Uploaded July 2019 | Updated September 2026, 1 week ago
You can browse more videos like Michael Rosen Chocolate Cake on the Official Michael Rosen channels
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Old Grey Face | STORY | Kids' Poems and Stories With Michael Rosen
Michael Rosen performs Old Grey Face from the Book Clever Cakes
In stories, as in life, it pays to be able to think on your feet - especially if you are about to be eaten by a hungry bear! This is just one of the perils that face the clever children in these seven tales, which also feature a Devil-dog, Old Greyface the wolf, Giant Gobbleguts and Dump-demons.
Check out Michael's website for news, updates and fun.
michaelrosen.co.uk
Please contribute on Patreon to help us make more vids and get great rewards for you.
patreon.com/KPSWithMichaelRosen
INTERVIEW with Michael
What does poetry mean to you?
It mostly means 'saying important things in small spaces'. It can also mean 'memorable speech', 'making the familiar unfamiliar and the unfamiliar familiar', it can mean 'finding out what a moment can come to represent' and talking of moments, poetry can be the moment that a story or a play didn't have time to tell us.
Why is poetry important for children?
Most of education is concerned with getting things finished, right and put away in exercise books. Reading and writing poetry is another way of looking at the world: it can involve being suggestive, tentative and tangential. It has the potential of raising more questions than it can answer. It can scavenge the world's utterances for material which it recycles, parodies, cuts up, re-arranges, often with the result of letting us see how language works. This means that poetry is good at revealing our deceptions, self-deceptions, exaggerations. It can also examine how it is we look at the world through language - that's to say, how we 'textualise' the world. Poetry is wonderful at both doing this but also in investigating how we do it.
Elsewhere in the curriculum, there is hardly ever time or willingness to do this. Poetry can often do it very quickly and wittily. We need it to sharpen our wits in a world in which we are constantly asked to look the other way
How would you describe your poetry?
A lot of it is interested in recounting foibles, misunderstandings, small disasters. Another chunk of it is nearer to traditional nonsense poetry. Some of it is based very strongly in people's speech.
What do you think children get from your poems?
I hope that they get to see aspects of themselves, and aspects of their parents in many of the poems. I hope that this gives them permission to have a go at writing things like that themselves and to read many other poets' poems.
Of all the poems you have written, which is your favourite?
I think it's the sequence I've called 'Michael's Big Book of Bad Things'. There are four parts to it, which I split up across 'Michael Rosen's Big Book of Bad Things'.
In this digital age, do you think technology in creating and/or promoting poetry for children?
Oh yes. I've put over 200 poems of mine on YouTube and they've had millions of views. I also put new poems up on my website, my blog and Facebook and link to them on twitter.
What advice can you give to aspiring poets?
Find some poets and poetry you really like. Copy out or learn bits of it.
Keep a notebook of words, phrases, ideas, that you find or think of.
Read your notebook and see if it triggers off things to write.
----
Who is Michael Rosen?
My first book for children was called Mind Your Own Business and it came out in 1974. Quentin Blake did wonderful line drawings for it.
Ever since then, I’ve been doing these things:
Writing books
Writing articles for newspapers and magazines
Going to schools, libraries and theatres and performing the poems in my books
Helping children write poems and stories
Making radio programmes, mostly about words, language or books
Appearing on TV, either reading books, or talking about books
Teaching at universities about children’s literature
Running workshops for teachers about poetry
In any week, I might be doing all of these things! To tell the truth, I don’t really know what I’m doing tomorrow, unless I look in my diary to see.
#Michael Rosen
#Kids
#Poetry
You can browse more videos like Michael Rosen Chocolate Cake on the Official Michael Rosen channels
youtube.com/MichaelRosenOfficial
Old Grey Face | STORY | Kids' Poems and Stories With Michael Rosen
Michael Rosen performs Old Grey Face from the Book Clever Cakes
In stories, as in life, it pays to be able to think on your feet - especially if you are about to be eaten by a hungry bear! This is just one of the perils that face the clever children in these seven tales, which also feature a Devil-dog, Old Greyface the wolf, Giant Gobbleguts and Dump-demons.
Check out Michael's website for news, updates and fun.
michaelrosen.co.uk
Please contribute on Patreon to help us make more vids and get great rewards for you.
patreon.com/KPSWithMichaelRosen
INTERVIEW with Michael
What does poetry mean to you?
It mostly means 'saying important things in small spaces'. It can also mean 'memorable speech', 'making the familiar unfamiliar and the unfamiliar familiar', it can mean 'finding out what a moment can come to represent' and talking of moments, poetry can be the moment that a story or a play didn't have time to tell us.
Why is poetry important for children?
Most of education is concerned with getting things finished, right and put away in exercise books. Reading and writing poetry is another way of looking at the world: it can involve being suggestive, tentative and tangential. It has the potential of raising more questions than it can answer. It can scavenge the world's utterances for material which it recycles, parodies, cuts up, re-arranges, often with the result of letting us see how language works. This means that poetry is good at revealing our deceptions, self-deceptions, exaggerations. It can also examine how it is we look at the world through language - that's to say, how we 'textualise' the world. Poetry is wonderful at both doing this but also in investigating how we do it.
Elsewhere in the curriculum, there is hardly ever time or willingness to do this. Poetry can often do it very quickly and wittily. We need it to sharpen our wits in a world in which we are constantly asked to look the other way
How would you describe your poetry?
A lot of it is interested in recounting foibles, misunderstandings, small disasters. Another chunk of it is nearer to traditional nonsense poetry. Some of it is based very strongly in people's speech.
What do you think children get from your poems?
I hope that they get to see aspects of themselves, and aspects of their parents in many of the poems. I hope that this gives them permission to have a go at writing things like that themselves and to read many other poets' poems.
Of all the poems you have written, which is your favourite?
I think it's the sequence I've called 'Michael's Big Book of Bad Things'. There are four parts to it, which I split up across 'Michael Rosen's Big Book of Bad Things'.
In this digital age, do you think technology in creating and/or promoting poetry for children?
Oh yes. I've put over 200 poems of mine on YouTube and they've had millions of views. I also put new poems up on my website, my blog and Facebook and link to them on twitter.
What advice can you give to aspiring poets?
Find some poets and poetry you really like. Copy out or learn bits of it.
Keep a notebook of words, phrases, ideas, that you find or think of.
Read your notebook and see if it triggers off things to write.
----
Who is Michael Rosen?
My first book for children was called Mind Your Own Business and it came out in 1974. Quentin Blake did wonderful line drawings for it.
Ever since then, I’ve been doing these things:
Writing books
Writing articles for newspapers and magazines
Going to schools, libraries and theatres and performing the poems in my books
Helping children write poems and stories
Making radio programmes, mostly about words, language or books
Appearing on TV, either reading books, or talking about books
Teaching at universities about children’s literature
Running workshops for teachers about poetry
In any week, I might be doing all of these things! To tell the truth, I don’t really know what I’m doing tomorrow, unless I look in my diary to see.
#Michael Rosen
#Kids
#Poetry







![The Folkton Drums | Neolithic | Grave Goods | POEM | Kids Poems and Stories With Michael Rosen
The Folkton Drums | Neolithic | Grave Goods | POEM | Kids Poems and Stories With Michael Rosen
Wandering around the galleries of the British Museum it’s easy to lose sight of the poignancy of what is on silent display in the row upon row of glass cases. But make no mistake: there are stories here.
The last, tear-stained hands to touch some of those amber beads or small bits of pottery before they were buried in the ground hundreds, thousands of years ago, were those of grieving relatives enacting funeral rites – probably the most emotionally-charged events most human will ever experience. And the poet Michael Rosen is part of a new project exploring the latent power of these so-called ‘grave goods’ as a means of evoking the remote past.
The former Children’s Laureate has been invited to write three poems inspired by a selection of grave goods. “Since the death of my son [from meningitis aged 18] I’ve been more aware of different cultural traditions around how we handle death, how we accept it or how we fight against it,” he says.
“It’s become something that I think about much more than I used to, and so the idea of looking at death across thousands of years is a thrill, really. How do we memorialise? How do we make death part of our lives? Or how do we hide it away? The idea of a skeleton in the ground that has objects placed with it is fascinating to me.”
Part of his curiosity comes from the fact that these objects from ancient graves retain such a strong echo of the people they were laid next to in the ground. As humans we have always represented ourselves in some way through the things we own, whether it is a pencil or a sacred object, and this remains long after memories fade and bodies turn to dust.
“When my son died we debated whether or not to put an Arsenal football scarf in with him,” says Michael. “But you can imagine 2000 years ago this would have already been established. Presumably, for example in a warrior culture, you knew that you would be buried with the weapons that you fought with. That was culturally known; these things were your choice but not your choice. They were kind of culturally-owned. And that’s interesting.”
The power of these items to communicate to us across the millennia is further enhanced by the fact they are handmade. “The wonderful thing about an artisan culture as opposed to a mass-produced cultured is that the hand of the maker is so apparent,” says Michael. “There are finger prints in pottery and other imperfections. They were handled from their creation right up until the moment that they were put into the ground.
“You can’t really understand these objects without some historical knowledge. Without some understanding of the context in which they were valued – of a world without cars or electricity or mass media. This is the hardest stuff to get over.”
But poetry has a particular power to help us imagine ourselves into someone else’s experience and it’s because of this that Michael Rosen believes it should be at the heart of history teaching.
“I’ve always pleaded – and it’s usually fallen on deaf ears – that when we teach children about a period, we find the poems from that time,” he says. “Read Beowulf when you are studying the Anglo Saxons. When kids are studying the Black Death they will read contemporary accounts; but why not the ballads and songs that were written at the time?”
Of course, in the end we can never be sure exactly what grave goods meant to the people who were buried with them – and they will always retain some of their mystery for archaeologists, curators and schoolchildren alike. But in talking and thinking about what they were for we can open up a conversation about what life and death meant then – and now.
“I would like people to talk and think about stuff in the poems I write. As a poet I want to say: ‘hey! Have a little think about this’. Think about these people that came before us and think about what we owe to previous generations. We are only here because of them. Our forebears are not aliens; they are us. We are only here because they were there. I would hope some of that will be churned over by the people who read the poems.”
But Michael Rosen was drawn to the project by more than his fascination for the lives of those that held and handled these enigmatic artefacts. He also applauds the project’s openness to new ways of thinking about the objects in our museums and the way we all relate to them.
“We have a sense now that the only way to interpret an art object is to write an essay about it,” he says. “But it doesn’t have to be like that. Art inspires art and that’s the way it has always been.
“When Shakespeare sat down to write Romeo and Juliet, he didn’t just sit there with a quill in his hand thinking: ‘how can I do this?’ He had texts in front of him and he was thinking: ‘how can I interpret these?’ This is what we do. The Folkton Drums | Neolithic | Grave Goods | POEM | Kids Poems and Stories With Michael Rosen](https://i.ytimg.com/vi/kC7Inmm-IsM/mqdefault.jpg)


