edited and added a bit. I’d love to hear your comments.
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Well, this drama group developed the play themselves based on some ideas thrown out by the teacher (who had received a bunch of medieval costumes so that was the theme). The poem was actually suggested by one of the girls. Tigger recognized it immediately from her copy of The Nations Favourite Poems (BBC books).
If some folks think that is inaccessible, I suppose they would be horrified that Tigger asked for a copy of A Midsummer Night’s Dream for Christmas a couple of years ago. I found a lovely edition illustrated by Arther Rackham. She had read excerpts in Susan Coyne’s memoir Kingfisher Days (completely suitable for children though not written for them) and thought the idea of a play written entirely in poetry was cool. She had also come across Shakespeare in a collection about fairies her great grandmother (sadly missed) bought her which is completely full of so-called inaccessible poetry and prose, along with some beautiful illustrations. (There were several copies available from Abe Books. I linked to the first one with a photo.)
I quite like a lot of children’s poetry including stuff that might be considered accessible. But I think there is also a rather restricted understanding of “accessible” that goes around. For example, The Lady of Shallot was accessible to these kids because many of them had studied some medieval history (and they did a bit in the class) and thus the poem made sense in that context. They not only learned the poem, they talked about character and suitable activities for a play set in the middle ages. One of the kids in the class was really interested in blatant historical inaccuracies and they made a big deal of the fact that, although the poem is about the period in which the play is set, it is historically inaccurate to have them read the poem in that period because it wasn’t written until the 19th century.
And A Midsummer Night’s Dream was accessible to Tigger (at age 7) because it is about fairies. And the Lady of Shallot is about knights and ladies. A lot of what children read is incomprehensible to them, so the fact that the language is old-fashioned isn’t such a problem for them. And they don’t know (yet) that they are supposed to be scared of it.
One time when I wasn’t feeling well, Tigger sat and read me poems from Nation’s Favourite Poems to make me feel better. She reads poetry really well, but some of it was difficult stuff (John Donne and whatnot). At some point I asked her if she understood what she was reading and she said no but seemed baffled as to why I would have asked. It just wasn’t an issue for her. She liked the rhythm of it, I guess. She was happy for me to explain but it wasn’t necessary.
As I was writing this post, Tigger came in and asked why I had the Fairies book on my desk. I explained what this post was about. She wondered what “accessible” meant. Then she laughed heartily and said it was silly to think that Lady of Shallot was inaccessible (or Shakespeare for that matter). She thought it was really funny that anyone would worry about these things.
I also think we need to distinguish between what we expect a 9-year-old to do with the Lady of Shallot from what we might expect in a high school (or university) English class. I used to coordinate an Introduction to Sociology class in which we included material on postmodernism and cities. Colleagues in other departments thought we were crazy, saying that first-year university students could not be expected to understand postmodernism. But we got some great essays. Not essays we would think were great in the context of a final-year course or a graduate course, but essays that demonstrated that first-year students can indeed grasp complex concepts and begin to work with them. We had high expectations of the type of material we expected them to grapple with but realistic expectations of what we expected them to understand of that material.
I expect that Tigger will come back to these poems again and again over her lifetime. And each time she will see new things in them, focus on different aspects. Right now they are stories about fairies and knights and ladies told in rhyming rhythmic poetry. And that is completely accessible.





