POETRY THERAPY

SEMINAR GUIDE

CONQUERING ADVERSITY THROUGH VERSE

A LESSON PLAN
CREATED BY
TODD FRIES
 WHAT IS POETRY THERAPY?
Poetry therapy is an interactive process with three essential
components: the literature, the trained facilitator, and the
client(s). A trained facilitator selects a poem or other form of
written or spoken media to serve as a catalyst and evoke feeling
responses for discussion. The interactive process helps the
individual to develop on emotional, cognitive, and social levels. The
focus is on the person's reaction to the literature, never losing sight
of the primary objective-the psychological health and well-being of
the client. Through reading and responding to classic and
contemporary poems, participants in the healing process of poetry
therapy deepen into paradox, possibility and potential. Writing
original poems that at once speak to the unique and the universal is
also part of the healing power of poetry and poetry therapy.

The poetry therapist creates a gentle, non-threatening

atmosphere where people feel safe and are invited to share feelings
openly and honestly. The facilitator chooses literature that will be
effective therapeutically; this requires training, knowledge of
literature, and clinical skills. Poetry Therapy groups are run by
writers, writer facilitators, psychological therapists, health
professionals such as occupational therapists or nurses, social
workers and teachers.

Poetry Therapy has a broad range of applications with people

of all ages and is used for health and maintenance, as well as with
individuals requiring treatment for various illnesses and
conditions. Examples of these are veterans, substance abusers,
adolescents, the learning disabled, families with problems,
prisoners in rehabilitation, the frail elderly, the physically
challenged, and survivors of violence, abuse and incest. The
literature and case studies provide evidence that poetry therapy is
an effective and powerful tool with many different populations.

-Adapted from the National Coalition of Creative Arts

Therapies Association website http://www.nccata.org/index.htm
GOALS OF POETRY THERAPY

The goals of poetry therapy are:

• To develop accuracy and understanding
in perceiving self and others;
• To develop creativity, self-expression,
and greater self-esteem;
• To strengthen interpersonal skills and
communication skills;
• To ventilate overpowering emotions and
release tension;
• To find new meaning through new
ideas, insights, and information; and
• To promote change and increase coping
skills and adaptive functions.
ROOTS OF POETRY THERAPY
Poetry Therapy, or poetry which is used for healing and personal growth,
may be traced back to primitive man, who used religious rites in which shamans
and witchdoctors chanted poetry for the well-being of the tribe or individual. It is
documented that as far back as the fourth millennium B.C.E. in ancient Egypt,
words were written on papyrus and then dissolved into a solution so that the words
could be physically ingested by the patient and take effect as quickly as possible. It
is also recorded that around 1030 B.C.E., the music of a shepherd boy named
David soothed the "savage breast" of King Saul.

Historically, the first Poetry Therapist on record was a Roman physician by

the name of Soranus in the first century A.D., who prescribed tragedy for his manic
patients and comedy for those who were depressed. It is not surprising that Apollo
is the god of poetry, as well as medicine, since medicine and the arts were
historically entwined.

For many centuries the link between poetry and medicine remained obscure.
It is of interest to note that Pennsylvania Hospital, the first hospital in the United
States, which was founded by Benjamin Franklin in 1751, employed many ancillary
treatments for their mental patients, including reading, writing and publishing of
their writings. Dr. Benjamin Rush, called the "Father of American Psychiatry",
introduced music and literature as effective ancillary treatments. Poemwriting was
an activity of the patients, who published their work in The Illuminator, their own
newspaper.

In 1928, Eli Greifer, an inspired poet who was a lawyer and pharmacist by
profession, began a campaign to show that a poem's didactic message has healing
power. Poetry was Eli's passion, and he gave his time and energy to this life-long
interest. In the 1950's Griefer started a "poemtherapy" group at Creedmore State
Hospital. In 1959, Greifer facilitated a poetry therapy group at Cumberland
Hospital with two supervising psychiatrists, Dr. Jack J. Leedy and Dr. Sam
Spector. Although Greifer died in 1966, this remarkable humanitarian played a key
role in the development of what we now call "Poetry Therapy".

Dr. Leedy published the first definitive book on poetry therapy in 1969,
Poetry Therapy, which includes essays by many of the early pioneers in the field.
About this time more and more people in the helping professions began to use
poetry integrated with group process. Among them was Arthur Lerner, Ph.D. of
Los Angeles who founded the Poetry Therapy Institute in the 1970’s on the west
coast and in 1976 authored Poetry in the Therapeutic Experience. Finally, in
1980, a meeting was called to bring together those active in the field working all
over the country to formulate guidelines for training and certification in poetry
therapy and form what is now called the National Association for Poetry Therapy.

-History adapted from the National Association of Poetry Therapy website http://
www.poetrytherapy.org
THREE MODELS/METHODS
OF POETRY THERAPY
1. Receptive/prescriptive component involving the
introduction of literature, poetry and song into
therapy

One of the most common techniques used in poetry therapy is reading a

poem or playing a song for a group and inviting reactions. The introduction
of a poem or song to a group could be connected with the content of the
session or simply to allow group members to make an emotional connection
to the work. Poems and songs often serve as a catalyst for group members
to reveal their own goals, emotions and ideals. Copies of the poem or song
lyrics should be disseminated to the group for visual reference.

2. Expressive/creative component involving the use

of creative writing in therapy

The use of creative writing is another technique commonly employed by

poetry therapy facilitators. Creative writing provides the client a means to
express feelings and gain a sense of stability and self-awareness. Poetry
therapy facilitators can use free-writing assignments or pre-structured
writing forms.

3. Symbolic/ceremonial component involving the

use of metaphors, rituals, and storytelling in
therapy

Metaphors both in preexisting literature and creative writing are often used
in therapeutic capacities. In its most basic form, a metaphor is something
that stands for something else; metaphors may stand for emotions, actions
and beliefs. Poetry therapy facilitators commonly employ metaphors to help
clients express and understand the connection between internal conflict and
external reality.

-Method descriptions adapted from Poetry Therapy: Theory and

Practice, Nicholas Mazza (2003)
 POETRY THERAPY SEMINAR
The use of poetry in groups is extensive. Research shows that poetry
therapy, through the use of pre-existing works and creative writing, helps
group members develop sensitivity to group function and serves as a
catalyst for advancing group process.

The following is a basic structure of a poetry therapy seminar which uses a

mixture of: 1) receptive/prescriptive exercises, 2) expressive/creative
exercises and 3) symbolic/ceremonial exercises (as discussed above). The
seven week/session format is based on a poetry therapy group model
developed by Nicholas Mazza, Ph.D., R.P.T. (Registered Poetry Therapist).
This basic poetry seminar structure is designed to be used in conjunction
with most psychological practice models. The seminar and activities are
outlined for the group facilitator with the caution that timing,
appropriateness and consistency with clinical purpose must be considered
in its implementation.

The poetry therapy seminar schedule and activities should be set-up as

follows:

The group should convene for one session a week, for seven weeks. The
group facilitator should ideally allow 1 – 2 hours for each session. Each
session follows an identical structure:

1) the session begins with a warm-up activity, 2) followed by a

reflection activity and 3) concludes with a group activity

Warm-up activities consist of different forms and methods of creative

writing to get group members’ minds thinking, imaginations working and
emotions flowing. Reflection activities employ pre-existing poems or pop
music to be used by the group leader to facilitate discussion. Finally, group
activities are comprised of collaborative poems, whereby the group creates
a poem with each member having the opportunity to contribute lines.
Copies of the collaborative poem should be disseminated to the group and
may be used for discussion at the beginning of the following session.

Each week is broken into its own color-coded section. Every section starts
with a form to be used by the facilitator/therapist for outlining goals of the
upcoming session. The activities for the week and directions for the
activities follow. Each section concludes with a leader report form which
facilitators can use to chart group members’ progress and make notes
about the session’s outcome and the session plan for the next week.
 WEEK ONE

GOALS:
 WEEK ONE
WARM-UP ACTIVITY:
WHERE ARE YOU TODAY?
The “Where are you Today” activity is a great ice-breaker with a group of
strangers at the beginning of a new course. The goal of the activity is two-fold –
to hear everyone’s voice, both literal and imaginative, and have everyone write
something to build confidence in the group members’ abilities. The activity
works like this: ask everyone “If they were a place, what place would they be?”
Their answers could range from a room, to state, to a country, and even a planet.
Give everyone 5 to 10 minutes to think about the question. Then ask people to
pair up and introduce themselves to their partners as that place. For example,
instead of Todd, I could be “Santa Clara University” or “California” or “San
Francisco,” etc. Their partner is to ask them questions as if they were the place.
For example, “How is the weather today?” or “How do you feel when tourists
come around?’’ Allow each pair 5 to 10 minutes to get acquainted. Ask everyone
to return to their seats and then take turns introducing their partner to the group
as their place and add one or two things they learned from their conversation.
For example, “this is Todd. He is Santa Clara University, hot and crowded.”
Often mentioning places eases the group and delights some with the unexpected
responses. Once everyone has been introduced, invite reflection on the activity.
Invite everyone to write a few lines in their notebook, about the places they chose,
how they described themselves or what they learned through the exercise.

-Activity suggested by Victoria Field in Writing Works, Gillie Bolton, Victoria

Field, Kate Thompson (2006)
NOTES:
 WEEK ONE
REFLECTION ACTIVITY:
FILL IN THE BLANK
“Fill in the Blank” is an activity that employs pre-existing poems with certain
phrases blocked out. Group members are asked simply to fill in the blanks with
their own words. During the first session, it is important not to delve into heavy
poems or topics immediately. First week activities should be used to create group
cohesion and get group members to feel comfortable sharing their thoughts and
feelings. This exercise eliminates the anxiety created by the “forebodingness of a
blank paper.” Facilitators should utilize poems characterized by concreteness
and neutrality for this exercise. As group members progress, more emotional and
metaphorical poems can be used if the facilitator chooses to repeat the exercise
later in the course. Allow 25 minutes for the exercise and 20 minutes for
discussion following the exercise.

-Activity found in Poetry as a Tool for Strengths-Based Practice, Rich Furman,

Advances in Social Work Vol. 3 No. 2 (Fall 2002)

NOTES:
 WEEK ONE
GROUP ACTIVITY:
ALPHA POEM
Collaborative poems are useful in creating group cohesiveness, maximizing
communication abilities and interpersonal skills and establishing a culture of
productivity. One activity that is useful for new groups is the “Alpha Poem”
exercise. The facilitator should begin by writing the letters of the alphabet, from
A to Z, vertically down the chalkboard, whiteboard or flip chart. The facilitator
should then give the group a topic for the poem (eg. fears, hopes, doubts, goals,
etc.). Each group member should then take a turn writing a line of the poem,
using the letters to create the first word in each line. The facilitator should write
the lines on the board as the group members recite them. There is no need for
group members to use rhyme or any serious poetic technique; the alphabet
structure in alpha poems goes unnoticed when read aloud. However, alpha
poems provide the group with a stable and sure feeling, confident that the next
letter sits waiting to start the next line. Once the alpha poem is finished, the
group should title the poem. The facilitator should allow 30 minutes for a
discussion of the group process and feelings expressed by group members in the
poem. The facilitator should make copies of the poem and distribute them to the
group at the beginning of the next week’s session.

-Activity found in A Creative Journey, http://www.creativerefuge.com,

Katherine M. Sullivan (2003)

NOTES:
 WEEK ONE
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

HOMEWORK ASSIGNMENT:

PLAN FOR NEXT WEEK (TOPICS, QUESTIONS, ETC.):

MISCELLANEOUS:
 WEEK TWO

GOALS:
 WEEK TWO
WARM-UP ACTIVITY:
SENTENCE STEMS
“Sentence Stems” are a useful tool to facilitate self-expression, identify problems
and clarify situations. Sentence stem completion exercises are very simple, and
will only take a few minutes to do. Facilitators should provide the group with a
list of sentence stems and ask individual group members to write an ending to the
sentence as they see fit. Group members should try and complete the sentences
with the first thought that comes into their mind. Facilitators may choose to use
the same sentence many times and ask group members to finish the sentence
stems in different ways or the facilitator may give group members a list of
different sentence stems. Either way, sentence stems allow group members to
explore feelings while providing structure and a positive direction. Common
generic sentence stems include:

If you knew me… I am most happy when… I believe… When I am alone…

Today, I am… Tomorrow, I… Love is… Happiness is…
If you said yes… I am most sad when… Fear is… I am hurt when…
Despair is… I keep on because… I stand for… I wish…
If you said no… Yesterday, I was… Anger is… I am afraid of…

Facilitators should allow 15 minutes for the exercise. When finished, group
members should be encouraged to share their work with the group. The exercise
should conclude with a 25 minute group discussion about the exercise.

-Activity adapted from Wishes, Lies and Dreams: Teaching Children to Write
Poetry, K. Koch (1970)

NOTES:
 WEEK TWO
REFLECTION ACTIVITY:
READ AND DISCUSS – POEM
DISCUSSION
A common technique of poetry therapy is reading a pre-existing poem with a
group and inviting reactions and reflections. The poem may be introduced into
the session to parallel the conversations or subject matter of the week or may be
introduced to allow group members to make an emotional identification with the
poem. Copies of the poem should be passed out to each group member for visual
reference. Following the reading, the facilitator should lead a discussion focusing
on what the poem means to the readers and which lines struck them as
significant. Facilitators may also ask the group how they would change the poem
if they were the author. Facilitators should allow 45 minutes for the activity. A
comprehensive list of possible poems for use in therapy and possible discussion
questions is included in the back of the guide.

- Activity adapted from Poetry Therapy: Theory and Practice, Nicholas Mazza
(2002)

NOTES:
 WEEK TWO
GROUP ACTIVITY:
ACROSTIC
Another activity that lends itself to collaborative form is the “Acrostic.” The
acrostic is similar to the alpha poem, only with the acrostic, the vertical letters
written on the chalkboard should spell out a word. The facilitator should choose
a word that is relevant to the session. For example, an acrostic using the word
“optimism” may be set up as follows:
O…
P…
T…
I…
M…
I…
S…
M…

The facilitator may use more than one word in a large group. Each group
member should then take a turn writing a line of the poem, using the letter to
create the first word in each line. The facilitator should write the lines on the
board as the group members recite them. Once the alpha poem is finished, the
group should title the poem. The facilitator should allow 30 minutes for a
discussion of the group process and feelings expressed by group members in the
poem. The facilitator should make copies of the poem and distribute the poem to
the group at the beginning of the next week’s session.

- Activity adapted from Therapeutic Art Directives, Susan Makin, Cathy

Machiodi (2000)
NOTES:
 WEEK TWO
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

HOMEWORK ASSIGNMENT:

PLAN FOR NEXT WEEK (TOPICS, QUESTIONS, ETC.):

MISCELLANEOUS:
WEEK THREE

GOALS:
 WEEK THREE
WARM-UP ACTIVITY:
MAGICIAN’S ASSISTANT
The “Magician’s Assistant” is an activity designed to push group members’
imaginations. The facilitator should provide group members with a sheet of
paper containing a number of words relating to magic. For example, words such
as conjure, cape, doves, enchant, gloves, abracadabra, rabbit, wand, hat and
hocus-pocus will all work. The facilitator should instruct the group members to
write poems using all or some of the magic words on the sheet provided. Group
members are to freely work with the words making their own verses and patterns.
While previous warm-up activities were more structured, this activity takes away
formal constraints and can allow participants to enjoy their creativity more fully.
The facilitator should allow 15 minutes for the group members to construct their
poems. When finished, group members should be encouraged to share their
work with the group, followed by a group discussion.

-Activity suggested by Zeeba Ansari in Writing Works, Gillie Bolton, Victoria

Field, Kate Thompson (2006)

NOTES:
 WEEK THREE
REFLECTION ACTIVITY:
LISTEN AND DISCUSS – SONG
DISCUSSION
A variation of reading a poem is to play an audio version of a song or provide the
group with a copy of the lyrics. Ideally, a facilitator will be able to provide the
group with both. Similar to any poems introduced to the group, songs may be
introduced to connect with the topics and dialogue of week or to elicit an
emotional connection with group members. Following the reading or playing of
the song, the facilitator should lead a focused discussion regarding the group
members’ reaction to the song and the song’s message. Facilitators should allow
45 minutes for the activity. A comprehensive list of possible songs for use in a
group and possible discussion questions is included in the back of the guide.

- Activity adapted from Poetry Therapy: Interface of the Arts and Psychology,
Nicholas Mazza (1999)

NOTES:
 WEEK THREE
GROUP ACTIVITY:
CUTTING STRIPS
Every now and then a trip away from the classroom can stimulate thought and
inspire the group. “Cutting Strips” is an activity which begins with a field trip
outside of the classroom to a designated location. Facilitators should choose a
locale within a short distance from the classroom as the activity concludes with
some classroom work. Any location will work, from a park to a parking lot. Ask
the group to find a spot to sit and observe (observe includes hearing, seeing and
feeling) their surroundings for 5 minutes. When the observation period ends, ask
them to write 3 things they observed. For example a group member could write
“someone down there is chopping wood” or “the valley hides under a gray
blanket.” After the group members have finished writing their observations,
everyone should return to the classroom. The facilitator should then pass out 3
strips of paper to each group member. The group members are to write one
observation on each strip. The facilitator then collects the strips and reads the
contents of each strip to the group. The strips should then be placed faced up in
the center of the group and are to be collectively ordered to create a group poem.
People may volunteer suggestions as to how the lines should be ordered or the
facilitator can instruct the group to take turns. Often, having one’s line chosen by
another when ordering the poem gives group members a sense of satisfaction and
reassurance. When all the lines have been placed, the facilitator should read the
completed poem aloud and the group should title the poem. A discussion of the
poem and process should follow. The facilitator should allow 45 minutes to 1
hour for this activity.

- Activity adapted from Poetry Activities – a Five Senses Approach,

http://curriculalessons.suite101.com, James Parsons (2009)

NOTES:
 WEEK THREE
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

HOMEWORK ASSIGNMENT:

PLAN FOR NEXT WEEK (TOPICS, QUESTIONS, ETC.):

MISCELLANEOUS:
 WEEK FOUR

GOALS:
 WEEK FOUR
WARM-UP ACTIVITY:
SENSORY POEM
The “Sensory Poem” is a simple activity that asks group members to connect their
five senses to one or more emotions in six lines. Group members are to use their
imaginations to determine what particular emotions sound like, smell like, taste
like, look like, and feel like. The facilitator should remind group members that
the poem is to be about the emotion itself, objective and does not include how the
emotion causes the person to feel or act. Group members are first asked to
connect the emotion to a color and then to the five sense. A simple sensory poem
may look like the following:

Sadness is gray Line 1 – name the emotion and corresponding color

It sounds like the moan of a foghorn Line 2 – tell what the emotion sounds like
It smells like mushrooms Line 3 – tell what the emotion smells like
It tastes like stale popcorn Line 4 – tell what the emotion tastes like
It looks like a lost puppy Line 5 – tell what the emotion looks like
Sadness feels like damp clothes Line 6 – tell what the emotion feels like

- Sample sensory poem from http://www.wcskids.net

Facilitators may ask the group members to write more than one sensory poems
on more than one emotion. Group members should be encouraged to share their
sensory poems with the group. Allow 40 minutes for activity and discussion.

- Activity adapted from Ghostwriter: Come to Your Senses, Children’s Television

Workshop (1993)

NOTES:
 WEEK FOUR
REFLECTION ACTIVITY:
PAIR OF POEMS – COMPARE
AND CONTRAST
Another poetry therapy technique is comparing and contrasting two pre-existing
poems and inviting reactions and reflections. The poems may be introduced into
the session to parallel the conversations or subject matter of the week or may be
introduced to allow group members to make an emotional identification with the
poems. The poems may express contradicting emotions or present identical
emotions from alternate points of view. Either way, group members should be
able to find similarities or differences between the poems and make connections
to or disassociations from the poems. Copies of the poems should be passed out
to each group member for visual reference. Following the readings, the facilitator
should lead a discussion focusing on what the poems mean to the readers and
similarities and differences in how the poems exhibited their messages.
Facilitators should allow 45 minutes for the activity.

NOTES:
 WEEK FOUR
GROUP ACTIVITY:
GOAL CLARIFICATION
EXERCISE
The “Goal Clarification Exercise” asks group members to write about goals they
have and what has gotten in their way of achieving their goals. The facilitator
should make sure group members can include environmental or situational
impediments, as well as distortions in their. The facilitator should give group
members 15 minutes to list their goals and impediments. When group members
have created a comprehensive list they will be asked to write a group poem in
which they imagine ways they can overcome these obstacles. Often, members in
specialized groups will have similar goals (eg. staying sober, overcoming abuse,
overcoming depression, etc.) or similar impediments (eg. harmful outside
influences, self-esteem, etc.). The facilitator may offer an opening line to get the
group poem started. Taking turns, group members are to contribute dyads (2
lines) to the poem, one line about their goals and one about their impediments.
The group poem setting provides members different ways to view their obstacles
and impediments and possible ways to achieve their goals. When everyone has
contributed to the poem, the poem should be read aloud and titled. A discussion
regarding goals, impediments and methods to help group members achieve their
goals would be beneficial. A general discussion of the poem and the group
process would also be appropriate. Facilitators should allow 45 minutes to 1 hour
for this activity.

- Activity adapted from Poetry as a tool of cognitively based practice, The Arts
and Psychotherapy, Volume 33, Issue 3 (2006)

NOTES:
 WEEK FOUR
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

HOMEWORK ASSIGNMENT:

PLAN FOR NEXT WEEK (TOPICS, QUESTIONS, ETC.):

MISCELLANEOUS:
 WEEK FIVE

GOALS:
 WEEK FIVE
WARM-UP ACTIVITY:
TALISMANS
Writing from an object’s perspective can be a useful tool in therapeutic writing.
Using objects can help stimulate writing and help people dive deep into areas of
memory and experience. The “Talisman” activity aids group members in
connecting with their senses. Many find writing through objects to be an easy
and enjoyable task because it is not the author speaking, but the object.
Facilitators should instruct group members to bring a talisman or small object
with them to the session. The facilitator should instruct group members to write
down what the object would have to say about its own inner strength. The
writing need not take any particular form or structure. For example, if one’s
talisman is a ceramic figurine, it might say:

When I went into the kiln and was seared by the heat
My copper became green and purple
Like hard crystal rock.

I am strong, hardened in the fire

With the age old green of the sea
And the black and purple of the earth

There are more like me

But we are all different
Guarding our colors and strenthgs.

The activity helps illustrate how group members can project aspects of
themselves onto objects. Facilitators should allot 40 to 45 minutes for the
writing activity, sharing of poems and discussion to follow.

- Sample poem provided by and activity adapted from Angela Stoner in Writing
Works, Gillie Bolton, Victoria Field, Kate Thompson (2006)

NOTES:
 WEEK FIVE
REFLECTION ACTIVITY:
READ AND DISCUSS – POEM
DISCUSSION
A common technique of poetry therapy is reading a pre-existing poem with a
group and inviting reactions and reflections. The poem may be introduced into
the session to parallel the conversations or subject matter of the week or may be
introduced to allow group members to make an emotional identification with the
poem. Copies of the poem should be passed out to each group member for visual
reference. Following the reading, the facilitator should lead a discussion focusing
on what the poem means to the readers and which lines struck them as
significant. Facilitators may also ask the group how they would change the poem
if they were the author. Facilitators should allow 45 minutes for the activity. A
comprehensive list of possible poems for use in therapy and possible discussion
questions is included in the back of the guide.

NOTES:
 WEEK FIVE
GROUP ACTIVITY:
EXAGGERATED IRRATIONAL
BELIEFS POEM
In the “Irrational Beliefs Poem,” group members are asked to write a poem that
greatly exaggerates the force, intensity, and nature of irrational beliefs. First, the
facilitator should ask group members to think about the event in his or her life
that is causing them the most distress and create a list if necessary. Then, the
facilitator should ask group members to consider the thoughts that are associated
with this event and create a second list if necessary. Lastly, the facilitator should
ask group members to imagine they actually are the belief. They have them
imagine what it must be like, and what these beliefs would say if they were alive.
Facilitators should allow 15 to 20 minutes for group members to create their lists.
The objective is to have the group write a poem from the perspective of the beliefs
in the most forceful, exaggerated manner possible. Each group member should
offer a dyad (two lines) or more if they wish. The facilitator may offer the first
two lines to get the group started. When the poem is completed, it should be read
aloud, titled and can serve as an effective catalyst for a discussion about the
content of the beliefs. Often, by writing from this exaggerated perspective, clients
will start to question the veracity of their beliefs. Further, the irrational beliefs
poem activity helps group members challenge their problems by looking at them
in a more detached, objective manner.

- Activity adapted from Extending the Conversation, Family Therapy Networker,

D. Epston (1994)

NOTES:
 WEEK FIVE
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

HOMEWORK ASSIGNMENT:

PLAN FOR NEXT WEEK (TOPICS, QUESTIONS, ETC.):

MISCELLANEOUS:
 WEEK SIX
GOALS:
 WEEK SIX
WARM-UP ACTIVITY:
PANTOUM
“Pantoums” are an over 500 year old Malayan form of poetry with Persian and Chinese
influence. Pantoums are composed of four verses of four line stanzas (quatrains).
However, a pantoum only requires the writer to create eight different lines and thus
contains refrains (repeated lines). Because a pantoum gradually builds on itself, a poem
develops uncensored and before the writer even realizes it. The lines of a pantoum are
repeated as follows: the second and fourth lines of the first stanza are repeated in their
entirety as the first and third lines of the second stanza. Then the second and fourth
lines of the second stanza are repeated are repeated as the first and third lines of the
second stanza. This pattern repeats until the end of the poem. The way each line is used
twice makes the poem wrap itself around in a circle, beginning and ending with the same
line. Allow 45 minutes for writing, sharing and discussion. A pantoum looks like
following:
Venus Escapes
Stanza 1
Venus escapes Line 1
From shimmering stars Line 2
And the moon’s silver cape Line 3
Beneath the glimmer of Mars Line 4
Stanza 2
From shimmering stars Line 5 (repeat line 2 in stanza 1)
The wind swirls and weaves Line 6 (new line)
Beneath the glimmer of Mars Line 7 (repeat line 4 in stanza 1)
Chasing the leaves Line 8 (new line)
Stanza 3
The wind swirls and weaves Line 9 (repeat line 2 in stanza 2)
Around Saturn’s rings Line 10 (new line)
Chasing the leaves Line 11 (repeat line 4 in stanza 2)
Settled upon butterfly wings Line 12 (new line)
Final Stanza
Around Saturn’s rings Line 13 (repeat line 2 in stanza 3)
And the moon’s silver cape Line 14 (repeat line 3 in stanza 1)
Settled upon butterfly wings Line 15 (repeat line 4 in stanza 3)
Venus escapes Line 16 (repeat line 1 in stanza 1)

- Sample pantoum from http://www.writespot.org

- Activity adapted from Write from the Heart, Leslea Newman (2003)
NOTES:
 WEEK SIX
REFLECTION ACTIVITY:
LISTEN AND DISCUSS – SONG
DISCUSSION
A variation of reading a poem is to play an audio version of a song or provide the
group with a copy of the lyrics. Ideally, a facilitator will be able to provide the
group with both. Similar to any poems introduced to the group, songs may be
introduced to connect with the topics and dialogue of week or to elicit an
emotional connection with group members. Following the reading or playing of
the song, the facilitator should lead a focused discussion regarding the group
members’ reaction to the song and the song’s message. Facilitators should allow
45 minutes for the activity. A comprehensive list of possible songs for use in a
group and possible discussion questions is included in the back of the guide.

NOTES:
 WEEK SIX
GROUP ACTIVITY:
THE JOURNEY OF LIFE
As the group activities from the previous two weeks have been very emotionally
laden, it may be beneficial to lighten up the curricula as the group moves into the
final week of the seminar. For the “Journey of Life” activity, the facilitator should
announce to the group “You are going on a journey. You don’t know where; you’ll
find out as you go along. I do know you are going on a magic carpet – a big safe
one.” Ask each group member to individually create a list of things they will need
on the journey. Group lists may contain a multitude of needs, from the
straightforward and physical to the psychological and spiritual. Each group
member will contribute a line or two or more to the poem if they feel comfortable.
The facilitator can start the poem by writing the first line “In the journey of life, I
will need…” and create and ending to the sentence. Group members may use the
same sentence stem to create their own lines or add lines as they see fit. Though
the form may seem like a simple list poem, the alternation of some group
members using sentence stems and others simply listing items makes the poem
flow nicely and free from any apparent structure. When everyone in the group
has added their needs in the journey of life, the poem should be read aloud and
titled. A group discussion should follow regarding needs, wants, desires and
wishes. Facilitators should allow 40 minutes for the activity.

-Activity adapted from and suggested by Gillie Bolton in Writing Works, Gillie
Bolton, Victoria Field, Kate Thompson (2006)

NOTES:
 WEEK SIX
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

HOMEWORK ASSIGNMENT:

PLAN FOR NEXT WEEK (TOPICS, QUESTIONS, ETC.):

MISCELLANEOUS:
 WEEK SEVEN

GOALS:
 WEEK SEVEN
WARM-UP ACTIVITY:
HAIKU
“Haiku” is a traditional Japanese form from the eighth century that can serve
therapeutic purposes today. The aim of the Haiku is to absorb oneself into nature
and create a ‘haiku moment,’ a moment of absolute intensity in which the poet’s
grasp of his intuition is complete and the image he describes lives its own life. A
haiku moment occurs when, for example, we happen to see a beautiful sunset or
lovely flowers and are so delighted that we merely stand still. The haiku focuses
on what is occurring in the present and prevents worrying about the past or
dreading the future. A haiku consists of seventeen syllables: 5 in the first line, 7
in the second line and 5 in the third line. A traditional Haiku looks like:

A single petal 5 syllables

Of the cherry blossom falls 7 syllables
Loud mountain silence 5 syllables

When group members have completed their haiku, facilitators should have group
members pass their work to another group member. Each group member is to
read the new haiku and construct a second haiku building on the first. When
group members are finished writing their second haiku, they should be
encouraged to share their works with the group. Facilitators should allow 45
minutes for writing, sharing and discussion.

- Activity adapted from West meets East: Processes and Outcomes of Psychotherapy
and Haiku/ Senryu Poetry, Robert Deluty, Journal of Poetry Therapy, Vol. 15, 4,
Summer (2002)

NOTES:
 WEEK SEVEN
REFLECTION ACTIVITY:
POEM AND SONG – COMPARE
AND CONTRAST
Facilitators may use alternative media (a poem and song) to exhibit how similar
sentiments may be expressed by distinct means. The poems and songs may be
introduced into the session to parallel the conversations or subject matter of the
week or may be introduced to allow group members to make an emotional
identification with the works. The poems and songs may express contradicting
emotions or present identical emotions from alternate points of view. Either way,
group members should be able to find similarities or differences between the
works and make connections to or disassociations from the works. Copies of the
poems or song lyrics should be passed out to each group member for visual
reference. After reading the poem and listening to the song, the facilitator should
lead a discussion focusing on what the poem and song means to the readers and
similarities and differences in how the different mediums exhibited emotions.
Facilitators should allow 45 minutes for the activity.

NOTES:
 WEEK SEVEN
GROUP ACTIVITY:
KNOWING AND BELIEVING
The seminar’s concluding exercise should leave the group inspired, hopeful and
ready to take on life’s challenges. It is important for group members to truly
believe their newfound or developing rational beliefs. A group member may
believe something to be true theoretically or intellectually, but may not believe it
to be true on an emotional level. Thus, the “Knowing and Believing” poem can be
useful in this regard, as emotionally evocative language can help group members
develop a deeper sense of belief. The facilitator should ask the group to write a
poem in which they work hard at convincing themselves as to the veracity of their
new beliefs. The facilitator should tell the members they are writing to an
important group of people, such as congress, family, a probation officer or
whichever body or figure may be relevant to the group. Visualizing that their fate
depends upon the degree to which they are convincing helps the group work
towards developing a sense of trust and true belief about newly adopted
cognitions. Taking turns, Group members should contribute dyads using as
much emotion and passion as possible. When everyone has contributed to the
poem, the poem should be read aloud and titled. A discussion regarding group
members’ new beliefs and realizations should follow. The facilitator should make
copies of the poem before the seminar concludes as a means of helping group
members integrate their new beliefs and as a reminder of what group members
should continue to work toward. A general discussion of the poem and the group
process would also be appropriate. Facilitators should allow 1 hour for this
activity.

- Activity adapted from Poetry as a tool of cognitively based practice, The Arts
and Psychotherapy, Volume 33, Issue 3 (2006)

NOTES:
 WEEK SEVEN
POETRY THERAPY - LEADER REPORT FORM

LEADER: DATE: GROUP:

NOTES ABOUT GROUP MEMBERS:

WARM-UP ACTIVITY NOTES:

PRE-EXISTING POEM USED (TITLE):

WHY?:

COMMENTS:
GROUP POEM (TITLE):

COMMENTS:

GENERAL IMPRESSIONS:

WHAT WORKED WELL IN THE SEMINAR?:

WHAT DID NOT WORK IN THE SEMINAR?:

 SUGGESTED POEMS FOR
REFLECTION ACTIVITIES
22 POEMS MOST OFTEN USED IN PRACTICE
1. “The Journey” by Mary Oliver
2. “Autobiography in Five Short Chapters” by Portia Nelson
3. “The Armful” by Robert Frost
4. “The Rubyaiyat of Omar Khayyam”
5. “If I Should Cast Off This Tattered Coat” by Stephen Crane
6. “The Road Not Taken” by Robert Frost
7. “Self-improvement Program” by Judith Viorst
8. “Variation on a Theme” by Denise Levertov
9. “The Man in the Glass” by Elton Evans
10. “I Knew This Kid” by James Kavanaugh
11. “Marks” by Linda Pastan
12. “The Truth in 1963” by Edgar Allen Imhoff
13. “Talking to Grief” by Denise Levertov
14. “Message” by Carol Bernstern
15. “This Is Just to Say” By William Carlos Williams
16. “Impasse” by Langston Hughes
17. “I Can’t Go On” by Dory Previn
18. “One Art” by Elizabeth Bishop
19. “Swineherd” by Eilean N. Chuilleannin
20. “I Wandered Lonely as a Cloud” by William Wordsworth
21. “A Ballad of Dreamland by Algemon” by Charles Swineburne
22. “The Summer Day” by Mary Oliver
Poem list from Poetry Therapy: Interface of the Arts and Psychology,
Nicholas Mazza (2002)
 The Journey
Autobiography in Five Short Chapters
One day you finally knew
what you had to do, and began, I
though the voices around you I walk down the street.
kept shouting There is a deep hole in the sidewalk
their bad advice -- I fall in.
though the whole house I am lost ... I am helpless.
began to tremble It isn't my fault.
and you felt the old tug It takes me forever to find a way out.
at your ankles.
"Mend my life!" II
each voice cried. I walk down the same street.
But you
you didn't stop. There is a deep hole in the sidewalk.
You knew what you had to do, I pretend I don't see it.
though the wind pried I fall in again.
with its stiff fingers I can't believe I am in the same place
at the very foundations, but, it isn't my fault.
though their melancholy It still takes a long time to get out.
was terrible.
It was already late III
enough, and a wild night, I walk down the same street.
and the road full of fallen There is a deep hole in the sidewalk.
sidewalk.
branches and stones. I see it is there.
But little
little by little, I still fall in ... it's a habit.
as you left their voices behind, my eyes are open
the stars began to burn I know where I am.
through the sheets of clouds, It is my fault.
and there was a new voice I get out immediately.
which you slowly
recognized as your own, IV
that kept you company I walk down the same street.
as you strode deeper and deeper There is a deep hole in the sidewalk.
into the world, I walk around it.
determined to do
the only thing you could do -- V
determined to save I walk down another street.
street.
the only life you could save.
- Portia Nelson -
- Mary Oliver -

The Armful

If I Should Cast Off This Tattered Coat

For every parcel I stoop down to seize
I lose some other off my arms and knees,
If I should cast off this tattered coat,
And the whole pile is slipping, bottles, buns,
And go free into the mighty sky;
Extremes too hard to comprehend at. once
If I should find nothing there
Yet nothing I should care to leave behind.
behind.
But a vast blue,
blue,
With all I have to hold with~ hand and mind
Echoless, ignorant --
And heart, if need be, I will do my best.
What then?
To keep their building balanced at my breast.
I crouch down to prevent them as they fall;
Then sit down in the middle of them all. - Stephen Crane -
I had to drop the armful in the road
road
And try to stack them in a better load.

- Robert Frost -
 The Road Not Taken The Summer Day

Two roads diverged in a yellow wood, Who made the world?

And sorry I could not travel both Who made the swan, and the black bear?
And be one traveler, long I stood Who made the grasshopper?
And looked down one as far as I could This grasshopper, I mean--
mean--
To where it bent in the undergrowth; the one who has flung
flung herself out of the grass,
Then took the other, as just as fair the one who is eating sugar out of my hand,
And having perhaps the better claim, who is moving her jaws back and forth instead of up and down,
Because it was grassy and wanted wear; who is gazing around with her enormous and complicated eyes.
Though as for that, the passing there Now she lifts her pale forearms and thoroughly washes her face.
face.
Had worn them really about the same, Now she snaps her wings open, and floats away.
And both that morning equally lay lay
In leaves no step had trodden black I don't know exactly what a prayer is.
Oh, I kept the first for another day! I do know how to pay attention, how to fall down
Yet knowing how way leads on to way, into the grass, how to kneel down in the grass,
I doubted if I should ever come back. how to be idle and blessed, how to stroll through the fields,
I shall be telling this with a sigh which is what I have been doing all day.
Somewhere ages and ages hence: Tell me, what else should I have done?
two roads diverged in a wood, and I -- Doesn't everything die at last, and too soon?
I took the one less traveled by, Tell me, what is it you plan to do
And that has made all the difference. with your one wild and precious life?

- Robert Frost - - Mary Oliver -

Talking to Grief One Art

Ah, Grief, I should not treat you The art of losing isn't hard to master;
like a homeless dog so many things seem filled with the intent
who comes to the back door to be lost that their loss is no disaster.
for a crust, for a meatless bone.
bone.
I should trust you. Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
I should coax you The art of losing isn't
isn't hard to master.
into the house and give you
your own corner, Then practice losing farther, losing faster:
a worn mat to lie on, places, and names, and where it was you meant
your own water dish. to travel. None of these will bring disaster.

You think I don't know you've been living I lost my mother's watch. And look! my last, or
under my porch. next-
next-to-
to-last, of three loved houses went.
You long for your real place to be readied The art
art of losing isn't hard to master.
before winter comes. You
You need
your name, I lost two cities, lovely ones. And, vaster,
your collar and tag. You need some realms I owned, two rivers, a continent.
the right to warn off intruders, I miss them, but it wasn't a disaster.
to consider
my house your own
and me your person --Even
--Even losing you (the joking voice, a gesture
and yourself I love) I shan't have lied. It's evident
my own dog. the art of losing's not too hard to master
though it may look like (Write it!) like disaster.
- Denise Levertov -
- Elizabeth Bishop -
 Swineherd

When all this is over, said

said the swineherd, Marks
I mean to retire, where
Nobody conversation is mainly about the weather. My husband gives me an A
I intend to learn how to make coffee, at least as well for last night's supper,
As the Portuguese lay-
lay-sister in the kitchen an incomplete
incomplete for my ironing,
And polish the brass fenders everyday. a B plus in bed.
I want to lie awake at night
night My son says I am average,
Listening to cream crawling to the top of the jug an average mother, but if
And the water laying soft in the cistern. I put my mind to it
I want to see an orchard where the trees grow in straight lines I could improve.
And the yellow fox finds shelter between the navy-
navy-blue trunks, My daughter believes
Where it gets dark early in summer in Pass/Fail and tells me
And the apple-
apple-blossom is allowed to wither on the bough. I pass. Wait 'til they learn
I'm dropping out.
- Eilean Ni Chuilleanain -
- Linda Pastan -

I Wandered Lonely as a Cloud

A Ballad of Dreamland by Algemon
I wandered lonely as a cloud
That floats on high o'er vales and hills, I hid my heart in a nest of roses,
When all at once I saw a crowd,
crowd, Out of the sun's way, hidden apart;
A host, of golden daffodils; In a softer bed then the soft whitesnow's is,
Beside the lake, beneath the trees, Under the roses I hid my heart.
Fluttering and dancing in the breeze. Why would it sleep not? why should it start,
When never a leaf of the rose-
rose-tree stirred?
Continuous as the stars that shine What made sleep flutter his wings and part?
And twinkle on the milky way, Only the song of a secret bird.
They stretched in never-
never-ending line
Along the margin of a bay: Lie still, I said, for the wind's wing closes,
Ten thousand saw I at a glance, And mild leaves muffle the keen sun's dart;
Tossing their heads in sprightly dance. Lie still, for the wind on the warm seas dozes,
And the wind is unquieter yet than thou art.
The waves beside them danced; but they Does a thought in thee still as a thorn's wound smart?
Out--did the sparkling waves in glee: Does the fang still fret thee of hope deferred?
Out
A poet could not but be gay, What bids the lips of thy sleep dispart?
In such a jocund company: Only the song of a secret bird.
I gazed---
gazed---and
---and gazed---
gazed---but
---but little thought
What wealth the show to me had brought:
brought: The green land's name that a charm encloses,
It never was writ in the traveller's chart,
For oft, when on my couch I lie And sweet on its trees as the fruit that grows is,
It never was sold in the merchant's mart.
In vacant or in pensive mood,
They flash upon that inward eye The swallows of dreams through its dim fields dart,
Which is the bliss of solitude; And sleep's are the tunes in its tree-
tree-tops heard;
And then my heart with pleasure fills, No hound's note wakens
wakens the wildwood hart,
And dances with the daffodils. Only the song of a secret bird.

- William Wordsworth - - Charles Swineburne -

 SUGGESTED SONGS FOR
REFLECTION ACTIVITIES
Abuse/Sexual Abuse:

The Little Girl by John Michael Montgomery: “In this song the artist sings about a
little girl who has a very abusive father who ends up killing himself and the girl's
mother. This song paints a very intense picture of abuse which results in the girl getting
"new parents" who love and care for her.”

Luka by Suzanne Vega: “In this song the artist sings about a little girl who is in a very
abusive situation. The song focuses on how those around the girl have no idea of the
horrors she faces every day.”

Domestic Violence:

Family Portrait by Pink: “In this song the artist sings about a family that on the
outside, seems as though things are perfect, but the reality is that the family is falling
apart. Very emotional, sung from a child's view.” (This song is also good for teen issues
in general.)

Betterman by Pearl Jam: “In

“ this song the writer, Eddie Vedder, sings about his
mother who he feels "settled" for a man who treated her terribly, fearing she would not
find someone else.”

Anger Management:

St. Anger by Metallica: “In this popular song Metallica delivers a very aggressive
message through an incredibly aggressive song. The lyrics convey an interesting
concept that "st. anger" is something hung around the singer's neck which is controlling
his feelings, just like anger controls us sometimes. Watch out for explicit lyrics!”

You Oughta Know by Alanis Morissette:: “In“ this song the artist sings about a personal
experience of feeling angry at an ex-boyfriend for what he did to her. Very liberating,
good example of someone getting their feelings out!”

Grief & Loss

Padriac My Prince by Bright Eyes: “This very emotional song tells the tale of someone
who lost his young baby brother by him drowning in a bathtub. This song paints a very
personal and powerful picture of someone who is really struggling with the loss of
someone. Incredible.”

Fight by The Cure: “In this encouraging song, the artist encourages that you fight, fight,
fight to overcome the many unfair challenges of life. This song has provided many with
inspiration.”
Behavior Management:
Management:

Just by Radiohead: “In this song the artist sings about how we cannot blame our
mistakes on other people, we must live with the consequences. We must accept
responsibility for our actions.”

Red by Chevelle: “In this song, the artist sings about how terrible things happen when a
person sees "red". This song can be used to discuss the value of managing your feelings
before you yourself see red, and act out.”

Depression:

Misery by Soul Asylum: “This is an interesting song about someone who seems to be
surrounded by misery. He or she is so overwhelmed by it that he or she could "start a
company...frustrated incorporated".”

Fight by The Cure:: “In

“ this encouraging song, the artist encourages that you fight, fight,
fight to overcome the many unfair challenges of life. This song has provided many with
inspiration.”

Addiction/Alcoholism/Drug Use:

Under the Bridge by the Red Hot Chili Peppers:: “In

“ this popular song Anthony Kiedis
sings about how when he was younger he would go "under the bridge" to meet with a
drug dealer. In interviews he has talked about this being the lowest point of his life.”

River of Deceit by Mad Season: “In this song Layne Staley sings about his personal
struggles with drug addiction.”

Eating Disorders:

Ana's Song by Silverchair: “In this song the artist sings about a family that on the
outside, seems as though things are perfect, but the reality is that the family is falling
apart. Very emotional, sung from a child's view.”

Paper Bag by Fionna Apple: “In this song the artist sings "hunger hurts, but starving
works", discussing how her situation led to an eating disorder.”

Self Esteem

Self-
Self-Esteem by The Offspring: “In this song the artist sings about not having much self-
confidence and being taken advantage of in a relationship. The narrarator wishes
things were different.”

Believe in You by Amanda Marshall: “In this song the artist sings words of
encouragement, asking the listener to believe in themselves.”

Song list provided by http://www.enterthefreudianslip.com

 REFLECTION ACTIVITY
DISCUSSION PROMPTS
What does the poem mean to you?
Who is the speaker of the poem?
What circumstances gave rise to the poem?
What situation is presented?
Who or what is the audience?
What is the tone or mood of the poem?
What form, if any, does the poem take?
What is the meter of the poem? Does the poem have a rhyme scheme?
What is the argument, thesis or subject of the poem?
What tense(s) does the narrator employ?
How is form related to content?
How does the poem make use of setting?
What is the structure of the poem?
Are there key statements or conflicts in the poem that appear to be
central to its meaning?
Can you see any ways in which the poem refers to, uses or relies on
previous writing?
Is sound an important, active element of the poem?
Does the poem spring from an identifiable historical moment?
Does the poem speak from a specific culture?
Does the poem have its own vernacular?
Does the poem use imagery to achieve a particular effect?
Does the poem contain characters besides the narrator and explicit
audience?
What kind of figurative language (similes, metaphors, personification), if
any, does the poem use?
Where is the climax of the poem? Is there a climax?
If the poem is a question, what is the answer?
If the poem is an answer, what is the question?
What does the title suggest?
Does the poem use unusual words or use words in an unusual way?
What is the purpose of the poem? Persuasion? Catharsis?
What does the poem reveal about the narrator/author/audience?

Selected questions from Modern American Poetry, The Great Books

Foundation (2002)
 GROUP ACTIVITY
DISCUSSION PROMPTS

What should the poem be titled?

What emotions or feeling does the poem address?

Who is the speaker of the poem?

Who is the audience of the poem?

What do you think is the strongest line in the poem? Why?

What aspect of the poem are you still unhappy with? Why?

What surprised you most about the group poem poem?

What do you think is the one thing a reader is most apt to take away from
the poem?

What is most memorable?

What do you believe is the heart of the poem?

Talk about the “group process.”

What worked and what didn’t?

What are the positive and negative aspects of collaborating with a group
rather than working on your own?

What was your greatest strength in the group? What lines did you
contribute to the group poem? Why did you contribute those lines?

What imagery or metaphor was used in the poem?

 RESOURCES
National Association of Poetry Therapy (NAPT) –
http://www.poetrytherapy.org

Lapidus – The Association for Literary Arts in Personal development –

http://www.lapidus.org.uk

National Coalition of Arts Therpies Associations –

http://www.ncata.com

The Center of Journal Therapy –

http://www.journaltherapy.com

Literature, Arts and Medicine Database –

http://endeavor.med.nyu.edu/lit-med-db/topview.html

Internet Poetry Archive –

http://metlab.unc.edu/dykki/poetry

Poetry Society of America –

http://www.poetrysociety.org

National Association for Literature Development –

http://www.nald.org

Poetic Medicine –
http://www.poeticmedicine.com
 ABOUT THE AUTHOR
The first poem I ever wrote was an assignment from my second grade
teacher Mrs. Mahoney, “A line can be a stair, A line can be the seat of a chair.”
The assignment, a rhyming two-line poem describing what a line could be, was a
drill designed to challenge its students to think abstractly and use their
imaginations. I struggled with the assignment for a couple of days, straining my
eyes and mind as I examined the world around me. From my juvenile viewpoint,
I had a hard time conceptualizing a line as anything other than a simple mark
on a page.
After laboring with the project for almost a week, and the due date
approaching, I decided to ask Mrs. Mahoney for advice. She reached into her
desk and pulled out a book of connect-the-dot exercises. I felt my intellectual
capacity beyond that of connect-the-dot books, but she insisted that I take the
book home and complete a few pages. As I connected the dots on page one, a
scenic picture of a house with a patio developed. With each dot I connected
and each subsequent line I drew, my perception began to change. It became
clear that a line was more than simply a scrawl on a page, but an integral
component to an elaborate illustration. I looked closely at the picture in front
of me and could see lines everywhere: lines in the chair on the patio, lines on the
steps of the house, lines all over! I turned in my poem the next day with a
renewed outlook on perspective.
Mrs. Mahoney’s lessons in poetry and perspective have stuck with me to
this day, twenty years removed from second grade. Having written more than
two hundred poems in my personal journals, a second grade assignment has
turned into my passion. I can still recite the numerous Shel Silverstein poems
I memorized throughout my childhood, as if I were yet a student at Mountain
Park Elementary School. Where the Sidewalk Ends and A Light in the Attic
sit between Leaves of Grass and The Wasteland on my bookshelf. Using voices
other than his own, Silverstein relates his life experience and lessons via a
child’s eyes, imparting adult principles in ways that even a toddler can
understand. Emulating his example, I too write from viewpoints other than my
own, from a child in “The Stone” to a bird in “Spiro the Sparrow,” and even a
scarecrow in “A Scarecrow Who’s Afraid of Crows.” (Original works available
at Poetry.com) Writing from an alternate standpoint continually challenges
me to empathize and anticipate others’ feelings. The practice of putting oneself
in another’s shoes is just as relevant to writing effective poetry as it is to a
lawyer representing a client.
My frame of reference has forever been expanded, not only in the way I
write my own poetry, but also in the way I analyze. My ability to see other
angles did not come without failure. I’ll never forget the sea of red pen that
donned my essay on Poe’s “The Raven” as a UCLA freshman. I quickly learned
that much of poetry cannot be interpreted at face value. Devices such as
metaphor, imagery, and double entendre make poetry a complicated and
unrestricted medium. Yet even with indefinite boundaries, a poem must use
word precision and ordered meter to convey its messages. There is a
contradictory element to a poem’s construction, boundless with exactness. In
the margin of my essay, my professor suggested that I look beyond the literal
definition of a raven toward a more profound meaning. I soon realized, just as
there is more to a word than merely a grouping of letters, there is more to a bird
than feathers and wings.
There are many reasons I write poetry. Primarily, I write poetry as a
means to leave a mark so that I might one day pass my life lessons on to future
generations. Much of what I write is designed to evoke emotion in others: A
poetic eulogy for my grandmother, a poem to console my grieving grandfather, a
Valentine’s poem for my girlfriend or a Father’s Day poem to say I love you.
Writing has had a therapeutic effect upon my soul, a means by which to relieve
and reveal my deepest sentiments. My final step in crafting a poem is
presenting it to the inspirational party. I derive just as much satisfaction
sharing my poems with others as I do writing them. I aspire to one day publish
a book of my collected works, an anthology that contains as many elements of
other people as it does myself. There is a spot reserved on my bookshelf, right in
between A Light in the Attic and Where the Sidewalk Ends. In my fanciful
moments, I imagine there’s a spot for a few law books as well.
My friends and associates often point out the dichotomy between form
and function of poetry as compared to that of written law. They wonder why I
would want to pursue a legal career when law and poetry seem to be built on
conflicting principles. Poetry is of the heart and imagination while law is of
reason and logic. I always counter by providing relevant historic examples.
Thomas Jefferson, founding father and poet-lawyer, used prose like poetry
when he authored the Declaration of Independence. Francis Scott Key, creator
of our national anthem and lawyer-poet, demonstrated his poetic skill when he
composed the “Star Spangled Banner.” Imagine if the affinity for poetry had
deterred poet-lawyer Abraham Lincoln from a career in law and politics.
Doesn’t the heart of a poet beat throughout the Gettysburg address? I believe,
as these men have proven, the analytic and linguistic skills acquired through
writing poetry to be applicable and complementary to the practice of law.
I often look back to the first poem I ever wrote: “A line can be a stair, A
line can be the seat of a chair.” When I re-analyze my poem twenty years later,
the two lines take on a new significance. Metaphorically, a line can represent a
chair, a classic symbol of stagnancy and inactivity. Conversely, a line can
represent a stair, a symbol of progression to a new level. As I begin to draw a
line and move from point a to point b, I have found, much like I did in second
grade, that a line can be whatever I perceive it to be. All I have to do is connect
the dots.

-By Todd Fries

PUBLIC INTEREST & SOCIAL JUSTICE - SPRING 2009
PROFESSORS ERIC & NANCY WRIGHT
Take Care
You are about to enter a danger zone
Wear protective clothing around your heart
Take off your shoes

Writing can seriously damage your sadness

Writing can seriously damage your nightmares
You are in danger of achieving your dreams

Once started, you won’t be able to stop

Nor will you want to
And others might catch it too

You are in serious danger of learning you’re alive

You are in serious danger of laughing out loud
You are in serious danger of loving yourself

If it gets in your eyes, consult your loved ones

If it gets in your mind, cancel your therapist
If it gets in your heart, hold on tight

- Poem by Gillie Bolton -