I was reading an anthology of short poems and was paying attention not only to their brevity but to their line breaks.
In Rae Armantrout’s poem “Unbidden," her use of short lines in conjunction with enjambment contribute to a sense of disjointedness.
The ghosts swarm
They speak as one
person. Each
loves you. Each
has left something
undone
Line breaks are one of the main things that separate prose and poetry. They give poems their slim who-cares-about-margins appearance.(We will pass on talking about prose poems for the moment.)
Enjambment is where the poet deliberately breaks a sentence across multiple lines before its natural finishing point. End-stops are the opposite of enjambed lines in that an end-stopped line contains complete thoughts, phrases, or sentences.You can usually tell a poetic line is end-stopped if there is punctuation at the end. The punctuation could be internal (e.g. comma, semi-colon, colon, em dashes), or external (e.g. period, exclamation mark, question mark).These lines give the reader logical moments to pause at the line break. It is used in many traditional poems and it supports poetic forms using rhyme and meter.
William Carlos Williams' "The Red Wheelbarrow" is a modernist poem orriginally published without a title. It was designated "XXII" in Williams' 1923 book Spring and All, a hybrid collection that incorporated alternating selections of free verse and prose
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens
Notice that to maintain his very short, two-line stanzas Williams breaks two words that could be together - wheelbarrow and rainwater.
Line breaks create white space in the text and are one way that poets can exercise a greater degree of control over the speed and rhythm that you read. It is unlike our everyday language and unlike prose literature.
Personally, I find it annoying when poems have breaks that seem to be used simply to keep line lengths the same - almost like a margin. It is possible a poet will do that in order to create a shape for the poem. There are good reasons to break a line. There is no rule book but consideration should be given to the first and last words: Avoid having weak words at the beginning or end of lines. For example, action verbs and nouns tend to be strong.
"Fire and Ice" by Robert Frost has strong end words: fire, ice, desire,twice, hate, great, suffice. (Although I find that breaking a line on "ice" - "To say that for destruction ice / Is also great" - seems more in service of the rhyme than the line break. Sorry, Robert).
"Dreams" by Langston Hughes is a good example of end-stopped lines that each contain a complete thoughts, phrases or sentences.
Our two model poems by two very different poets are both 9 lines / 8 line breaks. This month's call for submissions is for a 9-line poem on any topic of your choosing. Stanza breaks are another consideration - one stanza, 4X2, 3X3 or any combination. The key here is for you (and the editors) to pay special attention this month to line breaks. Whether enjambed or end-stopped, each of your 8 breaks should be logical and pushing us to read in a particular way with a particular attention. Sounds easy. It is not.
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I tried to write a nonet for November but nothing pleased me. Rhyme, theme, and meter don’t matter in a nonet—but length and syllable count do. Every nonet has exactly nine lines: The first contains nine syllables, and that number decreases by one for every line thereafter. So the second line has eight syllables, the third line has seven, and so forth until you reach the single-syllable ninth line. It's harder than you might think.
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