Michael Young believes we have to stop giving chapbooks the short shrift:
The poet Tomas Transtromer, winner of the 2011 Nobel Prize, demonstrated the power of an oeuvre that accumulates in small increments, growing slowly like a glacier over years. Each individual addition to his total output never amounts to what is defined as a full-length collection. Only by combining old material with new material does he make more than a chapbook. His first book, 17 Poems, was, of course, 17 poems and they weren’t long enough to cover 48 pages. Not even close. The next set of new poems, Secrets on the Way, added fourteen more poems to his work. The collection after that, The Half-Finished Heaven, added twenty-one more poems. In this way, he kept adding to his oeuvre. But any given addition never would have broken that 48-page barrier. Many other poets have published works that are chapbooks.He continues:
The original publications of T.S. Eliot’s Prufrock and Other Observations, and Ginsberg’s Howl were both chapbooks. Of Louise Bogan’s four major collections, two of them—The Body of This Death, and The Sleeping Fury, were chapbooks. Edgar Bowers’ second collection, To the Astronomers, was 36 pages. And the following collection Living Together, although 84 pages, was a new & selected and therefore, full of material from his first two collections. I’m fortunate to own a copy of this book and can tell you that the new poems in the collection only compose a total of 10 more pages. This could also be pointed out of many other poets. So what is our obsession with making collections long when so many important poets published short works of great significance? Why consider these mere works on the way to—not more important work, but just larger collections of work?
Our entire culture believes, as if it were divine writ, that bigger-is-better, that perpetual growth defines success. But it is error in many ways and folly for poets to follow along with this thinking. A poet should write and construct the best book they can, and if that collection is under 48 pages, then that is how long it’s supposed to be. To ignore a collection because it’s only 20 or 30 pages long rather than 60 or 80 pages is simply the error of a mind that thinks bigger is better. Or it at least is not questioning that implicit assumption. I wager that most poets don’t think of themselves as adhering to this mentality and yet, here we are, all racing toward that 48-page mark as though it were what defines a collection of poetry. Certainly nothing in poetry itself determines that. It is an ulterior motive shaping the collection to reach that mark. Consciously or unconsciously it is not a poetic motive directing the poet’s choices here and it’s time to put that to an end.