Taking lessons from Miss Stretchberry: poetry writing with children
Poet and teacher Kate Clanchy explains why, as the teacher in Sharon Creech’s award-winning Love that Dog knows, the best way to teach poetry is by letting children create their own responses to grown-up poems.
Kate Clanchy with Mukahang Limbu and Sophie Dunsby, talented young poets from Oxford Spires Academy. Photo by Alicia Clarke
If you are thinking of starting a poetry group with young people you could start by reading Love that Dog by Sharon Creech. I’m a great admirer of Miss Stretchberry, its teacher heroine. Miss Stretchberry seems to be a lucky teacher: she only has our protagonist Jack’s class once a week. She’s also marvellously unbothered by exams or the National Curriculum (she lives in an unnamed place in America, as well as in a book, so I suppose that’s why) and just teaches poetry-writing. She has money for special notebooks and a visit from poet Walter Dean Myers, and she has time each week to type up the classes’ poems and pin them on the noticeboard, where, as, Jack notices, they really look quite good.
But if we can’t all have these advantages, we can still share Miss Stretchberry teaching practice and belief in poetry. Each week, she shows Jack’s class of 12 year olds a poem – ambitious, grown-up poems by Robert Frost, for example or William Carlos Williams – and has them respond with a poem of their own. She teaches them to use the sounds of words and the white space on the page simply by experimenting. She helps them understand that a version or answer to someone else’s poem is not the same as stealing it. She gives Jack a frame to express his feelings, especially about the recent Sad Thing that has happened to his dog, Skye, and steadily, in his own time and under his own control, Jack fills it.
Poetry writing really is better caught than taught 12 Books for Keeps No.238 September 2019
Love that Dog is a particularly great book for a child or class between the ages of 10 and 15, but the Miss Stretchberry method works for all sorts of groups. Poetry writing really is better caught than taught: if you read a strong poem to a group and let them make a version of it, they will write better poems. They will also very often, paradoxically, be more original and express themselves more personally, because being told to write ‘just anything’ can be intimidating, whereas being invited to express your feelings in the frame of a poem is more reassuring and so more liberating. For example, being told to write a poem about the end of Primary School in Year 6 will likely end in a pile of cliched couplets. Being shown Kit Wright’s Magic Box poem, on the other hand (so beloved of teachers that it is all over the internet, with pictures and examples attached) and then asked to fill your own Magic Box with specific, concrete memories, will create something to bring down the house at end of year assembly.
Sharon Creech is also spot on in the creation of her poetic narrator, Jack. The best young poets, like Jack, don’t necessarily come from the ranks of the super clever, and they don’t have to be girls, either. My most gifted poets, in fact – and I have been working in schools, trying to be Miss Stretchberry, for more than 30 years – have often been boys and very often had some sort of difficulty or delay in their education or upbringing. Lots are dyslexic, some have ASD, or are deaf, or have, like Jack, deaf parents, and many have come from
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