the 60s was radically different to the poetry of earlier decades. Abandoning the viewpoint that contemplation should be made from a distance and the old war themed trope of a ‘no man’s land’, 60s Finnish poetry sought to align itself with the humanitarian movements happening in other countries. They embraced the bohemian lifestyle of the beatniks and advocated avant-garde forms of experimentation. The relationship between the poet and their environment whether discorded or harmonious is visible throughout the 60s. With suburban housing complexes being both built on the edge of cities and deep within the forest, the relationship between people and their environment became framed and blocked by modern infrastructure. Parking lots, highways, flats and random objects of modernity littered the scenes of once quiet agrarian communities. Many poets felt displaced by this rapid change of scenery whilst others embraced it. Much of the discussion took place in Finland’s capitol Helsinki where a number of poets based their poems. In Matti Paavilainen’s Kaupunki enemmän kuin kohtalo (City more than destiny, 1972), he writes: ‘Everything you see is an answer to the question you didn’t have to make’, identifying the poets connection to the environment while noticing his discordance in terms of its development. Pentti Saarikoski’s “Minä asun Helsingissä” (“I live in Helsinki”, 1962) similarly states: “Helsinki my City remains in my mind, in good order / and when I am gone, it still moves like a tree”. Finnish poets used Parallelisms such as these in a step-by-step processes of recognizing their own identity within a new modern state. Recent history British poet and translator Herbert Lomas has written much about Finnish literature. In his review of Lomas’ Contemporary Finnish Poetry, Binham highlights Lomas’ views on ‘the significance of poetry to Finn’s, who “turn to it for solace, inspiration, stimulation to think about themselves, extension of experience and the shaping spirit”’. Contemporary poetry covers a variety of themes mainly concerned with disparity in modern society. Although they depict similar worlds in their poetry, Contemporary poets have never used their ancestors as models. Rather they’ve only borrowed fragments such as the old metre in their works. Though some modernist uses of old folk metre came off as anachronistic, apart from Eino Leino who was one of the only poets to make use of it correctly, in versus consisting of a blend of both historical and the mythological. This success may be attributed