Do You Want Poems
to Rhyme,
be Beautiful,
Make Sense?


Do you Want Stories to have Real,
Definitive Endings?

Do You Want  Heroes to be Virtuous? 

Do You love
colorful writing?

Don't worry: 
these are normal, human feelings,

and we're here to help.

You might begin with our literary magazine,

Beast Trees Anthology Cover For Luster P

But perhaps you've had people tell you that poetry "doesn't need to rhyme;" and when you've objected that you like it better when it does, perhaps they've intimated that this feeling makes you artistically unsophisticated.

Thankfully, it is possible to explain the human desire for rhyming poetry in a more understanding way. 


There are many dimensions to speech. At each turn, it is possible to proceed in a more poetic direction, or in a less poetic direction.

Speech can be intuitive or definitive. 

Speech can be implicit or explicit.

Speech can be figurative or literal.

Speech can be imaginative or technical.

Speech can be affective or informative.

Speech can be imitative or abstract.

Speech can be musical or pedestrian.

The intuitive, implicit, figurative, imaginative, affective, imitative, and musical uses of speech are more poetic; the others less so.

Rhyme is a way for speech to be musical. Other ways are various kinds of rhythm, alliteration, and recitation with a musical instrument.

But people can write very nice rhymed verse that doesn't seem very poetic to us. That happens when the other dimensions of speech are ignored.

A rhymed verse that is definitive, explicit, literal, technical, abstract, and informative is hardly going to make us feel the way real poetry feels. And speech that has all these other characteristics, but lacks rhyme, will still be preferable.

But why should a poem lack anything?


Why shouldn't a poem be as poetic as possible?

To read about the nature of unsubtracted poetry in greater detail, click below.

"By now, in the light of contrast, we should see clearly the pure poem. It is vigorously imitative, and for that reason is vigorously stylish, vigorously musical, and vigorously shapely.

It establishes a vigorous artistic distance between artless and artistic reality – between mere speech and poetic speech.

In the matter of selection, the poet vigorously exercises his authority to leave out some items and matters while including others, on the basis of virtue and effect.

The poet vigorously applies his skill in exaggerating or minimizing real speech’s various qualities for aesthetic effect.

Thus, the pure poem is vigorously impactful – its maker has left off striving for a socially prestigious voice of moderation and subtlety, and has unashamedly produced a heightened imitation of speech, of unmistakably aesthetic character."

To read about the history of subtracted poetry in greater detail, click below.



"We shall write as the very nature of poetry demands: as if God were not dead, as if society were inherently the association of good men, as if counterfeit egalitarianism were no more than a nightmare of endless sameness from which any sane person might awaken.


And if we must be barbarians frolicking in occasional forgetfulness of Auschwitz (and of its present-day equivalent, Planned Parenthood) then we will be quite drunken, genuinely delighted barbarians. It is either that, or give up on poetry – actual poetry – for good.


We shan't, nohow. We shall assume that delight – no more, no less – is what poetry is really there for; and we shall disregard all doubts, which paralyze. We shall let down our hair, and get off our high horse. We shall wield our poetic authority, not to gain status, but in obedience to the true need of our fellow man to have restored what he has lost."


The Author's Journal

of Inventive Literature


Editor and Publisher
Alana K. Asby