The Rattle Bag: An Anthology of Poetry: 1

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Which brings me, in conclusion, to the kit bag - which might have been the title of The School Bag . In the end, we were swayed to the school bag because the kit bag had such a strong association with military action and suggested the solidarity of massed ranks rather than the sympathies of a well-schooled and many-minded individual. It conveyed an impression of positive certitude and imperial destiny rather than negative capability and common humanity. In our time, after all, a post-colonial time, in a world of multi-ethnic populations, the image of the marching man in khaki uniform, with his gun and his gear, is more of a menace than a promise. I don’t want to give any spoilers away, but this delightfully creepy story will turn the readers’ expectations on their heads. The ending provides an outstanding example of situational irony. And as I noted, you could use this story with middle schoolers or high schoolers. It’s chilling, but not gory or graphic. Ocr tesseract 4.1.1 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_module_version 0.0.5 Ocr_parameters -l eng Openlibrary_edition urn:lcp:isbn_9780571119769:epub:35e8a06f-4531-4df4-961e-431e5f8418ac Extramarc Brown University Library Foldoutcount 0 Identifier isbn_9780571119769 Identifier-ark ark:/13960/t15m7b27w Isbn 057111976X

The Rattle Bag: An Anthology of Poetry - Google Books

Seamus Heaney was born in 1939 in County Derry in Northern Ireland. He grew up in the country, on a farm, in touch with a traditional rural way of life, which he wrote about in his first book Death of a Naturalist (1966). He attended the local school and in 1951 went as a boarder to St Columb's College, about 40 miles away in Derry (the poem 'Singing School' in North refers to this period of his life). In 1956 he went on a scholarship to Queen's University, Belfast and graduated with a first class degree in English Language and Literature in 1961. After a year as a post-graduate at a college of education, and a year teaching in a secondary modern school in Ballymurphy, he was appointed to the staff of St Joseph's College of Education. In 1966 Seamus Heaney took up a lecturing post in the English Department of Queen's University, and remained there until 1972, spending the academic year 1970-71 as a visiting Professor at the University of California in Berkeley. It's probably worth remarking at the outset that Ted and I had been educated at schools and universities where there was still an adherence to Matthew Arnold's faith in literary culture as a means towards the general dissemination of sweetness and light. Our teachers still proceeded on the basis of the humanist wager. They and we operated in the faith that literary and cultural endeavour was conducted in a disinterested spirit. It was a less sceptical world where the word "higher" in the term "higher education" was still credited and where the word "education" was respected in and of itself because it promised to raise what Robert Frost once called "the plane of regard". the collection contains a few poems translated into English from Irish, Welsh, Swedish, (as far as I read), but still feels very limited.Arranging the poems alphabetically by first line results in some lovely serendipities - strange and refreshing pairings which might have been missed if they’d gone for a thematic or chronological structure. Sure, “Gift of the Magi” and “The Lottery” are classics for teaching irony, but they offer little in the way of inclusive representation. There is nothing wrong with these stories, but we can serve our students better by including a wider selection of voices and identities. I’m not asking you to stop teaching “The Lottery” or “Gift of the Magi”, but encouraging you to add some more inclusive short stories and supporting materials to your curriculum. Faber & Faber was founded nearly a century ago, in 1929. Read about our long publishing history in a decade-by-decade account.

The Rattle Bag | Faber

You’ll find great fodder here for discussing characterization, the impact of an omniscient narrator, the effect of camera cut-aways and montages (Gob trying in vain to throw the letter into the ocean), and all types of irony. AD started its life as a network show, so it’s got nothing more objectionable than some very light innuendo at the beginning (between Michael and Maeby) and one instance of ‘S-O-B’. All around, this episode is a win. Condition: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included. Immediately following this we printed Matthew Arnold's "Dover Beach", a work from the other end of the age of religion, when all the poet can hear is the melancholy, long, withdrawing roar of the sea of faith that Adze-head and his brothers had once furled around earth's shores like a bright garment. And immediately following Arnold, we printed Elizabeth Bishop's great invocation to the sea and its waters, her poem called "At the Fishhouses", a poem in which one witnesses the rebirth of a religious impulse in a post-religious sensibility. "I have seen it over and over," Bishop writes, "the same sea, the same, / slightly, indifferently swinging above the stones, / icily free above the stones . . . as if the water were a transmutation of fire / That feeds on stones and burns with a dark gray flame." And the poem ends: I was optimistic about this anthology of poetry - a selection compiled/chosen by a couple of poets I quite like... but I was disappointed. The method employed in arranging and presenting [the contents of this book] must surely be the one for all the best anthologies . . . The Rattle Bag sets a standard which other anthologies will find it difficult to equal."— Alan Brownjohn, The Times Literary Supplement (London)Access-restricted-item true Addeddate 2012-01-10 18:33:44 Boxid IA176201 Boxid_2 BWB220141022 Camera Canon EOS 5D Mark II City London Donor Want to read more about teaching literary elements? In these posts, I share texts and ideas for teaching symbolism , setting , figurative language , suspense and pacing , conflict , metaphor, and characterization. What matters most in the end is the value that attaches to a few poems intimately experienced and well remembered. If at the end of each year spent in school, students have been marked by even one poem that is going to stay with them, that will be a considerable achievement. Such a poem can come to feel like a pre-natal possession, a guarantee of inwardness and a link to origin. It can become the eye of a verbal needle through which the growing person can pass again and again until it is known by heart, and becomes a path between heart and mind, a path by which the individual can enter, repeatedly, into the kingdom of rightness. Need more inclusive short stories? Here are some for Hispanic Heritage Month, AAPI authored, and LGBTQ+ authored. I also share short story assessment ideas too! “Paper Menagerie” by Ken Liu (HS)

The Rattle Bag: An Anthology of Poetry - Goodreads The Rattle Bag: An Anthology of Poetry - Goodreads

Including writers from Shakespeare and Blake to Sylvia Plath and T. S. Eliot, The Rattle Bag is eclectic, instructive and inspiring at the same time. urn:oclc:614272945 Republisher_date 20120419140321 Republisher_operator [email protected];[email protected];[email protected] Scandate 20120418141001 Scanner scribe8.shenzhen.archive.org Scanningcenter shenzhen Source Arbitrary riches rather than engineered instruction: that was what we were after. There were no lesson plans implicit in either the contents of The Rattle Bag or in their arrangement. What we hoped to do was to shake the rattle and awaken the sleeping inner poet in every reader. We proceeded in the faith that the aural and oral pleasures of poetry, the satisfactions of recognition and repetition, constitute an experience of rightness that can make the whole physical and psychic system feel more in tune with itself. We implicitly believed that a first exposure to poetry, the early schooling in it, should offer this kind of rightness, since it constitutes one of the primary justifications of the art. One of our inclusions, after all, was Gerard Manley Hopkins's "The Woodlark", which begins: Are you looking to revitalize your short story unit? Are your students just not getting irony? I’m here to help! Here are 5 fresh texts for teaching irony with short stories. The method employed in arranging and presenting [the contents of this book] must surely be the one for all the best anthologies . . . The Rattle Bag sets a standard which other anthologies will find it difficult to equal."— Alan Brownjohn, Times Literary Supplement (London)You can read the text here. Non-traditional texts: TV: “Top Banana” from Arrested Development (Season 1, Episode 2) (HS) Seamus Heaney (1939-2013) received the Nobel Prize in Literature in 1995. His poems, plays, translations, and essays include Opened Ground, Electric Light, Beowulf, The Spirit Level, District and Circle, and Finders Keepers. Robert Lowell praised Heaney as the "most important Irish poet since Yeats." There was, however, something official-sounding about the book that was named on our first Faber contract. We had agreed to compile a volume called The Faber Book of Verse for Younger People - a title that seems to carry some sort of educational health warning - but once we got going, we discovered that enjoyment rather than improvement would be our first criterion. Our advice to ourselves was to look for things that we'd have liked to have been introduced to early on. And for that reason much familiar canonical work was not included, since we took it for granted that our putative audience would also have had a chance to know it already. No Shakespeare sonnet appeared, for example; no George Herbert; no Milton; no Tennyson. When my wife and I lived in Belfast in the late 1960s, our neighbours were an elderly couple called Wilson. In those days we had two toddlers in the house and they used to spend as much time with the Wilsons as they did at home. And one of the things Mrs Wilson used to repeat to the elder of them offers a good way into this discussion. "Michael," she would tell him, "you and Christopher are growing up, Granda Wilson and I are growing down, and your daddy and mammy are standing still."