Free verse isn’t just for students. One of the most interesting practitioners of the line — perhaps the most — in Australia is Claire Gaskin. Gaskin’s use of the line is always working the line over other formal elements, even when she enjambs it:
suppose, for instance, that men were only
represented in literature as the lovers of woman
This is from the poem ‘Paperweight,’ just one more poem from Rabbit #1. Whereas other poets worth reading work the line to energise a stanza or their poem as a whole, Gaskin’s focus is on the line. This allows, I suppose, for readings of her work as dispersed, disjunctive blah blah, but such readings miss the point. Gaskin’s power is that of a haiku-inflected, feminist-charged, Surrealist fission. Not fusion, as a lazy music as soup metaphor might have it. (Because we who love to not love formalism have heard all that ‘line’ before.) There is a post-formal feel to such ‘free verse’ too; not the echo of metre, but the echo of the line-based form of, in particular, the pantoum, in the recycling of sentiments and the ‘soap in the stocking’ line. In the above, though Gaskin is making a point, a not perhaps startling one, the emphasis comes down on ‘says Woolf,’ giving her an authority that is common in many places, and yet in texts by men, generally subsidiary to the list of modernist men.