Cirrus@Austlit

Hawthorne updates the information she provided in Five Bells, Winter 2004 on Elaine Pearce.

Wynne argues that for poetry to be regularly included in senior secondary English curricula it needs to be readily and reliably accessible. He believes new technologies may foster accessibility and provides some examples of how this might work.

Hatherly writes of her experience of 'teaching modern poetry at university level, and teaching people to write poetry in the less formal environment of community centres.'

Page recounts his strategies in teaching poetry to Year 11 and 12 students at Narrabundah College, Australian Capital Territory over a nearly 30 year period.

Jessica Chang reviews her experience of studying poetry as part of the 4-unit Advanced English programme for the New South Wales Higher School Certificate in 2002.

Pretty believes that strategies need to be developed to 're-establish the place of poetry in education. Among the things that are needed, clearly, are in-service courses for teachers, a much greater presence of poets at educational conferences, perhaps even a conference or two devoted specifically to this issue.'

Michelle Taylor relates her experiences of taking poetry into schools across the primary and secondary school spectrum. As a poet who wants to encourage a love of poetry in young people, she is particularly excited by the British 'Writing Together' poetry initiative.

Emery examines the teaching of poetry in schools with particular reference to the New South Wales Higher School Certificate. In order to advance the appreciation of poetry, Emery suggests 'if we [poets] can work in collaboration with teachers to make their task easier rather than impose another imperative on them, perhaps we can make a future generation as comfortable with a book of poems as they are with a newspaper or football.'

In considering the different reading skills required for poetry Langford provides some notes 'intended as suggestions to help teachers enable their students to think about what is happening when they are first confronted with the more difficult poetry which they encounter for the first time in years nine or ten.' In conclusion, Langford believes that 'What is essential is that the students come to believe that the poem has some meaning for them. After all, if poetry is to have a future, the only possible place in which that can occur is in the hearts and minds of a readership.'

Gillespie considers methods of engaging both teachers and students with the process of studying poetry.