As Kimmerer offers us this “braid of stories" (p.27), developed through “deep attention to the living world, not only their names but also their songs (p.63)” we can see that stories and metaphors allow us to imaginatively engage with ecological concepts.  Kimmerer includes a number of Anishinaabe myths that illustrate principles such as the benefits of biological diversity and the dangers of over consumption.  Like Braiding Sweetgrass, How a Mountain was Made, by Greg Sarris also demonstrates the important role of indigenous knowledge in developing an environmentally literate understanding of place. Provided that the stories are shared respectfully and with the permission of the local tribes, they are invaluable sources of information from a people who have  lived symbiotically with the land for thousands of years. Sarris, the Chairman of the Federated Indians of Graton Rancheria, in Northern California, and Distinguished Chair Emeritus at Sonoma State University, writes of “reading the landscape like a sacred text” where songs, (ie. stories) are perceived in every element of the environment.  Through his retelling of traditional Coast Miwok tales, Sarris lets mythological characters such as Coyote, Hawk and Hummingbird illustrate the delicate interrelationships among all living beings, including elements such as wind and water. ​

Sarris also provides insight on the nature of storytelling through Question Woman and Answer Woman, two sister crows, whose exchanges frame each story. As Answer Woman puts it, “stories teach us that we are all connected and equal on this Mountain - the humans, the plants and trees, birds, animals. The entire mountain, everything you see is really one ongoing story.” (p.55) I found that introducing the dialogue between the two crows as a device in the story diagramming process helped my students structure their visual narratives around the process of inquiry.  The effectiveness of visual narrative, in telling the story of place, can be further explored in Lauren Redniss’ book Oak Flat which explores the geologic, cultural and political history of a piece of ancestral Apache land in Arizona, slated to become a copper mine.  Told primarily in the voice of two families on opposing sides of the issue, Redness’ gorgeous drawings add a visual dimension to the written narrative and convey a deep understanding of the land through line, texture, color and form.​

A Snake Falls to Earth by Darcie Little Badger, a Lipian Apache scientist and author, is a fantasy novel in the style of magical realism that also features a catastrophic climate-related event on Earth. The protagonists, Nina, an earthly teenager, and Oli, a cottonmouth snake from another world, come together by tragic circumstance. Their journey toward each other also reunites worlds that have been kept apart. Readers interested in restorying will appreciate how Little Badger draws on scientific knowledge and indigenous storytelling traditions to imbue worlds with meaning. Similar to Greek and Roman mythology, which is typically taught in schools to the exclusion of other rich stories and traditions, this novel includes shape-shifting animal/human characters to explore themes that help us understand what it means to be human. It includes explorations of the unique abilities of animals and the raw power of natural elements, such as water. In this scene, Oli (the cottonmouth) thinks about his home, “the reflection of a living world [Earth]”:

           “[Home] a place where water binds two worlds; where coyotes confide in monsters; where hawks and
            mockingbirds discern revelations from ancient trees; where my best friend basks in the sun beside me; and                          where…I search for the family I left behind.” 

Stories like The Last Cuentista, and A Snake Falls to Earth express the dynamic nature of traditional stories: They adapt.

Ultimately,  these texts inspire us to become what Kimmerer calls, “indigenous to place”,  whether we are native or not, by cultivating our own metaphors and stories, specific to the places we inhabit.  Doing so allows students to establish a creative dialogue with the local environment that moves from deep observation and classification to a unique evaluation developed through imaginative invention and, and eventually to an analysis of place that (hopefully) results in a protective appreciation of the ecological systems that support their homes and communities.  Getting students outside of the classroom, exploring local places, is fundamental to this process and researching historical and contemporary land issues can add an interesting perspective. Finally,  taking part in a habitat restoration project on the school campus allows students to transform their school into a supporting element within a greater ecosystem,  while developing a unique language of place that makes them truly environmentally literate. 
​
Regardless of whether or not the No Child Left Inside Act of 2023 is passed and enacted into law (I will remain cautiously optimistic!), environmental literacy is a crucial skill for today's students who will inherit the consequences of previous generations' ecological indifference. The good news is that integrating environmental literacy into our curriculum through connecting with stories, places and indigenous wisdom is a meaningful practice that guides students to develop a hopeful and sustainable relationship with the natural world. ​

                                                         

Discussing poetry can be difficult with students, especially as teachers often begin with “What does this poem mean?” and similar questions.  Unfortunately, as they are seeking that one correct answer few students want to respond with most immediately looking down at their desktop.  Even worse, if a student ventures a reply and told it’s incorrect, few will want to follow.  Educators finally state their translation, something students know they’ll hear if waiting long enough, so poetry discussion isn’t always productive.  Of course, many poems have obvious meanings, but others do not or could be referring to several things and open to interpretation.
 
For poetry discussion to occur at all, students must feel comfortable expressing themselves and feel that their contributions are valid and important.  Teachers must also be careful to include all students, not just the same ones always eager to speak, with this exercise allowing everyone to share.  Once completed, the poem will have been discussed and analyzed by the students and teacher.

Directions

• Place the poem on class computer screen (or otherwise distribute) and ask, “Which WORD is MOST important and why?” with the teacher beginning by stating his/her selection and the reason for it.

• Students then share their word and reason, with many words the same but the reasons for their selection different, an ideal opportunity for comparison/contrast discussion.  Likewise, those words that are lesser selected provide an even richer view of the piece.

• As words are being shared and discussed, the teacher can contribute other information about the poem, such as noting hyperbole, rhyme scheme, alliteration, and so on.

• By the time students have shared and discussed, the poem should be thoroughly understood and remembered.  Poetry is meant to be heard, with this activity allowing for a thoughtful and thorough interpretation of a poem.

• This works with any reading; novels, plays, or short stories, as students can determine which scene, chapter, event, etc. is deemed most important, and why.

• One should begin with less complicated poetry before introducing more sophisticated pieces.  For these, and much longer poems, one may want to break into separate parts for discussion and then connecting all commentary to the whole.

 
Examples (and some student responses)
Below are some less-complicated (yet strikingly evocative) poems for introducing this activity. 
 
All are from Harrison, D. (1999). Wild country. Boyds Mills Press.
 
Poems selected are below, with the educator’s response shared first in red.  It should be noted that each time completing this activity, a different word may be seen as most important.  This should be conveyed to students, showing that understanding/appreciation deepens and varies with familiarity.  Poems aren’t meant to be read only once or twice. 
​
Seagulls                                                           
Mewling like cats                                                         
they fly all day                                     
this way and that                                              
crying (because it shows sadness and living each day constantly searching)
for lost balls of yarn.    
 
Wolf
One wolf
in a field
in full light--
 
One wolf
in full view
like a big dog,
shaggy, gray,
but
 
it’s a wolf,
casual
about being a wolf,
 
moving one foot at a time
through tall grass,
hunting. (This is a frightening word and reminds us that a wolf is a predator/killer, not just a large dog.)
 
Eyes of the Forest 
Boats throb by
the endless shore                                              
as people gasp at whales                       
and point to porpoises.                          
 
They do not see                                    
the proud heads,                                               
white dots                                                        
on green boughs.
                                                                       
The silent forest                                   
watches with                                        
its eagle eyes.  (This reminds us the forest is always watching, very closely and carefully.  It sees everything.)
 
Glacier
River of blue-cold ice
frozen in slow motion
flowing an inch a day
 
You polish mountains
scoop out basins
sculpt valleys
An inch a day (Such a small amount—but it shows how slowly, yet persistently, landscapes are formed.)
and inch a day
and you’re not done.
 
Vapor Trails
Vapor trails crisscross the blue
chalkboard sky in
rail-straight lines
 
Gradually lose their taut fitness
their laser focus
their dedication
 
Dwindle to wandering wisps
that fade away
like tissue
on a pond
 
Vapor trails set out importantly
but soon (The vapor trails act importantly, but they disappear quickly.  Attention doesn’t last!)
they’re
gone.
 

 
Lisa A. Hazlett is professor of secondary education at the University of South Dakota, where she teaches middle/secondary English language arts education courses and specializes in young adult literature regarding presentations and publications; special interests include gender issues and rural education. Her 2023 text, Teaching Diversity in Rural Schools: Attaining Understanding, Tolerance, and Respect Through Young Adult Literature, was published by Rowman & Littlefield, among numerous other publications centered on young adult literature.

She also serves and provides leadership for numerous NCTE assemblies, special interest groups, and committees, especially ELATE, and as an avid reviewer she regularly evaluates young adult literature novels and manuscripts for various journals and publishing houses.