https://www.poetryfoundation.org/poetrymagazine/articles/74593/in-good-form
“A well-turned line, a sparkling rhyme: craft is essential to the art of poetry, writes Poetry editor Christian Wiman in the October 2012 issue. He explains:
The sound and form of the poem are everything; they buffet it against its hard journey through time and indifference. Or, to change the metaphor, they enable it to insinuate itself into the hard carapace of our consciousness, so that the poem’s “message”…won’t just bounce off the glaze of us. Craft matters because life matters. Craftless poetry is not only as perishable as the daily paper, it’s meretricious, disrespectful (of its subjects as well as its readers)….
Why do you think craft matters? Do well-crafted poems hit you harder and remain with you longer, as Wiman suggests? Why might poems devoid of craft seem disrespectful—perhaps because they demand our time without rewarding us with pleasure, insight, or staying power?
The most recent issue of Poetry provides plenty of fodder for such questions. It offers several poems in received forms, such as Joshua Mehigan’s sonnet “The Professor” and Elizabeth Seydel Morgan’s villanelle “September 2011.” And it features invented forms as well. Take Marie Ponsot’s “Private and Profane,” reprinted from a 1957 issue:”
How my heart sings 