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Spaces Are Part
Of The Poem
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Whenever I begin writing, I begin to simultaneously SEE
the poem...right there on the page: its little petticoats
twirling, the words either wooden, and following somberly
in a row like a proper funeral procession... behaving themselves
and observing decorum...
or they may rocket right off an end rhyme and lay
there, playfully, not moving for anyone, just having fun.
They do this because one line trapezes onto the next and if
it's appropriate to the mood, or if the breath
S-T-O-P-S--R-I-G-H-T--T-H-E-R-E
and enjoys a sigh-- or says
goodbye to one thought and making way for
for the next-- in these cases-- because of mood or rhythm,
or in ending a complete thought, a line may just take it
into its head to demand some space.
I'm a big fan of the look of the thing-- as well as the
sense and the sound; I believe if left to their own devices,
poems will cavort and arrange themselves in definite ways on
the page. Part is sonics-- part is appearance-- and part is
self-arrangement, with s p a c e being the most significant.
If you cast your eyes to the top of this page, and see
those lovely flowers above-- the way they bend to the left, not
fluffing themselves out evenly in the vase, but choosing
instead a different aesthetic-- that's the very heart
of oriental art, where space is equally important to all that
might fill it, and to me-- the arched-backward, almost horizontal
bending is the very look of vulnerability... with a pull of longing.
Lines of poetry can do that too, if you allow it to happen.
Probably the most unconventional, seminal poet of the last
century was e.e. cummings, who did as he damned well pleased
with his lines, and allowed them the space and the freedom they
demanded. When asked once about his style, he answered,
"I am abnormally fond of that
precision which creates movement."
I know what he means-- and so am I. Just LOOK at the
luscious leaping in this unforgettable cummings poem:
because it's
Spring
thingS
dare to do people
(& not
the other way
round)because it
's A
pril
Lives lead their own
persons(in
stead
of everybodyelse's)but
what's wholly
marvellous my
Darling
is that you &
i are more than you
& i(be
ca
us
e It's we)
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Do you see how the poem will not be contained by any
margin or rule of grammar? The poet turns conventional
phrases on their heads, via lines like "lives lead their own
persons"- and "because it's spring thingS dare to be people",
meaning, yes! there is animation-- untidy frolic as in no
other
time of year! (Even the lowly 's' in 'thingS' is feeling its oats!)
Not just in spring, but in poetry all things kick their
heels.
Words do, if you let them.
As to 'formalists', or a breed of poets who choose tight,
confined BLOCKS OF WRITING....well, that is saying something
as well. Either by its pattern or its
lack of space, they're following
stanza guides- or the number of lines in a strophe or a rhyme
pattern, but space plays an important role
in every TYPE of poetry.
Crammed or
l o o s e
--space matters-- and it's
always, always speaking-
it's the silhouette
of what you say,
because poetry
has shape.
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