ࡱ> :<789  bjbjWW . 55 JJ0ZZZZ5 U au0w0w0w0w0w0w0$25t0i55ii0ZZ0!!!i~ZZu0!iu0!!9-h-Z@vV]-a0000-45q!5 --,50Pii!iiiii00!iii0iiii5iiiiiiiiiJ j:  20 Days of Poetry - Day 1  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Concrete Poetry Concrete Poetry is the use of words and their physical formation to convey meaning. This may be done with color, the shape of the letters, and/or the arrangement of words. Samples below show some of the many variations available. To view various forms of  HYPERLINK "http://jdc-concrete.com/" concrete poetrty on the Internet, click on the words in bold lettering in this sentence. You may use the information you find at this link, but you may not publish it in anything other than a school report. Directions: Graphically create a scene using only words. From a distance this will look like a picture, but up close it will consist only of words and phrases. No extra lines or shapes should be used. A light pencil line might be drawn first as a guide. Use colors, shapes, and sizes that will enhance the meaning of words.  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/apple.gif" \* MERGEFORMATINET An alternative is to use a letter of the alphabet and create a phrase in which most of the words begin with that letter. The major letter should be drawn so that it suggests the object you are describing.  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/C.gif" \* MERGEFORMATINET  20 Days of Poetry - Day 2  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Synonym Poetry*: Choose any word. Write that word in capital letters on the first line. In a thesaurus (you can link the the  HYPERLINK "http://www.m-w.com/" WWWebster(TM) Dictionary based on Merriam-Webster's Collegiate(R) Dictionary, Tenth Edition by clicking here) look up the word and find three to five synonyms for it. Write the synonyms on the second line. One the third line, write a descriptive phrase about the word. The last two lines of the poem should rhyme. Student Examples: LOVE Attachment, adoration, warmth, adore Love is so pure, right down to the core. ---Kimiko Brantley (Grade 10) NOISE Clamor, uproar, hullabaloo. These things can really annoy you. ---Shasta Inman (Grade 9) *The Synonyms were suggested by Paul Janezco in workshops sponsored by NNWP. 20 Days of Poetry - Day 3  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Opposites*: Choose two things that are opposites. It could be the opposite sides of a question. Humor is good. The poem should be two or four lines long. The first two and the last two lines should rhyme. Sight rhymes are acceptable. The opposite of honest What a lot of people do on a hard test. ---Benjamin Swanson (Grade 9) OPPOSITES What is the opposite of love? Maybe it is as beautiful as a white dove, Because love is so fine, This is something that I know is mine. What is the opposite of a smile? Maybe it is a frown that hasn't been seen in a while, Because a great smile brightens up the day, This has made my day better in every way. What is the opposite of true? It could be purple, or even blue. Because truth is better than a lie, I want the truth even from my special guy. ---Kimiko Brantley (Grade 10) *The Opposites were suggested by Paul Janezco in workshops sponsored by NNWP. 20 Days of Poetry - Day 4  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  List Poems*: There are so many things that can be written about in lists, that sometimes we cannot think of a thing to write. To help, some ideas for lists are below. Lists can be either rhyming or not. It is up to the writer to decide which style s/he uses. In at least one of the poems you write, make the list humorous or far-fetched. Then, in the final line, give the poem a serious turn. Ideas for List Poems The Sources of: grayness stiffness softness redness squeaks cold sightsThings That: ring light you find in the grocery hear in your house smell in the school are round/square are red/blue/green/blackThings: to do waiting for the bus to do trying to fall asleep you should have done you should not have done that make you feel tall that make you feel small that you tell your motherStudent Examples: THINGS KIDS SAY WHEN THEY WANT TO GET OUT TO PLAY --I did all my homework. --I picked up my toys. --I empitied the trash. --My bed is made. No, there are no lumps. --I ate all my vegetables. --But everyone else is. --Bobby's mom doesn't make him. --But, Mom. --No, my dirty clothes aren't under the bed. --Yes, Mom, I'm sure. --Yeah, I'll be careful.. No, I won't poke an eye out. --Oh, please! ---Steve Schlatter (Grade 10) CAN YOU IMAGINE... A city without violence This classroom in silence Basketball without a ball Reno without a mall Ducks wearing lipstick No barbecue at a picnic Sky without stars Jail with no bars Thrusdays without New York Undercover Being born without having a mother The Lakers after Shaq Harlem without crack Pepsi without caffeine Every night having the same dream? ---Tierra Jones (Grade 10) *The Lists were suggested by Paul Janezco in workshops sponsored by NNWP. 20 Days of Poetry - Day 5  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Three Word Forms: Each line of this form is made up of three words. The last two words become the first two words in the next line. In the poem, there will be a progress of images and a story should be told. Focus: Topic Selection (pick something that can be described using the format) but also tells a story. Focus on sequence. Goals/Objectives: Below are ten objectives to keep in mind as we write our 20 poems in 20 days Identify unique characteristics of the poetry genre and various kinds of poem, including stanza, verse, and various devices Work through a creative process to overcome writers block Practice poetry writing skills such as rhythm, rhyming, word choice, and descriptive vocabulary Follow a model and specific format to create original poetry Understand how to review and revise their own writing Use word choice, and subject matter to create clear and identifiable tones Tell a story and express a theme using varied methods of writing Incorporate themes and tones from literature read in class (Night/Red Fern) into poems (Days 10-15) Share your creative ideas and finished poems with your classmates Use technology to combine class poems into a finished product (anthology) Tools to accomplish these goals consider using some of the following tools that poetry writers use: Pre-writing: Drafting Revising Editing Devices: alliteration, simile, metaphor, onomatopoeia, hyperbole, clich, analogy, contrast, euphemism, irony, paradox, personification, symbolism, and so on  HYPERLINK "http://www.chaparralpoets.org/devices.pdf" http://www.chaparralpoets.org/devices.pdf Student Examples: MORNINGS sleep, alarm, awake alarm, awake, shower awake, shower, clothes shower, clothes, shoes clothes, shoes, dog shoes, dog, run dog, run, breakfast run, breakfast, sunrise breakfast, sunrise, car sunrise, car, work. ---Alex Buffington (Grade 10) ball, snap, run snap, run, tackle run, tackle, sack tackle, sack, pass sack, pass, catch pass, catch, 1st down catch, 1st down, touchdown. ---Josh Jones (Grade 10) 20 Days of Poetry - Day 6  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  I Don't Understand...: Begin the poem with "I don't understand..." List three things you do not understand about the world or people. Name the thing you do not understand most of all. End the poem with an example of something you DO understand. Student Example: I DON'T UNDERSTAND... I don't understand why people dislike me why people can't get along why dogs are colorblind and cats aren't But most of all why people are prejudiced why people must move away why people argue over stupid stuff why there is wars What I understand most is why trees grow why birds chirp why the suns shines why the car goes. ---Anita Pepper (Grade 10) Day 7 Just Because  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Just Because... poems ask you to describe yourself in the first line of the poem. The next three lines in each stanza tell what you are NOT. The final line restates the first line and adds a tag directing the reader to do something. Student Examples: Just because I'm scared Don't laugh and giggle behind my head Don't kid and play when I'm not there Still ask me because I might play Just because I'm scared It doesn't mean I can't do it It doesn't give you the right to talk about me It doesn't stop me from having fun Just because I'm scared Still tell me everything you did Can't wait until I get big Just because I'm scared -- please try to be my friend ---Brandon Womack (Grade 10) Just because I'm an only child I'm not a freak I'm not shy Just because I'm an only child I'm not lonely I'm not selfish I'm not spoiled Just because I'm an only child I know I'm not perfect I can't always be the best friend I'm not a nerd Just because I'm an only child -- let me be me. ---Liz Webster (Grade 9) Day 8 I Am (Version 1-choose one)  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Below are line-by-line directions for writing this kind of poem: Line #1. I am #2. Three nouns about which you have strong feelings. Begin each with a capital letter. #3. A complete sentence about two things that you like. #4. Three nouns that describe what you like to see in other people; end with "are important to me." Capitalize each noun. #5. A sentence containing a positive thought or feeling. It can tell what you find acceptable in yourself. #6.-#7. Sentence in which you show something negative in yourself or others, however the sentence mustend by showing that out of something BAD can come GOOD. Use the word "but" to link the bad and good. #8.-#9.-#10. Each line is a short sentence relating something about which you have strong feelings--likes or dislikes. They do not have to relate to each other or to the previous lines you have written. #11. End with "This is me" or "I am." Student Examples: I am Life, Hope, Living I care very much about the world and life on it. Honesty is important to me. Optimism is important to me. Unselfishness is important to me. Hospitality is a good thing. Meanness is bad, but can be good to get people off your back. The world is getting weaker. The longer the days the more beautiful they are. People are too negative. I am. --Liz Webster (Grade 9) Day 8 I Am (Version 2-choose one)  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Below is the line-by-line set-up for this version of the "I Am..." poem: 1st Stanza I am (two special characteristics you have) I wonder (something you are actually curious about) I hear (an imaginary sound) I see (an imaginary sight) I want (an actual desire) I am (the first line of the poem is repeated) Stanza 2 I pretend (something you really pretend to do) I feel (a feeling about something imaginary) I touch (something you imagine you touch) I worry (a worry that is real to you) I cry (something that makes you very sad) I am (the first line of the poem is repeated) Stanza 3 I understand (something you know is true) I say (something you believe in) I dream (a dream you actually have) I try (something you make an effort to do) I hope (something you really hope for) I am (the first line of the poem is repeated) Student Example: I AM I am the wine and the future I wonder how many ripples I will have to swim I hear the trickle of time in a bitter bottle I see the translucent red drain from the wine I want the sweet satin liquid to stain my tongue I am the wine and the future. I pretend to entertain the glowing embers I feel the dew that sours the grapes I touch the vine that grows new life I worry the drunkard may speak the truth I cry the dewdrop tears on the winery walls I am the wine and the future. I understand the dust on the bottle I say it only makes it sweeter with time I dream the sponge cork may never be replaced by lips I try to glimmer the crack in my glass container I hope the sun-faded label never creases for lost identity I am the wine and the future. --Katie Reilly (Grade 10) *Based on materials by Suzi Mee, Teachers & Writers Collaborative Day 9 - Diamonte  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Diamonte: The French word diamont means diamond. A DIAMONTE is a seven-line poem that gradually changes from one idea to a direct opposite idea. When it is completed, its total appearance is diamond shaped.  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  There are two patterns you can follow in writing a diamonte. Pattern:Pattern:Line 1 = NounLine 1 = Opposite of line 7Line 2 = Adjective, AdjectiveLine 2 = Describe line 1Line 3 - Verb, Verb, VerbLine 3 = Action about line 1Line 4 = Noun, Noun, Noun, NounLine 4 = 2 nouns about line 1 2 nouns about line 7Line 5 = Verb, Verb, VerbLine 5 = Action about line 7Line 6 = Adjective, AdjectiveLine 6 = Describe line 7Line 7 = NounLine 7 = Opposite of line 1Student Examples: Love Bright, Passionate Charming, Drifting, Growing Cherish, Infatuation, Antipathy, Uncaring Animosity, Falling, Dead Dark, Disgust Hate ---Kimiko Brantley (Grade 10) Day 10 - Cinquain  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  A CINQUAIN is a poem with five lines. There are a few things to remember NOT to do with a CINQUAIN or any short poem: (1) don't be tempted to add extra words of syllables to fill out the form; (2) if every line sounds "finished," there is a full stop at its end and it sounds boring; and (3) a CINQUAIN should build to a climax and have a surprise at the last line. CINQUAINs can be of either of two patterns: one is built on the number of words in a line; the second is based on the number of syllables in a line. WORD PATTERN:SYLLABLE PATTERN:Line 1 = One Word (noun) Subject & title of poemLine 1 = 2 syllablesLine 2 = Two Words (adjectives)Line 2 = 4 syllablesLine 3 = Three Words (verbs)Line 3 = 6 syllablesLine 4 = Four words that relate feelingsLine 4 = 8 syllablesLine 5 = One word that repeats or refers to line 1 (subject)Line 5 = 2 syllablesThe ideal Cinquain would combine the elements of both columns. Day 11 Formula Poems  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Formula poems help you use words effectively. Using parts of speech and literary devices help to make your work lively and exciting. Formulas: #1: Participle, participle, participle #2: Noun #3: Adverb (how) #4: Verb #5: Adverb (where or when) Title: Pick a color #1: Describe something associated to it #2: Simile or metaphor #3: Adverb or adverb phrase (where) Title: Feeling #1: Three verbs #2: Adverb (where) #3: Who has the feelingSamples: #1: Leaping, soaring, flying #2: The superhero #3: Nonchalantly #4: Crashed #5: Into the wall Title: Green #1: Makes me think of Spring #2: Like a tree covered with leaves #3: In a wooded forest. Title: Silly #1: Tickle, wiggle, giggle #2: Lying on the floor #3: My baby sister Day 12 Emotions and Actions  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Sometimes it is hard to put your emotions and feelings on paper. The following patterns for poems are designed to allow you to get used to putting your emotions into writing. Line #1: What if ____________________________ Line #2: I might ____________________________ (leave a space between lines 2 & 3) Line #3: What if ____________________________ Line #4: I could _____________________________ (leave a space between lines 4 & 5) Line #5: What if ____________________________ Line #6: I would_____________________________ (leave a space between lines 6 & 7) Line #7: Ask a question.  Line #1: When I _____________________________ (describe an action) Line #2: ____________________________________ (describe where action takes place) Line #3: (Write 2 to 3 words that describe how you feel) Line #4: I wish I could_________________________ (describe an action) Line #5: (Tell the reason why)  Title: EMOTION Line #1: I ____________________________ (describe what you did to show how you were feeling) Line #2: (Write 3 words that describe how you felt) Line #3: (Make a statement or ask a question with regard to what is written in the first two lines)  Line #1: If I could be ___________________________________ Line #2: I'd ___________________________________________ (describe what you would do) Line #3: ______________________________________________ (describe how you would do it) Line #4: ______________________________________________ (describe where you would do it) Line #5: (Exclamation that shows how you would feel) Day 13 Writing About Weather  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Possibly the most famous poem about weather is Carl Sandburg's Fog. You can write about a force in nature in the style of Sandburg by following the formula below: Title: Form of Nature chosen Line #1: Title + (how it arrives or begins as the animal would arrive) Line #2: Tell what it does Line #3: And how it does it Line #4: And where it is Line #5: Tell how it leaves (as the animal would leave) Student Example: THUNDER Thunder comes in loud Like the majestic roar of a lion. It answers the call Of lightening By striking fear into people. Away, somewhere in the sky, Somewhere in the unknown, An unknown voice, And then leaves without a trace Of its existence Except in peoples' stories. ---Elia Miller (Grade 9) To see some other examples of writing about weather, you can go to the " HYPERLINK "http://sln.fi.edu/tfi/units/energy/database.windlanguage.html" Windy Language" page. Day 14 Month Metaphors  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  You can use a  HYPERLINK "http://web.reed.edu/academic/departments/writing/figurative_language.html" metaphor as a springboard to write a Month Metaphor poem. The format is the same as when you did  HYPERLINK "http://www.msrogers.com/English2/poetry/30_days_of_poetryday_16.htm" WRITING ABOUT WEATHER. DIRECTIONS: 1. Choose a month -- or a season -- and picture how it would arrive if it were a person OR an animal. The list of  HYPERLINK "http://www.msrogers.com/English2/poetry/30_days_of_poetryday_17.htm" \l "MOTION WORDS#MOTION WORDS" MOTION WORDS below may help you, or you may use another word to show how the month or season arrives. 2. Add a few words to make the picture seem more complete. Tell how OR where it arrives. Use adverb or prepositional phrases. If you wish, use a  HYPERLINK "http://www.m-w.com/thesaurus.htm" THESAURUS to find synonyms to replace overworked words. 3. Tell something else the month or season does while it is here. 4. Tell how the month or season leaves. NOTE: be sure you keep the same comparison (metaphor) throughout the poem. Don't change to a different picture. MOTION WORDS march stagger skip prance float tiptoe gallop hop limp hobble canterwobble sneak zoom tramp dance shuffle scurry spring glide flutter lurchcreep stumble trot totter strut skate slide leap slink skulk crawlsteal bound bounce dart lope trudge plod advance drag slip saunterStudent Examples: JULY trudges right in with a bang. It crawls around on the hot ground, leaps around spreading warmth, then glides right out of the way. ---Tierra Jones (Grade 10) SEPTEMBER creeps in quietly and unnoticed. It just sits there waiting, watching for something to happen. Then, just a quickly as before, it creeps back out. ---Elia Miller (Grade 9) NOVEMBER slides in on clouds of snow and rain. It blows away the warmth, and sneaks in the cold, then drags away. ---Liz Webster (Grade 9) Day 15 Image Poems  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  It is the purpose of this lesson to help you to "see" things you can write about. The same formula can be used in writing about pictures, people, and things. This basic "formula" is: Line #1: Describe the object with two or three adjectives Line #2: Give the object an action Line #3: Put the object somewhere DIRECTIONS: 1. Choose a picture that is not too "busy." It should have only one or two subjects in it. Use the formula above to write about one object in the picture. 2. Can you imagine the object doing something really silly -- or someone doing something silly with it? Use the formula to write about that. 3. Imagine something strange happening to the object or with it. Where is it happening? Use the formula to write about it. 4. Imagine the object in a sad way. Where is this happening? Use the formula to write once more. 5. Look at the four poems you have written. Are they four stanzas of one poem? If they are, combine them into one poem. Here are some other possibilities for combining thoughts about the photo: Imagine "Real and Beautiful" Imagine "Unreal and Beautiful" Imagine "Unreal and Strange" Imagine "Unreal and Silly" Instead of doing this with an object, do this with a real person or a character from literature. Day 16 Sense Poems  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Think of a place that is special. Form an image in your mind of this place. If you need to, cluster this image. Then complete the following statements. a. I see_________________________ b. I smell_______________________ c. I hear________________________ d. I feel________________________ e. I taste_______________________ f. I think_______________________I see the sage-covered desert I smell the freshness of the morning I hear the scream of the hawk I feel the caress of a breeze I taste the dew on the wind I think the new day is bornAfter you have written out the sentences, remove the  HYPERLINK "http://www.edunet.com/english/grammar/pronoun.html" pronouns,  HYPERLINK "http://www.edunet.com/english/grammar/verb1.html" verbs, and  HYPERLINK "http://www.edunet.com/english/grammar/sect-2.html" \l "def_indef" articles as you need to: sage-covered desert freshness of morning scream of the hawk caress of a breeze dew of the wind new day born Day 17 Bull Durham Credo  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  In the movie Bull Durham Kevin Costner's character is asked what he believes in. His answer provides us with a poetic format. By following the formula below, tell what you believe in. BULL DURHAM CREDO I believe in the _________________________ the____________________________________ the____________________________________ the____________________________________ the____________________________________ _______________,_______________,_________________ But (something you don't believe in, i.e. ("but the novels of Susan Sontag are self-indulgent, over-rated") I believe in____________________________ I believe in____________________________ I believe in____________________________ ______________,________________,_________________ And I believe in_________________________________(longest) Student example:CREDO I believe in the widsom of elders, the influence of peer pressure, the importance of success, the evil that exists in money, the effectiveness of hard work, dedication, courage, strength. But the belief that you don't have to strive for your goals is just outrageous. I believe in the truth that will set you free, I believe in love that will conquer all, I believe in respect for others, Courtesy, politeness, gratitude. And I believe in the fact that tomorrow isn't promised to you. ---Tierra Jones (Grade 10) Day 18 Japanese-like Poems  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Several forms of poetry are traditional to Japan. Those known in the United States are primarily haiku and tanka. In fact, there are several magazines and journals that accept these forms only for publication. We will examine both of these forms, but because you will be allowed more latitude in subject matter and form, we are calling this lesson "Japanese-like" rather than traditional Japanese forms. In the discussion below, I have linked to two haiku sites and two tanka sites on the web. Just click on the underlined words to get there. HAIKU Haiku poems are characterized by content, language, and form. Of the three elements, form is the least important. The content of haiku poems is primarily nature. Usually there are no similies or metaphors, nor are there many adjectives. The most common form is three lines, the first and third being the same length and the middle one being a little longer. In English-speaking countries this has been translated into a 5/7/5 syllable structure. However, this is not set in stone. In Japanese, it is 17 sounds. In English this translates to somewhere between 12 and 15 syllables. Therefore, if you do not have EXACTLY 17 syllables it is acceptable. The most famous writer of haiku is Matsuo Basho and his most famous poem is: old pond... a frog leaps in water's sound  HYPERLINK "http://homepage.usr.com/f/flood/" TANKA A  HYPERLINK "http://www.sowega.net/~maria/" \l "tanka" tanka is a mood piece, usually about love, seasons, sadness, or how short life is. Tankas use strong images and often have literary devices such as simile and metaphor. A tanka is short and usually has only five lines. Instead of counting syllables, you count ACCENTED syllables. The following pattern of ACCENTED syllables works well in English for a tanka: 2/3/2/3/3. Some claim the tanka contains 5/7/5/7/7 syllables. Actually, you can use either method for determining the sounds in this kind of poem. DIRECTIONS: Now that you are familiar with the haiku and tanka forms of poetry, you are to write at least two of each form. By writing more than one of each kind, you become familiar with the forms and used to following set patterns for writing different kinds of poetry. Day 19 Write About Yourself and Others  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  Someday Poems: Begin each line with the word Someday... and complete it with a wish you have. Make the first two or three lines say something about your everyday wishes and slowly move away from yourself to the world in general. You may end the poem with the word Someday.... Student examples: SOMEDAY... Someday I will play the guitar Someday I will have a job Someday I will get married Someday I will have kids Someday I will be rich Someday I will be noticed ---Melissa Manor (Grade 10) One Window Is All I Need... Poems: Begin your poem with the line One window is all I need...,and continue to write about this imaginary window in a personal way. Student examples: ONE WINDOW IS ALL I NEED One window is all I need To see what lies ahead for me To lose myself in love For a connection to my inner world To see myself for who I am And be able to make changes. ---Tierra Jones (Grade 10) ONE WINDOW IS ALL I NEED... to see the world to reveal myself to imagine adventures to return to myself and live. ---Alex Buffington (Grade 10) WRITING ABOUT OTHERS: When you write about others, pick one important thing about them. Keep the focus positive. Line #1: The important thing about (name) is (most striking attribute) Line #2: S/he is also ________(use as many lines as you need) Last line: But the most important thing about (name) is (repeat Line #1) Student example: As you become comfortable writing poetry, you will find you will want to change the format and work on your own. This is great! The following student example came from such a growth: THE NEW WORLD Over 300 years ago, my grandfather of many greats moved from one world to another, sailed across the Atlantic and settled in Virginia. He must have felt as Christopher Columbus, discovering a new world. England to "The New World" Not too terribly far apart, but different in all ways. All his routines changed, his work changed, his life changed, he changed. ---Jon Mayne (Grade 10) Day 20 - Pantoum  INCLUDEPICTURE "http://www.msrogers.com/English2/poetry/poetry_images/msrgreenbuttonhr.jpg" \* MERGEFORMATINET  The  HYPERLINK "http://www.stg.brown.edu/projects/hypertext/landow/cpace/poetry/lattice/theory/pantoum_555.html" pantoum comes to us from Malayan poetry. The Western (English) version of the pantoum is a poem of indefinite length made up of stanzas that have four lines. The formula comes in where lines 2 and 4 of each stanza are repeated as lines 1 and 3 of athe following stanza: First Stanza Line #1 Line #2 Line #3 Line #4 Second Stanza Line #1 (same as line #2 above) Line #2 Line #3 (same as line #4 above) Line #4 To see an example of a  HYPERLINK "http://web-hou.iapc.net/~chuckh/Poetry/Education.html" pantoum, click here. Tip 1 Solitude. If you want to write anything, you're going to need peace and quiet. Turn off the radio, turn off the TV, shut your door, put your cellphone on silent - whatever you need to do to ensure that you're not going to be disturbed. If the silence is too deafening, put some music on that is solely instrumental, or grab a soda and a bag of chips - things that can add white noise and movement, but won't distract from your thought process. Solitude also helps because when you're alone, you're you. You're not impressing anyone, smiling for anyone, frowning at anyone, etc. Some people like to go outside to write, to sit at the edge of a lake, to go on a ferry, or hike up into the mountains. While this is a wonderful strategy for some people, I find it actually makes it more difficult for me. I like to be at home, looking at the things around me from my life, the memories. It's those things that you probably want to write about anyway, the things "close to home" that mean something to you. Mountains and lakes are wonderful, if you're a park ranger, but for the average urbanite, the home is the best writing environment. Tip 2 Connection. A lot of people think poetry is entirely writing about romantic love, or writing about suicide/death. I have two problems with this: If you've never experienced romantic love you should not be writing about it, unless you're writing about how you've never experienced romantic love. If you've never experienced death you should not be writing about it, unless you're writing about a specific death - someone in your family, an acquaintance, people from 9/11. If you're writing about your death - something you've never actually experienced because you are, in fact, still alive - then you may want to consider a counselor. By all means, write poetry, but also see a counselor. MORAL: Write about things you KNOW about. Not only that, write about things you care about. People spend an awful lot of time in contemplation over flowers and sunsets, which is all very well and lovely, but who cares? Unless you have some deep emotional connection to flowers and sunsets, save your pen for a worthier subject. Perhaps you are a botanist or a meteorologist. I give you leave to write about flowers and sunsets. If you're wanting people to read your poetry - and eventually most people do want that - then you have to know that people will be able to tell how good your writing is based upon how they perceive you feel about the subject upon which you are writing. Write about things that are important to you. Tip 3 Emotion. A lot of people think that if you have an "excess" of emotion, then you're emo. If you have an excess of emotion at any point in your life, you're human. That being said, some of the most moving poetry seems to be intentionally devoid of emotion. Poetry is not always about explosions of emotion. On the contrary, I have often found it to be more about the quiet moments. THAT being said, you have the freedom to choose any emotion you want. I'm a person that has problems dealing with anger. So when I'm angry, I generally sit down at my computer (or, if there is no computer available, pull out my handy-dandy, ever-present journal from my suitcase-sized purse) and plunk out whatever it is I'm feeling, that way it's out of me, in front of me, and it's almost like I can edit the emotion. Not change it, but step back and look at it, and see what I'm really feeling, what the real issue is. In that sense, poetry is therapy. Or, poetry is clarity. Which can seem oxymoronic, considering the obscurity and indiscernability of some poems. Grab hold of something you feel - anything you feel - and write it. Tip 4 Starting. That first word. If I could only figure out how to start, I could write anything. The nightmare of anyone who loves language: the notorious blank page. Any easy way to start is to simply write down the word of the emotion you're currently experiencing, or reflecting on. Example: Happiness. Wonderful! Now I have a word on the page. We have our emotion, now we need our connection. I'm going to think of happiness, think of a time when I was happy. Hmmm....okay, I got something. Example: Sunshine. Wonderful! Now we have two words on the page! Okay, so when was a specific time that I can remember where there was sunshine and happiness? Swimming at Baker Lake. Six words, we're on a roll! Let's re-cap. We have: An emotion: Happiness A connection: Sunshine Specific connection: Swimming at Baker Lake Now we're ready to write a poem! Well, almost. Tip 5 Skeleton. We have the skeleton, the frame, for our poem. So...now what? Better yet, so what? Here's the part where you become a poet. There are a number of different points of departure from here, and you have to choose where you want to go. Before we get into formatting the poem, let's talk about the purpose of it. Why is this an important thing to write? Why is it important to share? Why should people care about this? If you can't answer any of those questions, then you're probably writing about the wrong thing. Here's my answer: I want to write about the happiness that sunshine brought while I was swimming at Baker Lake because I find that I have become so busy, and so continually stressed and stretched, that it is important for me to remember, to remind myself, that there are simple moments; where floating on the water with the sun on my skin made me happy. If you were able to answer any of those questions to a satisfying degree, you are ready to move on. Tip 6 Formatting. You could write a sonnet, a quatrain, something with an abcdabcd rhyme scheme. You could. Or, you could write however you darn well feel like writing. I enjoy rhyming as much as the next person, but I like rhyming in unexpected places. There's something called "internal rhyme" where words rhyme within the same line, instead of at the ends of specific lines. With "formatted" poetry, there is a sense of predictability. So I suggest "freestyle" poetry. The lines end where you want, the words rhyme - or don't rhyme - where you want, punctuation, font size, word location, every little thing is intentionally placed. This is the type of poetry where, when you go back to read it, there is something new, something different, every time. Because I like this style so much, we're going to continue on with it. Tip 7 Tools. There are a few things I keep in mind when I'm writing poetry, besides emotion, connection, and relevance. Fluidity and imagery are important. Something that is not essential, but is a tool I use quite frequently, is something called alliteration, which is a repetition of the initial, or consonant, sound. For example, I used the phrase "knolls of Not-Remembered" in a poem a few months back. The word "knolls" and the word "not" have the same sound, and they are in close proximity to each other. This is an option you can use to stress a point, an image, etc. I also use line breaks or blank spaces to interrupt or stop the flow of a thought. Sometimes I intentionally break off a train of thought before I conclude it, making the reader create their own conclusion. Sometimes the blank space alludes to a conclusion, and there is something you are supposed to understand by the intentional "leaving out" of some words. Another tool I take advantage of quite frequently is dialogue. I speak, or a "character" or someone speaks, but generally it's in stream-of-consciousness; I need to tell them, but my mouth is full of gauze, and I want to gag on the blood coalescing near the bottom of my tongue, and they realize I'm trying to speak but I can't speak and I want to tell them this happened last time, I was cold, and shaking, and I couldn't stop shaking, and I couldn't remember, I couldn't remember last time, or now, I can't remember, I was sitting there, nodding, and now I'm here, shaking, and it was like this last time only last time blood was pouring from my head, not my mouth, the gash in my eyebrow, not the holes in my jaw, last time was an accident, last time there were lights and people and ice-bags and wheelchairs and a really really bright light and Tess, Tess Hodges was there, I don't know why, and yellow iodine, must've been iodine, my face was yellow and red, this time it's clean and I don't remember a thing, and it's okay, they tell me, and stop shaking, I tell me, and it's cold. So there are a few tools you can utilize as you begin to write your poem. Tip 8 Meat. It's time to start adding some meat to the skeleton we created earlier. We have emotion, connection, relevance, and tools to tie it all together. Now we need the words. Your words are your own, and while emotions can be universal, and anyone can use the tools that anyone else uses, the words you write belong to no one else but you. Tip 9 Revision. So you've got your first draft. Congratulations! It's probably crap, right? That's the beauty of revision; everything can be made better. This one's called "The Game" It's a game of battered people biting bruised lips in the night hoping more pain will relieve the pain of last night's knock-out fight so the bruises turn to blood-clots and they burst in sheer delight freed from their fleshly castles to die out in the light. It's a sick and twisted living, it's a perfect poisoned kiss and we lick all of our bruises with a moan or sudden hiss and our bodies cannot take more, but we pound them all the same and nightly wring them out until we're dry and crumbling. See, the pain is a reminder, a sharp and urgent cry that the world is unforgiving and that loved ones always die. But the pain proves that we're still here and that we have not yet succumbed though we want to, though we beg to, though we're deaf and blind and dumb. It's a game of misfit toys tacking limbs on from the dead and the pain washes the noises that claw inside your head. So we fight and scrape and brawl and bleed with every breath to exorcise the spoken words that cannot be unsaid. For the night is long and dark and the fight goes on and on but as long as we taste blood, we postpone the denouement. So turn your cheek, it's yet unbruised, so I can place my hand on you and mark your skin and share my pain and shed some of this suffering. We've died a thousand times, I think; at least we've gotten to the brink and come back with more memories gone, but peace eludes, so we move on. It's a game of battered people, and we're battered you and I. Perhaps one day the game will change, no more an eye for eye. One day the battered people won't be biting bloody lips but rather moving smoothly in a sea of perfect bliss. Perhaps there is a coming day when the fight loses its sting, perhaps one day we'll rest again, perhaps we will take wing. Note, if you can, the use of alliteration, breaks, imagery, word-choice, or any other tools you can find. Now, revise it. Tip 10 Flesh. The last step. You've revised your poem, looked at it a dozen time, walked away, and walked back, and considered it. Now it is flesh and bone, it has movement, it has words, a voice, it can say something. You have a finished creation. Congratulations. You are now a poet.  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쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd#4  S hA"(msrgreenbuttonhrIt divides the pageRd߃rhv HǹdFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd##   S A"FmsrgreenbuttonhrA green line that divides the pageRd߃rhv HǹlFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd##   S A"FmsrgreenbuttonhrA green line that divides the page Rd߃rhv HǹvtFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd##   S A"FmsrgreenbuttonhrA green line that divides the page Rd߃rhv Hǹ^|Fd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd.   S A"FmsrgreenbuttonhrA green line that divides the page Rd߃rhv HǹFFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd##   S A"FmsrgreenbuttonhrA green line that divides the page Rd߃rhv Hǹ.Fd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TDd##  S A"FmsrgreenbuttonhrA green line that divides the page Rd߃rhv HǹFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TM$$If!vh#v:V 6,5 34 TDd##  S A"FmsrgreenbuttonhrA green line that divides the pageRd߃rhv HǹPFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿM$$If!vh#vt:V 6,5 34 TDd.  S A"FmsrgreenbuttonhrA green line that divides the pageRd߃rhv HǹFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿ٨Dd`Z\  3 3fS"-`88Dd`Z\  3 3fS"-`88Dd`Z\  3 3fS"-`88Dd##  S A"FmsrgreenbuttonhrA green line that divides the pageRd߃rhv HǹgFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd##  S A"FmsrgreenbuttonhrA green line that divides the pageRd߃rhv HǹOFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿM$$If!vh#v:V 6,534 TDd##  S A"FmsrgreenbuttonhrA green line that divides the pageRd߃rhv HǹFd߃rhv HǹJFIFHHC  !"$"$C X".UW!Q'"23ab #Ra!Q ?,^;J_??;rzG´' ,|vϿmݮ5}3ҨOʕ>~/UѡG_Ti2[&&V+~A]S$rz'eLqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XzF+ 쩒9=]HtlT7i2[&&V+~A]S$rz'eL7بoHebMLVHtNʙ#n:Pޑoț4XweL蝕2G't#b#Iߑ7i2[ ʙ#;*dOWAFCzF+"oHebݕ2G'vTqЍ&V+~Dޑo+*dOWD쩒9=] LV#IߐWvTS$rz B6*4XN'0VQ@]vT>}Q9߫t#heSQ-Q>a 6۷~W߿D#{ǿDd.  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