form based on the Petrarchan sonnet that invariably ends with a rhyming couplet reminiscent of the Shakespearean sonnet. Most of these poems are discontinuous, though unified by theme, being vignettes descriptive of the kinds of dreamed and otherworldly scenarios found in Lovecraft's fiction. Their unmannered style was once compared to Edward Arlington Robinson's, but since then a case has been made for the work as minor poetry of contemporary importance in its own right. In the case of John Berryman, he initially wrote a series of some hundred modernistic love sonnets during the 1940s. These, however, remained uncollected until 1967, when they appeared as Berryman’s Sonnets, fleshed out with a few additions to give them the form of a sequence. In her 2014 survey of the book for Poetry, April Bernard suggests that he was there making of 'Berryman' a similar semi-fictional character to the 'Henry' in The Dream Songs (1964). She also identifies an ancient ancestry for the disordered syntax of the work through the English poets Thomas Wyatt and Gerard Manley Hopkins. But at this time too began to appear sequences of quatorzains with only a tenuous relationship to the sonnet form. Ted Berrigan's The Sonnets (1964) discard metre and rhyme but retain the dynamics of a 14-line structure with a change of direction at the volta. Berrigan claimed to have been inspired by "Shakespeare’s sonnets because they were quick, musical, witty and short". Others have described Berrigan's work as a postmodern collage using "repetition, rearrangement, and the use of 'found' phrases and text", that functions as a "radical deconstruction of the sonnet". From 1969 Robert Lowell too began publishing a less radical deconstruction of the form in his series of five collections of blank verse sonnets, including his Pulitzer Prize volume The Dolphin (1973). These he described as having “the eloquence at best of iambic pentameter, and often the structure and climaxes of sonnets". The contemporary reaction against the strict form is described in the introduction to William Baer's anthology Sonnets: 150 Contemporary Sonnets (2005). But for all that a number of writers were declaring then that the sonnet was dead, others – including Richard Wilbur, Howard Nemerov and Anthony Hecht – continued to write sonnets and eventually became associated with the magazines The Formalist and then Measure. These journals, champions of the New Formalism between the years 1994 and 2017, sponsored the annual Howard Nemerov Sonnet