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Poetry as a Strategy for Teaching English: Using Nikki Giovanni's Poetry in the English as a Second-/Foreign-Language Classroom

This article explores ways to introduce and integrate poetry in English classes in the context of second-language education. My aim is to spark interest in contemporary poetry while addressing general perceptions by both teachers and students that poetry is difficult to engage in. I thus argue for an approach that centers on "easier" poems and involves aspects of contemporary popular culture to introduce poetry, help students appreciate it, and eventually engage in creative writing of their own. Furthermore, I suggest ways in which poetry can be integrated in English courses at large, via the inclusion of strings of poems, within their broader cultural contexts, and by linking them to different, more popular cultural forms of expression, such as songs, films, and cartoons. I exemplify this approach by focusing on two poems by African American poet Nikki Giovanni. "Knoxville, Tennessee" and "Nikki-Rosa" are autobiographical poems which offer first-person accounts of the poet's African American cultural background. However, my intertextual approach interconnects these poems with other poems and cultural texts from different parts of the English-speaking world. Ultimately, I suggest that poetry, due to its brevity and open-endedness, can enhance the study of the English language and Anglophone cultures in a variety of ways beyond the close study of verse in terms of aesthetics.

Indigenous Poets as Cartographers of Crisis and Memory: Joy Harjo's Poet Laureate Signature Project Living Nations, Living Words

Joy Harjo's signature project as US poet laureate was published as an intricately designed online experience and as the eponymous printed anthology Living Nations, Living Words. While both versions feature the same poems, they differ in several respects. This article elucidates the argumentative gist of the project's online and printed versions and briefly discusses poems by Deborah A. Miranda, Kimberly Blaeser, Laura Tohe, and Craig Santos Perez. Harjo's project prefigures routes towards a future in which Native poets' conceptualizations and dynamic engagement with maps, historical trauma, and collective and individual memories will allow all readers to revise their understanding of the beginnings, components, and implications of histories of "America" and of "American" poetry.

"Damned If We Do, Damned If We Don't": Ageist Narratives of Reproductive Control

Women who grow up in Western societies are confronted with media, cultural, and literary narratives conveying the notion that motherhood is "natural" and an integral part of womanhood from a very young age. Thus, having a child is frequently presented as the only option for adult women. Nancy Felipe Russo calls this "the motherhood mandate," which problematically suggests that every woman wants to become a mother and that this "is a woman's raison d'etre" (144). The normative conflation of womanhood with the obligatory assumption of motherhood is ingrained in North American society and reinforces rigid gender norms while exposing hegemonic reproductive expectations. These norms also extend into efforts to control reproduction and produce condemning, frequently ageist narratives that stigmatize those whose reproductive choices do not comply with heteropatriarchal norms. Therefore, this article proposes that age is a crucial lever of reproductive control and examines how ageist facets of such controlling efforts affect characters' lives in Brit Bennett's The Mothers and Sheila Heti's Motherhood. Based on the reproductive choices in The Mothers and Motherhood, I will argue that the ageist reproductive norms and concomitant stigmatizing narratives aim to exert reproductive control, on the one hand, by suggesting that young women are damned if they become pregnant, mothers, or have an abortion, and, on the other, by condemning adult women who decide to remain childfree.

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