News that stays news: On the Verbal Art of the Plain-spoken Poem

IMG_2521Recently, I’ve found myself caught up in a couple of on-line discussions where the topic turned to the reception of the “accessible” poem, one whose language is self-effacing and limpid.

One of my interlocutors, Chris Banks, put the matter quite well:

People are either terrified of being accessible, or terrified of meaning itself, leaving nothing for critics to puzzle out, or else are more interested in the surprise, the bizarre, the magic trick ahhhhh….

Problem is we need more perceptive readers of poetry who can establish what a poem is trying to do without equating sincerity with shortcomings, accessibility with simplicity, etc. I long for a day when we don’t have to announce a book has formalist elements on the jacket copy of books in this country. However, if you don’t, no one looks for such elements.

At a time in English-language poetry in North America when the poem that draws attention to its artfulness in various ways for various reasons is arguably in the ascendant, perhaps it’s time reconsider à rebours the innate and intricate artfulness of the poem that doesn’t parade its poeticity in “a coat / Covered with embroideries” but that takes up the challenge that “there’s more enterprise / In walking naked.”

To wit, I direct the interested reader to an intentionally perverse close analysis of the prosody of a brief poem by Elaine Equi, “Prescription”.

 

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