Poetry in third grade: Getting started

This article reports our classroom structuresand routines for teaching poetry, examples of poetrylessons, and criteria for selecting poems forthese particular third-grade students. For manyteachers, the potential of poetry remains elusive.We offer these ideas in the hope that other teacherswill develop the courage and confidence to usepoetry in their own literacy instruction.Classroom structures and routinesWe used whole-group and small-group structuresto support poetry instruction and performance.Within these structures, classroom routinesdeveloped to give the students a measure of anticipation,as well as the security of familiarity, andcontributed to their sense that participation in theirown education was expected and desired.Routines for whole-group instructionA 90-minute reading block was mandated bythe school district. The first 30 minutes of it wererequired whole-group reading instruction at gradelevel; the next 60 minutes were devoted to readinggroups organized according to students’ needs andprogress. The teacher taught poetry as part of thefirst 30 minutes of the reading block. This commitmentto a dedicated time for poetry each daywas the teacher’s way to shape the students into alearning community. Coming from various homesituations, and being at various levels of competencein reading, they needed a common, successfulliteracy experience to meld them into a workingwhole. Depending on the students’ responsiveness,the difficulty of the poem being studied, and otherfactors, the daily poetry slot varied in length from 5to 25 minutes.The sequence of poetry lessons followed a consistentpattern of first fluent reading; then an explorationof a particular aspect of a poem; and, finally,rereading poems previously studied. The studentsfollowed along in their copies of the text as theteacher read each new poem. She read shorter poemsin their entirety and broke longer ones intoverses. Next, the students echoed each line after theteacher read it. Finally, they chorally read throughthe entire poem themselves. This three-part introductionto reading a poem was used throughout theschool year, because so many of the students werestruggling readers and because the teacher wantedtheir first experience of any poem to connect oraland written language.Poetry folders helped students keep their workorganized. Students numbered their copies of poemsand kept them in order for quick retrieval. Some studentsalso used their folders to hold drafts of theirown poems and copies of poems from classroomanthologies.The poem on the wall routinesThe first poem the students learned, which wehad adapted for public school consumption, wasGrenville Kleiser’s (n.d.) poem “Lord, Show MeHow.” The new title was “Just Show Me How.” Thefollowing is the first verse of the adaptation:Just Show Me HowIf I can do some good today,If I can serve along life’s wayIf I can something helpful say,Just show me how.This poem supported the formation of a communitywithin the classroom. It was prominently displayedon the classroom wall and served as thefocus for several routines that changed as theschool year unfolded and as the students and teachersnegotiated issues of life and purpose.On the first day of school, the teacher introducedthe poem. Her first shock was that most of the thirdgraders would not even look at it. They were willingenough to repeat after her as she read the poemthrough, line by line, but they were reciting. Gettingthe students to focus on the task of reading was a realand unexpected challenge. Because they didn’t lookat the poem, as soon as they finished reciting, mostof the students forgot the words and were unable toengage in any level of discussion. Only about fourstudents in the class truly participated in that firstreading.For this poem to be a springboard to discussingethical behavior, such as their ways of treating oneanother, the students had to have multipleopportunities to make connections between thepoem and their lives. In the first weeks of school, theclass simply read the poem daily. Then, the teacherintroduced discussions of how the different ideas inthe poem were showing up in the life of the class-Poetry in third grade: Getting started 467

sense rhymes in “Poemsicle” by Shel Silverstein(1981), it was a constant choice during PoetryZooms for several months. The Monkeys and theCrocodile by Laura Richards (1997) and Frog WentA-Courtin’ (Langstaff, 1955) were other popularchoices, again because of the satisfaction the studentsfelt in performing them to a high standard.Children’s choiceA student who had participated well in the dailypoetry lesson, offered an amazing insight, or read withgreat expression or fluency was occasionally rewardedwith the opportunity to select one poem for the entireclass to read chorally. Usually, students requested thesame poem every time they had a choice; and only afew seemed willing to sample different poems. In thisway, certain poems became identified with particularstudents, in the mind of the class. For example, Ken repeatedlychose “Sea Fever” by John Masefield (1995)because it was, as he said, “not a sissy poem.”The structures and routines described in thissection were the means by which we delivered thepoetry strand of literacy instruction. We now turn tospecific lessons as examples of the ways that wetaught the poetry curriculum.Poetry lessonsPoetry lessons focused on a poetry curriculum,that is, a scope and sequence of genre-specific topicsand content. The curriculum included the elementsof poetry:• rhythm;• rhyme;• the sounds of words (alliteration,onomatopoeia);• imagery;• the use of language for meaning making,both literally and figuratively;• the use of poetic language; and• symbolism.FIGURE 1Suggested resourcesWebsiteswww.reading.org. Website for the InternationalReading Association. Search for poetry and hundredsof articles come up.www.readwritethink.org. Website of lesson plans.Search for poetry.www.ncte.org. Website for the National Council ofTeachers of English. A search for poetry turns uparticles on the topic.http://falcon.jmu.edu/~ramseyil/poechild.htm. TheInternet School Library Media Center (ISLMC)Poetry for Children page previews curriculumrelatedwebsites for poetry.AnthologiesClinton, C. (Ed.). (1998). I, too, sing America: Threecenturies of African-American poetry. Ill. S. Alcorn.Boston: Houghton Mifflin.Hale, G. (Ed.). (2000). Read-aloud poems for youngpeople: An introduction to the magic and excitementof poetry. New York: Black Dog & Leventhal.Prelutsky, J. (Ed.). (1991). For laughing out loud: Poemsto tickle your funnybone. New York: Knopf.Prelutsky, J. (Ed.). (1999). The 20th century children’spoetry treasury. New York: Knopf.Zipes, J., Paul, L., Vallone, L., Hunt, P., & Avery, G.(Eds.). (2005). The Norton anthology of children’sliterature: The traditions in English. New York:Norton.CurriculumChatton, B. (1993). Using poetry across the curriculum:A whole language approach. Phoenix, AZ: Oryx.Cullinan, B.E., Scala, M.C., & Schroder, V.C., withLovett, A.K. (1995). Three voices: An invitation topoetry across the curriculum. Portland, ME:Stenhouse.Graves, D.H. (1992). Explore poetry. Portsmouth, NH:Heinemann.Heard, G. (1989). For the good of the earth and sun:Teaching poetry. Portsmouth, NH: Heinemann.This curriculum was a distillation of what theteacher had experienced in Advanced Placementhigh school English nearly 40 years ago. In heryears of teaching elementary school, she had established,through trial and error, a set of conceptsand skills that elementary students couldmaster. See Figure 1, a list of suggested resourcesfor good sources of information aboutpoetry curricula.RhythmThe first reading of Frog Went A-Courtin’(Langstaff, 1955) entranced the students. Theyspontaneously began to tap out its rhythm on theirPoetry in third grade: Getting started 469

desks. The tapping soon became pounding, whichdegenerated into a frenzy, with students shoutingout “uh-huh” as a background accompaniment.Some simply couldn’t keep the beat and also read;they chose to pound. Others kept reading, but thenoise of the pounding drowned out their words.Transitioning the students toward tapping on theirthighs was a step in the right direction. Eventually,the students substituted a kind of bobbing motionfor the tapping. Moving the students to appreciateand enjoy the rhythm without making any additionalnoise was a challenge.For that reason, no specific lessons were taughtabout types of rhythms. Instead, lessons sharpenedthe students’ awareness of and attention to pausesas rhythmically important. “The Eagle,” by AlfredLord Tennyson (1995), became a much-lovedpoem because the students were captivated by thedramatic pause in the final line: “like a thunderbolt—hefalls!” Once the students really heard thedifference an appropriate pause made, they perseveredin re-creating it.Other lessons relating to rhythm highlightedthe effect of changing the speed at which lines orentire verses were read. The Monkeys and theCrocodile (Richards, 1997) should have the firsttwo verses read in a robustly rhythmic way, andquickly. The third verse, by contrast, calls for amuch slower tempo and exaggerated, affected sadnessin the voice. The students discovered howmuch rhythm could add to expressive reading.RhymeIdentifying within-line rhymes was a new ideafor most of the students. They first encountered thisconstruction in “Happiness” by Priscilla Leonard(n.d.). One child thought the poet had made a mistakebecause shattered and scattered were in thesame line. Whenever possible, the teacher subsequentlyasked the students to find other rhymes ofthis type. Once they grasped the idea of within-linerhyme, they delighted in finding examples. Theyrelished “they winked and they blinked in the sandin the sun” from “The Wonderful Meadow” byOlive A. Wadsworth (1948), “in days of need andgreed” from “Ancestors” by Grey Cohoe (1972),and “O mother dear/We greatly fear” from “ThreeLittle Kittens” (anonymous, n.d.).Judy Sierra’s “Regurgitate” (1998b) became aclass favorite. The teacher had not previouslyknown that many students counted on spelling patterns,rather than on hearing the repeating sounds,to identify rhyming words. She was quite takenaback, therefore, when students excitedly found a“funny rhyme” in the poem. While they were preparedto claim all the words ending in -ate asrhyming with one another, they didn’t know whatto do about featherweight, which seemed to rhymewith the others but didn’t fit the visual pattern. Insubsequent poems, therefore, she made sure todraw the class’s attention to rhymes that don’t sharea spelling pattern. By midyear, students were independentlynoticing and pointing out theserhymes.Very good examples of nonsense rhyming arefound in “Poemsicle” (Silverstein, 1981) and“Botany” by Berton Braley (1929). Both of thesepoems offer sophisticated wordplay. “Poemsicle”begins, “If I add a sicle to my pop, would he becomea popsicle?” The line repeats, substitutingmade-up words that rhyme with pop—mopsicle,copsicle, chopsicle, dropsicle. To figure out howto read and understand this poem, the students repeatedeach line after the teacher, starting with avery slow tempo and gradually increasing theirspeed. Once they could read the poem at tempo,they roared with laughter as they asked, “Ohsiclemysicle willsicle Isicle/Havesicle tosicle talksicle/Likesiclethissicle foreversicle—/Huhsicle?” In“Botany,” the verses are written as limericks. Thefirst, second, and fifth lines in each verse all rhymewith botany—monotony, got any, spot any, potany, not any, plot any. We had a lot of vocabularywork to do in this poem before its meaning wasclear to the students. Eventually, they delighted inreading the rhyming words with great emphasis.The sounds of wordsOnomatopoeia. Words that imitate sounds, like therepeated uh-huh in Frog Went A-Courtin’(Langstaff, 1955) were highly popular. In one lesson,the teacher invited students to experiment withdifferent ways to voice the uh-huh, as if they werea large bullfrog or a small tree frog or a shy frogor an opera-singing frog. Another lesson increasedthe complexity of their concept of onomatopoeia.The teacher challenged the students to imitate the470The Reading Teacher Vol. 60, No. 5 February 2007

increasing speed of the train in David McCord’s“Song of the Train” (1989) by gradually increasingthe tempo. “Clickety clack/clickety clack/clicketyclackety/clickety clack” surely captures therhythm as well as the sound that the wheels of thetrain make.Alliteration. The poetry lady taught tonguetwisters to introduce alliteration by having studentsread and write their own examples. She was ableto find tongue twisters in the languages of the ESLstudents on the Internet by searching for alliterationand the appropriate foreign language. The studentssoon began to notice alliteration in poems, but itwas “Sea Fever” that taught them to relish stringsof alliterative words: “And the wheel’s kick and thewind’s song and the white sail’s shaking” and “Tothe gull’s way and the whale’s way where thewind’s like a whetted knife.” Alliteration was animportant focus of discussions of “Green River” byWilliam Cullen Bryant (1820): “And hie me awayto the woodland scene, Where wanders the streamwith waters of green.”Assonance. “This Is My Rock” by David McCord(n.d.) highlights the medial sound of the long eacross several words: “To steal the secret of thesun” and “I meet the evening face to face.” “GreenRiver” (Bryant, 1820) offers many examples of assonance,too: long a in “Had given their stain to thewaves they drink” and short i in “quivering glimmer.”In “Daffodils” by William Wordsworth(1919), assonance creates complex layers of soundand meaning. The teacher exaggerated the roundmouth needed to form the long o in “A host, ofgolden daffodils” and then had the students repeatit. The shape the mouth takes in making the soundimitates the shape of the daffodil.The students learned the concept of assonancelate in the school year. They needed first to workwith alliteration and rhyme, to develop the capacityto listen to the sounds the words were makingand to acquire sensitivity toward more subtle differencesand similarities among words. Once theteacher had introduced the concept of assonance,the students went on an assonance hunt, lookingthrough their entire poetry folders to find other examples.Afterward, they regularly offered examplesof assonance in the new poems they encountered.ImageryExplicit, realistic images. In most lessons, a mainpoint of instruction was that poets work to createvivid pictures in the readers’ imaginations. The easilydecodable, familiar words and the rhyme,rhythm, and format of “The Little Turtle” byVachel Lindsay (1948) allowed the students toquickly construct the idea of how words conveyimages. Learning to make a mental image involvesexploring word meanings; discussing the images;acting them out; and varying voice tone, speed, andintensity to add to the meaning. A more complicated,though still explicit image is the NativeAmerican dancer in “Dry and Parched” by AlonzoLopez (1972b). The dancer raises his arms, stampshis feet, and moves in circles as the dust rises andthe sun burns.Explicit, abstract images. Figuring out the imagesin “Happiness” (Leonard, n.d.) was considerablymore challenging. The image in this abstract poemis a shattered crystal gazing globe that representshappiness. The poem tells how the millions ofpieces can be picked up by a person along life’sjourney and fit together to “image the shatteredsphere.” Creating the mental image was difficultfor the students, however, because of their lack offamiliarity with the vocabulary. The teachershowed pictures of gazing globes in people’s yardsand defined new words such as exquisite, shining,pathway, crystal, shatter, and treasure. She demystifiedthe words by connecting them to objectsin the room; for example, she explained the differencebetween a window and a crystal. Extensiveclass discussions helped the students understandthe image. Because the students knew it was a difficultpoem, they took great pride in their eventualaccomplishment.Inferred images. Alfred Noyes’s “Daddy Fell Intothe Pond” (1995) was a good introduction to theconcept that sometimes poems do not give all theinformation needed to construct the image at theheart of a poem. This poem required readers tomake inferences about who the narrator was, whatthe social class of the people in the poem was, andwhy the father’s slip transformed the entire day foreveryone in the poem. Whole-class discussionsPoetry in third grade: Getting started 471

guided the students in creating the correspondingmental images.Use of language in meaning makingVocabulary and literal meaning of words. Themajority of poems studied by the class containedvocabulary words the students didn’t know. Tolessen the burden, the teacher chose no more thanthree new words to focus on each day, no matterhow many other unknown words the day’s poemcontained. In Frog Went A-Courtin’ (Langstaff,1955), only the word consent needed explanation.After giving the students a straightforward definition,“consent is like permission,” each child in theclass gave an example of some action that wouldrequire the teacher’s consent. The rest of that day,the teacher emphasized that she was giving herconsent when students asked to get drinks of water,erase the front board, or go to the library. Many ofthe students picked up the word and began to playwith it, giving one another consent to do things.Learning one simple definition of a word oftensatisfied the students, so building their curiosityabout the shades of meaning that words can havewas important. A long-term goal of instruction wasgetting the students to ask for nuanced meanings.Small-group lessons contributed to students’awareness that words can carry more than onemeaning, especially in poetry. Studying topics suchas synonyms and using the thesaurus to look up alternativewords led to extensive discussions ofword meanings. For example, one of the conversationsabout “Green River” (Bryant, 1820) wasabout the word hue. Students’ suggestions for thecolor of one student’s shirt included green, seagreen, bluish green, turquoise, forest green, grassgreen, and navy green. Though some choices werefar off the mark, the students understood that huehas a more specific meaning than color in thispoem.Figurative meaning of words. The students alsodid not easily comprehend figurative ideas. For example,they knew the word sorts because of activitiesthe class did with spelling words. But whenthey encountered “quite out of sorts” in “After theParty” by William Wise (2005), they did not knowhow to interpret it. One student asked, “Did she runout of words to sort?” Similarly, in “The Fog” byCarl Sandberg (1995), they did not know the wordhaunches. They were confused by the metaphor ofthe cat, wondering where the cat was. When toldthat there wasn’t an actual cat, one child declared,“This poem isn’t real. Fog can’t sit!” “A Bad Caseof the Giggles” by Bruce Lansky (1994) containedmany words unknown to the students. Even afterthey had learned what phrases like “braying like amule” and “hooting like an owl” literally meant,they were slow to comprehend the idea that thesephrases imitate the sounds that people make whenthey are overcome by laughter.In both “The Fog” and “A Bad Case of theGiggles,” acting out what the poems described wasmost effective in helping the students make senseof these unusual words and the personified images.Creeping cat-footed across the room to simulatethe movement of fog and imagining how animalsmight sound if they were laughing brought the connectionsto life.Poetic languageLanguage use in poetry adds a layer of complexityto the reading process that can overwhelm astruggling reader (Halliday, 1978). Words in poemsare carefully chosen by the poet to represent wholeworlds of meaning. In “Valentine for Earth” byFrances Frost (1959), the word silver is used as averb. It not only captures one aspect of snowcoveredenvironments but also the idea of somethingprecious: “And do they have snow/To silverthe roads/Where the school buses go?” Silver alsopicks up the /s/ sound, which these lines emphasize,possibly to recall the sound of the snow softlyfalling. The students needed time and multipleopportunities to discuss the complexities in the poems.Only gradually were they able to take on thechallenge of understanding and appreciating the alliterationas well as the literal and figurative meaningsof the words and images.When the class first began to talk about howpoems use common words in uncommon ways, thestudents read “This Is My Rock” by David McCord(n.d.). In the second verse, the words are arrangedin an atypical way: “This is my rock/ And herecome I/ Before the night has swept the sky.”Students found it difficult to read, “here come I”rather than “here I come.” Although the teacher explicitlyhighlighted the poet’s decision to put “I”472The Reading Teacher Vol. 60, No. 5 February 2007

at the end of the line to preserve the rhyme, thisknowledge did not help them read this line easily.For many poems, some students were able to accessall the elements and see the poems as a whole,but others were able to appreciate them only inpieces.SymbolismDiscussions of symbolism usually came weeksor months after a poem was first introduced. Theycould be very rich. For example, one day when theclass was rereading a poem by Emily Dickinson, avery competent reader asked, “Do you rememberhow “Sea Fever” (Masefield, 1995) talked aboutstories and stars but was really about death andfaith? What’s that part of this poem?” This student’squestion unleashed an avalanche of suggestions:The bird could symbolize a polite person,eating the worm raw could symbolize the timeswhen you have to do something you don’t want todo, or the beetle could be a person in a hurry. Thestudents’ willingness to engage in conversationabout symbolism clearly shows how far they hadcome from that first day of school when theywouldn’t even read the poem on the wall.The lessons we planned for daily poetry instructionthus provided multiple opportunities forthe third graders to learn to appreciate poetry. Somepoems required many lessons, others only one.Ultimately, a poem received as many lessons asneeded until the students could fluently read, understand,and enjoy the poem. Now we turn to howwe chose appealing poetry that took account of students’reading abilities, reinforced science and socialstudies concepts, and exemplified the conceptsin the poetry curriculum.Choosing poetry for thesethird gradersChoosing poems is an interactive process. Itbegins with the teacher’s previous experience withpoetry and gradually moves into poems that weresuggested by student interest or the curriculum. Atthe beginning of the year, the teacher offered poemsshe knew well and enjoyed, from MotherGoose nursery rhymes to Shel Silverstein’s nonsensepoems. As she came to know her students’ interestsand their responses to the poetry, shesearched out poems that she thought would appealto them. She thought carefully about the balanceof poems, wanting to introduce the students tomany voices within the genre. We searched out poemsfrom anthologies, from the students’ collections,from the Internet, and from public and schoollibraries. Copying one poem from an anthology orless than 10% of a longer, single work generally isacceptable under fair use guidelines of copyrightedmaterial.The poetry lady was instrumental in findingnew poems. Such volunteer assistance is oftenavailable through local organizations or from parentsor grandparents of students in the classroom. Ifthere is a college or university nearby, students andfaculty will collaborate with classroom teachers aswell. See Figure 1 for a list of websites that featurepoetry and lessons as well as some goodanthologies.Considering students’ reading abilitiesThe teacher balanced poems that immediatelyappealed to the students with more difficult poems.For example, in the beginning of the year, shechose “The Little Turtle” (Lindsay, 1948), “Mice”by Rose Fyleman (n.d.), and “Jonathan Bing” byBeatrice C. Brown (n.d.). These poems were short,had few difficult words, and focused on one mainidea. The simplicity of the poems made them accessibleto different levels of readers. Strugglingreaders were empowered by being able to read thewords of the poems fluently; competent readerswere captivated by the multiple interpretations ofideas that poems offered.As the year progressed and students developedconfidence in their ability to read difficult poems,the teacher was able to select some that had a quitehigh reading level. Among the factors that makepoems more difficult are the length of the poem,its form (ballad, free-verse), the number of wordson each line, the number of new vocabulary wordsintroduced in the poem, the amount of metaphoriclanguage, the complexity and level of abstractionof the imagery of the poem, and the level of detailin the story line. Examples of more difficult poemsthat we successfully tackled include A VisitFrom Saint Nicholas by Clement Moore (2004) and“Ancestors” by Grey Cohoe (1972).Poetry in third grade: Getting started 473

Reinforcing science and social studiesconceptsPoems can be powerful vehicles for revisitingpreviously introduced science or social studies contentknowledge. One advantage of finding highqualitypoems that reviewed targeted concepts isthat the imagery in poems was a powerful means ofbuilding an understanding of those concepts. In“My Father’s Feet,” Judy Sierra (1998a) humorouslydescribed the tenuous perch of a baby emperorpenguin standing on its father’s feet to keepfrom freezing to death during the Antarctic winterinto which it is born. The imagery of the poem provideda wonderful review of the facts the studentshad learned about life at the South Pole.While the class studied Native Americans, theyread poems written by Alonzo Lopez, Grey Cohoe,and Ramona Carden. These poems gave the studentsa sense of the connections that NativeAmerican authors felt to nature; their dependenceon and celebration of natural resources for sustenanceand housing; and the distinctive rhythms ofsome Native American languages. The studentshad learned about Native American dancing as a religiousexpression, for example, but the poem“Celebration” by Alonzo Lopez (1972a) gave themaccess to powerful feelings and images with whichto elaborate the concept.Some poems lent themselves to beginning a unitbecause they teased the imagination in a particularway, or gave a preview of the content under study.In the first week of the unit on plants, the studentsread and studied “Botany” (Braley, 1929), a humorousintroduction to the advantages of studying aboutplants. Other poems, such as “Celebration” (Lopez,1972a), were better placed at the end of units. Thispoem reviewed many ideas we had discussed andproclaimed Lopez’s great sense of belonging to hispeople. Because students chose to read these favoritesoften, using the poetry that complementedthe content of units deepened their learning experiences,kept the content fresh, and tied the yeartogether.Exemplifying the poetry curriculumThe final criterion for choosing poems was thatthey exemplify concepts and skills in the teacher’spoetry curriculum. Most poems address more thanone of these curricular elements. We began withrhythm and end-of-line rhyme because these elementsof poetry are similar to types of early childhoodword and language play. Only later didonomatopoeia, alliteration, assonance, and symbolismof poetry become topics of discussion. Someelements of the poetry curriculum required longterm,multiple exposures for mastery. Teachingabout imagery, for example, threaded through mostof the poetry discussions.“Song of the Train” (McCord, 1989) is an excellentexample of lines full of rhythm and rhyme.Later in the year, the onomatopoeia of the poemadded to the complexity of our discussions. Earlyin the year, poetry readings focused only on therhymes; toward the middle of the year, discussionsincluded the poem’s assonance and late in the yearthe poem’s symbolism. Early selections tended tohave one main image, such as the frog’s courtshipof the mouse in Frog Went A-Courtin’ (Langstaff,1955). By midyear students could easily processpoems with multiple images, as in A Visit From St.Nicholas (Moore, 2004).Learning to recognize the valueof poetryPoetry can help shape the way students thinkby giving them words and concepts to frame theirideas and arguments. Poetry can feed their imagination,bring comfort to them, or fuel their passions.Sensitivity to poetic elements such asalliteration and onomatopoeia and concepts suchas imagery and symbolism can create in studentsthe capacity to be surprised by the poetry of oureveryday language. Through careful planning ofstructures and routines, consistent developmentof a poetry curriculum, thoughtful choices of poetry,and constant attention to the student’s responsesto poetry instruction, we enabled not justKen but many third graders to become “poempersons.”Sekeres teaches at the University ofAlabama–Tuscaloosa. She may be contactedthere (College of Education, Box 870232,Tuscaloosa, AL 35487, USA). E-maildsekeres@bamaed.ua.edu. Gregg teaches at thesame university.474The Reading Teacher Vol. 60, No. 5 February 2007

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