A Candid and Relevatory Document

I think I rather like Mary Oliver. She puts things into words so nicely and concisely.

See what I did there? Le gasp.

In “Diction, Tone, Voice,” I enjoyed how she specified and interpreted the different styles of word choice and voice (again... I can’t handle myself) found in the style of contemporary poetry rather than the dry, formal styles often associated with poetry by beginner writers.
Like Ms. Oliver states in the latter portion of the chapter, “if done well and works to the desired effect” you can do nothing essentially wrong when writing a poem but you must make it accessible, even if it to only yourself. Contemporary poetry allows for greater interpretation, easier flow, and more personality. It is a conversational, comfortable approach to reflection and communication; like the difference between a worn, stretched-out hoodie and a starchy, structured blazer.
The concept of “negative capability,” of leaving out some piece, of leaving a hole empty in the poem to invite contemplation and empathy, is incredibly interesting. It is a style that I have often adopted with out knowing. It often happens that I can’t quite put my finger on why something produces an emotion or question in me and so I explore it through poetry or art, reading and re-reading until I grasp a greater understanding of what I’m trying to find. The example of Linda Hogan’s “Workday” was a moving and powerful piece that displays the use of this quiet questing perfectly.
I was so happy that this chapter did not take that cringe-worthy turn down the path of “Elements of Style” as I was feared it was going to head.