Today's NY Times has an obituary on Daryl Hine, characterizing him as "an admired poet who adhered to classical themes, complicated formal structures and intricate rhyming patterns to explore themes of philosophy, history and his own sexuality." The article explains that Hine "wrote more than a dozen books of poetry, using traditional forms like the sestina." It continues to say that: "His work . . . often put him out of step with the times, which were more apt to celebrate the raw, free-form work of poets like Allen Ginsberg and Gregory Corso," and that "Louis Dudek, a literary critic who focused on modern poetry, once described Mr. Hine's poetry as 'a series of extremely recherché, abstract, contrived word forms, containing oblique and ambiguous philosophical essays and meditations.'"
Most poets and critics today tend to think of poetry as occupying two poles of a spectrum, either the "formalist" style of Hine or the "free verse" style of Ginsberg. An assumption is made that "modern poetry" embraces the latter style. People who hold this view are misguided. The two poles of the spectrum are between "formalists" and the "modern poetry" style of José Garcia Villa. Free verse is disqualified because, contrary to popular belief for the past half century, it is not poetry, not even verse, and most important is not art.
Tags: Jose Garcia Villa, Demise of Poetry, theory of poetry, free verse