Discussions of form in Irish poetry often equate formalist poetry with conservative politics. A more nuanced understanding of this relationship is that poetic form is a way of turning private experience into a publicly accessible commentary on the challenging times we inhabit. The women poets who came of age at the turn of the twenty-first century, including Sinéad Morrissey, Leontia Flynn, and Caitríona O’Reilly, are sometimes associated with a formalist turn in Irish poetry at the time, but in their embrace of form as in much else besides they are remarkably heterogeneous. All are distinguished by an international perspective, in their influences as much as their subject matter, and an attention to questions of form as embodiment, as well as a focus on the body itself. In their relationships with important precursors including Marianne Moore, Sylvia Plath and Medbh McGuckian, they enact generational debates through their dialogues with form, from the ghazal and sestina to the chatty intimacies of the verse letter, vindicating the short lyric as a continuing space of freedom and resistance.