Poetry, at its most vital, refuses to behave. It resists tidy conclusions, scoffs at linearity, and dances beyond the reach of easy meaning. Yet in many circles—especially those clinging to tradition—there remains a quiet reverence for the predictable poem: one that unfolds neatly, rhymes politely, and never dares to disrupt. This article is a rebellion against that reverence. It explores the raw immediacy of Spoken word, the fragmented elegance of the Suzette Swan Arc style, and the creative dead-end of poetry that plays it too safe. If poetry is to remain relevant, it must be allowed to fracture, to stammer, to surprise—and above all, to refuse the straight line.
Like they said …
All bad poetry springs from genuine feeling. To be natural is to be obvious, and to be obvious is to be unartistic [sic]. ~Oscar Wilde.
Oscar Wilde's provocative assertion cuts to the heart of artistic discipline, suggesting that unchecked emotion, while authentic, often leads to clichés and banality if not refined through craft. In essence, Wilde warns against the pitfalls of raw expression without the tempering hand of artistry—where sincerity alone produces work that feels trite and uninspired, lacking the surprise and subtlety that elevate poetry to something transcendent. This idea resonates deeply in an era where vulnerability is celebrated, yet it reminds us that true artistry demands more than mere outpouring; it requires deliberate shaping to avoid the obvious pitfalls of predictability.
Predictability in poetry is a creative dead-end. Water may reflect - under ideal circumstances - and at others drown out your words. Poetry forms are perhaps seen as the scaffold, but like a clothesline, it should optimise the conditions such as the sun, to serve its purpose of the ultimate goal—drying the washing, or healing and drying tears in the case of poetry. Poetic structure should be responsive, not rigid. Like a clothesline that shifts with the wind, it must adapt to the emotional climate of the poem. Sonnets, haiku, free verse—they’re all just different ways of catching the light. Poets should be mindful that the weight of their words – like the load of washing – be it tropes, length of the poem, the very subject being explored, don’t break the line of communication with the reader.
In a time when digital voices proliferate and poetic forms evolve, many poets are returning to the immediacy of live performance. Spoken word, often conflated with slam poetry, has grown into a global mode of expression that foregrounds emotional honesty, social critique, and personal narrative. While slam emerged in the U.S. during the 1980s as a competitive format, Spoken word encompasses a broader tradition—one that continues to adapt and resonate across cultures.
To understand how poetry is evolving beyond predictability, let’s examine two metamodern expressions that challenge convention while embracing emotional truth.
Spoken Word Poetry
- Performance-driven: Crafted to be heard, not merely read. Rhythm, cadence, breath, and emotional delivery are essential instruments.
- Direct and visceral: Often confessional, political, or urgent. See The Poet’s Vigil* for an example of raw emotional immediacy.
- Accessible language: Prioritises clarity and punch, often eschewing dense metaphor in favour of emotional transparency.
- Community-rooted: Born from slam scenes, open mics, and oral traditions. It’s democratic, activist, and deeply personal.
Metamodern Poetry (for example, Suzette Swan Arc)
- Oscillatory: Moves between sincerity and irony, hope and despair, structure and chaos. Contradiction is not a flaw but a feature—see Kicking Over the Traces.†
- Philosophical and layered: Suzette Swan Arc (inspired by the Klein bottle) embraces ambiguity, emotional depth, and intellectual play.
- Form-fluid: Rejects rigid formalism—not for performance, but for emotional and conceptual freedom.
- Emotionally intelligent: It doesn’t just express—it reflects, refracts, and re-imagines. It’s poetry that knows it’s poetry, and still dares to feel.
Spoken Word vs Slam Poetry: Origins and Evolution
- Spoken Word is the broader umbrella. It refers to any poetry intended for performance rather than just the page. Its roots stretch deep—through oral traditions, griots in West Africa, Beat poets, dub poetry, and hip-hop. It's a centuries-old practice of poetic storytelling, rhythm, and voice.
- Slam Poetry, on the other hand, is a subset of Spoken word. It emerged in the 1980s in Chicago, founded by Marc Smith as a competitive format to make poetry more engaging and democratic. Slam poetry is spoken word with a stopwatch and a scorecard—performance-driven, often political, and judged by the audience.
Key Rhetorical Devices in Spoken Word
Amanda Gorman’s ‘The Hill We Climb’ is a masterclass in using these devices to inspire, unify, and elevate. She blends structured rhythm with freeform delivery. Her cadence comes from rhetorical devices, internal rhyme, and performance—not rigid metre.
Repetition
- Purpose: Reinforces key themes and builds emotional momentum.
- Example: Amanda Gorman’s use of ‘We will rise…’ echoes Maya Angelou’s ‘Still I Rise’ and creates a rallying rhythm.
Alliteration & Assonance
- Alliteration: Repeating consonant sounds (‘We’ve weathered and witnessed…’).
- Assonance: Repeating vowel sounds (‘We lay down our arms so we can reach out our arms…’).
- Effect: Adds musicality and flow.
Wordplay & Paronomasia
- Paronomasia: Punning or playing on similar-sounding words (‘quiet isn’t always peace’).
- Effect: Engages the intellect and adds layers of meaning
Antithesis
- Definition: Juxtaposing contrasting ideas (‘not what stands between us, but what stands before us’).
- Effect: Highlights conflict and resolution, often central to spoken word themes.
Allusion
- Definition: Referencing historical, literary, or cultural texts.
- Example: Gorman quotes Micah 4:4 from the Bible to evoke peace and unity.
- Effect: Adds depth and connects personal expression to collective memory.
Anaphora & Epanodos
- Anaphora: Repeating the same word or phrase at the beginning of successive lines.
- Epanodos: Repeating words in reverse order for emphasis.
- Effect: Creates rhythm and reinforces key ideas.
Hyperbaton
- Definition: Rearranging normal word order for dramatic effect.
- Example: ‘Let the globe, if nothing else, say this is true…’.
- Effect: Draws attention and adds poetic flair.
Antanaclasis
- Definition: Repeating a word with different meanings (‘arms’ as weapons vs. limbs).
- Effect: Provokes thought and emotional resonance.
Comparisons with Other Presentations
Spoken word is a dynamic, often emotionally charged form of performance poetry that emphasises rhythm, voice, and presence. It’s rooted in oral traditions and frequently tackles social, political, or personal themes. Unlike traditional poetry readings, spoken word is designed for live audiences and often incorporates dramatic gestures, pacing, and vocal inflection to amplify its impact. It’s less about the page and more about the stage.
Monologue is a theatrical device where a single character speaks uninterrupted, revealing thoughts, emotions, or backstory. It’s typically part of a larger narrative, such as a play or film, and serves to deepen character development or advance the plot. While it can be poetic, its primary function is dramatic, and it’s usually delivered in character, with the speaker embodying a specific persona or emotional state.
A monologue (objective) is characterised by its long-windedness delivered by one person to an audience—included in this is the aside remarks made by an actor. Whereas the soliloquy is considered to be subjective as it is delivered by a single person where the narrator reveals his inner thoughts, but this is not directed at listeners per se. Hamlet’s soliloquy is perhaps the most famous of all:
‘To be or not to be, that is the question …’ Hamlet, Act III Scene I.
Recital of a poem is a more traditional and often formal presentation of poetry, where the performer delivers a written piece aloud, usually with attention to diction, pacing, and tone. The focus is on honouring the text as written, rather than reinterpreting it through performance. While it can be expressive, it tends to be more restrained than Spoken word and less character-driven than a monologue.
But they’re not interchangeable. Spoken word is a genre; recital is a mode. One is a living form shaped by community and context, the other a method of honouring a text—often from a distance.
Quoting a fellow poet, Ghairo Daniels, on the topic of Spoken word, at my blog, I’ve a new toy: SPOKEN WORD, dated 20 September 2025:
What one speaks must come from Heartfelt experience. In other words, the Emotional Body as an entity must be brought to the fore into rationality. In relation to Consciousness, this is extremely important as it aligns the Mental cum Emotional cum Spiritual as one whole ie we transcend 3D into 5D: this usurps time.
Ghairo has the following to add:
Slammers and spoken word poets are gathering fractured pieces of the past and aligning them into a whole—integrating mental, physical, emotional, and spiritual expression. They’re fitting society’s jigsaw together through word, sound, and colour, blending diverse artistic forms.
Amanda Gorman’s use of Black American glamour in her readings exemplifies this: her attire is part of the poem, a visual invocation of tradition. Many slammers present themselves as living poems, embodying their work through style and presence.
Movements like Obsidian and Poet’s Life reflect this ethos—individual expression through a lens of Oneness, merging realities in transparent and personal ways. The form is shifting: rapid tonal movement, higher frequency, more spaciousness. Words are short and sharp, often punctuated by humour in the next line or verse. It’s choreography of language—aligning with pirouettes and specular turns. [The invented poetic forms: The Pirouette, and Specular Fugue.]
– Ghairo Daniels (24/9/2025)
Conclusion
The landscape of poetry, like the ceaselessly shifting tides of language, remains in constant flux, shaped by the interplay of tradition and innovation. New voices, perspectives, and modes of expression continually emerge, redefining the art form's boundaries—if we remain open and attuned to their presence. This dynamic evolution invites poets and readers alike to embrace adaptability, ensuring that poetry stays vibrant and resonant, reflecting the ever-changing cadences of human experience.
Examples of Spoken word poetry - Spoken word reads like a transcript of a performance rather than a poem penned beforehand:
https://www.poemist.com/ghairo-daniels/cecyl-son-of-our-soul
Amanda Gorman Reads Inauguration Poem, 'The Hill We Climb' Instructional Video for 6th - 12th Grade | Lesson Planet
*The Poet’s Vigil | Poem (poetrysoup.com)
†Kicking over the Traces (poetrysoup.com)
Reference (slam poetry): Slam poetry | Definition, Guidelines, & History | Britannica
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