Prose poetry
From The Art and Popular Culture Encyclopedia
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Prose poetry is usually considered a form of poetry written in prose that breaks some of the normal rules associated with prose discourse, for heightened imagery or emotional effect, among other purposes.
Characteristics
Arguments continue about whether prose poetry is actually a form of poetry or a form of prose (or a separate genre altogether). Most critics argue that prose poetry belongs in the genre of poetry because of its use of metaphorical language and attention to language. Other critics argue that prose poetry falls into the genre of prose because prose poetry relies on prose's association with narrative, its consistent divergence of discourse, and its reliance on readers' expectation of an objective presentation of truth in prose. Yet others argue that the prose poem gains its subversiveness through its fusion of both poetic and prosaic elements.
History
As a specific form, prose poetry is generally assumed to have originated in the 19th century in France. At the time of the prose poem's emergence, French poetry was dominated by the alexandrine, an extremely strict and demanding form that poets such as Aloysius Bertrand and Charles Baudelaire wanted to rebel against. Further proponents of the prose poem included other French poets such as Arthur Rimbaud and Stéphane Mallarmé. The prose poem continued to be written in France and found profound expression, in the mid-20th century, in the prose poems of Francis Ponge.
At the end of the 19th century, British Decadent movement poets such as Oscar Wilde picked up the form because of its already subversive association. This actually hindered the dissemination of the form into English because many associated the Decadents with homosexuality, hence any form used by the Decadents was suspect.
Notable Modernist poet T.S. Eliot even wrote vehemently against prose poems, though he did try his hand at one or two. In contrast, a couple of other Modernist authors wrote prose poetry consistently, including Gertrude Stein and Sherwood Anderson; in actuality, Anderson considered his work to be short fictions—in the current term, "flash fiction." The distinction between flash fiction and prose poetry is at times very thin, almost indiscernible.
Then for a while prose poems died out, at least in English—until the early 1960s and '70s, when American poets such as Allen Ginsberg, Russell Edson, Charles Simic, Robert Bly and James Wright experimented with the form. Edson actually worked in the form foremost, and aided in giving the prose poem its current reputation for surrealist wit. Similarly, Simic won the Pulitzer Prize in Poetry for his 1989 collection, The World Doesn't End.
At the same time poets in the United States were writing prose poems in English, poets were also exploring the form in Spanish, Japanese, and Russian. Octavio Paz worked in the form in Spanish in his Aguila o Sol? Eagle or Sun?. Spanish poet Ángel Crespo (1926-1995) did his most notable work in the genre. Dennis Keene (translator) reveals the work of six Japanese prose poets in The Modern Japanese Prose Poem: an anthology of six poets. Similarly, Adrian Wanner and Caryl Emerson describe the form's growth in Russia in their critical work Russian Minimalism: From the prose poem to the anti-story.
In Poland, Bolesław Prus, influenced by the French prose poets, wrote a number of poetic micro-stories, including "Mold of the Earth" (1884) and "Shades" (1885).
The form has gained popularity since the late 1980s, and literary journals that previously refused to acknowledge prose poetry's unique contributions to both poetry and prose have now conceded its worth and currently display prose poems next to sonnets and short stories. Journals have even begun to specialize, publishing solely prose poems/flash fiction in their pages (see external links below). Some contemporary writers working in the prose poem/flash fiction form include James Tate (writer), Lyn Hejinian, Mary Oliver, Campbell McGrath, Sheila Murphy, Kim Chinquee, David Shumate, and Anne Carson.
It used to be said that prose poetry was impossible in English, because the English language was not so strictly governed by rules as the French was. In the twentieth century, when English prose has become more and more governed by the iron laws of Strunk and White, this may no longer be the case. Rapturous, rhythmical, and image-laden prose from previous centuries, such as is found in Jeremy Taylor or Thomas de Quincey, strikes 21st century readers as having something like a poetic quality.[1] [Apr 2007]
