Bulletin of the Office for Diversity American Library Association ISSN 1554-494X

MARCH - APRIL 2005ISSUE

DIVERSITY TOOLCHEST

Lift Ev'ry Voice and Sing: Multicultural Poetry for Children & Young Adults
Sylvia M. Vardell, Ph.D.

In the United States today, there is more poetry being published by a larger variety of poets than at any other time in the past (Higgins, 1995). Not only is poetry experiencing a publishing renaissance, but the openness to new voices has encouraged multicultural poetry to flourish. A quick survey of recent poetry titles will turn up at least 35 major poets of color writing for children today, representing most of the major micro-cultures within the United States: African American, Hispanic American (Latino), Asian Pacific American, and Native American. And more and more international poetry is even finding its way into libraries and classrooms in the U.S., as well.

Seeking out the poetry of parallel cultures that reflect many diverse viewpoints enables us to show children firsthand both the sameness and the differences which make the human landscape so dynamic and fascinating. The genre of poetry represents the writers attempt to encapsulate experience, emotion, and imagery with both economy and artistry. The poets personal history, point of view, and talent with language are all communicated in the carefully chosen words of a poem. When the audience is children and young adults, the poetry must also be clear and accessible. And when the poet is a person of color, an additional layer of richness and meaning is often present in her or his writing.

The special benefit of poetry for children, in particular, is its brief and succinct format for presenting this literary perspective. On the surface, this shorter format of poetry makes it seem "easier to read." But it takes a sensitive adult to introduce poems outside his or her culture, to read a poem written in an unfamiliar dialect out loud, and to guide childrens responses to experiences sometimes unfamiliar to them all. Its worth it, however, in the richness of the language exploration, the pleasure of the shared experience, and for the validation it provides for the children whose cultural identities are finally reflected in the content.

Poets of color are using the language, experiences, and images of their cultures in ways that are fresh and powerful. Angela Johnson, for example, captures her experiences growing up as an African American in the South in her collection, The Other Side (1998). These poems offer the reader insight into her culture through the combined language and rhythm of culture and genre. Poetry as a genre is noted for its distillation of language and experience, its special structures and rhythms. Its a natural forum for poets of color who bring their own language and cultural expression to the writing. The special succinctness of poetry is also an appealing introduction into culture for young people. Sometimes powerful points about prejudice, identity, and cultural conflict can be made in a very few words. Consider Janet Wongs poem, "Speak Up" from Good luck gold (1994) whose language and structure suggests the playground taunting of a child who appears "different." In addition, we can also rediscover our universality in the words and feelings of poems which often cross cultural boundaries. Angela Shelf Medearis collection of poems Skin Deep (1995) show teen angst is real and vivid, no matter what color your skin is.

Often our own background may be lacking as we try to incorporate multicultural poetry into our repertoires. We dont know what to choose or where to begin. Although the debate about "cultural authenticity" rages on, I have found that I am generally most comfortable sharing poems written by writers from within the culture. Poets of color are writing from a base of experience that often comes through in their poetry and their language. Children respond to this and enjoy the diversity of expression. I have found that young people of all colors enjoy the writing of poets of many parallel cultures. That is to say, Black poets do not speak only to Black readers. Asian American readers have understood "I, too," (by an African American poet) and Native American readers have related to "Speak up" (by an Asian American poet). The fact that cultural heritage and language distinctiveness are addressed through poetry is interesting and important to all young people. Fortunately, there are more and more excellent examples of multicultural poetry available for sharing. The following poetry bibliographies are intended as a helpful beginning point.

African American poetry for children and young adults

There is a long and rich tradition of songs and poems in African American literature. Indeed, one of the earliest American poets, Phillis Wheatley, was an enslaved African American. And by 1820, there was a rise in the publication of Black poets until the end of the Civil War. However, it became difficult again for Black voices to be heard for many years. By the end of the nineteenth century, poets like Paul Laurence Dunbar were commercially successful. His groundbreaking book, Jump back honey, (1999) has even been reissued at the beginning of the twenty-first century. Another outstanding poet of the early twentieth century, Langston Hughes, has many poems which still speak to children today, especially his volume, The dreamkeeper (1932/1994). The classic poem "Dreams" is found in this collection, and is often included in anthologies of great poetry for all ages.

In the 1960s, more and more of the general public began reading and appreciating African American poetry, which included many poems with powerful civil rights themes (Major, 1996). Indeed, connections between the social history of the U.S. and African American literary history are prominent themes in the poetry of this time (Higgins, 1995). Called "diverse and brilliant," a richness and universality of theme is present in contemporary African American poetry (Major, 1996). Although rarely anthologized in the past, African American poets like Langston Hughes, Countee Cullen, Paul Laurence Dunbar, Nikki Giovanni, and others are regularly featured in collections of American poetry. And anthologies of African American poetry are now available even for children and young adults, including: My Black me: A beginning book of Black poetry (1974/1994), Ashley Bryan's ABC of African American poetry (1997), Soul looks back in wonder (1993), Pass it on: African American poetry for children (1993), Make a joyful sound: Poems for children by African American poets (1991), Listen children: An anthology of Black literature (1982), and I, too, sing America: Three centuries of African American poetry (1998).

More and more African American poets are gaining widespread recognition and praise. Eloise Greenfield, won the National Council of Teachers of English Poetry Award for a lifetime contribution to poetry for children, including Honey, I love (1978) and Night on neighborhood street (1991). Her poem "Things" from Honey I love is a popular poem that is ideal for choral reading. Each stanza ends with a line that is repeated which can be read as a chorus while the adult leader or another narrator reads the rest of each stanza. New voices can be heard, too: Angela Shelf Medearis work, Skin deep (1995), captures adolescent anxieties beautifully, with humor and pathos and Nikki Grimes creates an unforgettable modern heroine in Meet Danitra Brown (1994). These poets of color speak of their lives, of their color, of their humanity, of their humor. Some write in dialect, some use rhyme, some focus on racial pride, some share emotional universals; children of all cultural backgrounds deserve to know their names and hear their words.

African American poetry for children and young adults:

• Adedjouma, D. (1996). The Palm of My Heart: Poetry by African American Children. New York: Lee and Low.
• Adoff, A. (1973). Black is brown is tan. New York: Harper and Row.
• Adoff, A. (1982). All the colors of the Race. New York: Lothrop, Lee & Shepard Books.
• Adoff, A. (Coll.) (1968). I am the darker brother: An anthology of modern poems by Negro Americans. New York: Macmillan.
• Adoff, A. (Coll.) (1974/1994). My Black me: A beginning book of Black poetry: Dutton.
• Adoff, A. (Ed.) (1970) Black out loud. New York: Macmillan.
• Brooks, G. (1956/1984). Bronzeville boys and girls. New York: HarperCollins.
• Bryan, A. (Coll.) (1978). I greet the dawn: Poems by Paul Laurence Dunbar. New York: Atheneum.
• Bryan, A. (Coll.) (1997). Ashley Bryan's ABC of African American poetry. New York: Atheneum.
• Byran, A. (1995). Sing to the Sun. New York: HarperCollins.
• Clifton, L. (1970). Some of the days of Everett Anderson. New York: Holt, Rinehart, and Winston.
• Clifton, L. (1983). Everett Anderson's goodbye. New York: Henry Holt.
• Clinton, C. (Ed.) (1998). I, too, sing America: Three centuries of African American poetry. Boston: Houghton Mifflin.
• Dunbar, P. L. (reissued, 1999). Jump back honey. New York: Hyperion.
• Feelings. T. (1993). Soul looks back in wonder. New York: Holt.
• Giovanni, N. (1971). Spin a soft black song. New York: Hill and Wang.
• Giovanni, N. (1981) Vacation time. New York: Morrow.
• Greenfield, E. (1977). Africa dream. New York: Harper.
• Greenfield, E. (1978). Honey I love and other love poems. New York: HarperCollins.
• Greenfield, E. (1988). Nathaniel talking. Black Butterfly Children's Books.
• Greenfield, E. (1988). Under the Sunday tree. New York: Harper.
• Greenfield, E. (1991). Night on neighborhood street. New York: Dial.
• Grimes, N. (1994). Meet Danitra Brown. New York: Morrow.
• Grimes, N. (1996). Come Sunday. New York: Eerdmans.
• Grimes, N. (1998). A Dime a dozen. New York: Dial.
• Grimes, N. (1999). Hopscotch love and other poems. New York: Lothrop.
• Grimes, N. (1999). My man blue: Poems. New York: Dial.
• Grimes, N. (2000). Is it far to Zanzibar: Poems about Tanzania. New York: Lothrop.
• Hudson, W. (Coll.) (1993). Pass it on: African American poetry for children. New York: Scholastic.
• Hughes, L. (1932/1994). The dream keeper and other poems. New York: Knopf.
• Hughes, L. (1994). Carol of the brown king. New York: Atheneum.
• Hughes, L. (1994). The sweet and sour animal book. Oxford: Oxford University Press.
• Hughes, L. (1995). The block: Poems. New York: Viking.
• Johnson, A. (1998). The other side: Shorter poems. New York: Orchard Books.
• Johnson, J. W. (1995, illustrations). Lift ev'ry voice and sing. New York: Scholastic.
• Little, L. J. (reissued, 2000). Children of long ago. New York: Lee and Low.
• Medearis, A. S. (1995). Skin deep and other teenage reflections. New York: Macmillan.
• Myers, W. D. (1993). Brown angels. New York: HarperCollins.
• Myers, W. D. (1995). Glorious angels. New York: HarperCollins.
• Myers, W. D. (2004). Here in Harlem. New York: Holiday House.
• Myers, W. D. (1998). Angel to Angel:A mothers gift of love. New York: HarperCollins.
• Myers, W. D. (1997). Harlem. New York: Scholastic.
• Newsome, E. L (1999). Wonders. Honesdale, PA: Boyds Mills Press.
• Okutoro, L. O. (1999). Quiet storm: Voices from young Black poets. New York: Hyperion.
• Ransome, J. (1994). The Creation. New York: Holiday House.
• Shine, D. S. (Coll.) (1991). Make a joyful sound: Poems for children by African American poets. New York: Checkerboard Press.
• Steptoe, J. (Coll.) (1997). In Daddy's arms I am tall: African Americans celebrating fathers. New York: Lee and Low.
• Strickland, D. (Coll.) (1982). Listen children: An anthology of Black literature. New York: Bantam.
• Strickland, D. and Strickland, M. (Colls.) (1994). Families: Poems celebrating African American experience. Honesdale, PA: Wordsong/Boyds Mills.
• Thomas, J. C. (1993). Brown honey in broomwheat tea. New York: HarperCollins.
• Thomas, J. C. (1995) Gingerbread days. New York: HarperCollins.
• Thomas, J. C. (1998). I have heard of a land. New York: HarperCollins.

Hispanic American poetry for children and young adults

Poems, songs, rhymes, and chants are also an important part of Hispanic American or Latino (Latina) children's literature. There are also more and more published collections of Hispanic poetry for children from which to share. Explore some of the books on the following list and choose a few favorites to read out loud. Gary Soto, for example, has several collections of poetry suitable for children and teens. One of my favorites is "My Teacher in the Market Place" by Gary Soto. This poem describes a child's surprise at encountering her teacher at the grocery store and not in the classroom!

This is a wonderful example of how women who have shaped the experiences, feelings, and psyches of their children and grandchildren are often subjects of Hispanic poetry (Athanases, S., Christiano, D., and Drexler, S. (1992). In addition, more and more Hispanic writers are becoming known each year with many Hispanic poets tackling powerful social themes (Higgins, 1995). Here is my kingdom edited by Charles Sullivan (1994) has many powerful examples of social commentary poetry.

There are also several bilingual collections of poetry available by Francisco Alarcon, Lori Carlson, Lulu Delacre, and Pat Mora. If you are a Spanish speaker or work with Spanish-speaking children, reading them aloud in both the Spanish and the English is interesting. One particular example, works as a poem for two voices. "Lemon tree" by Jennifer Clement and translated by Consuelo de Aerenlund is the title poem from a collection edited by Naomi Shihab Nye entitled, The tree is older than you are . An English speaker can read aloud the English version, followed by a Spanish speaker reading aloud the Spanish version. Then, both readers read their versions simultaneously, listening for each others end-line pauses. It is very moving to hear the poem read in this bilingual, two-voices format.

Hispanic American poetry for children and young adults:

• Ada, A. F. (1997). Gathering the sun. New York: Lothrop, Lee, and Shepard.
• Alma Flor Ada and F. Isabel Campoy. (2003). Pio Peep! Traditional Spanish Nursery Rhymes. New York: HarperCollins.
• Alarcon, F. (1997). Laughing tomatoes and other spring poems. San Francisco, CA: Childrens Book Press.
• Alarcon, F. (1998). From the bellybutton of the moon and other summer poems. San Francisco, CA: Childrens Book Press.
• Alarcon, F. (1999). Angels ride bikes and other fall poems. San Francisco, CA: Childrens Book Press.
• Carlson, L. (1994). Cool salsa. New York: Henry Holt.
• Carlson, L. M. (1998). Sol a sol. New York: Henry Holt.
• Castillo, A. (2000). My daughter, my son, the eagle, the dove: An Aztec chant. New York: Dutton.
• Delacre, L. (Coll.) (1992). Arroz con leche: Popular songs and rhymes from Latin America. New York: Scholastic.
• Delacre, L. (Coll.) (1992). Las navidades: Popular Christmas songs from Latin America. New York: Scholastic.
• Gonzalez, R. (Ed.) (1999). Touching the fire; Fifteen poets of todays Latino Renaissance. New York: Doubleday.
• Herrera, J. F. (1998). Laughing out loud, I fly: Poems in English in Spanish. New York: HarperCollins.
• Johnston, T. (1996). My Mexico~Mexico mio. New York: Penguin Putnam.
• Mora, P. (1996). Uno, dos, tres: One, two, three. New York: Clarion.
• Mora, P. (1998). This big sky. New York: Scholastic.
• Mora, P. (1999). Confetti: Poems for children. New York: Lee and Low.
• Mora. P. (1998). Delicious hullabaloo; Pachanga deliciosa. Houston, TX: Arte Publico.
• Nye, N. S. (1995). The tree is older than you are. New York: Simon and Schuster.
• Orozco, Jose-Luis. (2002). Diez Deditos: Ten Little Fingers & Other Play Rhymes and Action Songs from Latin America. New York: Penguin.
• Soto, G. (1990). A fire in my hands. New York: Scholastic.
• Soto, G. (1992). Neighborhood odes. San Diego, CA: Harcourt.
• Soto, G. (1995). Canto familiar. San Diego, CA: Harcourt Brace.
• Sullivan, C. (Coll.). (1994). Here is my kingdom. New York: Harry N. Abrams.

Asian American poetry for children and young adults

Although there are many lovely, ancient haiku rhymes from Japan to share with children, this form of poetry seems often "abused" by the expectation that children can simply fill in the 17 syllables and create a work of art on the spot. In addition, there are many other kinds of poetry represented in the works of Asian American poets besides haiku that seem to get neglected. Look for cinquain, tanka, sijo, rhymes, free verse, etc.

Asian and Asian American poets reflect a deep appreciation for nature in much of their poetry for young people. Other poems explore the tensions between the old ways and the new ways within families or on the old and new ways of womanhood. They also often highlight the differences in traditional and modern ways of doing domestic duties and chores (Athanases, 1992). Family traditions and beliefs are also the focus of many contemporary poems by Asian American writers. For example, Janet Wongs recent collection, Knock on Wood , for example looks at superstitions across cultures, including her own.

Asian American Poetry for Children and Young Adults :

• Demi (ad.) (1986). Dragon kites and dragonflies: A collection of Chinese nursery rhymes. San Diego, CA: Harcourt.
• Demi, and Tze-Si Huang (translator) (1994). In the eyes of the cat: Japanese poetry for all seasons. New York: Henry Holt.
• Gollub, M. (1998). Cool melons turn to frogs: The life and poems of Issa. New York: Lee and Low.
• Harter, P. (1994). Shadow play; night haiku. New York: Simon and Schuster.
• Ho, Minfong. (1996). Maples in the mist: Poems for children from the Tang Dynasty. New York: Lothrop, Lee, and Shepard.
• Janezcko, P. (Ed.) (2000). Stone bench in an empty park. New York: Orchard.
• Lewis, R. (1988). In the night still dark. New York: Atheneum.
• Mado, Michio. (1992). The Animals. New York: McElderry Books.
• Mado, Michio. (1998). The Magic Pocket. New York: McElderry Books.
• Navasky, B. (selected and translated). (1993). Festival in my heart: Poems by Japanese children. New York: H.N. Abrams.
• Shannon, G. (Ed.) (1996). Spring: A haiku story. New York: Greenwillow.
• Stubis, T. (1969). Dont tell the scarecrow: Poems by Issa, YaYu, Kikau. New York: Four Winds Press.
• Tran, N. (1998). Ta ve ta tam ao ta; To swim in our own pond. Fremont, CA: Shens Books.
• Wong, J. (1994). Good luck gold. New York: Simon and Schuster.
• Wong,J. (1996). A suitcase of seaweed. New York: Simon and Schuster.
• Wong, J. (2003). Knock on wood: Poems about superstitions. New York: Simon & Schuster.
• Wong, J. S. (2000). Night garden: Poems from the world of dreams. Illus. J. Paschkis. New York: Margaret K. McElderry Books.
• Wyndham, R. (Ed.). (reissue, 1998). Chinese Mother Goose rhymes. New York: Paper Star.
• Yep, L. (ed.) (1993) American Dragons: Twenty-five Asian American voices. New York: HarperCollins.

Native American poetry for children and young adults

In many Native American cultures, the rituals and traditions, stories and songs of everyday life are expressed poetically. For example, "In the Inuit language, the word for 'poetry' is the same word as the one meaning 'to breathe'" (Hirschfelder, 1986, 140). Others have claimed that poetry has two roles, the continuation of the oral narrative and as a non-indigenous art form (Higgins, 1995, 154) and may be presented as translations filtered through a non-native perspective (Breslin, 1995, 345). In addition, some poems/songs are personal and private within a cultural tradition and not intended for a public audience. Others can be shared chorally in a variety of ways that invite audience participation. Encourage children to decide how a poem might best be read aloud: by one lone voice, by a call-and-response chorus, by small groups of voices, or perhaps accompanied with a drum or flute. (Challenge young people to research how particular poems might actually be presented within their Native communities. Which poems might authentically be put to music? For example, the flute often accompanies love poems.) Native poetry can include a variety of poetic forms including: rhymes, free verse, chants, charms, prayers, blessings, lullabies, warnings, eulogies, wishes, prophecies, healings, war chants, songs, night songs, medicine songs, mother/child poems, and more (Kloppenburg, 1996, 150). Many contemporary Native American poets consider their poetry a continuation of the oral/narrative tradition of their people and heritage (Higgins, 1995). This can be seen in many Native American poems about the weather, the gods, historical events, etc. (Arant, 1993). Joseph Bruchac, for example, has published several poem collections that capture elements of land, animals, and nature such as The earth under sky bears feet and Thirteen moons on turtles back . Bruchac often performs these poems aloud to the beat of a druma powerful auditory experience.

Native American poetry for children and young adults:

• _______. (1999). When the rain sings: Poems by young Native Americans. New York: Simon and Schuster.
• Alexie, S. (1993). Old shirts & new skins. Los Angeles, CA: University of California Press.
• Amon, A. (1981) The earth is sore: Native Americans on nature. New York: Atheneum.
• Begay, S. (1995) Navajo; visions and voices across the mesa. New York: Scholastic.
• Bierhorst, J. (Coll.) (1994). On the road of stars; Native American night poems and sleep charms. New York: Macmillan.
• Bierhorst, J. (Coll.) (1998) In the trail of the wind. New York: Farrar, Straus, and Giroux.
• Bruchac, J. (1992) Thirteen moons on turtle's back. New York: Putnam.
• Bruchac, J. (1995) The earth under sky bear's feet: Native American poems of the land. New York: Philomel.
• Bruchac, J. (1996) Between earth and sky. San Diego, CA: Harcourt Brace.
• Bruchac, J. (1996) Four ancestors: Stories, songs, and poems from Native North America. New York: BridgeWater Books.
• Clymer, T. (1975). Four corners of the sky. New York: Little, Brown & Co.
• Field, E. (1998). Magic words. San Diego, CA: Gulliver Books/Harcourt Brace.
• Hirschfelder, A. and Singer, B. (Eds.) (1992). Rising voices: Writings of young Native Americans. New York: Scribners.
• Jones, H. (Coll.) (1971) The tree stands shining: Poetry of the North American Indian. New York: Dial.
• Lewis, R. (Coll.) (1971). I breathe a new song: Poems of the Eskimo. New York: Simon and Schuster.
• Philip, N. (Coll.) (1996) Earth always endures. New York: Viking.
• Philip, N. (Coll.) (1997). In a sacred manner I live: Native American wisdom. New York: Clarion.
• Sneve, V. D. H. (Coll.) (1989). Dancing teepees: Poems of American Indian Youth. New York: Holiday House.
• Swamp, C. J. (1995). Giving thanks; A Native American good morning message. New York: Lee and Low.
• Swann, B. (1998). Touching the distance: Native American riddle-poems. San Diego, CA: Browndeer Press/Harcourt Brace.
• Wood, N. (1993). Spirit walker. New York: Doubleday.
• Wood, N. (1998). Sacred fire. New York: Doubleday.

International poetry for children and young adults

Children around the world enjoy poetry. More and more international poets are now being published in the U.S. and even translated into English. Remember, however, that poems which may have rhymed in German, for example, may no longer rhyme in the translated English version. Thus, translated poems may not be as rhythmic and musical as the rhyming, English poems children are used to. Several collections of poems from the Caribbean are available such as A Caribbean dozen (1994), as well as anthologies gathered by Naomi Shihab Nye which include English translations of poems from around the world, such as This same sky (1992).

International poetry for children and young adults:

• Agard, J. and Nichols, G. (Colls.) (1994). A Caribbean dozen: Poems from Caribbean poets. Cambridge, MA: Candlewick.
• Agard, J. and Nichols, G. (1995). No hickory, no dickory, no dock: Caribbean nursery rhymes. Cambridge, MA: Candlewick Press.
• Benjamin, F. (Coll.) (1995). Skip across the ocean: Nursery rhymes from around the world. New York: Orchard.
• Gunning, M. (1993). Not a copper penny in me house. Honesdale, PA: Wordsong/Boyds Mills Press.
• Gunning, M. (1998). Under the breadfruit tree: Island poems. Honesdale, PA: Wordsong/Boyds Mills Press.
• Hallworth, G. (Coll.) (1996). Down by the river: Afro-Caribbean rhymes, games, and songs for children. New York: Cartwheel.
• Joseph, L. (1990). Coconut kind of day: Island poems. New York: Lothrop, Lee, and Shepard.
• Koch, K. and Farrell, K. (Colls.) (1985). Talking to the sun. New York: Henry Holt.
• Lee, D. (reissue, 1999). The ice cream store. New York: HarperCollins.
• Nichols, G. (1997). Asana and the animals. Cambridge, MA: Candlewick.
• Nye, N. S. (Coll.) (1998). The space between our footsteps: Poems and paintings from the Middle East. New York: Simon and Schuster.
• Nye, N. S. (Coll.) (1992). This same sky: A collection of poems from around the world. New York: Simon and Schuster.
• Olaleye, I. (1995). The distant talking drum: Poems from Nigeria. Honesdale, PA: Wordsong.
• Pomerantz, C. (Coll.) (1993). If I had a paka: Poems in 11 languages. New York: Greenwillow.
• Rosen, M. (Coll.) (1992). Itsy-bitsy beasties: poems from around the world. St. Paul, MN: Carolrhoda.
• Swann, B. (Coll.) (1998). The house with no door: African riddle-poems. San Diego, CA: Harcourt Brace.

From an academic perspective, the study of multicultural poetry "promotes recognition, understanding, and acceptance of cultural diversity and individual uniqueness with an emphasis on intergroup understanding and human relations" (Bieger, 1995). "Lift evry voice and sing," is the call of the African American national anthem; an invitation for all to participate in the music of poetry and in the quest for freedom. From a pedagogical persective, multicultural poetry can serve as an important and powerful tool for teaching children about language, literature, and culture. Multicultural poetry, much like all forms of literature, is written as an individual reaction to personal, social, economic, and environmental conditions (Higgins, 1995). It reflects a distinct point of view, as well as specific time and place. And, from a personal perspective, multicultural poetry offers each of us the opportunity to connect: to connect to the poem, to connect with the poet, and to connect with each other as readers through the filter of the poem. As poet and anthologist Naomi Shihab Nye has said, "We have no borders when we read" (1995, np).

Works Cited

Arant, T.J. (1993). Varieties of "Grace": A Native American poem. English Journal, 82(5), 99-103.

Athanases, S., Christiano, D., and Drexler, S. (1992). Family gumbo: Urban students respond to contemporary poets of color. English Journal, 81(5), 45-54.

Bieger, E.M. (1995). Promoting multicultural education through a literature-based approach. The Reading Teacher, 49(4), 308-312.

Breslin, P. (1995). Their nineteenth century - and ours - American poetry: The nineteenth century edited by John Hollander. Poetry, 165(6), 340-346.

Higgins, A.C. (1995). Reviews - The Columbia history of American poetry edited by Jay Parini. Melus, 20(3), 154-156.

Hirschfelder, A. (1986) Happily may I walk: American Indians and Alaskan Natives today. New York: Scribner's.

Kloppenburg, M.R. (1996). Reading the voice: Native American poetry on the page. Journal of American Culture, 19(2), 150-151.

Major, C. (1996). Crossing a sea of black poetry. American Visions, 11(4), 30-35.

Nye, N. S. (1995). The tree is older than you are. New York: Simon and Schuster.

Sylvia M. Vardell, Ph.D., is Professor, Texas Woman's University, School of Library & Information Studies.

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