Questions of Possibility:Contemporary Poetry and Poetic Form Willard Spiegelman Questions of Possibility: Contemporary Poetry and Poetic Form. David Caplan . Oxford and New York: Oxford University Press, 2005. Pp. viii + 165. $35.00 (cloth). The wars among rival poetic factions in the U.S. raged more fiercely a decade ago than they do now, but David Caplan's judicious, sensible, and perceptive study of poetic form is as welcome and important today as it might have been during the so-called culture wars. In this maiden speech, a revision of the author's doctoral dissertation, Caplan takes on the problems of tradition and inherited forms, and the ways in which a quite various selection of contemporary poets have handled their inheritance. Between a wise introduction that sets the terms and categories of his argument, and an equally wise conclusion ("Prosody After the Poetry Wars"), Caplan sets himself the task of examining the contemporary scene with specific reference to four traditional poetic forms: the sestina, the ghazal (a recent import to the States although long established in Islamic culture), the sonnet, and the ballad, as well as the heroic couplet (this last not so much a form as a style for other forms). The sanity of Caplan's argument and analyses is bolstered by the surprising catholicity of his taste. Rather than allying himself with the so-called "new formalists," a self-appointed band [End Page 597] of semi-reactionaries who have felt for several decades that only a return to metrical verse will signal a return to poetic essence, he picks as his main subjects for review the work of people often quite unlike one another. The first chapter ("The Age of the Sestina") has the usual suspects: Elizabeth Bishop, Anthony Hecht, Rita Dove, and Donald Justice—a fairly conventional choice of sestina-writers. Then the surprises begin. "The Ghazal in America" focuses on Adrienne Rich, Jim Harrison, Agha Shahid Ali—the late Indian-Kashmiri-American poet who popularized the form during the past decade—and several younger poets whom Ali included in his 2000 anthology of the ghazal (Ravishing DisUnities): John Haag, Heather McHugh, Daniel Hall, and Carole Stone. The chapter on the sonnet wonderfully treats the experiments in this once-dismissed form by gay poets (Marilyn Hacker, Henri Cole, and Rafael Campo), and thereby proves that a conventional poetics, at the hand of a gay poet, can become a radical or transformative act. In discussing the couplet ("Why Not the Heroic Couplet?" indeed!), Caplan skirts the predictable James Merrill, focusing instead on Thom Gunn, Derek Walcott, and Derek Mahon, none of whom (interestingly and importantly) is a native American. Looking at the ballad, Caplan includes the traditional Dana Gioia, and X. J. Kennedy, a man always associated as a father figure to the new formalists, but he also considers Rosemary Waldrop and the African-Americans Dudley Randall and Marilyn Nelson, as well as the left-leaning Charles Bernstein who has always eschewed aesthetic and political conservatism as being somehow equivalent. Caplan's summary of Bernstein's own "Rivulets of the Dead Jew" epitomizes his broadmindedness: "When Bernstein uses metrical verse forms familiar to the English literary history, he generally parodies them. His most interesting poems, though, draw an oddly moving resonance from the forms they mock" (120). Imitation, in other words, is indeed a form of flattery. This book succeeds on both the local and the more general level. It is a sign of Caplan's sanity and literary acumen that he can be both lucid and provocative at once. The book has a persuasive rhythm to it—ebbing and flowing between historical and theoretical speculation on one hand, and astute close readings on the other. The author begins by re-examining, and persuasively refuting, the various claims put forth over the past fifty years (and going back still further to Williams and Pound) that try to equate poetic formalism with political repression or social irrelevancy. He says that "our current understanding of poetic forms, especially contemporary metrical verse remains inadequate" (9–10), and, although he doesn't quote it, he would agree with Wallace Stevens's famous pronouncement that "all poetry is experimental," not merely that which...
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