MOD 3: Poetic Form

Bibliographic Data and ISBN

Wardlaw, Lee, and Eugene Yelchin. 2011. Won Ton: A Cat Tale Told In Haiku. New York: Henry Holt. ISBN: 9780805089950

Summary

In the form of haiku poems, follow the story of a cat chosen from the pound that grows accustomed to his loving home.

Critical Analysis

Layout

Wardlaw’s book does not include a table of contents, numbered pages, or an index. This allows her to leave poems untitled; however, there are section titles like “The Choosing” and “The New Place.” Sections do not have an even distribution of poems, but they do sort poems in a chronological fashion. The author’s note is short and different from most poetry books I’ve read because it is in the front of the text. It simply tells more about senryu, the poetry form focused on in the book.

Personally I find some of the illustrations to be inappropriate for this book. One is inspired by Japanese wood-block prints. Of course, haiku and senryu are of Japanese origin, but it’s the mixing of other aspects of Asian cultures that make me question having the style at all. Won Ton (the food) is of Chinese origin. At one point the cat is referred to as an “oriental prince.” Use of the word “Oriental” has been controversial, but one can argue that it refers to the breed, the oriental shorthair. If it in fact it does then that breed is of Thai origin. It’s not appropriate to interchange and mix various Asian identities and present them as a single identity. It’s offensive and insensitive. Neither the author nor the illustrator are Asian themselves. It can appear that the author and the illustrator are outsiders, mimicking and mocking Asian culture. The illustrations may have been appropriate if the other items were absent from the book.

The illustrations have depth and color. I do not believe that this aspect adds meaning to the poems that accompany them. In the pages entitled “The Yard” the moth is lime green which is not typical for a moth. I do enjoy the simplistic style of his compositions. This type of art is easy for larger storytime groups to see what is happening on the page. Yelchin does convey the humor in the poetry through his art. Readers clearly see comical expressions in the cat’s eyes and body.

Poetic Elements

Haiku, or specifically, senryu is the form the poetry takes in this book. Both forms have the same format, line 1: 5 syllables, line 2: 7 syllables, line 3: 5 syllables. Both capture an image or single moment in time. According to the author’s note, what makes senryu different from haiku is that senryu is of human nature while haiku is about nature. Despite the fact that the poems are supposed to be senryus the title states that they are haiku, which is confusing. Spoiler: The cat’s name does not end up being “Senryu” either. It’s a wonder that the author noted a distinction at all. It also adds to the insult of not making a distinction of the different Asian cultures in this book. The author tells us these poems are of the senryu form, but we don’t end up using the word. Instead, we just keep calling the poetry by the wrong name.

Back to the format of poems, one usually expects a clean form. By that, I mean sentences should not end in the middle of lines. Not that it is a solid rule for the form, but Wardlaw does not follow this form. It causes a verbal awkwardness when reading aloud. Unless the reader was looking at the poem it is likely they would not know you were reading a senryu. It also takes away from the rhythm. Students are likely to count and bounce along to the syllables of this form, but the placement of sentences makes this usually fun part problematic.

The sense imagery is strong in these poems. Wardlaw uses special language well, such as, “on my left… my right.” She efficiently creates scenes, “Yawn. I pretend not to care.” Both imagery and creating scenes are identifying characteristics of the haiku and senryu forms. Wardlaw does a good job accomplishing both.

Appeal

The forms of haiku and senryu are formulaic, making them appealing to many readers. The fact that it also has strong imagery brings a refreshing depth to enjoying poetry. When done well it is a form sure to bring in new readers in to poetry. Wardlaw’s poems make good use of imagery.

The subject matter focuses on the life of a cat. Many students love pets and animals so this may be a way to introduce reluctant readers to poetry. What is probably more appealing to reluctant readers is the humor. Wardlaw repeats one poem through the book, the first lines being, “letmeoutletme, outletmeoutletmeout.” The illustrations complement the humor of the text.

Though the vocabulary may not seem too advanced the way it is used is enriching. Instead of saying “eat,” Wardlaw describes the activity using scenery and onomatopoeia. An instructor can find examples in the book of using language in this imaginative way.

Wardlaw utilizes punctuation that would provide teaching moments for students. Poems exhibit dashes, commas, and quotations. Instructors could use these poems for lessons on sentence structures.

The melding of Asian cultures into one has a negative effect on the appeal of this book. It is not enriching cultural knowledge. It perpetuates incorrect notions of Asian culture. I would highly discourage using this title during Asian American Pacific Islander Heritage Month.

Overall Quality

The poems are not consistent in quality. I prefer the ones that do not split sentences in awkward ways specifically verbally. It appears that less than half of the poems are in this desired format. It does not make sense to pause the way that the others are laid out. Occasionally poems do not follow the three line format. The first poem in “The Shelter” section has six lines. Surely a student would ask why it is not in three lines. Would these stylistic choices affect whether students follow the directions on writing their own haikus or senryus? Should we stop students from doing the same? It is debatable, but also complicates an otherwise simple appreciation of the poetic form.

As the poems progress through the cat’s chronology there is a sentimental shift in the last few poems. We see the cat grow closer to his owner, or as he thinks, the boy he owns. The shift is cemented by the final poem in which the cat reveals his true name. His true name ties the whole collection together giving it a poetic depth as opposed to being a collection of silly cat poems.

Final Analysis

I think the cultural insensitivity in this book is the main reason I would not recommend this title. I also think that mismatching the lines and sentences ruins the delightful rhythm of the haiku form. It is a shame because Wardlaw and Yelchin create great imagery and illustrations in this collection.

Featured Poem

Crickets crunch. Mice snap.

Wing thing makes dusty snack:

No meat on a moth.

Poem Connections

Since haiku and senryu capture a moment like snapping a photograph, have children draw this moment. Elizabeth Bird’s SLJ review suggests reading this book with “A Curious Collection of Cats” by Betsy Franco. It’s similar not only because it’s also about cats, but also because it focuses on one type of poetry, concrete poetry. Douglas Florian’s book “Bow Wow Meow Meow” or Nikki Grimes’ “When Gorilla Goes Walking” would also be similar titles to pair with “Won Ton.”