Abstract

[…] Open the pages of almost any national journal or magazine, and where ten years ago one found only one or another kind of free verse lyric, one now finds well rhymed quatrains, sestinas, villanelles, sonnets, and blank verse dramatic monologues or meditations.1 In a recent issue of the New Criterion, Robert Richman describes this rekindled interest in formal verse among younger poets as a return to the high seriousness, eloquence, and technical fluency that characterized the best achievements of American poetry forty years ago.2 As Mr. Richman numbers me among the younger poets working in form, I ought to be as cheered by these developments as he is. Yet I am anything but cheered. And not because I don’t want to belong to club that would have me as a member, though this may be a part of it; but because I suspect that what Mr. Richman hails as a development may in fact be nothing but a mechanical reaction, and that the new formalists, in rejecting the sins of their experimental fathers may end up merely repeating the sings of their New Critical grandfathers, resuscitating the stodgy, overrefined conventions of the “fifties poem,” conventions which were of course sufficiently narrow and restrictive to provoke rebellion in the first place. Any reform, carried to uncritical extremes by lesser talents who ignore rather than try to assimilate the achievements of their predecessors, will itself require reformation. If James Wright, say, or Robert Bly, produced more than their fair share of imitators, if they even imitate themselves much of the time, they nonetheless have written poems all of us can and ought to learn from. Maybe we have had too much of the “raw” in recent years. But the answer to the raw is not the overcooked. Besides, it’s dangerous to think we have to choose exclusively between free verse and form. The wider the range of styles and forms that we avail ourselves of, the more enriched, more flexible and inclusive our expressive resources will be. It’s as important for those who work in form to be familiar with the experiments and innovatins of the last hundred years as it is for those who work in looser measures to be familiar with traditional verse forms that go back beyond the twentieth century. Alan Shapiro’s most recent book of poems, Happy Hour, was published this year