Backing into Ekphrasis

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> POETRY

Honor Moorman

Backing into Ekphrasis:
Reading and Writing Poetry
about Visual Art

Teacher Honor Moorman explains an extended poetry lesson that connects art and poetry. Students
perform published poems written in response or reaction to paintings as preparation for their visit
to an art museum, where they emulate the professional poets in writing original poems about art.
Sample poems show the effectiveness of this idea.

There is no picture and no poem unless you yourself enter it and fill it out.
—Jacob Bronowski

W hat do John Keats, W. H. Auden,
Anne Sexton, and my ninth-grade stu-
dents have in common? They have all
written ekphrastic poetry. Ekphrastic
poetry, or poetry inspired by visual art, has a well-estab-
lished history dating back to Homer’s description of
the Shield of Achilles in The Iliad. Its popularity in the
Poetry Inspired by Art

I can trace the idea for this lesson to a pivotal expe-
rience at the age of sixteen. I was lost in the Louvre
when I turned a corner and found myself standing in
front of the Venus de Milo. I was familiar with this
famous statue by reputation, but when I saw her
Romantic period was marked by Keats’s quintessential armless form with my own eyes, I suddenly felt
“Ode on a Grecian Urn.” Twentieth-century examples overwhelmed by a sense of interconnectedness, a
include Auden’s “Musée des Beaux Arts” inspired by notion that I now shared something intimate with
Pieter Breughel the Elder’s Landscape with the Fall of every person before and after me who had or would
Icarus and Sexton’s “The Starry gaze upon this beautiful marble figure. Although I
The more I immersed Night” inspired by Vincent didn’t realize it at the time, that feeling was the
myself in art and Van Gogh’s painting of the inspiration for an ekphrastic poem yet to be written.
same name (DiYanni 587, 584; When I introduced the idea of writing poetry
poetry, the more I valued
“Ecphrasis”). about art to students twelve years later, I had just
their role in my life and However, I wasn’t think- moved into a neighborhood within walking dis-
the more important I ing of this literary tradition tance of a local art museum, and I had begun taking
felt it was to give when I introduced the idea of poetry-writing classes at a community literary arts
students opportunities writing poetry about art to center. The more I immersed myself in art and
for personally meaningful my students. I didn’t even dis- poetry, the more I valued their role in my life and
cover the term ekphrasis until a the more important I felt it was to give students
experiences with
few years later. My inspiration opportunities for personally meaningful experi-
poetic language and
for this lesson simply came ences with poetic language and aesthetic images.
aesthetic images. from my passion for art and I had also become increasingly aware of the
poetry and my interest in how similarities between the visual and the verbal arts.
various art forms inspire one another. The assign- William Blake said that poetry and art are “ways to
ment’s popularity and the poems that students converse with paradise” (Farrell 6). In the Phaedrus,
write have encouraged me to reuse and refine it. Plato observes that when paintings and poems are

46 English Journal Vol. 96, No. 1 September 2006

Copyright © 2006 by the National Council of Teachers of English. All rights reserved.


Honor Moorman

put together, they “seem to talk to you as if they I wrote questions designed to guide the students in
were intelligent” (qtd. in Foster and Prevallet xv). analyzing their poems.
Indeed, both poetry and art speak to our imagina-
tions through the power of images. Georgia Heard Ekphrastic Examples
calls language “the poet’s paint” (65), and many I decided that the most efficient way to expose stu-
other writers and artists have commented on the dents to a wide variety of ekphrastic poetry would
parallels between these two modes of expression. be to have pairs focus on one poem and then share
I decided to take students on a field trip to their poems in a collective performance. I also
the museum where I hoped they would find inspi- wanted to help them develop confidence reading
ration for a poetry-writing activity. But I didn’t poetry aloud as a step toward sharing their poetry
want them to interpret this assignment too liter- with their peers later. And I agree with Fredric
ally or feel as if they were simply being asked to Lown and Judith W. Steinbergh, who write, “Poetry
give a concrete description of a work of art. I real- is the music of our language and can be appreciated
ized that they would be more likely to think more fully when it is both heard and read” (xi).
divergently about the assignment if they could On the day of the lesson, I asked students to
read poems about art that represented the wide pair up with a partner of their choice. This pro-
range of approaches that were possible. In Word- vided a level of comfort that helped students feel
playgrounds: Reading, Writing, and Performing Poetry more secure to engage in the risk-taking I would be
in the English Classroom, John S. O’Connor recom- asking them to do in the activity. I explained that
mends providing a variety of poetic formats for at the end of the ninety-minute class period they
students to consider because “[o]ffering diverse would be creating a poetry performance by reading
models suggests a greater number of possibilities aloud poems that were inspired by works of art, but
to students . . . and eliminates the notion that first each pair of students would become “experts”
there is somehow a ‘right answer,’ a model to be on a given poem. I would show them the paintings
followed exactly” (5). that inspired their poems, and for the performance
I was delighted to discover several excellent they would read the poems aloud using the paint-
resources. The first was a Web site entitled “The ings as visual aids.
Poet Speaks of Art.” This site, created by Harry Next, I handed out the poetry-analysis guide-
Rusche for his Introduction to Poetry class at lines (see fig. 2). The ten steps on the “Analyzing a
Emory University, includes forty-five examples of Poem Written about a Work of Art” handout
ekphrastic poetry along with their corresponding helped guide the students through a close reading
paintings. Another resource was Heart to Heart: New of their poems. While the students worked
Poems Inspired by Twentieth-Century American Art together in pairs, I was able to monitor and support
edited by Jan Greenberg, a collection of forty-four their work individually or in small groups. I also
poems and the works of art that inspired them. In encouraged them to discuss ideas with their part-
addition, Robert DiYanni’s Literature: Reading Fic- ners as they read through the poem several times,
tion, Poetry, Drama, and the Essay and Literature for looked up unfamiliar words, annotated, summa-
Composition: Essays, Fiction, Poetry, and Drama edited rized, and sketched what they imagined the art-
by Sylvan Barnet et al. each contain twelve poems work would look like.
inspired by paintings. When I projected the paintings, the students
With so many poems about art to choose were proud that they could immediately identify
from, I selected those that were most accessible and their paintings. Studying the images gave the stu-
appropriate for ninth graders. Since I was planning dents more insight into their poems. Timothy Cage
to have students work in pairs and my largest class and Lawrence Rosenfield note similar results in their
had twenty-eight students, I chose fourteen poems analysis of students’ reactions to ekphrastic poetry:
and located images of the various paintings that “When the relationships between the poems and
had inspired them (see fig. 1). I typed and printed paintings are acknowledged, students’ emotional
the poems (two copies of each poem per class and intellectual engagement with the texts is
period) and created a slideshow of the images. Then extended to new dimensions; the poem encompasses

English Journal 47


Backing into Ekphrasis: Reading and Writing Poetry about Visual Art

FIGURE 1. Poems Inspired by Paintings

Poem Painting Approach

“The Street,” Stephen Dobyns The Street, Balthus Describing the scene itself

“The Poppy of Georgia O’Keeffe,” Poppy, Georgia O’Keeffe Relating the image in the painting
Janine Pommy Vega to something else

“The Great Figure,” Figure Five in Gold, Expressing an awareness of him-
William Carlos Williams Charles Henry Demuth or herself observing the painting

“The Corn Harvest,” The Harvesters, Pieter Brueghel Describing how the subject is organized
William Carlos Williams or presented by the artist

“Paul Delvaux: The Village of The Village of the Mermaids, Trying to figure out what the painting
the Mermaids,” Lisel Mueller Paul Delvaux is about

“Edward Hopper and the House House by the Railroad, Exploring the relationship between the
by the Railroad,” Edward Hirsch Edward Hopper artist and the subject of the painting

“Van Gogh’s Bed,” Jane Flanders Vincent’s Bed in Arles, Assuming the reader’s familiarity
Vincent van Gogh with the image

“Before the Mirror,” John Updike Girl Before a Mirror, Pablo Picasso Discussing the history of the painting

“Girls on the Bridge,” Derek Mahon Girls on the Jetty, Edvard Munch Imagining a story behind the scene
depicted in the painting

“American Gothic,” John Stone American Gothic, Grant Wood Imagining what was happening
while the portrait sitters posed for
the painting

“Red Hills and Bones,” Red Hills and Bones, Speaking to the artist
Laura Kasischke Georgia O’Keeffe

“Peasant Wedding,” The Wedding Banquet, Speaking to the subject of the painting
William Carlos Williams Pieter Brueghel

“Mourning Picture,” Adrienne Rich Mourning Picture, Edwin Speaking as the voice of a character
Romanzo Elmer from the painting

“It’s Me!” David Harrison Marilyn Diptych, Andy Warhol Speaking as the voice of multiple
characters from the painting

The pairings of poems and paintings are taken from Barnet et al.; Greenberg; and Rusche’s Web site, “The Poet Speaks of Art.” The approach
column is my original work.

more and there is more to respond to simply because class period, we were able to prepare and perform
another art form is integrated into the literary text” on the same day. With a shorter class period, stu-
(qtd. in Milner and Milner 162–63). dents might need to practice one day and present
When the students presented their poems, I the next.
wanted to emphasize that each poet had taken a dif-
ferent approach to the idea of writing about a paint-
The Museum as Muse
ing. My point was to help students realize that they
would have a variety of approaches to choose from After reading and sharing examples of ekphrastic
when they wrote a poem about a work of art at the poetry, the students were ready to write their own.
museum. I acted as an emcee, giving a brief intro- Our field trip to the local art museum began with a
duction to each poem and drawing attention to the docent-led tour to give the students an overview of
approach each poet had taken in writing about a the works on display. Then, students chose one
work of art (see fig. 1). Note: In a ninety-minute work of art to focus on for their creative writing

48 September 2006


Honor Moorman

FIGURE 2. Analyzing a Poem Written about a Work of Art

1. Read your poem slowly and carefully all the way through without stopping. Write some words or phrases below
to capture what you think this poem might be about. What questions do you have about this poem?

2. Read the poem again—aloud this time. What did you notice or discover on the second reading?

3. Now read the poem with your pen or pencil in hand. Annotate as you read: underline, highlight, make notes in
the margins, use symbols, and so forth.

4. Identify at least two words in the poem that you need to check for meaning or pronunciation. Look them up in
the dictionary. List the words and their definitions below.

5. On the right-hand side of your poem handout, paraphrase the poem, stanza by stanza.

6. Imagine what the painting described in the poem might look like. Sketch your ideas on the back of this sheet.

7. Write a one-sentence summary of the essence of your poem.

8. Prepare to read your poem to the class. Pay attention to sentence structure and punctuation, as well as line
breaks, stanza breaks, and the layout of the words on the page. Decide how you will share the reading with your
partner. Practice reading aloud with clarity and expression.

9. When you are ready to perform, watch the slideshow of art images and identify the painting that inspired
your poem.

10. Perform your poem for the class. Have fun and remember to be a good audience member!

assignment (see fig. 3). Like the models we studied Pamela’s poem adopts the voice of the water lilies
in class, the students’ response poems represented a themselves:
variety of approaches to ekphrasis. For example,
Abby and Pamela were both inspired by Claude Water Lilies
Monet’s Nympheas (Water Lilies). Abby’s poem Hey you,
speaks to the artist in a spectator’s voice: The one with the beret.
Nympheas Are we as you expect?
Are we delicate?
Mr. Monet, Do we dance and sway to your taste?
I wish to fall lightly Are we your next masterpiece?
into the world of serene bliss Do our murky waters reflect anything?
you created. Do our colors entrance you?
The lilies sing to me a brilliant tune Do we make you happy?
as their luminous colors burst Will we fulfill your dream?
from the murky water. Can we, simple water lilies, inspire such
a great man like you?
Deep under the surface of your lilac
Do we leave an impression?
lily flowers, a mystery of aqua blue secrets
awaits you. I long to drift in
and disappear. Ryan captured his encounter with a sculpture
in the courtyard, Barbara Hepworth’s Cantate Domino:
I wish to be a lily flower
who rests there night and day. Cantate Domino by Barbara Hepworth
To bask in the sun and
A rush of peace and serenity . . .
sleep in the dark, and
turning my tired legs
just float there to stay.
I see beauty galore
Forever and always with the Nympheas. staring me down.

English Journal 49



As I sit, it challenges me. Class discussion about the correspondence
Minutes draw by as I face between art and poetry gave us an enriched vocabu-
its growing weeds. lary for discussing reading and writing for the rest
of the year. Like Mary Bellucci Buckelew, who tried
The cold turns me away
a similar lesson with her students, I found that
as I know I must.
“[o]ur foray into the world of art provided us with a
My time ends, but
clear language with which to talk about our read-
the steel lives on.
ing and writing, allowing students to make impor-
After the field trip, students could revise their tant and deep connections regarding the different
poems before sharing them with their peers. Most mediums, demonstrating their ability to ‘read’
students were eager to share, efferently and aesthetically” (51).
Class discussion about and they enjoyed listening to
the correspondence each other’s poems and guess- The Power of Ekphrastic Poetry
between art and poetry ing which work of art had This lesson appealed to the students’ multiple intel-
inspired them. As an exten- ligences and diverse learning styles and gave them
gave us an enriched
sion of our experiences, I opportunities to engage in higher-order thinking
vocabulary for discussing
asked the students to partici- through analysis, synthesis, and evaluation. In the
reading and writing for pate in a small-group discus- pre–field trip lesson, they practiced comprehension
the rest of the year. sion about the similarities strategies such as questioning, rereading, annota-
between the visual and verbal tion, word study, visualizing, summarizing, and
arts. The lists they brainstormed looked like the reading with fluency. At the museum, they engaged
chart from Karen Eichler’s lesson, “Creative Com- in close reading, analysis, interpretation, and descrip-
munication Frames: Discovering Similarities tive as well as imaginative writing.
between Writing and Art” (see fig. 4). Writing and the visual arts are ways of engag-
ing with the world, ways of knowing. In the words
of Mary Ehrenworth, “When we ask children to
write through their engagement with the visual
arts, we ask them both to make sense of what they
see and to make meaning on the page” (7). Calling
students’ attention to the work of an artist seemed
to put them in tune with the intentionality of the
creative process.
I also found that introducing ekphrastic
poetry to students helped them become more
observant in their reading and writing and in their
study of visual images. In Bring Life into Learning:
Create a Lasting Legacy, Donald H. Graves reflects
on the nature of “artful thinking,” the fact that
“painters, composers, writers, and scientists have
much in common. They feast on details” (58). Rec-
ognizing that students need to “see what they are
reading” to “incorporate visual details in their own
writing” (Holbrook 39, 40), I often encourage stu-
dents to sketch the images evoked by a literary text
or draw their ideas before they begin writing.
Studying the specific links between visual and ver-
bal expression found in ekphrastic poetry gave stu-
Ryan studying Barbara Hepworth’s sculpture. Photograph by Honor dents an even deeper understanding of the power of
Moorman. Sculpture © Bowness, Hepworth Estate. details to create an image in the mind.

50 September 2006


Honor Moorman

FIGURE 3. Museum Field Trip: Poetry-Writing Assignment

Now that you have toured the museum, please choose ONE work of art that you would like to write about and spend
the next 30–40 minutes focusing on that work of art.

1. Record the following information about the work of art you have chosen:

Title _______________________________________________________ Date ________________________________

Artist ______________________________________________________ Medium _____________________________

2. Write a sentence or two about why you chose this work of art, how it makes you feel, and/or what it makes you
think about.

3. Next, write a detailed description of the work of art. Be specific enough so that someone else could clearly imagine
the work of art in his or her mind after reading your description. Be sure to include words that indicate size, shape,
color, light/shade, objects, figures, positions, and so on.

4. Finally, write a poem in response to your work of art. If you need inspiration, look back at your answers above.
Also, remember there are many different ways to go about this.
Here are some of the approaches that were used in the poems from our class activity:

> Write about the scene or subject being depicted in the artwork.
> Relate the work of art to something else it makes you think of.
> Write about the experience of looking at the art.
> Describe how the artwork is organized or presented.
> Speculate about how or why the artist created this work.
> Imagine a story behind what you see presented in the work of art.
> Imagine what was happening while the artist was creating this work.
> Speak to the artist or the subject(s) of the painting, using your own voice.
> Write in the voice of the artist.
> Write in the voice of a person or object depicted in the artwork.

The ekphrastic poetry lesson has become a sta- Words: From Image to Detailed Narrative” guides
ple of my teaching repertoire, and I have since discov- students through the writing of a detailed narrative
ered that other teachers and students are engaged in in response to a visual image that tells a story. Joseph
similar lessons. In “Art in the Literature Class,” Eliza- I. Tsujimoto suggests having
beth B. Cussler describes taking her American litera- students write a “visual Calling students’
ture students to the museum where they wrote response poem” in which they attention to the work of
poems, letters, interior monologues, or short narra- respond to paintings and pho- an artist seemed to put
tives in response to specific works of their choice (28). tographs displayed around the
Traci Gardner’s “A Picture’s Worth a Thousand them in tune with the
classroom (62–63). Brenda
Loreman’s “Responding to intentionality of the
Paintings with Poetry” also creative process.
FIGURE 4. Similarities between Visual and Verbal
recommends setting up an art
Arts (Eichler, instruction 5)
gallery in the classroom. Once students have selected
Author’s Word Choice Artist’s Brushstrokes, the piece that inspires them, Loreman offers thought-
Color, and Medium provoking questions for students to answer before
Author’s Point of View Artist’s Perspective drafting their poems.
Gerrit W. Bleeker and Barbara Bleeker and
Author’s Purpose Artist’s Purpose
Marilyn J. Hollman describe using art reproductions
Author’s Main Idea Artist’s Subject in books to introduce ekphrastic poetry to students.
Author’s Setting— Artist’s Period, Time, Place Bleeker and Bleeker share Jan Greenberg’s Heart to
Time, Place Heart: New Poems Inspired by Twentieth-Century

English Journal 51



American Art and Belinda Rochelle’s Words with When students are free to choose the work of art
Wings: A Treasury of African-American Poetry and Art that speaks to them, they will more easily find the
with middle school students and then have them words to express that resonance. In the words of
create their own works of art. Each student writes Gabriele Lusser Rico, “In making connections, stu-
an accompanying poem from one of the four dents begin to re-cognize—to know again—that
response categories identified by Greenberg: “sto- their own active imaginations enrich their learning,
ries,” “voices,” “impressions,” or “expressions” give breadth to their writing and thinking, and let
(45–46). Hollman and Albert B. Somers recom- them experience that they are the creators of con-
mend introducing ekphrastic poetry by first show- text” (22; italics in original).
ing students the artwork—asking them to describe, A few months after I introduced students to
analyze, interpret, and evaluate it—and then invit- this lesson idea, I went to an exhibition of works
ing them to compare their responses to the poet’s from the Museum of Modern Art. Edging through
response (25–26; 172). This might be especially the crowd to get a look at The Starry Night, I flashed
interesting when looking at more than one poem back to the epiphany I had experienced when I first
written about the same work of art. For example, encountered the Venus de Milo. That night I, like
there are at least six poems inspired by Pieter countless others—including Anne Sexton, Robert
Brueghel’s Landscape with the Fall of Icarus: Fagles, and Don McLean (DiYanni 584–85; Somers
171)—wrote a poem inspired by my experience
Dannie Abse, “Brueghel in Naples” with Van Gogh’s famous painting:
W. H. Auden, “Musée des Beaux Arts”
Staring at the Night
Edward Field, “Icarus”
Perhaps
Michael Hamburger, “Lines on Brueghel’s he too
Icarus” once stood
Joseph Langland, “Fall of Icarus: Brueghel” just here
head tilted
William Carlos Williams, “Landscape with eyes licking
the Fall of Icarus” (Milner and Milner 162)
the orangey
crescent moon
Whether you take students to the museum,
exploding stars
create an art gallery in your classroom, or invite
flaming cypress
students to visit one of the many virtual museums
swirling silver sky
available on the Internet, an essential component of
this experience is giving students a choice about his imagination
which work of art they will respond to and which suspended
approach they will take. Hollman explains: in the silent city
beneath quaking
The art itself accounts for a lot. First, the writer’s
choices are generally powerful “stuff,” and they black mountains
choose it . . . . In these paintings, sculptures, or secret recesses
photographs, they encounter a piece of the world of a tender
already shaped. Order has been imposed, details growing night
chosen; the undifferentiated landscapes of the
Van Gogh
world in which we see and feel have been partic-
whispering
ularized, composed, if you will. This frees the
writer to confront the feeling, to enter the land- to his soul
scape, to concentrate on language to respond to with furious
or describe that world. The art . . . seem[s] to brushstrokes
model a way of seeing, or organizing, experience as I cannot
so it can break out again in the poems. (27; ital- with this
ics in original) trickle

52 September 2006


Honor Moorman

of words Foster, Tonya, and Kristin Prevallet, eds. Third Mind: Cre-
he will ative Writing through Visual Art. New York: Teachers
and Writers Collaborative, 2002.
never Gardner, Traci. “A Picture’s Worth a Thousand Words: From
read Image to Detailed Narrative.” ReadWriteThink. IRA
and NCTE. 5 Jan. 2006 <http://www.readwritethink
—Honor Moorman .org/lessons/lesson_view.asp?id=116>.
Graves, Donald H. Bring Life into Learning: Create a Lasting
Literacy. Portsmouth: Heinemann, 1999.
Works Cited Greenberg, Jan, ed. Heart to Heart: New Poems Inspired by
Barnet, Sylvan, Morton Berman, William Burto, William E. Twentieth-Century American Art. New York: Abrams,
Cain, and Marcia Stubbs, eds. “Poems and Paintings.” 2001.
Literature for Composition: Essays, Fiction, Poetry, and Heard, Georgia. For the Good of the Earth and Sun: Teaching
Drama. 5th ed. Upper Saddle River: Prentice, 2000. Poetry. Portsmouth: Heinemann, 1989.
1166–92. Holbrook, Sara. Practical Poetry: A Nonstandard Approach to
Bleeker, Gerrit W., and Barbara Bleeker. “Hearts and Meeting Content-Area Standards. Portsmouth: Heine-
Wings: Using Young Adult Multicultural Poetry mann, 2005.
Inspired by Art as Models for Middle School Hollman, Marilyn J. “From Art to Poetry: ‘Prance as They
Artists/Writers.” ALAN Review 33.1 (2005): 45–49. Dance.’” English Journal 78.3 (1989): 24–27.
Buckelew, Mary Bellucci. “The Value of Art in the English Loreman, Brenda. “Responding to Paintings with Poetry.”
Classroom: Imagination, Making the Tacit Visible.” Classroom Notes Plus 22.1 (2004): 6–7.
English Journal 92.5 (2003): 49–55. Lown, Fredric, and Judith W. Steinbergh. Reading and Writ-
Cussler, Elizabeth B. “Art in the Literature Class.” English ing Poetry with Teenagers. Portland: Walch, 1996.
Journal 78.3 (1989): 28–30. Milner, Joseph O’Beirne, and Lucy Floyd Morcock Milner.
DiYanni, Robert. “Poems and Paintings.” Literature: Read- Bridging English. 2nd ed. Upper Saddle River: Pren-
ing Fiction, Poetry, Drama, and the Essay. 4th ed. tice, 1999.
Boston: McGraw, 1998. 580–98. O’Connor, John S. Wordplaygrounds: Reading, Writing, and
“Ecphrasis: Poetry Confronting Art.” Poets.org. 2006. The Performing Poetry in the English Classroom. Urbana:
Academy of American Poets. 5 Jan. 2006 <http:// NCTE, 2004.
www.poets.org/viewmedia.php/prmMID/5918>. “The Poet Speaks of Art.” Harry Rusche. Dept. of English,
Ehrenworth, Mary. Looking to Write: Students Writing through Emory U. 5 Jan. 2006 <http://www.english.emory
the Visual Arts. Portsmouth: Heinemann, 2003. .edu/classes/paintings&poems/titlepage.html>.
Eichler, Karen. “Creative Communication Frames: Discov- Rico, Gabriele Lusser. “Daedalus and Icarus Within: The
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WriteThink. IRA and NCTE. 5 Jan. 2006 <http://www 78.3 (1989): 14–23.
.readwritethink.org/lessons/lesson_view.asp?id=10>. Somers, Albert B. Teaching Poetry in High School. Urbana:
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Art, 1996. Urbana: NCTE, 1988.

Honor Moorman, a National Board Certified Teacher, is currently a secondary literacy specialist for the North East Indepen-
dent School District in San Antonio, Texas. This article is based on her work with students at the International School of the
Americas, where she taught ninth- and twelfth-grade English for eight years. email: hmoorm@neisd.net.

Call for Proposals: NCTE Theory and Research into Practice
(TRIP) Book Series

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books are single-authored and focus on a single topic, targeting a specified educational level (elementary,
middle, or secondary). Each book will offer the following: solid theoretical foundation in a given subject area
within English language arts; exposure to the pertinent research in that area; practice-oriented models
designed to stimulate theory-based application in the reader’s own classroom. For detailed submission guide-
lines, please visit the NCTE Web site at http://www.ncte.org/pubs/publish/books/122687.htm. Proposals to
be considered for the TRIP series should include a short review of the theory and research, as well as exam-
ples of classroom practices that can be adapted to the teaching level specified. Send proposals to Acquisitions
Editor, NCTE, 1111 W. Kenyon Road, Urbana, IL 61801-1096.

English Journal 53

Backing into Ekphrasis

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