"Presents an overview of cinquain poems, including the form's history, elements, and traits and how poets use cinquain poems to express ideas."--Publisher description.

In a watery mirror the rugged raccoon admires his face by the light of the moon: the mysterious mask, the whiskers beneath, the sliver of cricket still stuck in his teeth. Take a lighthearted romp through four seasons in the forest with these whimsical poems. Marvel at the overachieving beaver, applaud the race-winning snail and its perfect trail of slime, or head off to be pampered at a squirrel spa. Warning: Deborah Ruddell's quirky cast of animal characters and Joan Rankin's deliciously daffy pictures will cause giggles. The woods have never been so much fun!

Each title introduces readers to cinquain poems. Fun themed chapters help inspire budding poets to write their own cinquain poems about nature, food, sports, and more. Example poems in each chapter serve as guides to spark creativity. Aligned to Common Core standards and correlated to state standards. Big Buddy Books is an imprint of Abdo Publishing, a division of ABDO.

If you could have any animal's eyes, whose would you choose? What if you woke up one morning and your eyes weren't yours? What If You Had Animal Eyes? -- the next imaginative book in the What If You Had series -- explores what would happen if you looked in the mirror and saw a pair of animal eyes instead of your own! From the chameleon's eyes that can point in different directions, to the colossal squid's eyes that shine in the dark, discover what it would be like if you had these special eyes -- and find out why your eyes are just the right ones for you!

This book presents the poetry and letters of the American writer Adelaide Crapsey (1878–1914). Her best poetry deserves to be enjoyed by a larger audience, and her letters and newly discovered biographical materials reveal new charm and meaning in an intriguingly elusive character. Crapsey did not live to see any of her mature poetry published: she received notice that her first poem had been accepted for publication only a week before she died. Posthumous editions of her Verse (in 1915, 1922, and 1934), however, brought her recognition and respect. Carl Sandburg paid her a poetic tribute. American critic Yvor Winters praised her as "a minor poet of great distinction" and felt that her poems remained "in their way honest and acutely perceptive." Her best work is compressed, terse, related in this respect to the work of another American poet who won posthumous recognition, Emily Dickinson. Crapsey is best known as the inventor of the cinquain, a poem of five short lines of unequal length: one-stress, two-stress, three-stress, four-stress, and one-stress. The cinquain is one of the few modern verse forms developed in English, and its brevity and characteristic thought pattern seem to have been influenced by Japanese forms. Crapsey's indebtedness to Japanese poetry and her relation to Imagism have long been subjects for debate. As Winters notes, the work of Crapsey "achieves more effectively than did almost any of the Imagists the aims of Imagism." The critical introduction by Professor Susan Sutton Smith examines these problems. Much of Crapsey's poetry is reticent, withdrawn, and private, and she believed strongly in the individual's right to privacy. Whatever new biographical materials reveal of her and of her relations with family and friends, however, shows a charming and courageous woman. Her courage and humor show especially well in her correspondence with her friend Esther Lowenthal and in the letters with her friend Jean Webster McKinney, author of Daddy Long-Legs, who died soon after Crapsey.

Cinquains: Volume I, is a children's book of poems. The poems are accompanied by illustrations that engage students in the learning process. This book has been prepared with two purposes in mind. First, the book provides a source of enjoyment for the reader. This is accomplished by using the cinquain poem format for communicating about various topics. There are various forms of cinquain poems. I have stuck fairly close to the Adelaide Crapsey process of writing cinquains. This is mainly in the use of the syllable count. Second, to provide an additional resource for anyone involved in the process of engaging learners. Whether the learners are in public education, private education, or business the engagement of the learner is a significant key to learner success in the learning process.