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Medieval children lived in a world rich in poetry, from lullabies, nursery rhymes, and songs to riddles, tongue twisters, and nonsensical verses. They read or listened to stories in verse: ballads of Robin Hood, romances, and comic tales. Poems were composed to teach them how to behave, eat at meals, hunt game, and even learn Latin and French. InFleas, Flies, and Friars, Nicholas Orme, an expert on childhood in the Middle Ages, has gathered a wide variety of children's verse that circulated in England beginning in the 1400s, providing a way for modern readers of all ages to experience the medieval world through the eyes of its children. In his delightful treasury of medieval children's verse, Orme does a masterful job of recovering a lively and largely unknown tradition, preserving the playfulness of the originals while clearly explaining their meaning, significance, or context. Poems written in Latin or French have been translated into English, and Middle English has been modernized.Fleas, Flies, and Friarshas five parts. The first two contain short lyrical pieces and fragments, together with excerpts from essays in verse that address childhood or were written for children. The third part presents poems for young people about behavior. The fourth contains three long stories and the fifth brings together verse relating to education and school life.

To do that, Pam brings into the equation her metrically sensitive ears and obviously deep repertoire of knowledge of poetic histories and traditions in both standard English and Caribbean Creole without ever allowing her fully adult authority and experience to intrude or overwhelm the poetic encounter. (5) Then the tiger, singing \"under his breath, so that the little goat could only hear the hum of the tune,\" responds, \"They will find you in my pot, / With sauce and seasonings, / Good and hot\" (7). Children lucky enough to be steeped in the idioms, rhythms, and cultures of their own communities experience what Nobel Laureate Seamus Heaney once described as the \"verbal music\" of his own Irish childhood, something that contributed, as he said, to \"bedding [his] ear with a kind of linguistic hardcore that could be built on some day\" (Heaney 45).1 That \"verbal music\" is what Miss Lou and other inheritors of her poetic tradition, including Pam, Mervyn Morris, Olive Senior, Lorna Goodison, James Berry, Valerie Bloom, and other celebrated Jamaican poets, continue to communicate. Let me say here that I am grateful to Pam for lending me many of the books of poems I could not get my hands on, despite combing libraries, rare and used booksellers, and the Internet.

A children's poem is presented.

In the 1920s, colonial Korean children had different opportunities and materials to sing. Newly established missionary schools adapted hymns for children, and the colonial schools run by the Japanese regime considered song time to be essential to children's emotional and intellectual development. It is from this diverse ecology of musical offerings that original Korean sung poems, or tongyo, emerged. Tongyo were short poems written by often prominent writers that were then set to music by Korean composers, many of whom studied Western music in Japan. Tongyo composers wrote works that, unlike Christian hymns (ch'ansongga) and Japanese school songs (changga), were written in the Korean language and were intended for Korean voices but were structured by what was then novel Western musical conventions. Through an analysis of tongyo by two seminal figures, Yun Kugyong and Chong Sunch'ol, this paper illuminates the musical grammar by which Yun and Chong re-oriented the sensibilities of their young singers. This comparison reveals the challenges of fitting western tonalities to the Korean language, thereby questioning the prevalent assumption that tongyo were national forms whose value hinges on their effortless communication of authentic Korea emotions. Keywords: Tongyo, sung poems, Korean songs, children's poetry, children's music, colonial period, Western music, Chong Sunch'ol, Yun Kugyong

The connection between childhood and poetry runs deep. And yet, poetry written for children has been neglected by criticism and resists prevailing theories of children’s literature. Drawing on Walter Ong’s theory of orality and on Iain McGilChrist’s work on brain function, this book develops a new theoretical framework for the study of children’s poetry. From Tongue to Text argues that the poem is a multimodal form that exists in the borderlands between the world of experience and the world of language and between orality and literacy – places that children themselves inhabit. Engaging with a wide range of poetry from nursery rhymes and Christina Rossetti to Michael Rosen and Carol Ann Duffy, Debbie Pullinger demonstrates how these ‘tactful’ works are shaped by the dynamics of orality and textuality.

Veronica Porumbacu (1921-1977) was a Romanian poet and translator who has been unjustly forgotten today due to her proletcultist poems of the 1950s. Yet her work was widely published and well-known during the socialist regime, and is especially relevant for the two decades of growth and ideological innovation of the 1960s and 1970s. In my article I analyze a remarkable volume of hers published in 1966, situating it in the context of her work and in the wider frame of the political context of Romania. I argue that Return from Cythera can be considered a conceptual manifesto of socialist feminism, relying on reflexive eroticism, embodied thought, and historical consciousness to challenge the surrounding patriarchal order and to claim the necessity of developing a different cultural genealogy, centered on the standpoint and experiences of women.

Georgia Heard is well known for creating the Heart Map, but she is also a wife, mother, poet, writer, speaker, and educational consultant. Georgia is the recipient of the 2023 NCTE Excellence in Poetry for Children Award. As a poetry student at Columbia University, Georgia met Lucy Calkins and joined the Teachers College Writing Project as a teacher of writing. When Heard was working with a fourth-grade class one day, the students had many heartfelt writing ideas, but she noticed when they wrote poetry, it contained overused rhymes such as \"roses are red, violets are blue.\" To help students feel the emotions of poetry and connect with personally relevant poetry topics, she drew a large heart on a piece of chart paper. Coming from a family of cartographers, she thought that having poetry writers look deeply into their hearts might help.

[...]I design my courses to immediately acknowledge this need. In the \"special populations\" awards, I place such accolades as the Green Earth Book Award, which focuses on environmental stewardship (The Nature Generation, 2025), the Jane Addams Children's Book Award, which awards books that advance the causes of peace and social equality (Jane Addams Peace Association, 2025), the NCTE Award for Excellence in Poetry for Children, which only considers texts in poetic form (National Council of Teachers of English, 2025), and the Schneider Family Book Awards, whose winners embody excellence in portraying the disability experience (American Library Association, 2025). First called the Shirley Kravitz Children's Book Award, the death of Taylor heralded the award's name change in 1978. Ultimately, for many adults who regularly interact with children, diverse representation does not include religion; in fact, I think that, for most of these adults, religion doesn't even cross their minds until prompted. l argue that, more than ever, there is a need for CYAL book awards that celebrate the diversity of the human experience in all facets, including religion.