Review of Herbert, Jones & Sampson (2025): Collaborative Poetry Translation: Processes, Priorities, and Relationships in the Poettrio Method

Explores the integration of Sustainable Development Goals (SDGs) into language and literature teaching, emphasizing the use of selected literary texts to foster global awareness and linguistic competence among learners. Drawing upon John Donne’s notion of interconnectedness, the paper argues that literature, as a mirror of society and a powerful pedagogical tool, can effectively promote the values of sustainability, equality, and responsibility. The study specifically analyzes three poems—“On Killing a Tree” by Gieve Patel, “A Work of Artifice” by Marge Piercy, and “Caged Bird” by Maya Angelou—to highlight how each reflects key SDGs such as environmental conservation, gender equality, freedom, and social justice. Through a methodological approach incorporating role play, debates, and collaborative poetry, the paper demonstrates how language teachers can create meaningful learning experiences that go beyond linguistic skills to instill ethical consciousness and global citizenship. Ultimately, the study advocates for a literature-based classroom that not only develops communicative competence but also inspires learners to become responsible individuals contributing to sustainable development. Keywords: Sustainable Development Goals (SDGs), literature, language teaching, global awareness, communicative competence, pedagogy, environmental consciousness, gender equality.

This article explores the application of Paulo Freire’s critical pedagogy so as to improve creative writing instruction for second-language (L2) learners. Freire’s emphasis on critical consciousness, dialogue, and learner autonomy provides a valuable framework for fostering authentic self-expression and deeper engagement with the learning process. This study examines several key Freirean principles and their practical implications for creative writing pedagogy: establishing inclusive classroom environments that foster confidence and mitigate anxiety; employing peer support through collaborative activities to enhance creativity and build self-assurance; integrating problem-solving tasks requiring learners to apply language skills strategically; and empowering learners to take ownership of their learning journey through increased autonomy. The crucial role of visual aids in bridging the gap between abstract concepts and concrete experiences is also investigated, highlighting their potential to increase engagement and comprehension by making complex ideas more accessible. Specific pedagogical strategies, including collaborative storytelling, picture storytelling, dialogue writing, and collaborative poetry, are presented as practical applications of these principles. Furthermore, the article emphasizes the importance of differentiating between exercises and tasks, within the context of Rod Ellis’s theory, prioritizing purpose-oriented activities (tasks) that promote implicit language acquisition. This learner-centered approach, grounded in Freire’s humanistic philosophy, moves beyond a focus on grammatical accuracy to prioritize authentic communication and creative exploration, thus empowering students to develop their unique voices and perspectives. The article concludes by advocating for a more empowering approach to L2 creative writing and proposes avenues for future research exploring the effectiveness of these Freirean-inspired techniques in fostering both linguistic proficiency and broader personal growth, contributing to a more holistic and effective language learning experience.

Pacific Research Methodologies have been used to acknowledge relationality and responsibilities to research participants. In the context of the University of British Columbia where Pacific peoples are not represented, vakaturaga (a Fijian methodology about practicing chiefly obligations to others) can be applied to support the assertion of Fijian epistemology in diaspora, invite the tracing of kinship to place the researcher in a lineage of those who have come before, and challenge the reader and researcher to actively envision long-term responsibility to participants. Vakaturaga can be practiced using collaborative poetry that outlines kinship and reminds the reader and researcher of their responsibilities, alongside outlining explicit commitments to the application of the research findings. Overall, vakaturaga can support the continued practice of obligations to participants’ shared stories and can support the work of representing the Pacific at the University of British Columbia.

Math anxiety is common among elementary school pupils and its negative consequences are a serious concern. Traditional teaching methods have largely failed to address this widespread fear. One effective way to reduce this anxiety is by presenting mathematics as a fun and relevant subject for young learners in the classroom. Educators can introduce activities that align with the interests of elementary students, such as group outings, collaborative poetry readings, or watching and performing magic tricks. By blending math concepts into these enjoyable activities, teachers can help students engage more relaxed and positively with the subject. This relaxation, in turn, can reduce the math anxiety. With the help of recent advancements in generative artificial intelligence, teachers can create innovative learning experiences, organize field trips that connect classroom lessons to real-world applications, and present mathematical techniques as exciting tools for solving problems. In this article, we present five activities that we hope motivate other practitioners to create and implement activities that can prevent the development of math anxiety in elementary school kids.

Transdisciplinarity refers to ways of working that bring together people from different backgrounds—academic and nonacademic—to address real-world challenges. This article explores how team members on the IncludeAge project, funded by the UK Economic and Social Research Council, enabled transdisciplinary ways of working to build inclusion in the project, by designing and facilitating a collaborative auto/biography poetry activity for transdisciplinary team members. The article demonstrates the potential for using collaborative creative writing to foster transdisciplinarity and build inclusion within the context of a research project with multiple team members from different backgrounds. The article aims to contribute to methodological discussions on transdisciplinary ways of working in research, particularly with seldom-heard populations, and how creative methods such as auto/biography and collaborative poetry writing may contribute to these.

This article proposes a methodology centered on collective, creative engagement to explore marginalized and silenced perspectives on disability. Focusing on collective poetry writing as a qualitative research tool, the article examines the collaborative poetry writings of 16 disabled people, specifically people living with cerebral palsy (CP). Drawing on Gary Alan Fine’s (2012) “Group Life” theory, the article analyzes the social dynamics involved in establishing a shared history through collective poetry writing. It analyzes the emotional bonding among participants and the collective energy that emerged throughthis engagement. These group dynamics served as a resource for re-evaluating and advancing frameworks for writing about, reflecting on, and understanding disability, and for giving people with disability the opputunity to collectively shape knowledge about their own lives. This article discusses how collective poetry writing can be a tool for amplifying often marginalized voices as well as the emerging challenges and methodological dilemmas inherent in the use of this method.

The issue of suicide has garnered considerable attention in refugee scholarship, where research examines how unique forced migration and resettlement challenges exacerbate risks and vulnerabilities to suicide. However, there are gaps in understanding the social and cultural factors shaping the lived experience of suicide in refugee communities. Using the example of young people of African backgrounds in Australia, this paper presents a collaboration among two academics and two South Sudanese youth advocates to explore the sociocultural factors impacting suicidality through reflexive discussions and collaborative poetry. This combined approach offered a unique and nuanced conceptual and methodological framework to contribute culturally specific narratives to critical suicide studies and challenge western-centric and biomedical perspectives on suicide. The process highlighted (i) the lack of dialogue about suicide in the South Sudanese community and (ii) the absence of community-based support structures to address suicide. This paper provides useful insights into the culturally specific context of suicide, adding refugee perspectives to the discipline of critical suicide studies.

IntroductionThis study investigates how seventh-grade students experience online collaborative writing, its support in writing poems, and how collaboratively and individually written poems differ.MethodsThe educational design research method was used in this mixed-methods study, which was conducted in natural classroom settings to investigate students’ individual and collaborative poetry writing.ResultsThe quantitative analysis of questionnaires and qualitative thematic analysis of postexperimental interviews show that the students enjoyed collaborative writing more and found it more accessible than individual writing. They experienced that it supported them in writing better poems and increased their writing confidence. They also appreciated the support of teamwork, although individual writing gave them more liberty to explore various aspects of poetry and express their feelings.DiscussionFrom a pedagogical point of view, the students need to be provided with opportunities for collaborative poetry writing to make the writing process easier and more enjoyable. Online collaborative writing supports the process of poetry writing.

Between February 2021 and March 2022, Ariel Gordon and Brenda Schmidt wrote a collaborative poetry manuscript, formatted like a call and response. Ariel intended to write about urban Manitoba, the city and its trees, and Brenda was to write about rural Saskatchewan and birds. Over the course of the year, the matter of place took over and the intentions branched and flew apart. They both wrote birds and trees but also moose and mushrooms, pronghorns and wild turkeys, and people making their way through it all. They wrote climate as it was manifested in drought-stressed trees and stunted crops covered in grasshoppers, in wildfires and wildfire smoke hanging over the prairies. They wrote home as they found it.

That's Still Short Term. I Care About Long Term., and: 21 Grams Adrienne Marie Barrios (bio) and Leigh Chadwick (bio) Keywords poetry, Adrienne Marie Barrios, Leigh Chadwick, disability poetry, tea, writing, feathers, grams, death That's Still Short Term. I Care About Long Term. Adrienne Barrios spends her afternoon chipping commas and drinking tea that goes cold the minute it's born. She says, I care little about what's said in the short term. She cracks her shoulder blades. She wonders if she waters them, would they grow wings? She says, I care about what happens tomorrow or the next day or the end of next month when the doctor pronounces my heart obsolete. Adrienne Barrios imagines Leigh Chadwick standing in her kitchen, drinking a margarita. She asks, What will we do when the trees stop growing fruit? Leigh Chadwick answers, We'll mix tequila with tequila and forget that anything ever existed. They both nod. Adrienne Barrios imagines white feathers sprouting from her shoulder blades, grazing her neck. She smiles. That seems right. [End Page 694] 21 Grams Sometimes, when Adrienne Barrios is peeing, she feels distinctly like she's dreaming. And sometimes, when Adrienne Barrios is dreaming, she almost pees, but she hasn't done that since she learned how to be embarrassed about the shape of a thigh. Now, she feels embarrassed about the shape of everything. Adrienne Barrios tells Leigh Chadwick, I'm going to jump out a window if someone doesn't tell me where each gram goes when someone jumps out a window. Leigh Chadwick says, You jump out a window, I'll jump off a bridge. Adrienne Barrios says, Meet you at the bottom. From Too Much Tongue, by Adrienne Marie Barrios and Leigh Chadwick (Autofocus, 2022). Used with permission. [End Page 695] Adrienne Marie Barrios adrienne marie barrios is editor-in-chief of Reservoir Road Literary Review and CLOVES Literary. She is co-author of the poetry collection Too Much Tongue (Auto-focus), written collaboratively with Leigh Chadwick, and her debut solo collection We Don't Know That This Is Temporary (Redacted Books). Her work has appeared in trampset, Passages North, Rejection Letters, Stanchion Zine, and HAD, among other journals. She edits award-winning novels and short stories. Leigh Chadwick leigh chadwick is the author of the poetry collection Your Favorite Poet (Malarkey Books) and the collaborative poetry collection Too Much Tongue (Autofocus), co-written with Adrienne Marie Barrios. Her poetry has appeared in Salamander, Passages North, The Indianapolis Review, and Hobart, among others. She is a regular contributor at Olney Magazine, where she conducts the "Mediocre Conversations" interview series. Copyright © 2022 The Massachusetts Review, Inc.

Dear COVID-19: A Collaborative Poetry

ABSTRACT This article explores how poetry can contribute to the work of decolonisation for faculty development professionals and academic faculty more broadly. It explains how poetry has been significant for the authors in constructing and deconstructing our understandings of place. Through a discussion of literary theorists as well as Indigenous and non-Indigenous poets, it then considers how poetry might provide avenues for the personal and emotional work necessary for decolonisation. We share the process of a collaborative poetry workshop that we engaged in with participants at the 2019 Intercultural Intersections Conference at Thompson Rivers University, providing an overview of the practice and samples of the resulting poems. Through an analysis of these poems and the process itself, we consider the implications of this activity as a decolonising exercise.

Abstract This study examines how creative solutions to translation problems are negotiated and selected in ‘poettrios’ (teams consisting of a source poet, a target-language poet and a bilingual language mediator working from pre-prepared, literal translation drafts of poems), and compares creativity in this mode to that in solo poetry translating (Jones 2011). The interactions and outputs taken from real-time recordings, work-in-progress drafts and participant interviews from several poettrios translating original poems from English into Dutch and from Dutch into English in two workshops were coded and analysed quantitatively and qualitatively. The results show that creativity in poetry translating is an eminently cognitive activity in which creative solutions typically emerge through the incremental contributions of the complementary expertises of the individual poettrio members, with occasional radical leaps. In this incremental scaffolding process, and similarly to solo translating, poettrios first consider non-creative options, then creative adjustments and, finally, creative transformations. Radical solutions are generally only accepted when a departure from the source-text surface meaning is deemed necessary to achieve the double aim of retaining the source poem’s message while producing an acceptable poem in the target culture (Holmes 1988).

Abstract When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations.

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The following contributions describe the process of the writing workshop and the concrete writing and editing of a jointly produced multilingual poem.

Re-imagining the Writing Workshop: The Creation of Multilingual, Collaborative Poetry

In this paper, we use Sameshima’s Parallaxic Praxis Model to create collaborative poetry. The model invites juxtaposing articulations to generate alternative thinking. Similar to Daignault's (1992) notion of a “thinking maybe" space, we invite readers into what we call a liminal studio to theorize new understandings of social justice. In the data phases for this project, Viet Thanh Nguyen’s (2015) The Sympathizer served as a play object: The narrator, the sympathizer, is a captured communist spy in the aftermath of the Vietnam war, and his confession (the novel) considers a critical question for understanding social justice: “What is more important than independence and freedom?” Nguyen refuses simplistic overtures of social justice. Instead, readers are confronted with questions: “What do those who struggle against power do when they seize power? What does the revolutionary do when the revolution triumphs? Why do those who call for independence and freedom take away the independence and freedom of others?” (p. 178). These questions lead us to the frame of our own ten-part poem, the modern scholar under interrogation. Our poetry reframes social justice as the art of being/nothing, the something of nothingness being a language of resistance for a reimagined politics.

Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.