From both the comments on the blog and essays and comments elsewhere, it strikes me that, first, at least a few well-read individuals share my concerns about “modern” poetry and “second, that a great many current poetry editors and poets have made a value judgment that’s not necessarily supported by either history or logic. That judgment, stated in various ways, is that rhyme and metrical language are artificial and antagonistic to natural speech and therefore any obvious meter or rhyme is, in effect, “bad” or “less” because it is unnatural.
Yet all speech that that differs from that of the speaker can be called unnatural.
Moreover, the fantastic and bizarre images, or the convoluted word pictures and contrasts that inhabit a high percentage of the free verse that sprawls or creeps across the pages of literary and poetry magazines is anything but natural or unforced.
So structuring rhyme and meter is unnatural… or forced… but twisting words and metaphors is not?
And… what ever happened to one of the bases of poetry, the rhythmic and metrical dimension?
What I’m seeing and hearing is that it has been abandoned because it’s often badly done. Perhaps that’s because too many would-be poets don’t have the skill and/or vocabulary to write poetry with a rhythmic and metrical dimension… or because too many readers can’t or won’t take the time to really “read” a poem. Or even because metrically structured language somehow puts people off.
But whatever the reason for this change, I object to the idea that a word picture or metaphorical construct or any other structure of words without a rhythmic and metrical dimension can be termed poetry. As I wrote before, true poetry is expressed in patterned, rhythmic language, even when it is not strictly rhymed.
Anything else is just word-play with images, elaborate or sparse as it may be, even if it appears in The New Yorker, Poetry, or The Atlantic Monthly.