 Poetry: March 31, 2010 Issue [#3646] |
  Poetry
This week: Edited by: Red Writing Hood <3  
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"Every poem can be considered in two ways--as what the poet has to say, and as a thing which he makes..."
C. S. Lewis
“You will not find poetry anywhere unless you bring some of it with you.”
Joseph Joubert (1754-1824)
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Prose Poetry: Poems with an identity crisis or rebellious rule breakers?
I had a college creative writing professor tell me once that the only difference between poetry and prose was that poetry included line breaks. Prose poetry laughs in the face of that definition. I define prose poetry as a weaving of poetry and prose into such a fine garment that they become seamless, and then you are left with only the length to define it as either prose poetry or poetic prose—and even the length distinction can be debated.
BRIEF HISTORY
Great debate is also found on this form’s history. “Aloysuis Bertrand is credited with having invented the prose poem, in his Gaspard of the Night (1836)” (Padgett, 142). However, looking back through older literature, it can be said that the prose poem existed much earlier—specifically within the Bible. Then the literary rebels of the 1960’s brought the form back into modern use. “Among recent [twentieth century French] poets René Char, St. John Perse, and François Ponge, and then Ives Bonnefoy, Dupin and Deguy prove the sustained vigor of the genre, proved equally in America by such prose poets (after Whitman) as James Wright, Robert Bly, W. S. Merwin, Russell Edson, John Ashbery, and John Hollander” (Preminger, Brogan, and O 978).
MUST HAVES
--No line breaks. It should look like prose. However, there should be very little to no characterization or plot (Padgett, 142).
--The prose poem should utilize a lot of metaphor, and imagery. Also consider using symbolism (Preminger, Brogan, and O 978).
--It should be short (ex. flash fiction is a good example for length. Flash fiction has a broad range [fifty, and sometimes smaller, to one thousand words] which should suit any of your prose poem needs.). Larger works might be classified as poetic prose, but this is always debatable (Preminger, Brogan, and O 978).
--There should be no end rhyme. Alliteration and other subtle rhyming devices shouldn’t be a problem with this form (Padgett, 142).
--There should be no meter in a prose poem. A natural rhythm may find its way into the prose poem, but that is different than a purposeful meter (Padgett, 142).
COULD HAVES or What's The Poet's Choice In All This?
--Everything else is the poet’s choice. Since this entire form breaks many of the “rules” of poetry, and prose for that matter, consider the “must haves” above as only suggestions. However, be prepared to defend your choices. You should expect at least one person to question those choices.
OF NOTE
I found a Prose Poetry (and Flash Fiction) Journal that you could use to see modern examples of this poetry form: http://doubleroomjournal.com/ In fact, it looks as if those who put the journal together actually see flash fiction and prose poetry as being very similar or even the same. As a flash fiction writer and poet I would disagree that they are the same, but I do see how they can be similar as sisters—both might have blonde hair, blue eyes, and similar habits, but with different personalities. I would define flash fiction as having more characterization and plot than a prose poem (which should have little or none).
Source Notes:
--Padgett, Ron. The Teachers & Writers Handbook of Poetic Forms. 2nd. NY: T & W Books, 2000.
--Preminger, Alex, Terry Brogan, and Jack O. The New Princeton Encyclopedia of Poetry and Poetics. 1st. Princeton, New Jersey: Amer Library Assn, 1993. 977-979.
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