Using Cultural Understandings to Improve Teaching, part 1

first of a series of essays about teaching in Oman

Overview

The idea that the “right way” to teach is the way one was taught is very deeply ingrained. When I do orientation sessions for new teachers, I am sometimes surprised that, while teachers know that there will be many cultural differences when they move to a new country, they occasionally expect that students will behave exactly as in their home culture.

The result is that teachers can get caught in tough binary of thinking: either I have to accept this unwanted behavior or the students have to change. This might lead to misunderstandings, then escalate to anger on both sides. When I suggest that teachers make small adjustments, the response is often, “so I have to let students get away with this wrong behavior?”

No, I think teachers should have control of their classrooms, but insisting on creating your own (foreign) culture in an Omani classroom is not possible. Small adjustments can create a positive classroom atmosphere by taking in account local understandings.

For example, when students come late to class in some cultures, they should knock on the door and ask permission to enter. In other cultures, students should apologize and explain why they are late; another scenario is that students enter quietly without speaking to or looking at the teacher. When a teacher from a culture in which apologies are expected is confronted with Omani students who simply walk in and sit down, they can become annoyed and call out to the student.

This may create a problem as the student might feel unfairly persecuted for being made the center of attention. As students have explained to me many times, “students feel shy if the teacher makes all the students look at them.”

In talking about situations like this, I recommend teachers write their late policy on the syllabus, on-line teaching program and announce it in class, then talk to the student after class about the penalties for coming late. In one conversation with a teacher who was confronting this issue, they said, “But the student needs to apologize to me! You are telling me that I should allow them to be disrespectful!”

This reminds me of the Rita Mae Brown quote, “The definition of insanity is doing the same thing over and over and expecting different results.” Asking for student apologies for weeks on end and getting angry when an apology is not forthcoming doesn’t help the teacher, the students or the classroom atmosphere.

Allowing students to come in late without noticing them, then enforcing a specific penalty saves time and prevents frustration. Talking to a student at the end of class permits the teacher to continue the forward momentum of the lesson. And if the student starts to dispute about the penalty, the fact that it is time to leave the classroom gives a natural break to the argument. A teacher can say, “I am happy to discuss this more but now I have to teach another class. I will be in my office at 1pm.”

Culture and Pedagogy

When thinking about education I consider the most helpful definition of culture is that it encompasses the objects, actions and beliefs of a set of people who are grouped together by both themselves and others. When I teach classes specifically on culture, I always emphasize to students that they belong to many sets, hence many cultures. For example, a woman might be within the categories of student, sister, Muslim, Omani, artist, daughter, member of her tribe, resident of her neighborhood and that each set carries within in emic and etic expectations of actions (behaviors), objects (for example, clothing) and beliefs.

I have lived in five different countries and what often happens is that locals consider that manifestations of their culture, both simple (what’s the usual time to eat lunch) and complex (what are the steps to getting married) are lucid and natural. On the other hand, a newcomer might be bewildered and confused about how to navigate even easy tasks such as giving a proper greeting or writing a memo.

In Oman, foreign teachers need to both try to understand Omani cultures and be clear about the implicit and explicit effect of their background, experiences and education. It might be self-evident to a teacher that of course work can be turned in up to a week late, but students might believe that work might be submitted weeks or month late. Hence the articulation of expectations is vital when trying to minimize misunderstandings.

The “Third” Option

What I call the “third” option means finding a middle way between a teacher acting exactly as if they were teaching in their home country and allowing students to make all the classroom decisions, which might be antithetical to good learning practices.

The comment I hear often is that “students need to change” but often the issue is cultural perceptions. Sometimes when I suggest that teachers need to adjust I hear comments such as “So I should let students be rude?” or “I should let them do what they want?”

The answer to those questions is “no” but, to me, the most important issue is creating an effective learning environment, not recreating the exact behavior that teachers are accustomed to at home. Attempting to reconstruct another culture inside an Omani classroom will probably leave teachers and students equally frustrated.

Another way to look at this is to remember that that your decisions are in your hands; what is not in your hands is other people’s perceptions and reactions to your choices. You can say I am doing X action for Y reason and this choice means that I am Z. But that might only work among people from your culture; there is no validity in saying that all people must understand that X action means Z. In another culture, X might give a meaning of A.

In one teacher’s culture, a student talking back is seen as rude; but in another culture it can mean the student is positively, actively participating in creating meaning. In one culture, students not looking teachers in the eye is considered polite, in another culture it is rude.

For example, Omani students might ask for a mock exam. In some classes that is a good idea but in other classes, perhaps the teacher doesn’t think it’s necessary which makes students upset. This can lead to situations in which the teacher doesn’t think a practice exam is useful, but gives one to keep students quiet. Or the teacher refuses and the students complain later that their low score was the result of not having a practice exam.

The solution is teachers can make a few, small changes by addressing the root of the problem, thus restoring classroom balance and positivity. Students often ask for a mock exam because they are scared about exams, especially if it is the first class with that teacher. Students may have had teachers who changed the date of the exam, put a new style of question on the exam or asked about topics that hadn’t been covered in class. If teachers look at the issue in terms of ‘my students are fearful’ instead of ‘my students are rude,’ solving the dilemma becomes easy.

When I am getting students ready for my poetry midterm, I literally draw a rectangle on the whiteboard with a series of 10 squiggly lines, one underneath each other. Then I say, “This is what your test page will look like, these lines are a poem, one of the poems we studied in class, but you won’t know which poem.” Then I draw a few more lines underneath spaced a little apart and say, “These are the questions. they will not be true/ false or multiple choice. You have to answer in a complete sentence. You won’t know which vocabulary words will go with which poem. For example, for ‘Skylark’ the questions might be about the narrator, setting atmosphere and finding a metaphor. Or the questions might be about the characters, exposition, rhyme scheme and diction.”

Then I say, “I don’t know how many pages there will be but this is what the vocabulary question pages look like. At the end of the exam there will be questions to compare and the poems to compare will be in the text will be included. And there one or two questions of analysis, for example I will give you two poems and ask you which one is better and why.” If a student again asks for a mock exam, I go through the entire small speech again.

I am not advising to give or not give mock exams. My advice is that when students start to clamor and insist that they don’t understand, explaining something clearly, then repeating the exact same words is often effective. Omani students may show fear in ways that can be read as anger or disrespect; when teachers respond with annoyance, the classroom atmosphere can deteriorate. When teachers show that everything is in hand, for example that they know exactly how the exam will be set up and are willing to share that information, students can stay calm.

Using Cultural Understandings to Improve Teaching, part 2

Using Cultural Understandings to Improve Teaching, part 3

Using Cultural Understandings to Improve Teaching, part 4

Teaching Literature and Staying au courantThe Man from Nowhere and the Ancient Greeks

There is a profound joy in introducing students to classic texts. I am very grateful that I have spent so much of my working life among the splendors of ancient Greek plays, Romantic Era poets, Jane Austen and Oscar Wilde.

And I am happy that as I teach I have gotten better at choosing classics which speak to my students, from 20th century writers such as Tawfiq al-Hakim to more modern writers such as Mohammed Al Murr and Badriyah al Bashar. And it’s fun help them get over the newness of Moushegh Ishkhan, Oriah Mountain Dreamer, Ryszard Krynicki, T’ao Yuan Ming, Tomas Tranströmer and Wisława Szymborska.

When I start the poetry class, I know that there is at least one student will be blown away by the Cold Mountain poems, Basho, Mary Oliver, Naomi Shihab Nye or Fowziyah Abu-Khalid. Someone will fall in love with  “Embroidered Memory” by Lorene Zarou-Zouzounis; someone else will champion “About Mount Uludag” by Nazim Hikmet.

It’s a delight to read familiar lines and see how students relate to familiar characters. Who is going to defend Ismene this semester? Who will argue on Creon’s behalf? Who is going to laugh when Patty in Quality Street talks about her hopefulness?  If we read Rebecca West’s The Return of the Soldier, who will my students pick as the one who deserves Chris – Kitty, Margaret or Jenny?

At the same time, it is good for me to be in the position of not knowing, to remember how it feels to be confused by a text. I became a better teacher after I spent two summers studying Arabic in Muscat. Sitting in a classroom as a student, panicking when a teacher asked me a question I did not understand, studying for a test and waiting anxiously for my grade made me more understanding of my own students.

So I try to seek out new texts to read and, perhaps, use for teaching. I scan shelves in bookstores and ask friends for suggestions. Since I don’t know Spanish writers, I asked a friend who has expertise and, following her suggestions, found “Marta Alvarado, History Professor” by Marjorie Agosín and “New Clothes” by Julia Alvarez, as well as “Tula” and “Turtle Came to See Me” by Margarita Engle.

Over the past few years, I have realized that I few students are into K-pop (BTS! Blackpink! Twice! NCT!) and so I decided to dip a toe into that cultural tradition.

The easiest way to start was movies so I duly looked at “top 10 Korean movie” lists and rented The Man from Nowhere (2010). One review mentioned that it was similar to Léon: The Professional (1994) in that it involved a young girl who is taken in and protected by a hired assassin. I thought knowing the plot would help me but there were a lot of differences, making the movie both interesting and confusing. For example, the ending surprised me. At the end of Léon, the girl is re-enrolled at her boarding school and she finally plants the small tree that she has been carrying around with her, symbolizing that she is now rooted.

At the end of The Man from Nowhere, the anti-hero asks the police for one favor and he brings the young girl he has been trying to protect back to her old neighborhood, goes into a small convenience store and buys her some composition books, writing supplies and a back-pack. Then he asks her if she will be ok. She nods, they hug and then he turns to go back into the police car.

I stared at the screen in astonishment. “That’s the end?!?” I wondered. Her father left long ago, her mother died at the start of the film, the girl was kidnapped and brutally treated for weeks, and now, with a few stationary supplies, the girl is now alone and supposed to take care of herself?

Over the next few weeks, I watched a few more and was astounded by whole new levels of plotting. It often feels like I am watching several movies at one: Assassination (2015) has freedoms fighters betrayed by team members (shades of Guns of Navarone), funny but doomed killers (shades of Butch Cassidy and the Sundance Kid) and twin sisters on opposite sides of an immense cultural, educational and temperamental divide (a grown-up, super spy equivalent of the Parent Trap).

I am often bewildered as I try out comedies, historical fiction and modern thrillers such as The Good, the Bad, the Weird (2008), Masquerade (2012), The Villainess (2017) and War of the Arrows (2011).

It takes a lot of concentration to understand each movie, not because of the sub-titles but the  work of trying to create new templates and figure out new tropes. How can I visually tell the difference between good guys and bad guys? Is the behavior of this woman showing that she is good or bad? Does this style of house indicate that the owners are rich, poor, old-fashioned or trend-setters? Is the meal the characters being served haute cuisine or everyday fare? Is this behavior normal or odd?

Sometimes it is good to be lost.

Conference presentation: Bringing Language Teaching into Literature Classrooms

Bringing Language Teaching into Literature Classrooms, Dr. Marielle Risse

English Scholars Beyond Borders International Conference, Dec. 4, 2021

Outline of ‘Bringing Language Teaching into Literature Classrooms’

1 – Introduction

2 – Choosing texts

3 – Teaching strategies

4 – Short lessons

5 – Assignments

6 – Examples: “July” by John Clare and Philoketes by Sophocles

Introduction

The title of this conference is crossing borders and that is a good metaphor for discussing literature and language teaching because it’s easy for a language teacher to cross the border between disciplines and become a literature teacher. Language teachers read books, poems and dramas and understand the concepts of genre, narrator, metaphor, connotations, etc.

But for a literature teacher to cross the border in the opposite direction and become language teacher is much more difficult. I can tell you from first-hand experience that a literature teacher in a language classroom is a miserable and lost creature.

I studied German and French at university so I am well acquainted with the grammar of those two languages, but in English – explaining the difference between when to use the present simple and present continuous? Rules for doubling consonants when making a present participle? Forming nouns off of verbs by adding ‘y’? Conditional clauses? When I have to teach a grammar class and explain ‘count’ vs. ‘non-count’ nouns or the present perfect or when to use ‘for instance’ instead of ‘for example’ – painful!

But I need to do some language teaching in all my literature class. When I walked into my first Middle Eastern literature classroom at the American University of Sharjah more than 20 years ago, I had students from 15 countries with varying levels of English. I had to blend some language information into my discussion of texts so I made a series of changes in my teaching.

In this presentation I want to explain how I teach literature differently with English major students than with literature majors, concentrating on four main areas: choosing texts, teaching strategies, short lessons and assignments.

Choosing texts

I have several publications on how to choose appropriate texts for literature classes and my main point is that it is vital to pick a text that students can connect to in some way as they are already fighting language and sometimes cultural difficulties and differences.

Dickens has written many classics, but his diction is difficult and the recurrent theme of a child cast out from the family, in novels such as Oliver Twist, Great Expectations and David Copperfield, create hurdles for understanding and appreciation.  

Whereas, my students have really enjoyed Beowulf’s and Sir Gawain’s lessons about protecting one’s leader and staying loyal to one’s family.

For Shakespeare, I choose the accessible plays such as Much Ado about Nothing, The Tempest, A Midsummer Night’s Dream, As You Like It, Romeo and Juliet, and Henry V with selections from King Lear and Macbeth. Not Julius Caesar or Merchant of Venice.

As 99% of my students are female, for other dramas, I often pick ones with interesting heroines caught between conflicting duties such as:

  • Alcestis, Euripides
  • Deanira, Sophocles
  • Antigone, Sophocles
  • The Importance of Being Earnest, Oscar Wilde
  • Lady Windemere’s Fan, Oscar Wilde
  • Arms and the Man, Shaw
  • Quality Street, J.M. Barrie
  • Our Town, Thornton Wilder
  • Princess Sunshine, Tawfiq Al Hakim

In terms of fiction, I use Jane Austen, Edith Wharton’s Age of Innocence and Rebecca West’s The Return of the Soldier to spark class discussion.

Teaching strategies – using scaffolding to create a strong foundation

reading aloud – every class, every student reads to improve pronunciation and enunciation

  • poem – one line
  • fiction – one sentence
  • drama – one character’s words

comparing narrative structures

For example, I give students the first page of an autobiography from an Omani writer and from an English writer and ask them to work in groups to figure out what is similar and what is different. English writers usually have exact dates, list full names of family members, give specific place names etc., while local writers give more general impressions. This leads to a discussion of how cultures tell stories and give opinions differently

comparisons with Arabic

  • using the evocative O = ya
  • starting sentences with verb, often used in Arabic but in English = command or question

Short lessons

word attack/ word meanings

  • homonyms – prey / pray – bear / bare
  • teach prefix/ suffix/ root – Latin and Greek – like: auto-bio-graphy

explicit grammar

e’en – ‘Tis – apostrophe for missing letter

explicit teaching of archaic speech

  • thou, thee, thy, thine
  • ye, yon, yonder, yore
  • -th ending for verbs like thinketh

explicit metaphor teaching

  • color metaphors – I’m blue, he’s yellow, I’m green
  • animals – monkey, positive and negative
  • objects – the moon (positive in Arab cultures, negative in North America/ Europe)

Assignments

recitation

helps with pronunciation, enunciation and emotion

acting

helps students use the language in a natural way

with so many essays on the internet, make assignments which check for understanding and are personal

  • compare character to someone you know
  • have a conversation with a character
  • explain the drama or novel with a friend, your mom, your husband and write a short paper explaining what you agree and disagree on – my mom thought…

supporting opinions with proof/ evidence to help get ready for IELTS and standardized English exams

‘Some people’ or ‘everyone’ vs. I think Alcestis made the right choice because I think…

Two examples

1 -teaching grammar, vocabulary and literary terminology through poetry

“July” by John Clare

Loud is the Summer’s busy song,

The smallest breeze can find a tongue,

While insects of each tiny size

Grow teasing with their melodies,

Till noon burns with its blistering breath

Around, and day lies still as death

The cricket on its bank is dumb;

The very flies forget to hum;

And, save the wagon rocking round,

The landscape sleeps without a sound.

The breeze is stopped, the lazy bough

Hath not a leaf that danceth now;

  • topic students can relate to – hot weather, sleeping in the middle of the day
  • metaphors and simile – Summer’s busy song, day lies still as death
  • alliterations – sleeps without a sound
  • expand vocabulary – breeze, tiny, melodies
  • double meanings – bank and dumb 
  • grammar – hath, danceth

2 – picking an interesting text so that students want to read and discuss

Philoketes by Sophocles        

This drama is based on one of the stories from the siege of Troy. On the way to Troy, the soldier Philoketes is hurt and his wound does not heal, so he is left on a desert island by Odysseus. After ten years of fighting against Troy, Odysseus is told that the Greeks will never win Troy without Philoketes and his magic bow so Odysseus goes back to the island,

Odysseus tries to play a trick, he stays hidden and tells a young soldier, Neoptolemus, to find Philoketes, become friends with him, and then convince Philoketes to allow Neoptolemus to hold the bow – then Neoptolemus will run to the boat with the bow and they will sail away, leaving Philoketes stranded.

The play works well because:

1) a lot of suspense – Will Odysseus’ trick work? it seems to, but at the last minute, Neoptolemus tells Philoketes the truth

2) themes of forgiveness and trust – Should Philoketes forgive Odysseus for leaving him on the island for 10 years? Should he trust that Odysseus will bring him back to his country?

3) connection to Omani society – The dilemma is solved when Hercules appears and tells Philoketes to get on the boat, that he will be safe. This highlights the importance of mediators, a very important part of Omani cultures; when two people are at an impasse, they should look for someone older/ wiser to both give advice and guarantee correct behavior.

(photo by S. B.)

Related publications

Risse, M. “Teaching Paired Middle Eastern and Western Literary Texts,” in Advancing English Language Education. Wafa Zoghbor and Thomaï Alexiou, eds.. Dubai: Zayed University Press, 2020. 221-223.

Risse, M. “Ok Kilito, I Won’t Speak Your Language: Reflections after Reading Thou Shalt Not Speak My Language,” in Octo-Emanations. Carter Kaplan, ed. Brookline, MA: International Authors, 2020: 233-236.

Risse, M. “Teaching Literature on the Arabian Peninsula,” Anthropology News website, October 7 2019. http://www.anthropology-news.org/index.php/2019/10/07/teaching-literature-on-the-arabian-peninsula/

 Risse, M. and Miriam Al Sabbah. “Don’t Be Afraid of the Novel: Austen for ESL Students,” Proceedings of the 16th Oman International ELT Conference. Muscat: Sultan Qaboos University Press, 2017: 28-35.

Risse, M. “Writing Prompts to Facilitate Creativity and Interesting Texts,” Proceedings of the 15th Oman International ELT Conferences. Muscat: Sultan Qaboos University Press, 2016: 46-52.

Risse, M. “Selecting the Right Literary Texts for Middle Eastern Students: Challenges and Reactions,” in Focusing on EFL Reading: Theory and Practice. Rahma Al-Mahrooqi, ed. Muscat: Sultan Qaboos University Press, 2014: 165-188.

Risse, M.  “Frosty Cliffs, Frosty Aunt and Sandy Beaches: Teaching Aurora Leigh in Oman,” Ariel: A Review of International English Literature 43.4, 2013: 123-145.

Risse, M. “Who Are You Calling ‘Coddled’?: ‘Cloistered Virtue’ and Choosing Literary Texts in a Middle Eastern University,” Pedagogy 13.3, 2013: 415-427.

Risse, M. “Do You know a Creon?: Making Literature Relevant in an Omani University,” in Literature Teaching in EFL/ESL: New Perspectives. Rahma Al-Mahrooqi, ed. Muscat: Sultan Qaboos University Press, 2012: 302-314.

Risse, M.  “Using Local Voices in Literature Classrooms,” Learning and Teaching in Higher Education: Gulf Perspectives 9.1, 2012. http://lthe.zu.ac.ae/index.php/lthehome/article/view/71

Risse, M.  “John Clare Looks Good in a Dishdash: Linking John Clare to Middle Eastern Poetry,” John Clare Society Journal 30, 2011: 53-63.

Risse, M. “An Open Letter to Alice Walker,” The Chronicle of Higher Education. Feb. 20, 2009: B11. http://chronicle.texterity.com/chronicle/20090220b/?pg=11#pg11

I am happy to announce that I will be presenting “Bringing Language Teaching into Literature Classrooms”

l will be presenting “Bringing Language Teaching into Literature Classrooms” at the English Scholars Beyond Borders – Dhofar University International Conference. Dec. 4-5, 2021.

My presentation will argue that in non-Anglospheric institutions such as Dhofar University, literature teachers will always need to be language and culture teachers. Given that many students on the Arabian Peninsula will use English when traveling or teaching primary or secondary students, texts must be chosen for their linguistic and cultural, as well as literary, qualities. I will use examples from teaching literature, cultural studies and education on the Arabian Peninsula for over 15 years to discuss how to create syllabi which reflect both the literary canon and students’ needs, with an emphasis on teaching multi-level classes and explicating cultural narration differences, as well as sneaking in language lessons. For example, folding language teaching into literature classes means both silent editing (such as not calling attention to spoken mistakes but repeating the student’s words with the correct pronunciation and/ or grammar) and short, explicit lessons. Lastly, it is vital to foreground cultural differences in plot, characters, settings and themes, in addition to narrative structures as an analysis of a literary text in English is expected to have the author’s opinion clearly stated with proof in the form of quotes and specific details, a format that Arabian Gulf students sometimes have not learned.

New essay: “Dâl” on “The Arabic Alphabet” website

Dâl is for Dinar

http://alifbatourguide.com/the-arabic-alphabet/dal/

Dâl is the fourth basic shape. We started with the shape of Alif (population one). Ba, with that simple plate shape, plus dots, gave us the second and least interesting of the shapes. Jîm was the mold for three or four additional letters. The Dâl shape marks the end of a series (with one companion letter to follow). The four shapes in sequence spell abjad. ابجد. ) .د .ج .ب .ا)

Dâl in its simplest form is just two lines which splay out leftward from a point usually at the base line. In calligraphy the upper line can be thick or thin, drawn with the full width of the reed’s edge, but it is almost always nearly upright, leaning at perhaps the 11:00 position. The lower line ramps down to the left, usually at a slight angle, perhaps 8:00.  From the Nabataean predecessor, an inverted L, Dâl has rotated not quite 180 degrees clockwise. More schematically, we can imagine it as simply two thirds of an equilateral triangle with the left side missing. Its Greek counterpart, Delta, adds the third side, to form the complete triangle.

Perhaps because it is a simple letter, in calligraphy there is room for considerable variation. It may curl up as it tapers. You may see the lower mandible almost join the upper one. There are lengthened versions which allow them to stretch out left in long, straight parallel lines.

The Arabic Alphabet: A Guided Tour

by Michael Beard

illustrated by Houman Mortazavi

Foodways and Teaching Culture

Food appears at unexpected times while teaching. I was discussing color metaphors (What does it mean to say, “she’s blue” or “he’s green with envy”?) and brought up “peachy” as a slang response to “How are you?” Then I had to stop to describe a ‘peach,’ not a common fruit on the Arabian Peninsula. I tried to triangulate as I know the Arabic words for orange and apricot but it turns out that no one in the class has seen a fresh apricot; they only know the dried ones. Getting the word “dried” straight somehow led to talking about how raisins are dried grapes and prunes are dried plums, but no one knew plums. So I tried to go by colors, looking around the class to see if anyone had ‘peach-’ or ‘plum-’ colored pen or notebook.

In one class we were confronted with the metaphor “chill iron,” so I did a quick run through the differences between chill (verb, to make cold), chill (verb, slang – to relax) and chilly (adjective). And then chili (similar to stew) and chili peppers.

Getting the vocabulary down is only the first step, as food interactions in stories almost always bring out cultural differences. Reading Peter Pan meant discussing that Mr. and Mrs. Darling were not horrible parents for leaving their children at home (and with a dog!) while they went out to eat. In Oman, children are almost always with their parents or relatives in the evening and would normally go out to dinner with the family.

Even my everyday actions spark conversations as bringing a cup of coffee with me to class and drinking it while teaching is not normal teacher behavior on the Arabian Peninsula. And I warn students that if they visit an American family, they will probably not be pushed again and again to eat. I tell them the story of one Arab administrator who, when he arrived at his host family in America, was asked if he wanted dinner once and only once. As he was expecting the offer to be repeated and food to be given to him as a matter of course, he refused. The Americans did not repeat the offer and he went to bed hungry.

This photo is from social media and I love it because the food in the back-left corner could be ‘read’ as pita (Lebanese  bread) rolled with processed cheese or fried bread with cinnamon and sugar depending on your cultural back-ground.

y - good morning

 

 

 

 

Foodways and Literature – Animal Poems

As I was looking for food poems last week, I realized how many animal poems I have taught and have written out a partial list below.

One starting place is the Mu’allaqa, most of which have many vivid descriptions of desert animals, for example in Imru al-Qays “Halt, friends” and Labid’s “The campsites at Mina.” Another group of early poems which feature animals are by the sa’alik poets; no one who has read Shanfara’s Lamiyyat (“Sons of my mother”) can forget the wolf metaphors.

“Aunt Jennifer’s Tigers,” Adrienne Rich

“Bear,” Valerie Worth

“Butterflies,” Fawziyya Abu Khalid

“Cat, Valerie Harper

“The Crocodile,” Lewis Carroll

“The Darkling Thrush,” Thomas Hardy

“Darwin’s Finches,” Deborah Digges

“December Snow,” May Sarton

“The Dromedary,” Archibald Young Campbell

“The Eagle,” Alfred, Lord Tennyson

“The Face of the Horse,” Nikolai Alekseevich Zabolotsky

“The Gazelle Calf,” D. H. Lawrence

“The Goat Paths,” James Stephens

“The Horses of the Sea,” Christina Rossetti

“How To See Deer,” Philip Booth

“The Last Wolf,” Mary Tall Mountain

“Minnows,” Valerie Worth

“A Night with a Wolf,” Bayard Taylor

“Not Swans,” Susan Ludvigson

“The Nymph Complaining for the Death of her Fawn,” Andrew Marvell

“Pangur Ban,” unknown, Irish

“The Plaint of the Camel,” Charles Edward Carryl

“The Poet and the Moth,” Ahmad Qandeel

“The Raven,”  E.A.  Poe

“The Seal’s Lullaby,” Rudyard Kipling

“Sister Cat,” Frances Mayes

“Snake,” Emily Dickinson

“Snake,” Valerie Worth

“The Terrapin,” Wendell Berry

“To a Skylark,” Percy Bysshe Shelley

“Turtle Came to See Me,” Margarita Engle

“Upon a Snail,” John Bunyan

“The Vixan,” John Clare

“The War God’s Horse,” unknown, from the Navajo

“The White Stallion,” Abu I-Salt Umayyah

and many poems by Mary Oliver including “Ravens,” “Swans of the River Ayr,” “Turtle” and “White Heron”

More of her poems can be found at: https://www.poetryfoundation.org/poets/mary-oliver

Short stories: “Pepsi” by Mohammad Al Murr, “A White Heron” and “A Dunnet Shepherdess” by Sarah Orne Jewett and all the Jungle Book stories by Rudyard Kipling

Foodways and Literature – Food Stories and Poems

(photo by Salwa Hubais)

I teach literature classes but my most recent book is on foodways, which might seem like two dissimilar topics but food is omnipresent in poems, stories and dramas so my students and I often have conversations that include foodways, literature and cultural differences. Explaining a reference to Persephone in a poem led to my telling the story of Demeter/ Ceres, which led to a conversation about cereals.

Sometimes I focus simply to the vocabulary aspect: explicating “civil as an orange/ and something of that jealous complexion” in Much Ado about Nothing or “cucumber sandwiches”  and “sugar tongs” in The Importance of Being Earnest. But occasionally food takes center stage as with the fishing with a sword scene in Tawfiq Al Hakim’s Princess Sunshine when the question of ‘who makes dinner’ helps carry the theme of the play. Another food-centered example is the dual breakfast scene in Thornton Wilder’s Our Town. On our first run-through, it’s simply a confusing jumble of random statements. But when we have read it a few times and then ‘perform’ it with one student per character, the beauty (and sadness) of that section shine through. Students often remark, “it’s like that at my home.”

Some stories show cultural similarities, such as Laura bringing food to the widow in Mansfield’s “Garden Party,” but they can also show differences. Unlike in Oman, only Laura visits the house (not with her mother and older sister) and she only stays a brief time.

Another Mansfield story “The Doll’s House” uses food to give insights into the social standing of the schoolgirls – having a sandwich with meat shows wealth while a jam sandwich wrapped in newspaper points to poverty. Similarly, the social niceties observed in the dining room at the beginning of Room with a View preview the theme of the novel. Who sits at which table reveals the hierarchies which Lucy will eventually break.

Food issues can even be the comic element of a story as with Elizabeth Gaskell’s magnificent Cranford with its details of manage your cook, take care of your cow and why you should eat your orange in your room (so you can roll it under your bed to check if anyone is hiding there and then slurp the orange sections in private).

Food essays are also wonderful for sparking good student writing. “Jam” and “A Thing Shared” from The Gastronomical Me  by M. F. K. Fisher, “Girl” by Jamaica Kincaid and “In Search of Our Mother’s Gardens” by Alice Walker are great example texts to help students see how to write about their own food experiences.

As for poems about food, we have to start with

“Talk,” Gökhan Tok

You never hear it

but at breakfast the sweetest talk

is between the jam and the honey.

and Naomi Shihab Nye’s wonderful “Arabic Coffee,” “My Father and the Fig Tree,” “Sifter,” “The Traveling Onion” and “The Tray.” For more, please see https://www.poetryfoundation.org/poets/naomi-shihab-nye and https://poets.org/poet/naomi-shihab-nye

Other poems include:

  • “After Apple-Picking,” Robert Frost
  • “The Angler,” Thomas Buchanan Read
  • “The Bean-Stalk,” Edna St. Vincent Millay
  • “Blackberry-Picking,” Seamus Heaney
  • “Coolness of the Melons,” Matsuo Basho
  • “Cynddylan on a Tractor,” R.S. Thomas
  • “The [Date] Palm Tree,” Adnan Mohsin
  • “The Fisherman,” Goethe
  • “From Blossoms,” Li-Young Lee
  • “I Return to the Place I was Born,” T’ao Yuan Ming
  • “Love Poem With Toast,” Miller Williams
  • “Mending Wall,” Robert Frost
  • “The Solitary Reaper,” William Wordsworth
  • “Sorry I Spilled It,” Shel Silverstein
  • “What’s That Smell in the Kitchen?” Marge Piercy

A few food-oriented short stories include: “A Dash of Light” by Ibrahim Aslan, “I Saw the Date Palms” by Radwa Ashour, “A Cup of Tea” by  Katherine Mansfield and “Lamb to the Slaughter” by Roald Dahl, as well as several by Mohammed al Murr including “A Late Dinner,” “The Night’s Catch,” “Look After Yourself” and my favorite: “Dinner by Candlelight.”

y - morning coffee