This is the unrestful, ungraspable poetry of the sheer present, poetry whose very permanency lies in its wind-like transit. Whitman’s is the best poetry of this kind. Without beginning and without end, without any base and pediment, it sweeps past forever, like a wind that is forever in passage, and unchainable. Whitman truly looked before and after. But he did not sigh for what is not. The clue to all his utterance lies in the sheer appreciation of the instant moment, life surging itself into utterance at its very well-head. Eternity is only an abstraction from the actual present. Infinity is only a great reservoir of recollection, or a reservoir of aspiration: man-made. The quivering nimble hour of the present, this is the quick of Time. This is the immanence. The quick of the universe is the pulsating, carnal self, mysterious and palpable.  So it is always. 

Because Whitman put this into his poetry, we fear him and respect him so profoundly. We should not fear him if he sang only of the “old unhappy far-off things,” or of the “wings of the morning.” It is because his heart beats with the urgent, insurgent Now, which is even upon us all, that we dread him. He is so near the quick.  

From the foregoing it is obvious that the poetry of the instant present cannot have the same body or the same motion as the poetry of the before and after. It can never submit to the same conditions. It is never finished. There is no rhythm which returns upon itself, no serpent of eternity with its tail in its own mouth. There is no static perfection, none of that finality which we find so satisfying because we are so frightened. 

Much has been written about free verse. But all that can be said, first and last, is that free verse is, or should be direct utterance from the instant, whole man. It is the soul and the mind and body surging at once, nothing left out. They speak all together. There is some confusion, some discord. But the confusion and the discord only belong to the reality, as noise belongs to the plunge of water. It is no use inventing fancy laws for free verse, no use drawing a melodic line which all the feet must toe. Free verse toes no melodic line, no matter what drill-sergeant. Whitman pruned away his clichés—perhaps his clichés of rhythm as well as of phrase. And this is about all we can do, deliberately, with free verse. We can get rid of the stereotyped movements and the old hackneyed associations of sound or sense. We can break down those artificial conduits and canals through which we do so love to force our utterance. We can break the stiff neck of habit. We can be in ourselves spontaneous and flexible as flame, we can see that utterance rushes out without artificial foam or artificial smoothness. But we cannot positively prescribe any motion, any rhythm. All the laws we invent or discover—it amounts to pretty much the same—will fail to apply to free verse. They will only apply to some form of restricted, limited unfree verse. 

All we can say is that free verse does not have the same nature as restricted verse. It is not of the nature of reminiscence. It is not the past which we treasure in its perfection between our hands. Neither is it the crystal of the perfect future, into which we gaze. Its tide is neither the full, yearning flow of aspiration, nor the sweet, poignant ebb of remembrance and regret. The past and the future are the two great bournes of human emotion, the two great homes of the human days, the two eternities. They are both conclusive, final. Their beauty is the beauty of the goal, finished, perfected. Finished beauty and measured symmetry belong to the stable, unchanging eternities.

But in free verse we look for the insurgent naked throb of the instant moment. To break the lovely form of metrical verse, and to dish up the fragments as a new substance, called vers libre, this is what most of the free-versifiers accomplish.  They do not know that free verse has its own nature, that it is neither star nor pearl, but instantaneous like plasm. It has no goal in either eternity. It has no finish. It has no satisfying stability, satisfying to those who like the immutable. None of this. It is the instant; the quick; the very jetting source of all will-be and has-been. The utterance is like a spasm, naked contact with all influences at once. It does not want to get anywhere. It just takes place. 

For such utterance any externally-applied law would be mere shackles and death. The law must come new each time from within. The bird is on the wing in the winds, flexible to every breath, a living spark in the storm, its very flickering depending upon its supreme mutability and power of change. Whence such a bird came: whither it goes: from what solid earth it rose up, and upon what solid earth it will close its wings and settle, this is not the question. This is a question of before and after. Now, now, the bird is on the wing in the winds. 

Such is the rare new poetry.  One realm we have never conquered: the pure present. One great mystery of time is terra incognita to us: the instant. The most superb mystery we have hardly recognized: the immediate, instant self. The quick of all time is the instant. The quick of all the universe, of all creation, is the incarnate, carnal self. Poetry gave us the clue: free verse: Whitman. Now we know. 

The ideal—what is the ideal? A figment. An abstraction. A static abstraction, abstracted from life. It is a fragment of the before or the after. It is a crystallized aspiration, or a crystallized remembrance: crystallized, set, finished.  It is a thing set apart, in the great storehouse of eternity, the storehouse of finished things.

We do not speak of things crystallized and set apart. We speak of the instant, the immediate self, the very plasm of the self. We speak also of free verse.

All this should have come as a preface to “Look! We have Come Through.” But is it not better to publish a preface long after the book it belongs to has appeared? For then the reader will have had his fair chance with the book, alone.