paint-by-number artwork

When I first began getting poems in magazines, I knew my poems looked a little more formal than most of the things I saw around, especially in west coast publications. I was using quatrains, counting syllables, and so on. Around the same time, of course, “formalism” was beginning to display force in Canada. But I’ve never been interested in form for form’s sake, or for trying to show off, or for trying to gain false authority. A lot of contemporary formal poetry reminds me of paint-by-number artwork. It’s unnatural, laboured, and empty. I’ve always been attracted to authentic heightened natural speech. I think adept use of form can help with that — but certainly not always. At the very least, poetic form can serve as somewhere to hang one’s hat, so to speak. It can aid in the control that is a basic principle in poetry. In my own case, I’ve been profoundly affected by my discovering that emotion can usher me into form without my initially dictating that form. It’s a humbling experience. Do you know that incredible poem by Emily Dickinson? The first line is “After great pain, a formal feeling comes—”. The emotion is foremost. There’s that Ezra Pound pronouncement: “Only emotion endures.” If you happen to start with form, and emotion, thought, and imaginative energy don’t take over pretty quickly, form is nothing.

- Russell Thornton, in interview with Catherine Graham over at The Rusty Toque. You can read the whole thing here.

1 comment:

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