Outside the Morphology of Poetics

For about two years, I have immersed myself in the classic forms of Poetry, forcing myself when I write to use common stanza forms with their dictates of rhyme and meter. I felt this was a necessary exercise to “formalize” my training as a poet – after all, one can’t begin except at the beginning. The imposition of form, particularly with respect to the traditional Welsh meters, I felt was essential in determining whether or not I could in fact have qualified as a “bard” in the traditional, Celtic Druid sense.

And I feel that I have achieved a certain degree of success in this endeavor, not the least of which is the creation of roughly a poem a day for two years – some of which have been collected into a manuscript that is currently under consideration for the Walt Whitman award.

It may seem strange that a collection of sonnet forms is what I submitted for this competition, particularly since Walt Whitman himself was a champion of new forms, so to speak, and did not adhere to the sonnet, or any other form, on a regular basis. But the point was that Whitman, although one of my earliest poetic influences, was not the only luminary on my horizon. There have been others who used form that heavily influenced my development, although my real impetus to focus my writing was my discovery (really, at the age of 28) of Henry Miller, who I owe a great debt of consciousness regarding writing, and Allen Ginsberg, whose biography by Barry Miles I am currently reading, and jazz by virtue of attending Berklee College of Music.

My initial attempts were to create my own beat Poetry – and being under the influence of alcohol, marijuana, various hallocinogenics and other mind-altering substances and conversations only served to fuel that fire. It was later, in Memphis, where the drug of choice was coffee, that my real experimentation began – using form as a vehicle for modifying sentence structure, creating new words, stringing thoughts Joyce-like in endless streams of consciousness, playing with the sound of language as integral to its meaning, and so on. And so began the manic creation of reams of paper filled with words. At the time, too, I considered myself a songwriter; so to contrast the freeform, Ornette Coleman style of “free jazz” Poetry, there were structured songs that used, like Willie Nelson is wont to do, ten-dollar words. And the constant abstraction wrought by needing to write regularly, in order to have something to present on a weekly basis at readings, to discuss among fellow poets, and to keep my mind (racing on caffeine) occupied.

Now, I find myself weaned of the frantic pace of living that ultimately deteriorated my health to a degree, and while I still write manically at times, these episodes are more structured. I use smaller words, I discovered the other day; so today I deliberated introduced the word “sinew” into a poem. At times, Robert Frost is like a lighthouse – a clear signal in the storm, and at the same time, a marker at the end of a dangerous shoreline. And Blake. One of my earliest influences, I discover by reading Ginsberg’s biography another parallel to that mystic soul. It’s like my appreciation of David Crosby. Ginsberg, Crosby, Yeats, Dylan, Joyce – with each of them there are aspects of their childhoods, their philosophies, their paths, that are mirrored in my own, but not mirrored or traced, because I had no foreknowledge of their presence on them; more like we sought for Truth using the same instinctual guides.

But back to Poetry. The point of all that is that while my work has been shaped and honed and pointed by form and meter, and these things will always affect, influence and inform my work, that they are merely lines to choose to color within, or blur, or ignore altogether.

BTW, can anyone recommend a good overview of the theoretics of modern Poetry? Besides, say, TS Eliot’s commentaries, or Stevens’ A Necessary Angel?

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