Poetry critique

Poetrylaureates provides here some help in adequately using poetry critiques and other reviews in poetry.

You're pleased with the poem, and you don't need poetry analysis to know it's good. But have you checked — got a colleague to read it through, asked a tutor, presented the piece at a poetry workshop? Readers are perverse creatures, and will cavil in strange ways. Anticipate. Criticize the piece yourself, in your own time, from all angles, before wounding remarks bring you up short. This is a very similar process as the one in creative writing. Remember that evaluation is not a handing down of judgments, but a slow acquisition of essential writing skills. Poetrylaureates advises you to have expert reviewers give their opinion on your poetry composition.

Unconvinced? That may be because you cannot distinguish between the good and the bad in your output, which is a sure recipe for mediocrity. Appraisal needs honesty and independent judgment, plus a whole battery of techniques that literary critics have developed over the centuries. We advise contestants in our poetry contest and writing contest to have their work reviewed prior to submission.

The better libraries will have long shelves devoted to literary criticism, which you must read and absorb. Indeed you must put pen to paper yourself, and write your own notes and essays. As in everything literary, perception in poetry and creative writing develops with your ability to express and reflect on that perception.

Discussion

What are the techniques of poetry analysis, and which are worth acquiring? Even on a simple poem you will find a wide range of comments, many of them perplexing if not downright daft. Which critics can you trust for sensible and enlightening comment?

You must make your own judgments. That is the nature of literary criticism. Moreover, until you can appraise the various critical attitudes, weighing up the strengths and shortcomings of each approach, you are not evaluating but just borrowing undigested material for the student essay. That may win you good grades, but it won't help with unfamiliar work, or develop the skills needed to rescue your own productions.

Writers and critics develop at their own pace, and the more precocious are not always the more lasting. Talented authors commonly write from something buried deep within, from something that is ungraspable but troubling, and which seems not to fit any of the established criteria. Progress in such cases is bound to be slow — and perhaps should be if the issues are being properly addressed. But you're not working against a stopwatch: you have a lifetime to appreciate the great writers, and to understand what you are attempting yourself.

Suggestions

1. Start with the literary criticism of poems you know and love. You will be more engaged by the arguments, and start to understand how criticism can open unsuspected levels of meaning and significance.

2. Read literary criticism of contemporary work and, if at all possible, of poems similar to your own. This will help you anticipate the reception you'll receive from magazines and workshop presentations. It should also help you improve them.

3. Research has moved from literary criticism to literary theory, which is not written for ready comprehension. Nonetheless, you will need to know where critics are coming from, and so the theoretical bases of their remarks. To start you off, consult the literary criticism pages in the Advanced section at this site, and the book page.

4. Don't despise the elementary grounding provided by schoolbooks. University texts have much to do with academic reputations and tenure, but those for younger students aim more to help and encourage.

5. Be severe but not over-severe with your creations. You enjoyed writing them, and that pleasure must still be on the page to enthuse, challenge and enchant your readers. The merely correct has little to commend it.

6. Use a checklist. For example:

title — appropriate to subject, tone and genre? Does it generate interest, and hint at what your poem's about?

subject — what's the basic situation? Who is talking, and under what circumstances? Try writing a paraphrase to identify any gaps or confusions.

shape — what are you appealing to: intellect or emotions of the reader? What structure(s) have you used — progressions, comparisons, analogies, bald assertions, etc.? Are these aspects satisfyingly integrated? Does structure support content? In our poetry contest and writing contest entries, the best poems create specific atmospheres and evoque well defined moods. In fact, Poetrylaureates believes that strong emotions and moods create 90% of the poem and of poetry and creative writing as an art form.

tone — what's your attitude to the subject? Is it appropriate to content and audience: assured, flexible, sensitive, etc.?

word choice — appropriate and uncontrived, economical, varied and energizing? Do you understand each word properly, its common uses and associations? See if listing the verbs truly pushes the poem along. Are words repeated? Do they set mood, emotional rapport, distance?

personification — striking but persuasive, adds to unity and power?

metaphor and simile — fresh and convincing, combining on many levels?

rhythm and metre — subtle, natural, inevitable, integrate poem's structure?

rhyme — fresh, pleasurable, unassuming but supportive?

overall impression — original, honest, coherent, expressive, significant?