During the Cold War era, Free Verse poetry became a popular choice for many poets due to its freedom from traditional rules of meter and rhyme. However, in the late 1970s to 1990s, a new group of poets emerged with a strong desire to revive traditional forms of poetry. Known as New Formalists, these poets placed great value on structured meter, rhyme, and aesthetics in their work.
The roots of New Formalism can be traced back to the late 1960s and early 1970s when Lewis Turco's "The Book of Forms: A Handbook of Poetics" was published in 1968. This formalist handbook served as the foundation for the movement. In the 1970s, poets such as Robert B. Shaw and Charles Martin began releasing poetry books that deviated from the popular free verse style. The movement gained even more recognition when "The Reaper" magazine was established in 1980 by Mark Jarman and Robert McDowell.
The 20th century saw a wide range of poetic styles in America, from free verse to Confessional Poetry. However, the New Formalism movement emerged as a reaction to these constantly changing styles. Despite facing criticism and backlash, the movement gained mainstream recognition in the 21st century and continues to inspire and influence poets today.
Similar to architectural plans, New Formalist poets placed great emphasis on structure and form in their work. While each poet had their own unique style, the defining feature of New Formalism was the use of structured meter, rhyme, and stanzas.
Meter refers to the rhythmic pattern of a line of poetry, with iambic pentameter being a common example with its pattern of stressed and unstressed syllables in groups of five. The type of meter and rhyme used in New Formalism may have varied among poets, but all placed great emphasis on the aesthetic and structural quality of their work.
To further understand New Formalism, let's take a look at some examples from notable poets. In "Pity the Beautiful" by Dana Gioia (2012), we can see the structured form and end rhyme commonly used in New Formalist poetry. For instance, Gioia's use of rhyme in the second and fourth lines (dishes, wishes) is a prime example.
Another New Formalist poet, Brad Leithauser, utilizes a formulaic structure in his poem "A Vase" (2013). The three-line stanzas with a rhyme scheme of ABA CDC and the use of enjambment (continuation of a sentence over multiple lines) are also typical characteristics of New Formalism.
Last but not least, New Formalists often preferred to write in a narrative style, telling a story with a clear beginning, conflict, and resolution. This can be seen in Mark Jarman's "Ground Swell" from "Questions for Ecclesiastes" (1997), where a fully developed plot and well-defined characters are present.
The emergence of New Formalism Poetry was a response to the constantly evolving literary styles of the 20th century. With its focus on traditional forms, structured meter, and rhyme, this movement continues to inspire and influence poets today.
The poem "Summer at Sixteen" tells a coming-of-age story of a young narrator reflecting on their journey to self-discovery during a pivotal summer at the age of sixteen. The poem starts by describing the narrator at fifteen years old and delves into the struggles and awkwardness of that age, eventually leading to a moment of validation from someone older and cooler.
New Formalism, a literary movement that emerged in the 1980s, has faced backlash from various sources. In a May 1985 issue, the Association of Writers and Writing Programs published an article stating that New Formalism promotes social conservatism and elitism. Critics argued that breaking away from traditional poetic forms allowed for more diversity and inclusivity in literature, and that New Formalism only upheld patriarchal and white supremacist views.
However, many New Formalist poets have defended the movement against these accusations. American poet Annie Finch, well-known for her unique contributions to New Formalism, believes that the use of traditional form can be a means of reclaiming elitist language by minority groups.
Another example is Dominican American poet Julia Alvarez, who sees the use of structured language as a form of rebellion, exploring themes of Latina identity and womanhood in her work.
New Formalism, often misunderstood as a movement exclusive to the white elite, actually encompasses a diverse group of poets from various backgrounds. These poets have actively rejected the notion of exclusivity and have made significant contributions to the literary world through their use of traditional forms and structures in their works.
Among the notable poets associated with New Formalism are Dana Gioia, X.J. Kennedy, Brad Leithauser, Marilyn Hacker, A. E. Stallings, and Leo Yankevich. Each of these poets has made a significant impact on the movement and the literary community as a whole.
Dana Gioia, born in Hawthorne, California in 1950, is a prominent figure in the New Formalist movement. With five poetry books, several volumes of literary criticism, and numerous anthologies under his belt, Gioia has been a vocal defender of New Formalism and has played a crucial role in its growth and recognition.
Brad Leithauser, also a renowned New Formalist poet, was born in Detroit, Michigan in 1953. His innovative use of traditional forms has earned him critical acclaim, with his works often exploring themes of flight and blindness. One of his notable poems, "Alternate Landscape" (1976), showcases his mastery of form and structure.
A. E. Stallings, born in Decatur, Georgia in 1968, is considered a New Formalist poet who challenges the boundaries between free verse and traditional poetic forms. Drawing from her classical studies background, she incorporates mythological allusions into her work and has been recognized with numerous awards and accolades, including a Pulitzer Prize nomination in 2019.
Stallings' poem "After a Greek Proverb" (2012) is an excellent example of her ability to blend traditional forms with her unique perspective, using a regular rhyme scheme and stanza structure.
New Formalism, also known as New Formalist Poetry, emerged in the 1980s and 1990s in America as a response to the dominance of free verse and Confessional Poetry. This literary movement focuses on traditional poetic forms, meter, and regular rhyme schemes, placing a strong emphasis on the aesthetic value of works. While it has faced criticism for being elitist and conservative, New Formalism advocates, including Annie Finch and Julia Alvarez, defend it as a means of reclaiming language for marginalized groups.
New Formalist poets, including Dana Gioia, X.J. Kennedy, Brad Leithauser, Marilyn Hacker, A. E. Stallings, and Leo Yankevich, use traditional forms to create narrative poems that stand out from contemporary works. Their use of regular rhyme and exploration of rhythm set them apart and make their works a breath of fresh air in the world of poetry.
In an interview with R.S. Gwynn for the 'Giving Back the World its Lost Heart' issue of Able Muse Magazine (2002), A. E. Stallings discusses her approach to New Formalism and its importance in preserving traditional techniques in modern literature.
New Formalism has been met with criticism for being exclusive and conservative. However, many poets see it as a way of reclaiming traditional forms and making them accessible to a wider audience. This movement also allows for a deeper exploration of language and its use by minority groups.
New Formalism aims to revive and celebrate traditional forms of poetry that have lost prominence with the rise of free verse. By blending traditional and modern techniques, this movement offers a unique perspective that adds value to the literary world.
New Formalism has sparked discussions and debates within the literary community. While some argue that it is a step backward, others view it as a necessary return to the foundations of poetry. With its focus on traditional forms, New Formalism has also provided a platform for diverse voices to be heard and celebrated in modern poetry.
