There is a distinct weight to a collection that insists on structure in an era often defined by free verse. The 2016 release from the Society of Classical Poets operates not merely as an anthology, but as a deliberate argument for the endurance of rhyme and meter. It suggests that the old scaffolds—the sonnet, the villanelle, the strict couplet—remain the most sturdy vessels for contemporary thought.
Cover of the 2016 Society of Classical Poets Journal featuring classical art
The Living Craftsmen
At the forefront of this volume stand the voices who have mastered the discipline required to make constraints feel like liberation. The competition winners—Ron L. Hodges, Bruce Dale Wise, Daniel Magdalen, and Dusty Grein, among others—demonstrate that form does not stifle creativity. Instead, it distills it.
Alongside James Sale, Reid McGrath, and Matthew Walton, these poets navigate modern themes through traditional architecture. The journal expands its reach further, incorporating a vast array of featured poets such as Michael R. Burch and Elizabeth Spencer Spragins. Their work sits side-by-side, creating a texture that feels less like a competition and more like a choral arrangement, where distinct voices harmonize through shared adherence to craft.
A Dialogue Across Centuries
A unique strength of this edition lies in how it refuses to isolate the present from the past. Modern verses are not presented in a vacuum; they share pages with the giants who laid the pavement. Readers encounter the ghosts of William Blake and John Donne, the brooding romanticism of Keats, and the sharp clarity of Robert Frost.
The inclusion of these masters—ranging from the Elizabethan precision of Shakespeare to the contemplative lines of Rilke—serves a dual purpose. It anchors the contemporary work in a lineage, proving that the torch has been passed, and it offers a comparative study on how the English language has shifted while its rhythmic roots remain intertwined.
The Educational Mandate
Beyond the poetry itself, the 2016 Journal functions as a practical instrument for preservation. It houses a “mini-textbook” designed for educators, stripping away the intimidation often associated with teaching classical forms. This inclusion transforms the book from a passive reading experience into an active tool for the classroom, aiming to hand the chisel to a new generation of sculptors.
Visual Harmony
The aesthetic experience is rounded out by an appreciation for visual classicism. The cover and interior feature works by artists like Steven J. Levin, whose piece “Metamorphosis” sets a tone of transformation and realism. The interplay between the visual art of Anna Rose Bain or Xiqiang Dong and the textual rhythms of the poets creates a multi-sensory validation of classical beauty.
An interview with William Ruleman, Professor of English at Tennessee Wesleyan College, offers the final intellectual anchor, providing context to the creative works. This volume is a substantial artifact, expansive in its scope, affirming that the classical tradition is not a relic to be dusted off, but a living method of understanding the world.
Cover of the 2016 Society of Classical Poets Journal featuring classical art
