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This study claims that an LGBTQ+ themed memoir, All Boys Aren’t Blue by George M. Johnson, and possibly similar texts can be used by teachers in the L2 English classroom in an approach of raising gender identity awareness. The memoir is examined for its potential of raising gender identity awareness in the L2 English classroom through a method of close reading the memoir. Along with the close reading, the memoir is evaluated against previous research and steering documents for the English subject in Swedish upper secondary school. The memoir’s teaching potential is demonstrated by a sample lesson for the English subject in Swedish upper secondary school.

Have You Ever Had Broken Heart? is a collection of essays that interrogate memory, loss, and grief through the intersection of personal narrative, films, the actress Frances Farmer, and woman saints and mystics from the twelfth through seventeenth centuries who were punished for daring to speak to G-d. The essays engage with autotheory and include a myriad of forms, such as segmented, one sentence, and hybrid works. The films discussed range from the philosophical, such as Ingmar Bergman's Winter Light (1963), to Graeme Clifford's biopic, Frances (1982), to catechize the grief of the persona losing her mother and sister to a hit and run car wreck in June 2022. The persona traverses the realm of the mystics and saints, including Marguerite Porete, Sor Juana Inez De La Cruz, and Joan of Arc, examining their respective quests to experience the unseen and often silent divine, while questioning her longing for G-d, and simultaneously believing G-d cannot exist. Yet, within this confusion, she finds herself immersed in memories which carry the presence of her mother's love.

In his essay collection Another Future, Alan Gilbert argues that culture, at it’s best, “interrogates the gap between the ideal and the real.” Ad copy, public text, Hallmark cards, narrative film, etc flood ‘the masses’ with the ideal: the dream of love, the dream of the new, happiness, happiness, happiness, while it purports to be ‘real.’ Conversely, a fair portion of art positions itself staunchly against the marketplace, it too claiming ‘realness,’ a superiority to ‘representation,’ a championing of ‘authenticity’ and ‘the individual experience.’ Art and poetry can be a venue to complicate this dichotomy, demystify all cultural products, and question the usage of massive words such as ‘real,’ ‘dream,’ ‘new,’ love.’ Maybe the most effective way to interrogate the gap between ‘ideal’ and ‘real’ is to read “the social poetically and poetry socially.” While post-modernism concentrated on experimentation with form and bridging a ‘high’ and ‘low’ divide, Gilbert argues that what comes next is an emphasis on the “social ramifications of cultural products.” As Kenneth Goldsmith says, “Context is the new content.” But I’m not interested in simplistic Conceptualist copy and paste. The function of art shifts to an aggregation and recontextualization of information: how ‘ideal’ and ‘real’ are represented, implemented, and manipulated across various social contexts. Artist John Baldessari asks: “Where does art reside? Is it physically there in that painting? Is it in my head? Could it be a trace memory? Could it be a photo? What is necessary for it? Can you just talk about it?” For me, there’s little difference between creating a cultural product, writing ‘about’ someone else’s cultural product, or interviewing artists about cultural products they made. Warhol thought of his body of work as equally visual and vocal: Andy is not Andy without his interviews. Conversation as poem. The conversation in the media around a poem as poem. Example: a poem by Kristen Stewart, a Hollywood actress, cannot be divorced from the reactions and retaliations it spawned. The content of Stewart’s poem, her word choice or where she broke the line fades to the background as voices across the Internet use the poem as an opportunity to judge and humiliate her. I’m concerned with how capital P Poetry is represented in the mainstream, how people experience poetry outside the context of the small press world, and reclaiming such experiences as Poetry. Can a commercial that features Whitman be labelled as a poem? Can my writing about how Whitman is represented in an iPad commercial be a poem? Or, how does listening to a poem while observing one’s surroundings influence one’s experience of the poem? In the ‘I listen’ series, I try to acknowledge that poems do not create a world, but exist within one. And I think of this book as lyric poetry, but my ‘lyric I’ must account for itself and its contexts. It must interview and interrogate itself. Even knowing what the lyric I is requires a privileged position. This must be acknowledged, and leads to a reckoning with former selves, former heroes. The ‘multitudes’ I contain are not my fellow citizens, but all the cultural products I’ve consumed in thirty years and how those products and individuals have changed me. I’m approaching cultural products and their contexts from a subjective, lyric, populist lens, trying to articulate each subject’s intention, because for me it’s in the absurdity of intention where the humor, or the poetry, or the ‘real,’ or ‘profound experience of art’ resides.

As most classroom teachers primarily select narrative texts for interactive read-alouds, there is a lack of research that explores interactive read-alouds of expository texts. To address the call for greater equity between narrative and expository texts in curriculum, the purpose of this study was to examine how a seventh-grade English language arts teacher prepared for and engaged students in interactive read-alouds using expository texts. Using a self-study methodology, data were collected in three ways: field notes that captured preparation, video recordings that captured the read-alouds, and post read-aloud reflections that captured impressions following the read-alouds. Findings are organized into two categories—planning read-alouds and engaging in read-alouds. Findings from the first category indicate that the importance of finding enjoyment in expository texts, the balance between entertainer and educator, and charting possible courses are significant parts of preparation for interactive read-alouds. Findings from the second category show that the importance of tapping in and building schemas, cultivating aesthetic experiences in efferent spaces, and engaging as thinkers and knowers are important factors for engaging adolescent readers in expository texts. Though this study highlights only one English Language Arts teacher’s experience preparing for and presenting read-alouds with expository texts, this research suggests that others may wish to embrace the messiness of planning to expand their read-aloud practices, and that read-alouds with expository texts may be particularly beneficial to adolescents because of their unique developmental needs.