In this fifth and final installment in

It’s very difficult to select only  five children’s poets—there are many more whose work I enjoy and admire. The five collections that I picked just happened to call out to me when I looked at my bookshelves this morning. At another time I might have chosen five completely different ones. All of these poets have inspired me at various times in my writing life. Here are five titles, in alphabetical order by poet.

Out in the Dark and Daylight (HarperCollins,1980) by Aileen Lucia Fisher. The poet has a wonderful feel for nature and takes great delight in the world around her.

Exploding Gravy: Poems to make You Laugh (Little, Brown, 2002) by X. J. Kennedy, illustrated by Joy Allen. These poems tickle my funny bone. The poet knows how to make words dance.

Moon, Have You Met My Mother? The Collected Poems of Karla Kuskin (HarperCollins, 2003), illustrated by Sergio Ruzzier. [Kuskin] was one of the first children’s poets I read when I started writing my own poems. Many of her poems are deceptively simple.

Custard and Company: Poems by Ogden Nash (Little, Brown, 1980), selected and illustrated by Quentin Blake. There are quite a few poems I never wrote because [Nash] wrote them first. I still marvel at his wit and craftsmanship.

Laughing Time: Collected Nonsense. (Delacorte, 1990) by William Jay Smith, illustrated by Fernando Krahn. Not only has [Smith] written wonderful children’s poems, he was the U.S. Poet Laureate from 1968 to 1970. The poet turned 95 on April 22. Happy birthday!

In our next installment in

As co-host of the “Poetry Blast,” a reading by children’s poets, I have had the good fortune to read and to hear poems read by a wealth of wonderful poets, so it’s hard to select my favorite books. But here are five that my bookshelves can’t do without:

Master of “shaped poems,” Arnold Adoff celebrates the blues and its origins, painful and hopeful, in the stellar book, Roots and Blues: A Celebration (Clarion, 2011). When a book of poems about music sounds like music, it makes me want to sing.

I’ve always liked Edgar Lee Masters’s Spoon River Anthology, with its multiple narrators and their varied stories. Walter Dean Myers creates this tapestry of characters with distinct voices and tales and places them in the vibrant locale of Harlem in his amazing Here in Harlem: Poems in Many Voices (Holiday House, 2004). Quite a feat!

I really appreciate poets who play with form. When I read Bob Raczka’s Lemonade: And Other Poems Squeezed from a Single Word (Roaring Brook, 2011), in which he takes a word and rearranges the letters to make new words that form a poem, I squealed with pleasure.

One of the best collections of poems about a single subject that I’ve ever come across is Alice Schertle’s How Now, Brown Cow? (Browndeer, 1994). How good is it?  Recently, Jane Yolen (another poet I greatly admire) and I, unbeknownst to each other, selected the same poem from it to illustrate how to write a perfect humorous poem!

I got introduced to Joyce Sidman’s poetry when I was one of the judges for the Lee Bennett Hopkins Poetry Award, and I’ve loved her work ever since. That year, we selected the elegant Song of the Water Boatman & Other Pond Poems (Houghton Harcourt, 2005) as the winner.  It remains, for me, a classic example of wonderful poems combined with informative prose.”

Maggie B.’s Spine Poem from 100 Scope Notes

April is National Poetry Month, and School Library Journal has compiled a list of tools and creative ideas for celebrating. From poetry slam best practices to Common Core curriculum connections, this roundup is chock-full of ways to approach the poetic form with kids all yearlong.

Why Poetry?

National Poetry Month is upon us, but why limit the celebration of poetry to April? SLJ editor-in-chief Rebecca Miller speaks to the value of regular exposure to poetry.

Expert Opinions

Who better to discuss their perspectives on poetry than those in the know? School Library Journal asked several poets to share their favorite collections for children. Naomi Shihab, Doug Florian, and others list anthologies near and dear to their hearts.

And poet Joyce Sidman talks about the impact poetry has had on her life, as well as her teaching experiences.

Finally, author and poet Lesléa Newman discusses with SLJ how she used various poetic forms to

explore the intricacies of a tragedy–the murder of Matthew Shepard.

Poetry…and the Common Core?

Exploring the Common Core Standards doesn’t have to mean stripping poetry of its beauty or joy. SLJ’s e-newsletter Curriculum Connections lists a variety of poetry collections that will spark students’ imaginations while also providing them with a strong grounding in informational texts.

Poetry: It’s in the Details

Meeting the CCSS Through Poetry | Professional Shelf

Finding poetry collections may not pose a problem, but how to go about teaching students to read and analyze poems, or to produce their own works? This piece specifically tackles the CCSS and presents professional development titles that facilitate creating lesson plans and teaching units centered around poetry.

For more, visit our Poetry Month resources page.

Ogden Nash’s Zoo (Stewart, Tabori and Chang, 1987) by Ogden Nash. Edited by Roy Finamore. Illustrations by Etienne Delessert. “Short and pithy poems about animals, real and imaginary, along with superb humorous illustrations by Etienne Delessert.I first encountered these when I was in the fifth grade.”

A Hippopotamusn’t (Dial, 1990) by J. Patrick Lewis. Illustrations by Victoria Chess. “Wonderfully witty hilarious poems with a wide variety of forms in rhyme and rhythm. The grotesque paintings by Chess add to the fun.”

Runaway Opposites: Poems (Harcourt, 1995) by Richard Wilbur. Illustrations by Henrik Drescher. “Poems that surprise and delight in unexpected ways. The collage paintings by Drescher are amazingly dazzling and truly compliment the zaniness of the verse.”

Song of the Water Boatman and Other Pond Poems (Houghton Mifflin, 2005) by Joyce Sidman. Illustrations by Beckie Prange. “Lyrical poignant poems and splendid watercolors paintings explore life in a pond with much depth and fluidity.”

Mirror Mirror: A Book of Reversible Verse (Dutton, 2010)  by Marilyn Singer. Illustrations by Josee Masse. “Inventive poems that inspire and ignite imaginations.”

COFER, Judith Ortiz. The Poet Upstairs. illus. by Oscar Ortiz. Arte Público Pr./Piñata Bks. 2012. ISBN 9781558857049. JLG Level: CE: City Elementary (Grades 2–6).

On Juliana’s first day of school, she is too sick to go. Upstairs, a typewriter click-clacks, and the poet stops her pacing to record the flow of words. While the soft sounds lull Juliana to sleep, she dreams of an island. On waking, the little girl decides to draw her vision and slides her picture under the neighbor’s door. The next day Juliana finds a drawing from the poet under her own door, which seems to be in invitation for a visit. A bond between writer and child/illustrator forms as the pair works as a team. As the poem develops, the city disappears, transporting them to a tropical river. But even dreams must end, and as the poet pulls the paper from the typewriter, she says “You can take her [your mother] and anyone else you choose back to the great river, and that river will always take you somewhere new.”

Ortiz’s gorgeous illustrations convey magical images, leading readers to truly “believe that words can change the world.”

DAVIES, Jacqueline. The Candy Smash. Houghton Harcourt. 2013. ISBN 9780544022089. JLG Level: A+ : Intermediate Readers (Grades 3–5).

Evan would never admit it, but hearing the Poem of the Day in his fourth grade circle time is his second favorite part of the day. The “poems that Mrs. Overton read were different. They were like music, and they made something deep inside of him go zing.” His sister Jessie is the complete opposite; she’d rather work on her classroom newspaper. As Valentine’s Day approaches, Evan finds himself in a quandary―does he have a crush on Megan? What love poem should he turn in for his assignment? Jessie’s problem is the lack of a lead story for her paper. When she decides to survey her class about their love interests, the two dilemmas collide, creating more conflicts than anyone could have predicted.

Fans of the “Lemonade Wars” series will be glad to see the return of beloved characters, though the title stands well alone. Teachers may also want to use the novel as a read aloud in conjunction with a poetry unit.

SINGER, Marilyn. Follow Follow: A Book of Reverso Poems. illus. by Josée Masse. Dial. 2013. ISBN 9780803737693. JLG Level: I+ : Independent Readers (Grades 2–4).

In a collection of reverso poems, Follow Follow , a companion book to Mirror Mirror (Dutton, 2010), offers opposing viewpoints of classic fairy tales. Readers have an opportunity to hear two sides to every story. Aladdin wants “wealth without measure/it is true freedom,” but the genie says, “This is what I demand: true freedom? It is wealth beyond measure.” With the act of reversing the lines and a few changes in punctuation and capitalization, the real meaning of wealth is revealed for the two characters. Not an easy form to create, Masse’s acrylic illustrations mirror the two halves of each poem, providing readers with visual clues to unlock character perspectives.

An author’s note describes the writing process. A summary of the tales upon which the poems are based is also included in the back matter, providing background to readers who are unfamiliar with the original stories.

WISSINGER, Tamera Will. Gone Fishing: A Novel in Verse. illus. by Matthew Cordell. Houghton Harcourt. 2013. ISBN 9780547820118. JLG Level: A+ : Intermediate Readers (Grades 3–5).

“For fishing tomorrow it’s just us two. Not Mom, not Grandpa, not Lucy.” On the night before a father and son fishing trip, Sam readies his supplies and dreams of the fish they will catch. Sister Lucy, however, has big ideas to join them. Sam wants no part of that―“but Dad. It was just you and me.” Lucy will be loud; she’ll scare the fish. When she promises “I won’t dance. I won’t squirm. I’ll be quiet as a worm,” Dad agrees to the threesome. The excited youngster is not quiet or still, yet she catches fish after fish. Will Sam catch even one fish before Lucy uses all the bait? Maybe fishing is just not his sport. Wait―is that a bite?

The story of a family fishing trip and sibling rivalry is told in verse, using many poetic devices―ballads to quatrains and dramatic poems for two (or three). Like a tackle box, she also provides a box of tools for budding writers in the extensive back matter. Wissinger’s debut novel, humorously illustrated by Cordell, is a gem of a poetry collection.

WORTH, Valerie. Pug: And Other Animal Poems. illus. by Steve Jenkins. Farrar. 2013. ISBN 9780374350246. JLG Level: I : Independent Readers (Grades 2–4).

Jenkins illustrates another amazing posthumous collection (Animal Poems, Farrar, 2007), of Worth’s animal poems with his trademark collages. “The Bengal tiger/Batters his cage:/His rage is thunder.” A snarling tiger growls at an unseen enemy. In Toads, a toad rests comfortably amongst the fallen leaves, marbles, and a lost tennis ball. For Mouse, the mouse that’s the “gift on the step” lies stiff with his feet in the air―a prize brought by the cat. Jenkins’ artwork will delight animal-loving readers of all ages.

For strategies about how to use these books and links to supportive sites, check out the Junior Library Guild blog, Shelf Life.

Junior Library Guild is a collection development service that helps school and public libraries acquire the best new children’s and young adult books. Season after season, year after year, Junior Library Guild book selections go on to win awards, collect starred or favorable reviews, and earn industry honors. Visit us at www.JuniorLibraryGuild.com.

Festival in My Heart: Poems by Japanese Children. Selected and translated by Bruno Navasky. Abrams. 1993. “Stunning, deeply imagistic and tactile fabulous poems by kids for kids—extremely stimulating as classroom writing prompts and delicious for all to contemplate.”

Fire in the Sea: An Anthology of Poetry & Art. Selected by Sue Cowing. University of Hawaii Pr. 1996. “More than 150 nourishing and dazzling poems from many Pacific islands as well as writers all over the world, mixed in savory fashion with artwork from the Honolulu Academy of Arts. You have a great classroom guide to poetry with this volume alone.”

Ten-Second Rainshowers: Poems by Young People. Compiled by Sandford Lyne, with illustrations by Virginia Halstead. S & S. 1996. “I fell in love with this book the first time I ever held it, the freshness and glory of its poems and images, and wish Sandy Lyne had lived forever. In the spirit of this book alone, he does.”

Strings: A Gathering of Family Poems. Selected by Paul Janeczko. Bradbury Pr. 1984. “Paul Janeczko’s anthologies of poems for young readers fill up a whole shelf but this remains one of my favorites, since writing about family is one of the most enduring and compelling topics for so many young poets.”

Poetry 180: A Turning Back to Poetry. Selected and introduced by Billy Collins. Random. 2003. “This rich and lively poetry collection is terrific for middle school, high school, and adult readers. Every high school I work in, some kind teacher or another mentions that it changed his or her life and made the experience of sharing poetry so much happier.  There is also a sequel called 180 More: Extraordinary Poems for Every Day.”

There’s April in Paris. April is also School Library Month, National Autism Awareness Month, the start of a brand-new Major League Baseball season, and according to T. S. Eliot, it’s the cruelest month around. But what really gets us stoked is that April is National Poetry Month. (The Academy of American Poets launched it in 1996.)

To help celebrate this month’s versified event, we asked some of the bards whom we most admire to weigh-in on their five favorite collections for kids. We’ll be posting at least one new list each week of the month. And there’s no better way to kick off the series than with our nation’s current children’s poet laureate, J. Patrick Lewis. Here are Pat’s picks:

X. J. Kennedy and Dorothy Kennedy, eds. Talking Like the Rain: A Read-to-Me Book of Poems. Little, Brown. 1992 (pap. 2010). With impeccable selections by the Kennedys and delightful illustrations by Jane Dyer, this lavish anthology of children’s poems deserves pride of place in every elementary classroom and on every child’s bookshelf.

Ted Hughes and Seamus Heaney, eds. The Rattle Bag. Faber and Faber. 1982. For its most welcome verse surprises on virtually every page—most of them unknown on this side of the pond—The Rattle Bag remains the very best collection of poems for older children and young adults. And it is chugging along even after 30 years.

Jack Prelutsky, ed. The Random House Book of Poetry for Children. Random. 1983. A newer and shorter Prelutsky/Random House anthology, The 20th Century Children’s Poetry Treasury, 1999, is fine in its own right, but it does not surpass this bedrock miscellany of 572 “poems for today’s child,” evoked in Arnold Lobel’s signature illustrations.

Paul B. Janeczko, ed. Seeing the Blue Between: Advice and Inspiration for Young Poets. Candlewick. 2002. This unusual collection features children’s poems alongside commentary by the poets themselves. If you ever wondered what advice poets might have for beginning writers, Seeing the Blue Between is an invaluable primer.

Lee Bennett Hopkins, ed. Ring Out Wild Bells: Poems about Holidays and Seasons, Harcourt. 1992. No one should be asked to choose the “best” anthology by the indefatigable Hopkins, but Ring Out Wild Bells may be primus inter pares. Holiday poems—classics and some that bid fair to become classics—fill the pages of this excellent garland to the seasons.

I

John, now in kindergarten, has some lines memorized—the opening of Joyce Kilmer’s “Trees” is a favorite (“I think that I shall never see/A poem lovely as a tree”). Harper, four this month, often asks for prompts. “What comes after ‘fearful’?” Answer: “symmetry.” (Yes, Blake’s “The Tyger.”) My husband, Stephen, and I mine our memories or read poems off our devices. We often lean on Yeats’s “Gratitude to the Unknown Instructors” (“What they undertook to do/ They brought to pass;/All things hang like a drop of dew/Upon a blade of grass”).

Sometimes it’s a somber experience, focused and reverent. Sometimes it’s souped-up, speedy, and loud. Often it evolves quickly into wordplay and joking around. Somewhere in there we start to eat.

This practice was inspired by Mira Dougherty-Johnson, a friend who also happens to be a very good librarian at a school in Southold, NY. She is married to poet Tim Wood, and told me about how they share poems at dinner with their kids. I thought we’d test it, and found we all took to it. What’s most surprising is that the kids continue to enjoy this ritual. They take pride in learning lines, and they clearly derive pleasure from the music and imagery in the language, and, of course, the surprising new words.

Their interest spurred mine, and I started seeing the poetry around me. New York City delivered with its lovely and now ongoing Poetry in Motion series of posters on the subway. I take snapshots of them to read at dinner—above is an example taken recently during my commute. These souvenirs from my day give me fodder for the developing ritual, and they inadvertently reinforce that poetry infuses our lives.

In Open the Door: How to Excite Young People about Poetry (coming this month from McSweeney’s Books and the Poetry Foundation), poet Matthea Harvey writes, “Our concerns as adults and children are not so different. We want to be surprised, transformed, challenged, delighted, understood.” Poetry did all those things for her, and can offer each of us the same.

Now, of course, poetry is everywhere because it’s National Poetry Month. A favorite part of this initiative by the Academy of American Poets is Poem in Your Pocket Day, coming April 18. I’ll be packing a folded copy of a poem by John Ashbery that’s integrated into the Irene Hixon Whitney Footbridge in Minneapolis (“And now I cannot remember how I would/have had it…”), and I’ll be happy to read it on demand.

Rebecca T. Miller
Editor-in-Chief
rmiller@mediasourceinc.com

Perhaps no poetic form relies on detail more than a well-crafted haiku. The Year Comes Round: Haiku Through the Seasons by Sid Farrar, illustrated by Ilse Plume (Albert Whitman, 2012: K-Gr 3) begins with an homage to winter’s artistry (“Each windowpane’s a/masterpiece, personally/signed: Your Friend, Jack Frost”), paired with a light-filled illustration worthy of cut crystal by Caldecott Honor artist Plume. A baker’s dozen of poems corresponds to each month of the calendar year, and concludes with a haiku on the Earth’s cycle. Several tap a humorous thread, such as this nod to an autumn tradition: “Waiting patiently/in the pumpkin patch for his/face: Jack O’Lantern.”

Two recent collections of animal poetry take different approaches to investigating animals, yet both inspire readers to look again at creatures they likely take for granted. National Geographic Book of Animal Poetry: 200 Poems with Photographs That Squeak, Soar, and Roar!, edited by J. Patrick Lewis (National Geographic, 2012; Gr 1-5), displays stunning photographs of the caliber that first established the publisher’s reputation.

A gorgeous spread of a caterpillar and chrysalis anchors three poems about a butterfly’s metamorphosis. Graham Denton’s poem “What’s a Caterpillar?” answers the title’s question thus: “Little/but a fly/in waiting, ” while David McCord’s comical and factual “Cocoon” takes readers through an entire life cycle, alongside a glorious image of a monarch about to burst from its transparent shelter.

At times, the images are so well matched that readers may wonder, which came first, the poem or the photo? For instance, the second stanza of Alice Schertle’s “The Bull” starts, “I’m striking a pose; I’m standing still/as a statue here on the top of the hill,” as the animal  in the photograph gazes out at readers, right front paw lifted, midway between statuesque and about to charge.

Place this poem and image alongside Valerie Worth’s “Bull,” from her posthumously published poetry collection Pug: and Other Animal Poems, illustrated by Steve Jenkins (FSG, 2013; Gr 3-5). Jenkins creates a collage of a great-horned brown woolly creature against a toreador-red backdrop, as Worth describes “the earth/[Shaking] forth/Great beasts/From its deep/Folds,” but the bull “Had to be/Hacked out,/Rough-hewn,/From the planet’s/Hard side,/From the cold/Black rock/That abides.” Both poems allude to the qualities of a statue, yet both also describe the pent-up, barely contained energy of the bull. The photo and Jenkins’s collage both play up the animal’s stillness, yet its eyes remain fixed on us—the interlopers.

Two poems about a tiger also beg for comparison. Worth’s “Bengal Tiger” uses thunder as a metaphor for its rage: “Sharp stripes flash/In his fur—/Is it too wicked/To wish/He would break out,/Fill the zoo/With storms,/Run his lightning/Into the world?” Its wide-open jaws in Jenkins’s collage seem to exhale thunder and lightning. The photo of the tiger in Lewis’s anthology, on the other hand, looks like a kitten with its tongue hanging out—a comical contrast to the anonymous limerick, which boasts of a “young lady from Niger/who smiled as she rode on a tiger.” Children can guess before the end what happens to her. Both pairings invite children to talk about not only the details that the poets focus on, but also to how the photo and collage each create specific moods.

The last pair of poetry books puts fairy tales through their paces, and will attract older readers as eagerly as younger ones. Start by reading aloud Hans Christian Andersen’s “The Little Mermaid,” then examine the poems inspired by it in Grumbles from the Forest: Fairy-Tale Voices with a Twist by Jane Yolen and Rebecca Kai Dotlich, illus. by Matt Mahurin (Boyds Mills, 2013; Gr 3-5), and also in Follow Follow: A Book of Reverso Poems by Marilyn Singer, illus. by Josée Masse (Dial, 2013; Gr 3-6). Yolen and Dotlich describe the seduction of the sea in “Water Girl” (“I am a water girl./I love the feather curl/Of foam on tops of waves”) and also boats capsizing (“Sometimes I save a man”). They pair it with “A Mermaid’s Love” (“Little Mermaid/loved him so./Enough,/enough/to let him go”).

Singer, in her reverso poems, focuses on the moment of “The Little Mermaid’s Choice.” Will she stay in the sea, or give up her voice in order to gain a pair of legs and, hopefully, the man she saved? The same words in one direction lean toward one possible choice (“For love/give up your voice./Don’t/think twice”); the words in the reverse direction suggest the opposite choice: “Think twice!/Don’t/give up your voice/for love.” All four poems, taken together with both Mahurin’s and Masse’s evocative illustrations, will add up to a lively conversation among students about whether or not the Little Mermaid made the right decision.

While Singer uses the story of Thumbelina (“No Bigger than Your Thumb”) to explore the tiny heroine’s response (in one poem) to the mole’s proposal of marriage (in its reverso), Yolen and Dotlich create a pair of brief poems of both acceptance of her size in “Thumbelina: A Cinquain” (“what, pray tell, is/the choice of a little missy/at birth?”) and also of triumph over circumstances in “Little Bit: A Haiku”: “I am just a bit/Of a proper young lady,/Still I got my prince.” These poems that riff on the classic stories of childhood subtly ask young people to re-examine their tropes.

Discussion points and classroom suggestions above reference a broad range of CCSS. Some of these include:

CCSS.ELA-Literacy.RL.1.4 Identify words and phrases in stories or poems that suggest feelings or appeal to the senses.
CCSS.ELA-Literacy.RL.1.6 Identify who is telling the story at various points in a text.
CCSS.ELA-Literacy.RL.3.5 Refer to parts of stories, dramas, and poems when writing or speaking about a text, using terms such as chapter, scene, and stanza; describe how each successive part builds on earlier sections.
CCSS.ELA-Literacy.RL.3.6 Distinguish their own point of view from that of the narrator or those of the characters.
CCSS.ELA-Literacy.RL.4.1 Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.
CCSS.ELA-Literacy.RL.4.2 Determine a theme of a story, drama, or poem from details in the text; summarize the text.
CCSS.ELA-Literacy.RL.4.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character’s thoughts, words, or actions).
CCSS.ELA-Literacy.RL.5.3 Compare and contrast two or more characters, settings, or events in a story or drama, drawing on specific details in the text (e.g., how characters interact).
CCSS.ELA-Literacy.RL.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone.
CCSS.ELA-Literacy.RL.6.5 Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot.
CCSS.ELA-Literacy.RL.6.6 Explain how an author develops the point of view of the narrator or speaker in a text.
CCSS.ELA-Literacy.RL.7.10 By the end of the year, read and comprehend literature, including stories, dramas, and poems, in the grades 6–8 text complexity band proficiently, with scaffolding as needed at the high end of the range.

Pug and Other Animal Poems (Worth)
©2013 by Steve Jenkins

Basho and the River Stones. By Tim Myers. illus. by Oki S. Han. Marshall Cavendish. 2004. Trade $16.95. ISBN 978-0761451655.

Gr 1-4–Fooled by a wily fox into relinquishing his share of a cherry tree’s fruit, Japan’s most revered poet pens a haiku about the experience, an eloquent and affecting verse that prompts the now-ashamed trickster to set things right. Starring 17^th-century writer Matsuo Basho, this original story about the power of poetry reads like a folktale and is illustrated with detail-rich watercolors in shimmering hues.

Guyku: A Year of Haiku for Boys. By Bob Raczka. illus. by Peter H. Reynolds. Houghton Mifflin. 2010. Trade $14.99. ISBN 978-0-547-24003-9; ebook $14.99. ISBN 978-0-547-76945-5.

K-Gr 3–Whether kite-flying, stone-skipping, leaf-piling, or snowball-lobbing, a group of exuberant youngsters convey the outdoor pastimes, changing moods, and kid-loving essence of each season. Raczka’s amusing poems, wrought from accessible language and everyday images, pair perfectly with Reynolds’s lithe adventure-filled illustrations to create an enchanting volume that will captivate boys–as well as girls.

The Cuckoo’s Haiku and Other Birding Poems. By Michael J. Rosen. illus. by Stan Fellows. Candlewick. 2009. Trade $17.99. ISBN 978-0-7636-3049-2.

Gr 3 Up–In this nature lover’s delight, vivid verses and color-splashed artwork spotlight 24 common North American birds. There’s a flock of trumpeting splash-landing Canada geese, a pair of windowsill-nesting mourning doves, and a tree-trapezing kingfisher in search of prey. The imagination-stirring haiku are presented against stunning seasonal vistas that show the birds in their environments and expand upon the poems’ imagery, while close-ups and field notes provide additional detail.

The Hound Dog’s Haiku and Other Poems for Dog Lovers. By Michael J. Rosen. illus. by Mary Azarian. Candlewick. 2011. Trade $17.99. ISBN 978-0-7636-4499-4.

Gr 2-6–Filled with tail-wagging panache, these eye-and-ear-pleasing portraits showcase the physical characteristics, personalities, and perennial pastimes of 20 canine breeds. Whether describing a Parson Russell terrier “elbow-deep in dirt,” a dozing Pembroke Welsh corgi soaring across “cloud pillows,” or a “staccato sniffing” bloodhound, the dynamic verses and textured woodcuts root out essential canine elements–applicable to purebred and mutt alike–and entrance readers with clever wordplay and inventive imagery.

I Haiku You. By Betsy Snyder. illus. by author. Random House. 2012. Trade $10.99. ISBN 978-0-375-86750-7; Library Edition $12.99. ISBN 978-0-375-96750-4;ebook $9.99. ISBN 978-0-375-98126-5.

K-Gr 3–Sweet-as-pie poems and cheerful sherbet-hued artwork celebrate ordinary moments, depicting instances of affection between family members and friends, favorite pastimes exuberantly shared, and enthusiasm for everything from snow angels to “sunshine” lemonade. Accessible and heartfelt, this small volume makes a fine starting point for reading and writing haiku.

If Not for the Cat. By Jack Prelutsky. illus. by Ted Rand. HarperCollins/Greenwillow. 2004. Trade $17.99. ISBN 978-0-06-059677-4.

Gr 1-4–Spare words and vibrant illustrations harmonize to introduce 17 different animals, both wild and domestic. Each beguiling selection touches upon its subject’s core while also posing a riddle about its identity: “If not for the cat,/And the scarcity of cheese,/I could be content.” The creatures–a mouse huddled in its hidey hole, a parrot posing playfully on a perch, or a rattler ready to pounce–are portrayed on glorious color-drenched spreads that echo each poem’s tone, from whimsical to majestic.

One Leaf Rides the Wind: Counting in a Japanese Garden. By Celeste Davidson Mannis. illus. by Susan Kathleen Hartung. Puffin. 2005. pap. $6.99. ISBN 9780142401958.

PreS-Gr 2–From one swirling leaf to ten carved stone lanterns, a winsome kimono-wearing youngster explores the marvels of a traditional Japanese garden. Each item is introduced with an accessible poem, depicted in the jewel-toned artwork, and placed in context by a brief descriptive paragraph. Infused with an air of tranquility and quiet discovery, this book makes a fitting first look at haiku and Japanese culture.

Wabi Sabi. By Mark Reibstein. illus. by Ed Young. Little, Brown. 2008. Trade $16.99. ISBN 978-0-316-11825-5.

Gr 2-5–A Kyoto cat goes on a quest across Japan to discover the meaning of her “hard to explain” name, questioning other animals and learning much about herself and the mysteries of nature along the way, and finally begins to understand the wonder of Wabi Sabi: “Simple things are beautiful.” A lyrical narrative, evocative haiku poems, and exquisite collage artwork make this complex concept of Japanese culture accessible to young readers.

Won Ton: A Cat Tale told in Haiku. By Lee Wardlaw. illus. by Eugene Yelchin. Holt. 2011. Trade $16.99. ISBN 978-0-8050-8995-0.

Gr 2-5–In terse first-person verse, a tough-talking charcoal-gray stray describes how he is plucked from the shelter, adjusts to the surprises and comforts of a new home, and finally reveals his true name to his cherished new boy (it’s Haiku, of course). Wardlaw’s series of senryu (similar in form to the traditionally nature-themed haiku, but focusing on the “foibles of human nature”–or, here–cat nature) unfold with flawless rhythm and heartfelt emotion and Yelchin’s endearing paintings are packed with personality.

The Year Comes Round: Haiku through the Seasons. By Sid Farrar. illus. by Ilse Plume. Albert Whitman. 2012. Trade $16.99. ISBN 978-0-8075-8129-2.

K-Gr 3–Expressive verses and delicately detailed artwork provide striking snapshots of the ever-changing mysteries of nature. Month by month, the commonplace becomes breathtakingly magical as frost artfully decorates a windowpane, “…rain bursts/dandelions from the earth like/countless little suns,” and “Like tiny fallen/stars, fireflies quietly blink/their secrets at dusk.” Readers will pause over each and every spread of this handsome volume, which is both understated and awe-inspiring.