I must first admit my preference for the more traditional war poetry we have read for class. There is something so beautiful about the lyricism of Rupert Brooke's "The Soldier," both melancholic and reflective, and the gritty reality of the trenches conveyed in Wilfred Owen's "Dulce et Decorum Est." In part, Owen creates this striking atmosphere through his choice of jarring words like "smothering," "gargling," and "obscene."

Although poems like those mentioned above are set in opposition to more experimental, or Avant-Garde, poetry of the time, they are compelling and unique in their own right. For instance, Siegfried Sassoon's "They" utilizes a conversational form and a satirical tone, while Isaac Rosenberg's "Break of Day in the Trenches" features a rat as the unlikely central figure, placing the mundane as worthy of artistic reflection.

However, my preference for more traditional poetry does not stop me from appreciating that which is more experimental. Guillaume Apollinaire's "Thunder's Palace," for instance, had similarities to Rosenberg's poem in its focus on the seemingly mundane. It is extremely visual, laying the foundation for more abstract observations sprinkled throughout. The lack of punctuation gives it a fluidity not found in other poems mentioned. Apollinaire's "It's Raining" is even more experimental, taking the shape of falling rain. These new techniques in punctuation and layout make for a varied reading experience, putting into question the value of subject matter as well as form.