English Poetry Blog!
1) Poetry Is The Art of Thinking
In this exclusive extract from How to Think Like a Poet, the poet and novelist Dai George shares his perspective on the nature of poetry as a mode of thinking.
Poetry can be defined as the art of thinking. This assertion may initially appear to be self-evident. Indeed, all human endeavours require thought, and thus poetry can be considered no different from any other type of human activity, whether that be moving an arm or sending a spaceship into orbit. However, it is important to note the distinction between these other activities, which are undoubtedly significant, and the peculiar cognitive experience that accompanies the reading or composition of a poem. It could be argued that movement and aeronautics – or cookery, politics, caregiving, chess – are the products of thought rather than a record of thinking itself.
These impulses, originating in the brain, are transformed into a different form, one that is both practical and tangible. Poetry, conversely, provides a medium through which we may approximate the unmediated sound of the human mind in action. This artistic medium enables us to discern all manner of unarticulated thoughts, unconnected ideas, moments of inspiration, outbursts of emotion, and intricate, unformed concepts that would be all but impossible to capture through other means. Each poem is a public expression of the internal psychological drama that is constantly unfolding in an individual's life. The scope of this phenomenon is broad, encompassing a wide range of potential topics and locations. The fundamental consideration is that the subject matter should be striking or beautiful, and of sufficient merit to be recorded. The American poet John Ashbery articulated this sentiment with remarkable precision. He further elaborated on this sentiment by stating, "I do not perceive poems as definitive compositions." It is hypothesised that the process under discussion is ongoing, and that the author occasionally interrupts it.
This book constitutes an attempt to comprehend the intricacies of this profoundly enigmatic subject. What, then, are poets thinking about? Alternatively, to pose the same question from a different perspective, what forms of thinking can be considered 'poetic'? The objective of this study is to trace the evolution of these ideas across the centuries, in conjunction with broader shifts in literary taste. Concurrently, it is anticipated that the publication will serve as a thought-provoking exploration of the historical evolution of poetry, offering a comprehensive introduction to seminal figures who have significantly contributed to the contemporary state of the art. It is evident that throughout history, there has never been any phenomenon that can be described as a 'poetic consensus'. It is a commonly held view that poets are a disputatious breed, with a proclivity for manifestos and theories. They are wont to define themselves in contradistinction to their predecessors. (It is pertinent to note that the author's position is that of a poet, and as such, their self-perception is subject to fluctuations on a daily basis.) However, it is also important to acknowledge the church's broad and ever-expanding nature. The argument is posited on the grounds of its significance and the expression of concern.
Dai George is a poet, novelist, critic and academic based in London. His inaugural poetry collection, The Claims Office, was named an Evening Standard book of the year, while his second, entitled Karaoke King, was published by Seren in June 2021. His inaugural novel, The Counterplot, was published as an Audible Original in 2019, and he is currently working on his second. He previously served as the reviews editor of Poetry London and has taught poetry and creative writing for many years in his capacity as a lecturer at Swansea University and at University College London. His poetry has been featured extensively in a variety of publications, including Poetry Review, Poetry Wales and Islands Are But Mountains: New Poetry from the United Kingdom. The author's criticism and non-fiction has been published in a variety of popular and academic forums, including The Guardian, The White Review, and Cambridge Quarterly. Alongside Sarah Howe and Vidyan Ravinthiran, George was a founding editor of the online poetry journal Prac Crit, which attracted a substantial global readership over the course of its five-year existence.
2) The Purpose of Poetry
In a separate publication, the significance of writing was emphasised. The purpose of this discourse is to explore the significance and function of poetry. In order to facilitate this exploration, a series of writing prompts are provided below.
The purpose of poetry
A recent occasion on which we were present was the wedding of Raffi, a much younger cousin of Eric. The age of Raffi is more closely aligned with that of my own children, and I have had the opportunity to observe his developmental trajectory over the years. During the nuptials, I experienced a profound sense of joy and wonder at the grandeur of life. As I perused the gathering of individuals in their late twenties at the reception, I found myself reflecting once more on the exhilarating yet daunting nature of shaping one's own existence. In the midst of the manifold challenges, constraints, and opportunities that characterise our existence, we embark on a journey of self-discovery and self-creation, navigating the intricate pathways that lead us towards our future selves. The question therefore arises as to how this can be achieved.
During my twenties, I elected to pursue academic studies in the field of literature, with a particular focus on poetry. Why? In a world where nine million people perish from hunger annually, the relevance of literature is called into question. The potential of literature to effect positive change in this regard was limited, and its capacity to enhance my own circumstances was considered negligible. Nevertheless, I subscribed to the notion that literature was a vital element of sustenance, with a significance almost equivalent to that of food. This position remains unaltered. The decision to pursue a course of study in poetry was motivated by the recognition of its capacity to facilitate alternative modes of being and connection.
It was hypothesised that each poem functions as a discrete locus of ceremony, attention and condensed meaning, and that this is analogous to the function of poetry at a wedding. The prevalence of poetry at weddings was therefore considered to be a natural corollary of its function. The practice of poetry has been demonstrated to engender a heightened state of awareness and vitality. It has been demonstrated to facilitate situational awareness and enable the direction of travel to be determined.
The purpose of this study is to explore the function of poetry. Why Poetry?
It is conceivable that, upon initial consideration, this question may appear to be of little consequence. It is important to note that individuals' engagement with poetry can be categorised into two distinct groups: those who demonstrate a profound love for reading and writing poetry, and those for whom poetry holds no particular interest. In either scenario, engaging in abstract reasoning about poetry may be perceived as a futile exercise.
However, since at least the 16th century in the English-speaking world, poets have been producing treatises emphasising the significance of poetry. In his renowned Apology for Poetry, Philip Sidney posited that poetry's capacity to edify its audience through "delight" and to guide them towards "virtuous action" is of paramount importance. In the early 19th century, Percy Bysshe Shelley's Defense of Poetry was predicated on the notion that poetry possessed the capacity to cultivate the imagination; the poet himself asserted that poetry had the power to "awaken and enlarge the mind itself".
In the contemporary era, poetry has become a marginalised form of cultural expression, a stark contrast to the esteemed status once held by prominent figures such as Lord Byron in the literary landscape. However, the inherent value and educational merits of poetry have not diminished. In fact, the explicit articulation of these benefits serves to underscore the fundamental nature of poetry and its profound impact on our self-understanding.
The medium of poetry has the capacity to resonate with individuals across the entire spectrum of life experiences, encompassing all stages, moods and circumstances. Chidiock Tichborne is known to have authored his celebrated "Elegy" in 1586, while incarcerated in the Tower of London on the eve of his execution; Osip Mandelstam is recorded as having composed poetry during his time in the Gulag; Anne Bradstreet is renowned for her poetic expressions of love for her husband in the early American colonies; and Natalie Diaz currently writes what she refers to as her "postcolonial love poems" addressed to her partner.
Poetry has been shown to have a significant role in the lives of individuals, often serving as a source of guidance and motivation in various stages of life. In the author's own life, poetry has been a constant companion. The composition of poetry has occurred in periods of both the most profound desolation and of unparalleled jubilation. It is this author's belief that the following constitute some of the primary purposes, benefits and delights of poetry.
The Purposes of Poetry: Paying attention is an integral component of the act of reading poetry, in contrast to the more passive engagement one might experience when reading prose. Rather than processing each sentence or word individually, poetry invites the reader to engage with the language on a more granular level, analysing each syllable and sound in isolation. The rhythmic patterns and musical elements inherent in poetry necessitate a receptive state, whereby individuals attune their senses to the act of imbuing meaning into their physical beings. In a similar manner, the shorter lines of poetry and the pauses that are inherent to the line breaks serve to decelerate the reader's pace. Poetry invites the reader to refrain from hasty progression; rather, it encourages them to remain immersed in the experience of reading. It invites presence.
This deliberate slowing down, this act of attention, is, as the philosopher Simone Weil asserts, a sacred act. "Attention, when applied to its utmost degree, is synonymous with prayer. The notion of prayer presupposes faith and love, and demands one's undivided attention.
When the mind is habituated to attend, as is facilitated by poetic discourse, an inherent engagement with the sacred is initiated, a concept articulated by the philosopher Martin Buber as the "I-Thou" relationship.
The Purposes of Poetry: Connection
It is an established fact that attention naturally leads to connection. When observing language in relation to tradition, perception and experience, for instance, it becomes evident that language acquires meaning in these contexts.
The meaning of a word is understood to vary in relation to other words; rhythms are formed only in relation to other rhythms and sounds. The notion of form and content being inseparable in a poem is a fundamental principle that must be adhered to. The meaning of a poem is confined to the words that comprise its written form. Whilst it is possible to discuss the form and content of a written text in a simplistic manner, in reality these two elements cannot be separated; form is content and content is form. This phenomenon bears a resemblance to the mind-body dichotomy. While it may be beneficial to conceptualise the mind and body as discrete entities, scientific research and personal experience have demonstrated that these two aspects of human experience are inextricably intertwined.
In a similar fashion, the significance of a poem is derived from the relationships established between the world as experienced, the words inscribed on the page, their relationship to each other, and the reader herself. The art of reading and writing poetry is inextricably linked to the practice of poetry itself.
The Purposes of Poetry: New Possibilities
The manner in which a poem instructs us to maintain our connections engenders the emergence of novel possibilities. The close attention required for the analysis of a poem has been shown to engender a progression of insight (Smith, 2019). It is evident that a greater degree of attention fosters a corresponding increase in respect and wonder. As Weil asserts, the impetus for prayer is derived from this conception. Despite the challenges involved, it is possible to discern the interconnection between the specific and the transcendent, the minuscule and the immense, that which is knowable and that which is not.
Paying close attention to relationships engenders a concomitant focus on the interstices between entities, the lacunae between words, the space of silence, the space of mystery and possibility. In a poem about poetry itself, Emily Dickinson wrote the following: "I dwell in Possibility –/ A fairer House than Prose – / More numerous of Windows – / Superior – for Doors –". The act of reading poetry has been demonstrated to engender a sense of expansiveness in the human mind, akin to the opening of windows and doors to a more capacious environment. In that more open space, new possibilities arise.
The Purposes of Poetry: Healing and Wisdom
This space of possibility is the space of creative energy itself, of that which is sacred and which is also a source of inspiration. The act of reading poetry engenders a state of being that is characterised by attentiveness, and it is through this act of attentiveness that poetry guides the reader to this space. It is important to note that this attention is not equivalent to that of the analytical left brain.
It is not our intention to undertake a comprehensive examination of the poem in question, but rather to provide a concise analysis of its salient features. In the context of high school English classes, the manner in which poetry is taught has the potential to either facilitate or hinder student engagement with the genre. When teachers adopt a close reading approach that is overly meticulous and often unlikely to yield significant results, it can have a detrimental effect on students' enjoyment of and interest in poetry. The class, thus, finds itself in the presence of a falcon of exceptional quality, yet instead of observing its flight, they have confined it, opened it up, dissected it, and killed the bird. However, by adhering to the poem's own terms, we transcend the left brain and enter the domain of the right brain's creative imagination. This domain encompasses the realms of the dream, the subconscious, the myth, and the spirit. It is also the location in which change occurs.
This is the domain of our most fundamental expression of suffering: grief, trauma and physical pain. These phenomena frequently transcend verbal articulation. It is also the space of our greatest joy, our sexual desire, our love, and the space of the sacred itself, of mysticism and awe. It is interesting to note that the most intense experiences tend to occur beyond the confines of language. Paradoxically, the close attention to language that poetry engenders results in our entry into the non-verbal domain, the space between words, and the wisdom inherent in that domain.
As Emily Dickinson also famously wrote, "Tell the truth but tell it slant". It is often the case that the particular slant of a poem can facilitate the articulation of truth with greater precision. It is widely acknowledged that the act of writing can be considered a process of discovery, a notion that is particularly pertinent in the context of poetry. The act of creation itself enables us to relinquish our preconceived notions and explore uncharted realms of expression, unveiling novel interpretations and meanings. The process of learning is facilitated by reading and writing.
In my own life, my poetry functioned as a medium for articulating my personal history of trauma prior to the development of a conscious awareness of it. The site functioned as a location for recuperation. It is also possible to encounter the sacred in this location, to establish a connection with that which is of importance, and to reconnect with beauty, meaning and joy. Two centuries ago, Percy Bysshe Shelley, in his Defence of Poetry, famously likened poets to the "unacknowledged legislators of the world." This assertion may appear ostentatious, yet it is an irrefutable truth that, despite the widespread unacknowledgement of poets, the act of poetry enables us to reimagine our world and forge new realities.
It may appear somewhat implausible to assert that reading or writing poetry has any relevance to the climate crisis. However, drawing from my personal experience as an activist and discussions with my friends who are full-time activists, it is evident that what is required is not technological innovation, but a cultural transformation, novel ways of viewing and understanding the world – the very capabilities that poetry fosters. It is possible to stand in the present and consider the question of the existence of evidence of the past. From an external perspective, the argument may appear to lack internal logic. However, when we delve into the intricacies of poetic composition and engage with the creative process, we unveil a myriad of hitherto unexplored possibilities. It is evident, and of greater significance is the fact that it is experienced, that poetry has the capacity to effect profound change.
This transformative power bears a notable resemblance to the transformative power of mindfulness itself, insofar as both facilitate attention, foster connections, and engender a sense of openness to the interstices between things. The practice of poetry and the exercise of mindfulness both facilitate the attainment of a state of sacred emptiness and silence, which in turn can precipitate transformative change. Indeed, all sacred traditions are instrumental in guiding individuals towards this space. Whether it is the Jewish wedding to which I was recently invited, or the Muslim funeral I attended, poetry, as with all spiritual traditions, serves to draw us into the space of meaning and creative power.
What is your own position on the matter? What have been the experiences of the participants with poetry? The purpose of poetry is a question that has been posed to many individuals.
3) The Power Of Poetry
It is evident that poetry possesses a unique capacity to catalyse transformation, a quality that distinguishes it from other artistic mediums.
From a cultural perspective, poetry is utilised in a variety of ways. Haikus, for instance, are known for their juxtaposition of images of the quotidian, while lyric poetry is characterised by its expression of the personal and emotional. In a similar manner, poets themselves manifest in a variety of forms. The concept of the Romantic poet engaging with the sublime, the impoverished artist in their garret, the erudite individual, the bards, the soldier on the frontline, the spoken word performer, the National Poet, the Poet Laureate, or the Makar is worthy of consideration.
From a pedagogical perspective, it is not uncommon for educators to experience a sense of trepidation when confronted with students who have previously encountered setbacks in their poetic pursuits, often due to previous instructors who have not adequately fostered their interest. It is conceivable that such pedagogues may be daunted by the very notion of verse, perceiving it as a form of algebraic expression with a solution to be deciphered through an esoteric metric code. However, this apprehension dissipates when students are endowed with the confidence to interpret and engage with poetry according to their own inclinations.
In the context of creative writing classes, students are often encouraged to "find their own voice". The most accomplished poems, it has been observed, are those written in the author's distinct voice rather than in a "poetic" register that is assumed or adopted. The fundamental reason for this is that poetry, for both the writer and the reader, is about relevance.
The relevance of poetry remains constant, irrespective of an individual's familiarity with it. There is a high probability that, at some point in their life, individuals will engage with poetry. The tendency for individuals to seek solace and inspiration in poetry is particularly pronounced during periods of transition and uncertainty. These periods can be characterised as either positive or negative, with examples of such events including birthdays, funerals and weddings. The ability of poetry to articulate complex emotions during challenging periods is well-documented.
Indicators of Transformation
Poetry is employed to denote periods of transformation, which are frequently commemorated through public events. In such cases, the practice of reading and writing poetry has the capacity to effect meaningful change. At Remembrance Sunday, for instance, verse is utilised to contemplate and process the harsh realities of loss, as well as to commemorate the military service of those who have passed.
In the aftermath of the devastating Manchester Arena bombing, Tony Walsh's This is the Place emerged as a unifying voice for the city, characterised by its defiant and inspiring qualities. It was imperative that Walsh hailed from Manchester, a detail that was of great significance. David Jones fought in the trenches and at Mametz Wood, which lends his In Parenthesis a weight of experience. Holly McNish's written experience in her book Nobody Told Me resonates with the truth of a mother.
The articulation of personal experiences in poetry, employing direct and immediate terminology, became a prominent feature of the early confessional poetry movement, exemplified by poets such as Robert Lowell, Anne Sexton and Sylvia Plath. The utilisation of the personal and intimate as the foundation for their poetic compositions was formerly regarded as provocative; however, it has since become an integral component of the contemporary poetic landscape.
It should be noted, however, that poetry is not confined to the communication of direct experiences. A number of poems can be regarded as sites of discourse in which extensive questions are engaged with and solutions sought. For instance, in Shakespeare's The Tempest, the notion of death as a transformation rather than an end is articulated.
The subject's qualities are not subject to decay; rather, they undergo a transformation into a state of opulence and peculiarity. This notion is encapsulated in the words inscribed on Percy Bysshe Shelley's grave in Rome, which offer solace to those who visit.
The prospect of a future state is often explored through the medium of poetry, which can serve as a vehicle for the articulation of both the poet's apprehensions and aspirations. The poem entitled 'Interim' by Lola Ridge is a pertinent example of this phenomenon, given its particular relevance to the present moment. Ridge was a prominent activist and advocate for the working classes. In the case of Interim, the occurrence of change has not yet been observed. The present moment is characterised by three distinct phases: the initial phase, the preparatory phase, and the pause phase. The initial phase is characterised by the anticipation of imminent change. The preparatory phase is characterised by the accumulation of factors that will precipitate change. The pause phase is characterised by a period of reflection, consideration, and preparation for the subsequent phase. In the text, the author posits a prospective future movement or event. In the midst of prevailing political uncertainty, as evidenced by the ongoing negotiations surrounding Brexit, and when opinions appear to be more divided than unified, the words of Ridge offer a particular source of solace. The world is described by the artist as follows:
The avian, in its flight, is at rest.
It is located between the celestial alleys.
The concept of the resting world is a compelling one. The prevailing sentiment suggests that the global population is awaiting a state of organisation, or even evolution, before proceeding to an unknown destination. However, this is merely a personal interpretation and should not be taken as a definitive statement. It is important to acknowledge that another reader may hold a differing opinion, and this diversity of perspective is one of the most rewarding aspects of engaging with poetry. The interpretation of any given text is a subjective process, and it has the capacity to influence an individual's cognitive and emotional responses to the content. In periods of challenge and unease, the subject has been shown to be of assistance.
In the contemporary era, poetry has never been more immediately accessible. The advent of digital repositories such as The Poetry Archive and The Poetry Foundation has rendered poetry more accessible than ever before. These websites allow users to access poems with ease, thereby facilitating engagement with the literary arts. Regardless of whether one is a habitual reader of poetry or an infrequent encounterer of the art form, it is indisputable that poetry retains its perennial relevance and potency.
4) Tide of Voices: Why Poetry Matters Now
It is with great pleasure that I address you this evening, and I would like to begin by expressing my gratitude to Miles and the board of the seminar, whose efforts have made this event a reality. It is evident that this event constitutes a remarkable annual congregation of writers; however, it is noteworthy that, among the array of such events in our nation, this one is arguably the one that exhibits the most meticulous attention to its visitors. We are extremely well-lodged. Indeed, during our visit to Key West, we were even offered a massage. Consequently, the audience will observe writers who exude a sense of ease and contentment on stage, delivering their discourse.
The title of my presentation this evening is "Tide of Voices: Why Poetry Matters Now," but I would like to extend an invitation to those of you who experience discomfort with sentences that do not extend to the full extent of the page to substitute 'literature' for the word 'poetry' when hearing it, as I believe my observations will be relevant to a wide range of literary forms. The present study will commence with a quotation from the contemporary American poet Elizabeth Alexander. The following excerpt from Elizabeth's work is to be used as an epigraph for this presentation: The poem under scrutiny is characterised by the speaker's role as an educator, a position from which they have derived a sense of exasperation in regard to their pupils. The prevailing sentiment within the class is that poetry is synonymous with positivity, affection, and romance. She asserts that poetry is the articulation of the human voice, and that it serves as a medium for interpersonal connection and understanding. Are we not?"
This is "Tide of Voices." In the early 1940s, the psychologist Abraham Maslow constructed a hierarchical model of fundamental human needs, a seminal account of the requirements of human beings. As a primary concern, it was asserted that the paramount imperative was to ensure safety. Once safety has been established, considerations may turn to sustenance and hydration. With these basic requirements met, the next priority is the acquisition of shelter. Only then can attention be given to emotional needs. It is only when one's basic human needs are met, such as safety, sustenance, shelter, and affection, that one can engage with the more intricate human need and desire to create.
It is evident that there is a modicum of veracity in this proposal. In situations where immediate warmth is required, or when navigating a freeway and evading a potentially hazardous vehicle, it is implausible that one would be contemplating literary composition. However, it is evident that Dr. Maslow's hierarchy of needs model is also influenced by a specific middle-class outlook. For the majority of the world's population, the kind of stable conditions that he believed to be necessary for human beings to be free to invest their energies in creative work are simply not a reality. This is not the case. Across the globe, there is frequently a paucity of food, water and shelter. In the context of Key West, concerns may arise regarding the availability of sustenance, potable water and adequate shelter. It is evident that emotional security is an elusive and multifaceted concept. And what of the issue of safety? It is pertinent to consider who, if anyone, can be considered to be safe at this particular moment in history. It is imperative to ensure that sufficient funds are available to either purchase ice cream at the nearest establishment or to consider the culinary options for the evening's repast in the pleasant company of those present. However, it is not necessary to elaborate on the numerous factors that contribute to a state of transient ease, which often supersedes a pervasive sense of insecurity. A sense of trepidation regarding the future of the planet. Nevertheless, the focus remains on the artistry of the writer. This suggests that poetry persists irrespective of external factors, provided that human life continues. It could be argued that the necessity for poetry is increased in circumstances where other basic needs are not being met. The following poem by Jack Gilbert will be analysed in order to illustrate a particular point. The title of the document is "A Brief for the Defense".
[Reads "A Brief for the Defense"].
It is important to recall that the poem in question is entitled "A Brief for the Defense." The question must therefore be posed: who or what is being defended? In the context of human suffering, global turmoil and the manifold threats to which we are continually exposed, the question must be posed: is it possible to derive pleasure from music and poetry? The sentiment that "We must risk delight" articulated by Gilbert is one that resonates profoundly. It is possible to live without pleasure, but it is not possible to live without delight. It is imperative that we possess the fortitude to embrace our contentment amidst the unforgiving crucible of this world." The subject under discussion is, in essence, the defence of poetry itself. The innate human need to engage in vocal music.
The twentieth century, for instance, is replete with instances of poets finding voice in circumstances that, by all rights, should have rendered them mute – the need to speak gathering itself and finding form when it would seem impossible to do so. The Russian poet Irina Ratushinskaya is known to have resorted to inscribing her poetry on bars of soap in a Gulag shower, utilising this method to commit her work to memory given the absence of conventional tools such as paper and pen. The eminent Turkish modernist, Nazim Hikmet, was serving a twenty-eight year prison sentence when he began to smuggle portions of his epic poem out of jail. These were concealed in the clothing of friends who came to visit him, in the hope that at least some of its ten thousand lines might survive. The young American, Tim Dlugos, displayed a remarkable level of energy as he diligently worked to complete his lines in the hospital setting. Following his sidelining due to an opportunistic infection, he exhibited a commendable ability to transform the circumstances he encountered into moments characterised by a unique blend of grace, desperation, and good humour.
The question of whether the act of "giving form to the moment in which he found himself" can be considered a description of a human need as fundamental as those delineated by Dr. Maslow in his renowned psychological hierarchy is posed. One of the functions of language is to give voice to subjectivity so that it can be shared, to bring us out of the isolation of silence and onto common ground. It is evident that language is not particularly adept at this. When an individual expresses that they are unwell, the specific nature of the discomfort is often not communicated in great detail. This can include information regarding the location of the discomfort, its physical characteristics such as weight, shape, heat or movement. The veracity of this assertion is accepted unquestioningly, as the capacity to empathise with the discomfort experienced by our companion is inherently limited. It is our contention that the language used by the artist points to something real. The following excerpts are drawn from the first book of Craig Morgan Teicher, who is in attendance at this evening's event. The present author is of the opinion that the individual in question is addressing precisely this issue. He asserts that "to speak" constitutes an act of faith that is unparalleled. What evidence is available to demonstrate that when the term 'mouse' is uttered, the immediate association is with a stop sign?"
The project of poetry, in essence, is to elevate language to a level where it can articulate the precise nature of subjective experience. It is imperative that the listener is able to envision not merely a mouse, but rather this particular specimen, with its precise characteristics and minutiae. Such a language, imbued with magic, has the potential to transcend the boundaries of skin and bone, thereby fostering a sense of interconnectedness that transcends our individual identities. It has the capacity to evoke profound sensations, not merely understanding, but also a tangible experience of its meaning.
The following is Robert Lowell's rendition of the poem "I feel sick": It is posited that the afflicted spirit is audible in every blood cell. This phrase is evocative of a sense of foreboding. Firstly, it is important to understand the nature of the illness. It is a sickness of the soul, yet one that pervades the entire body. It is evident that the aforementioned ailment is not merely present; rather, it is palpable. Pay close attention to the auditory characteristics of the verb. Sob. The long vowel clipped off by the 'b', ugly, and exhibiting some mimetic properties with regard to the phonetic articulation of painful crying. The articulation of the line aloud will allow the listener to perceive the significant demands placed upon the lips and tongues in producing the eleven vowels in rapid succession.
Try this. The following assertion will be made, and then subjected to your own rebuttal: It is posited that the afflicted spirit is audible in every blood cell. [Repeated back] This is to be commended. Ok. It is important to consider the amount of work that the mouth must do to pronounce each vowel sound, as well as the specific phonetic sounds that are produced, such as the /l/ sounds in "ill," "blood," and "cell," and the /b/ sounds in "sob" and "blood." The process should be repeated. It is posited that the afflicted spirit is audible in every blood cell. It is evident that the thickness of the language is exerting significant effort to convey the essence of the experience to which it alludes. The inclusion of such words as 'sob', 'blood' and 'cell'
in a single line suggests an unwelcome state of affairs. Adrienne Rich's perspective on the affliction of an arthritic wrist is now presented. During nocturnal hours, the fractured cartilage traverses the enigmatic interface of the bones, while the insect of detritus traverses the anatomical structure from the shoulder to the elbow to the wrist bone. Ow. Pay close attention to the following verbs: 'sifts,' 'crawls.' Both monosyllables, they possess a certain physicality that is somewhat disagreeable. It is challenging to conceive of a more dismal specimen than that particular insect of detritus. The phenomenon of pain has been shown to induce alterations in the body, or at the very least, in a specific part of the body. The wrist has evolved to the extent that it no longer conforms to the typical mammalian morphology. During the nocturnal hours, the body's natural processes of cartilage degradation are accompanied by the migration of the insect within the organism.
In this passage, Sylvia Plath offers a vivid depiction of the experience of having a fever, employing metaphorical language to convey the sensation of being both a lantern and a moon, with her head resembling Japanese paper. My gold beaten skin / infinitely delicate and infinitely expensive." The process of becoming other, of alienation from oneself, has now reached an even more advanced stage. The speaker in Plath's poem perceives her head as a tangible entity, akin to a lantern, which is then reinterpreted as a metaphor. The lantern itself is metamorphosed into a moon, its paper skin described as being as thin and pliable as John Donne's renowned expression, "gold to aery thinness beat." It appears that the faculty of the mind responsible for metaphorical thinking is currently in a state of heightened activity. The phenomenon of self-tumbling manifests in a succession of figures. It is evident that we have traversed a considerable distance from the unambiguous simplicity of the statement "I feel sick."
The distinction between these voices is of particular interest. Furthermore, the auditory impression is one of marked individuality. A complete dichotomy exists between the subjective experience and its description. The argument will be made here that the difference between them is a matter of the texture of subjectivity. This concept encapsulates the notion of a writer's voice, which can be defined as the manner in which the texture of subjective perception is manifested in verbal expression.
The composition of the voice is yet to be determined. It is imperative to recognise that the origin of voices is within the body itself, thus necessitating an examination of this internal origin as a fundamental starting point. The voice is a physical production, the product of the respiratory system, specifically the breath, the larynx, the voice box, the mouth, the tongue and the nasal passages. Each of these anatomical structures represents a point of sound origin and also an opportunity for the individuation of that sound. The subtle vibratory tones produced by the body contribute to the pacing and rhythm of the breath, the particular qualities of lung capacity, and the duration of a comfortable exhalation.
It has been hypothesised that the discrepancy in the nature of the poetry produced by Emily Dickinson and Walt Whitman can be attributed, at least in part, to the divergent approaches adopted by these two poets with respect to the act of breathing. One may consider the expansive, embracing lines of Whitman, which induce a sensation of chest constriction with each utterance, in contradistinction to Emily Dickinson's swift, breathy hesitations. In addition to the body's inherent characteristics, it is imperative to consider the diverse cultural influences that contribute to its multifaceted nature. These influences encompass not only linguistic variations but also disparities inherent to geographical locations.
The question arises as to whether the dialects spoken in New York City and Houston should be considered distinct forms of English. The subject has been observed to alternate between these two cities on an annual basis for a period of ten years. However, it has been noted that re-entry into each city is still required on a verbal basis. Should I be inclined to speak in a manner reminiscent of my discourse in Manhattan when in Houston, I am likely to be regarded as discourteous and unintelligible. This is due to the fact that I am speaking at a significantly faster pace and disregarding the established social conventions. If I were to employ the same rhetorical style in a setting such as New York as I do in Texas, I would be inclined to walk up to the deli counter and inquire as to the well-being of the staff member with a question along the lines of, "How are you today? There is unquestionably an increase in global temperatures. I believe I shall have some coffee, if you have no objection, with a small amount of milk," is likely to be perceived as the act of a madman.
This prevailing social etiquette, which is not in any way rude but rather exists to ensure the efficient service of a large number of people, dictates that I should walk to the counter in New York and say, "Coffee with milk." It is evident that the populace of Houston is unacquainted with the term "caffee [accented]". Furthermore, the Texan prolongation of syllables, "coffee [accented]", is not a phenomenon observed in the northern regions. The cultural influence.
It is imperative to incorporate a familial style, whereby specific elocutions and speech patterns function as structural elements of a family's language and are employed by all members. There are specific phrases used by my mother, such as "Lord help us and save us", which have always resonated with me. Similarly, there is a particular intonation used by my father, which can be characterised as "ooh kinda like this", involving a rising sound from the back of the throat. Finally, there is the phrase "well I don't know", which has also persisted in my memory.
In addition to bodily difference, cultural difference and familial style, an additional factor must be considered in order to account for the remarkable individuality of human voices. It appears that there is a certain style to individual thought processes, a mode in which we narrate experience to ourselves and conduct our ongoing internal monologues. It is argued that this phenomenon is partly composed of language in the conventional sense and partly of something subtler and not entirely made of words: internal processes, consciousness taking in the world, scrutinising itself, the mind in the act of being awake.
In the course of my research, I once encountered a student who was incarcerated at Sing Sing in Ossining, New York. He recounted to me that the most challenging aspect of his experience was the constant auditory stimulation he faced. The other men in the prison were incessantly engaged in verbal discourse, incessantly making an externalisation of their internal voices in an attempt to achieve a sense of self-realisation. This is a recurrent phenomenon that occurs on a more subtle level.
This inner voice is undoubtedly associated with the voice employed when we communicate with the world and engage in introspection, yet they are not synonymous. It is reasonable to hypothesise that none of us sound to other people the way we sound in our own heads. The Poetic Voice constitutes an endeavour to materialise that elusive inferiority, illuminating it within the confines of the written page. Alternatively, a more accurate proposition would be to fuse the inner voice with the outer one in order to create a speaking presence on the page that feels like ourselves. "Feels like ourselves." The notion may appear elementary, but in reality, it is a complex matter. It is not possible to articulate the precise methodology involved, except to indicate that a substantial period of diligent practice and refinement is requisite for achieving a level of authenticity that appears effortless. The question that arises is whether it remains possible to talk about an unmistakable self. The following poem by Mark Halliday offers a considered response to the question of the role of the artist in society. This phenomenon is referred to as "Seventh Avenue".
[Reads "Seventh Avenue"]
Great poem. The poem under consideration is truly remarkable. The development of romantic notions of the self was in direct opposition to the emergent new industrialism of the era. If individuals were to be assigned to looms for a considerable portion of the day, their sole purpose being the production of goods for sale, and their lives were meticulously governed by a factory schedule, it stands to reason that the capacity for profound introspection and the exploration of inner depths would be paramount. The question must be posed: is there not an aspect of our being that merits affirmation, apart from our function as a economic unit? However, it is evident that the aforementioned poets, Wordsworth and Keats among them, could not have foreseen the scale upon which an assault on individuality would be mounted by an increasingly global capitalism. Luxury goods, such as beauty products, art and soul, are all categorised within the economic scale. The phenomenon of mass tourism in the Louvre has been observed to result in visitors holding their cameras above their heads, thus obstructing their view of the Mona Lisa and instead capturing images of the artwork from a distance. The driver who embarks on a journey from Key West to Seattle finds themselves navigating a landscape characterised by a series of interconnected regional differences, rather than an interstate highway system that is notable for its remarkable consistency. Even well-known names in the food service industry, such as Dunkin' Donuts, Taco Bell and Burger King, as well as Exxon Mobile stations, are evident along the way. This phenomenon is not merely limited to cross-country driving; it is pervasive. It is becoming increasingly evident that malls across different continents are displaying a marked similarity in their characteristics. The production of T-shirts in Brooklyn has increased significantly in recent years, with a notable increase in the number of items produced by hand. This has had a knock-on effect on the global market, with a surge in the sale of T-shirts from factories in Mexico, China and Singapore.
Concurrently, it is no exaggeration to state that poetry is flourishing. The present era is characterised by a proliferation of literary events, including readings, festivals, seminars, creative writing classes, and workshops. It is evident that young people exhibit a remarkable enthusiasm for poetry, which is characterised by their keen interest and openness to it. The contention here is that art, by its very nature, is not subject to the constraints of committee approval, resisting the dictates of focus groups, and cannot be subjected to market testing. In essence, if we are to be candid, it cannot be sold. While it is possible to purchase a book of poems, it is unlikely to be a lucrative investment. Similarly, the prospect of investing in poetry futures or trading poetic commodities is negligible. The production in question is that of a single individual, characterised by its obstinate nature and perceived worthlessness. However, it is precisely this quality that imbues the production with its unique form, reflecting the intricacies and nuances of the individual's identity.
This is a paradoxical state of affairs: the object is both precious and worthless. The notion of ownership of a poem is a moot point, as it is not possible to possess a poem. The song can be committed to memory, distributed to others, performed vocally, or transmitted via electronic mail to one's acquaintances. The question thus arises as to the ownership of the aforementioned item. The conclusion that the object in question was created by the same entity that made it is inescapable. However, it is submitted that the individual who takes possession of the object may nevertheless feel compelled to personalise it to a certain degree. One may emulate the poetic compositions of others; however, this is not the primary objective. The objective is to produce poems that no one else could have created, whatever form they may take. It is for this reason that poetry is currently necessary, irreplaceable and of inherent value. The phenomenon is not in imminent danger of obsolescence, nor is it in any sense threatened with cessation on the part of the populace with regard to its composition, perusal or contemplation. This phenomenon is under threat on a broader scale, as its fundamental element – the idiosyncratic essence of selfhood – may diminish or become as uncommon as the Florida Panther. To what extent can the forces that govern the world engender uniformity? The response to this question remains unknown at this time.
However, the focus has been on individual voices, as if the key issue is to be able to articulate our thoughts and ideas in a manner that is consistent with our own perspectives. Conversely, the ability to listen is paramount.
During my high school years, the nation was engaged in another military conflict in a distant nation. My community was one of the thousands that participated in a war moratorium; a day of marching and protest to call for an end to a conflict many saw as unnecessary and unjust. The role undertaken was that of an organiser within the educational establishment, with the objective of encouraging other students to participate in the march that was to take place on a Wednesday. Notwithstanding the prohibition imposed by the principal against the act of absenteeism, a considerable number of students elected to attend school on the day. This decision was made in accordance with the counsel of Mark Twain, who advocated for the autonomy of individuals to pursue their education unencumbered by the constraints imposed by formal education. A number of the students who travelled to the university campus to participate in the march were enrolled in my Advanced Placement English class, a course which focused on the reading of novels by authors such as Fitzgerald and Vonnegut. Upon our return to school the day after the march, we were informed of the disciplinary action that had been taken. We had been relegated to what was informally referred to as 'bonehead English', a term denoting a level of linguistic proficiency characterised by a focus on adhering to grammatical conventions. In this context, our time was dedicated to the composition of paragraphs and the meticulous study of grammatical rules. At the time, the punishment, which was of a relatively brief duration, seemingly due to the school's awareness of the potential difficulties posed by the group of individuals who were somewhat lacking in stimulation, appeared to be somewhat arbitrary. However, in retrospect, this perspective appears to be somewhat misguided.
Individuals who engage in reading are wont to envision the lives of others. Literature serves to render other people more concrete and tangible. The text invites the reader to observe discrepancies, yet it also underscores the presence of shared characteristics. Literary works such as novels, poems and plays have the capacity to suggest that the subjectivity of others is a real phenomenon. It is evident that the aforementioned parties possess the same claims to dignity and compassion, as well as the aspiration to attain a good life, as is the case for ourselves. Should they elect to voice their concerns, the consequence, as outlined, is the revocation of their reading privileges. It is as if our school administrators had grasped the fact that reading had initially been the catalyst for our problematic behaviour. It is possible that this was the case, albeit in a somewhat indirect manner characteristic of artistic influence. The novel The Great Gatsby has been observed to have facilitated an understanding among readers of the common aspirations and ambitions shared by the Vietnamese populace. It is possible that the literary work Slaughterhouse Five instilled in us the notion that we could opt for silence and thereby adopt an absurd stance, or alternatively, we could articulate our thoughts and risk the removal of our literary works.
It is imperative to acknowledge the paramount importance of cultivating the capacity to attentively and meticulously heed the voices of others, particularly in the contemporary context. The title of this presentation is "Tide of Voices", a phrase inspired by Hart Crane's evocative portrayal of a tide of sound entering his room in New York City on a morning—described as "a current of speech"—which also symbolises the collective voices of this continent's history converging in the present. It is interesting to note that Hart Crane held Key West in high regard, despite never having visited the island. He composed a series of poems entitled "Key West, an Island Sheaf", which were inspired by his personal experiences of the location.
However, consideration was also given to the current of voices that are currently lapping at the shores of this nation in the present moment. The sounds of the rest of the world speaking. In order to comprehend the extent to which this phenomenon is underappreciated, it is merely necessary to peruse the statistics concerning the publication of translated books, which constitute an infinitesimal proportion of those published in the United States. A significant number of American books are translated into other languages, yet conversely, only a limited number of books from other languages are translated into English. The message is unambiguous: while the world beyond our immediate environment offers a perspective on the wider world, allowing us to observe the views and emotions of others, we have not been paying sufficient attention. This assertion is supported by the poignant and unavoidable lesson imparted by the events of 9/11. A sudden and unexpected occurrence resulted in a significant number of Americans posing the question, "Why?" The question of the provenance of this animosity towards American power is a salient one. It is imperative to acknowledge that providing a response to this enquiry is unfeasible in the absence of active listening.
In contemplating this necessity, it is evident that the most suitable avenue for addressing the matter is through the medium of the Palestinian poet Taha Muhammad Ali. The following poem, entitled "Revenge", has been translated by Peter Cole, Yahya Hijazi and Gabriel Levin. Taha Muhammad Ali is now in his early seventies. The subject of this study resides in Bethlehem, a city in which his family operates a commercial establishment specialising in the sale of souvenirs.
The following text is presented for your consideration: 'Revenge'.
It is evident that the substantial corporate edifices of New York City were brought down into disrepair as a consequence of retribution. The pursuit of retribution has been a primary catalyst for the ongoing and seemingly unending series of wars that have ensued. The possibility of retribution is ever-present, yet within the confines of this text, within the scope of a single life, there exist compelling justifications that might impel the speaker to seek vengeance. The sequence of retaliation is terminated for the duration of the poem, and in whatever ways the text continues to resonate in the minds of its readers and listeners.
The function of poetry is to render the human voice as a medium through which to present reality to the reader. The assertion is made that poetry constitutes the human voice, and that there exists a reciprocal interest between poet and audience. Are we not?" When individuals are regarded as authentic, it becomes unfeasible to engage in acts of violence or aggression, such as the deliberate targeting of an office building where they are employed, the demolition of a refugee camp where they reside, or the use of cluster munitions in their residential areas. It is only in the context of understanding people as members of a defined category – such as 'infidel', 'insurgent' or 'enemy' – that such actions are taken. Conversely, poetry functions in accordance with its own inherent logic, inscribing the individual presence of the poet by means of a system of words and sounds that serve to mark the place where one human being stood, bound in time, reporting on what it is to be one. In the current era of mass culture and mass market, there is a glimmer of hope.
Tina Chang, a young poet and one of the new voices featured this weekend, is the co-editor of an anthology that is being published by W. W. Norton. The book under discussion is entitled Language for a New Century: The following poetry is to be presented from the Middle East, Asia, and other regions. The title of this book encapsulates my most fervent aspiration for the future of our artistic endeavours. It is submitted that poetry can indeed be considered a language for a new century. This is an approach that has the potential to assign worth to the dignity, specificity and beauty of individual lives. This is a methodology that can be utilised in order to resist the process of streamlining, and the concomitant diminution of categories and generalisations. This is a means of articulation, as well as a means of being heard.
5) The Uses of Poetry
The purpose of this study is to explore the value of poetry for learning and development and to examine its uses in education today. The purpose of this study is to explore the potential contributions of poetry to both formal education and personal development and well-being beyond the classroom. The following research question is proposed: how might we develop our teaching practices to access such benefits? These are all significant questions that must be addressed if poetry is to continue to play a central role in the teaching of English literature in our schools and universities. Nevertheless, the value of poetry in the domains of learning and development is frequently overlooked. Assumptions concerning the necessity of formative encounters with 'great' literature coincide with anecdotal evidence regarding the transformative potency of narratives. The following statements concerning the value of poetry and its use are worthy of consideration:
The significance of poetry lies in its role as a prime exemplar of the manner in which human beings employ language to explore and comprehend the world around them. As with other forms of writing that are held in high esteem, this mode of expression imbues our experiences with shape and meaning, thereby facilitating our confident navigation of the world we know and, moreover, enabling us to transcend it. (From Teaching Poetry in the Secondary School: As stated in the Ofsted citation, the following quotation is taken from an HMI View, Department for Education and Science, 1987.
The following discourse is an examination of the utilisation of poetry by the poet Meena Alexander.
The purpose of poetry is to facilitate reconciliation with the world. This does not entail unquestioningly accepting the world as it is or acquiescing to injustices. Instead, it is intended to foster a broader sense of reconciliation, to guide us back to the scope of our mortal lives in a state of profound love and imagination.
In both cases, an appeal is made to the significant role that poetry can play in our lives. However, in neither case is there indication of how poetry is able to offer such benefits. In order to establish a compelling argument for the role of poetry in education, it is essential to address the issue of how such benefits can be measured and why they are particular to poetry as opposed to other art forms.
A significant challenge in this field arises from the tendency to conflate arguments pertaining to the significance of teaching poetry with those concerning the broader importance of literature, without adequately substantiating the distinctive qualities of poetry. For instance, consider the assertions put forth by Fecho, Amatucci and Skinner, who contend that the fundamental objective of teaching poetry is to broaden comprehension of both the self and society. They argue that educators in English classrooms should position the reading and creation of texts as conduits for establishing meaning, as processes through which individuals cultivate an existential sense of self as actors within broader social realms. While these elements undoubtedly underscore a significant facet of the study of poetry, they are employed as the foundation for a broadening generalisation concerning the value of literature in general. However, there is a conspicuous absence of elaboration on the specific aspects of poetry that can facilitate such a function in the realms of learning and development.
It is imperative to establish a compelling case for the incorporation of poetry within the curriculum as a discrete artistic discipline, in order to avert the diminution of the scope and extent of exposure to poetry among students through educational programmes. As has been extensively documented, a significant proportion of primary and secondary school teachers appear reluctant to incorporate poetry into their teaching practice, opting instead to prioritise the instruction of other literary genres. Absent a compelling rationale for the integration of poetry within the school curriculum, there is a genuine apprehension that poetry might become marginalised in the context of literary education. This assertion is corroborated by a seminal finding of the 2007 Ofsted report, entitled Poetry in Schools, which observed that a significant proportion of teachers, particularly within primary schools, exhibited a paucity of knowledge regarding poetry, a deficiency that was manifest in the restricted scope of poetry material explored in the classroom.
In the context of a prevailing emphasis on the distinctiveness of poetry, this approach is frequently employed as a rationale for utilising poetry as a medium for language development and enhancing literacy skills, as opposed to advocating for its intrinsic value as a component of the curriculum. In recent years, the field of poetry education in primary schools has been significantly influenced by the literacy agenda, with a strong emphasis placed on the acquisition of linguistic techniques, textual forms and generic structures. It can thus be posited that poetry functions as a tool to assist students in the identification of linguistic features.
Poetry can be utilised as an authentic text in the teaching of phonics, phonemic awareness, and language development skills such as rhyme, word families, and alliteration. Poems provide a simpler context for students to practice these skills, using text that is at their interest and academic levels.
Despite the recognised value of poetry in enhancing literacy skills and language development, concerns have been raised that the full range of potential benefits is not being fully utilised, thereby impacting upon the manner in which poems are employed in the classroom setting. For instance, the 2007 Ofsted report comments that poetry is sometimes used 'primarily [as] a teaching tool for language development rather than a medium for exploring experience'.
In contrast to the educational domain, therapeutic uses of poetry tend to emphasise the importance of poetry in personal development, understanding the self and its capacity for self-expression, usually through the creation of new poetry and bibliotherapy. There are documented cases of the advantageous utilisation of poetry in a variety of psychological and therapeutic contexts, including the treatment of dementia, depression and schizophrenia, as well as within correctional facilities and in the care of the elderly. The emphasis in these contexts is on the act of 'exploring experience' through the medium of poetry. For instance, Billington and Robinson offer a reflection on the utilisation of poetry in reading groups for female prisoners, which engendered profound personal resonances among the group members. It has been observed that following the recital of Henry Davies' poem entitled 'Leisure' to the collective,
The piece provoked a number of poignant reflections on the concept of 'prison time' and the utilisation of its spatial environment for contemplation. One reader elaborated on her experience of observing a floral arrangement with a level of focus and concentration that she had never previously exhibited outside of the prison environment. Another participant reflected on the 'time to stop and stare' her father had had, and expressed a sense of regret that she has not always done this. Furthermore, she expressed anticipation for a future in which she would be able to allocate more of her time to this pursuit.
Such examples suggest that the experience of poetry can offer crucial 'thinking spaces' in which to reflect on our lives, thereby enhancing understanding of the self through personal engagement with a poem.
The primary objective of this special issue is to facilitate a comprehensive integration of disparate approaches to the study of poetry's function in diverse phases of lifelong learning. This endeavour is undertaken by scholars representing various academic disciplines, with the overarching aim being to provide substantiated evidence regarding the educational merits of poetry and its role in various stages of personal development. This special issue, therefore, presents state-of-the-art interdisciplinary research on poetry and its uses by experts in education, literary studies, psychology, psychoanalysis, philosophy and actor training, in an attempt to commence the integration of the potential benefits of engaging with poetry identified by these different disciplines to inform approaches to teaching poetry.
The original research presented in this special issue collectively argues for the distinct value of poetry when compared with other cultural objects and experiences, not least because of its ability to connect people's cognitive and affective responses, mind and body, experiences and memories. It is important to note that the value of people's encounters with poetry can be enhanced by modes of delivery that encourage multiple modes of engagement: through the written word, the heard voice and bodily movement.
The present collection of essays has been inspired by a project that was funded by the Arts and Humanities Research Council (AHRC) under the title 'The Uses of Poetry' (2013–14). This project was led by Dr Kate
Rumbold and brought together a team of distinguished and emerging scholars to explore the uses and values of poetry at different stages of life. The aim was to develop new, interdisciplinary ways of understanding, articulating and quantifying the values of poetry. This special issue also draws together some important related projects from the UK, such as the University of Cambridge 'Poetry and Memory' project led by David Whitley and Debbie Pullinger, and Philip Davis and Josie Billington's work at the Centre for Research into Reading, Literature and Society (CRILS), University of Liverpool, in conjunction with the Liverpool-based charity The Reader.
The articles under consideration reveal several dominant themes, including the manner in which a focus on the memorisation of poetry can reveal insight into the nature of memory itself. Furthermore, the articles illuminate the manner in which poetry can contribute to our well-being, as well as the importance of focusing on both the affective and cognitive dimensions of our engagement with poetry. This, in turn, can enhance both appreciation of the work and personal development. These findings have significant implications for approaches to teaching poetry in order to cultivate such value.
The issue commences with an examination of Debbie Pullinger and David Whitley's 'Beyond Measure: The Value of the Memorised Poem'. The article presents the findings of a recent survey conducted as part of the Poetry and Memory Project, which sought to investigate the role of memorising poetry in the internalisation of poetic verse and in facilitating a personal connection with poems. In their thought-provoking article, Pullinger and Whitley seek to understand the relationship between memorisation and literary analysis, arguing that the memorised poem can be a source of meaning for the individual to accompany them at different stages in life.
In a more direct examination of the role of poetry in education, Jacquelyn Bessell and Patricia Riddell concentrate on the memorisation process itself. In their article, 'Embodiment and Performance', they present a small-scale study that investigated the role of bodily movement in the memorisation of poetry. The study specifically examined whether performing physical actions in learning the lines of a poem aids recall of those lines. The results of the present study are discussed in relation to embodied cognition, which suggests that an embodied approach to engaging with poetry can heighten the internalising of the poem, and thus the ability to recite the work accurately.
In their article, 'Affective and Cognitive Responses to Poetry in the University Classroom', Rumbold and Simecek (2019) argue for a greater emphasis on the importance of personal and emotional responses to poetry in the classroom. They contend that affective response in teaching poetry should be cultivated, and that this is an area that requires further attention. The present study introduces recent work in psychology, which demonstrates that affective engagement can lead to cognitive rewards that could not be achieved by taking a purely analytic approach to the poem. The study therefore concludes that there is a need to rebalance cognitive and affective engagement with poetry in the classroom. In addition, the discussion encompasses the impediments to the adoption of affective-oriented pedagogical approaches in the context of teaching poetry. These insights are drawn from a recent small-scale study, which provided valuable observations for this analysis.
In their 'Actual Texts, Possible Meanings: The Uses of Poetry and the Subjunctification of Experience', Andrew Green, Viv Ellis and Karen Simecek discuss how they recreated Jerome Bruner's classic experiment exploring the differences in experience of hearing different forms of text read aloud. In the original experiment, Bruner compared a transactional text with a literary text, noting that hearers were more likely to use complex, 'subjunctifying' language in reporting what they heard after listening to the literary text read aloud. In their version of the experiment, Green, Ellis and Simecek introduce a further layer by considering the difference in experience of literary texts of different kinds. They compare the language used in reporting on hearing a news article, literary prose and a poem. The findings of the present study suggest a heightened use of subjunctifying language in the case of poetry, demonstrating that poetry holds an important place in our exploration of language and meaning.
In her work 'Metaphor, Simile, Analogy and the Brain', Riddell explores the human need for creative use of language by reflecting on recent work in neuroscience and research in philosophy on the nature of metaphor, as well as the differences served by metaphor, simile and analogy. The present article delineates the intricate cerebral mechanisms implicated in the processing of figurative language, with a particular focus on the distinction between metaphor and simile. Through her discussion, she puts forward the argument that these important aspects of language use are of evolutionary significance and that repeated engagement with such complex forms of language aids 'conceptual expansion'.
In the final three articles, the focus shifts towards a more pragmatic approach, exploring the practical applications of poetry. In the publication entitled 'Becoming Poetry Teachers: Studying Poems Through Choral Reading', Gabrielle Cliff Hodges discusses the challenges faced by student-teachers in preparing to teach poetry. She posits that student-teachers frequently exhibit a paucity of confidence in their ability to teach poetry and experience uncertainty regarding the most efficacious methods to engage their students with this specific literary genre. Cliff Hodges has expressed disapproval of the recent emphasis on the recital of poetry, which she contends fosters a solitary engagement with poetry. In opposition, she puts forward the necessity for a more collaborative approach to engaging with poetry, proposing activities such as 'choral reading' as a means to achieve this. In reflecting on her own teaching practice, she posits that the most efficacious method of engaging student-teachers with poetry is through the collaborative reading and exploration of poetic texts.
Nicholas Bayley presents a practitioner's perspective on the subject of poetry, drawing on his own personal experiences of the value of learning poetry by heart and how this has had unexpected positive results in his psychoanalytic practice. The author presents a perspicacious argument for recognising the imagistic potency of poetry and the manner in which it is connected with our individual perceptions of the world in which we reside.
Finally, Philip Davis and Josie Billington provide a further exploration of the mechanisms by which poetry works on its audience, once again offering a vision of the therapeutic benefits of reading poetry, in particular the way in which poetry provides a place for thinking about life without ceasing to be in it. The importance of focusing on the experience and value of reading prior to the kind of experience of poetry we have once we have learnt about the poetic structure more formally is suggested by the authors. When considered within the context of education, it can be argued that teachers have an important role to play in providing students with the opportunity to encounter and value poetry in this pre-theoretical way. It is evident that an encounter with poetry can be an immensely powerful experience, which lends further support to the notion that greater care should be exercised in attending to the rich affective dimensions of poetic experience. This is in order to maximise the cognitive, emotional and social benefits that poetry can offer.
6) The Necessity Of Poetry
It is widely acknowledged that poetry is of significant importance, particularly to writers and readers, as it is regarded as a fundamental element of our cultural and literary heritage. However, the significance of this phenomenon remains a subject of debate. In a world rife with adversity, including war, starvation, and pollution, the question arises as to the extent to which words can effect change. The question that needs to be addressed is whether poetry has the capacity to prevent genocide. Or does this constitute an excessive demand? It is evident that there exists a hierarchy of importance. The question thus arises as to the level at which poetry can be identified.
It is my belief that such considerations are frequently entertained, perhaps due to the fact that a substantial amount of time has been dedicated to the contemplation of whether the act of writing, and not the product itself, can be considered revolutionary. On occasion, I acquiesce; at other times, I find myself reflecting that such contemplation engenders a sense of being an elitist bibliophile, somewhat disconnected from actuality. It is evident that a significant proportion of this conceptualisation has been influenced by the philosophical tenets espoused by Adrienne Rich, a poet whose oeuvre has been a constant source of inspiration for a considerable duration. It is evident that, more than any other poet, she has prompted a significant degree of reflection on the nature of words and power, and the implications of the intersection of these two concepts. The present author was recently delighted to discover an article in The Guardian written by the aforementioned individual on the subject of the importance of poetry. It is perhaps unsurprising that Rich's perspective on the importance of poetry is aligned with the prevailing academic consensus. However, it is noteworthy that she has articulated her thoughts on the subject in a manner that is both erudite and engaging.
A plethora of arguments have been posited against the significance of poetry, one of the most prominent being the perceived lack of commercial viability, readership, and comprehension of poetry. Nevertheless, its presence remains pervasive in establishments such as coffee houses, academic institutions, and online spaces. Despite its perceived uselessness in popular consciousness, good or bad, people continue to write it. This phenomenon is evident even in this forum, known as LitKicks. For what purpose? It is evident that there are numerous possible responses to this question.
The term 'poetry' is frequently employed as a proper noun, akin to 'Truth' or 'Being', despite its abstract nature. This phenomenon can be attributed to the fundamental human need to experience beauty and art, which are concepts that can be adequately captured by proper nouns. It is possible that there is some veracity in this claim, however, this is also the reason why I found this particular passage in Rich's article most intriguing:
It is hoped that poetry will not be idealised – as it has already suffered sufficient from that. Poetry does not function as a healing agent, an emotional massage, or a form of linguistic aromatherapy. The subject under discussion is not a blueprint, an instruction manual, or a billboard. The notion of a universal Poetry is, in fact, a fallacy; what exists are various poetries and poetics, each with its own unique history. It is evident that there is both a necessity and a possibility for the inclusion of both Neruda and C.
7) How Poetry Changes You and Your Brain
Recent studies have indicated that exposure to poetry can engender feelings of happiness, well-being, and enhanced social connection.
The present month is National Poetry Month. The question must therefore be posed: is it a cause for celebration?
It is evident that poetry has not been a significant contributor to the alleviation of tension in our communities. A survey of former middle school students may well reveal that the month-long dedication to poetry is perceived as a period of mourning rather than celebration.
In the piece entitled "What can a poem do?," even the professional poet Darius V. Daughtry appears to concur. He immediately acknowledges the challenging reality: regardless of how much one may relish a poem, it cannot extricate one from life's difficulties. The ability to enhance the appearance of one's skin through supernatural means, as depicted in the Marvel Comics series, is not within the scope of this phenomenon.
It is important to acknowledge that a poem, in isolation, is not capable of rectifying injustice, preventing violence, or erasing past mistakes.
However, as Daughtry writes, it has the capacity to simultaneously "hold you and scold you", and to "make you float . . . introduce you to yourself . . ." It is intriguing to consider the potential implications for society if the general public were to become more aware of the transformative power of poetry.
The implications of poetry for well-being and the brain are a relatively recent area of research for academics. Nevertheless, it may surprise you to discover the potential of poetry, the manner in which it impacts the human brain, and the benefits that may accrue from the celebration of National Poetry Month.
The Merits of Poetic Reading
Whenever one has a medical appointment, it is improbable that the physician will recommend the works of Alfred Tennyson or Naomi Shihab Nye; however, there is a possibility that they should. A plethora of studies have been conducted that demonstrate the efficacy of poetry in enhancing both physical and mental well-being.
A 2023 study revealed that participants in a virtual poetry community dedicated to the subject of the novel Coronavirus experienced positive mental health outcomes. Furthermore, other research has indicated that incorporating poetry into therapeutic interventions can enhance the well-being of individuals receiving palliative care.
A 2022 study found that creative expression therapy using poetry was a powerful trauma support tool for unaccompanied refugee minors from Afghanistan. The study also found that poetry activities have been linked to improved self-awareness, healthier functioning, and increased positive social interactions, especially when implemented alongside therapeutic storytelling, for people with certain unhealthy coping mechanisms.
This research has generated renewed interest in the domains of bibliotherapy and poetry therapy, as evidenced by the establishment of the National Association for Poetry Therapy and the International Federation for Biblio/Poetry Therapy. These organizations offer programming, credentialing, and the publication of The Journal of Poetry Therapy.
The term "bibliotherapy" is defined in a variety of ways, but it sometimes involves the reading of poetry, and there is some evidence to suggest that it can improve health. According to scholars from Colorado State University, the efficacy of poetry therapy lies in its ability to facilitate the articulation of patients' core metaphors and construct meaningful interpretations from these expressions.
This phenomenon was observed during the instruction of the poem "Identity" by Julio Noboa Polanco, whose concluding verse states, "I'd prefer to be redolent of the musty, verdant scent / than of the cloying, perfumed fragrance of lilac. The subject of the poem expresses a preference for a state of independence and autonomy, characterised by physical height and aesthetic unattractiveness.
The poem under scrutiny, which extols the virtue of "sticking out", has been observed to resonate profoundly with middle school students, a demographic that often finds itself grappling with the pressure to conform to societal expectations during the formative adolescent years. Students encountering difficulties in attaining acceptance may derive solace from the speaker's advocacy of individuality, even when such uniqueness is at odds with prevailing conceptions of beauty or correctness.
Poetry and the cultivation of kinder communities
In addition to the aforementioned individual benefits, it is posited that poetry may also assist in the development of empathy for others, thereby contributing to the enhancement of interpersonal relationships. In 2021, researchers at Kent State University conducted a study to investigate the potential of poetry in reducing stigma among individuals who are incarcerated.
Participants in prisons were tasked with the composition of poetry pertaining to their childhoods, and researchers then proceeded to compare people's responses to the poems and other material. The study revealed that personal contact with individuals who are incarcerated is the most potent agent in combating stigma. However, it was also determined that poems are significantly more efficacious in humanising their authors than news stories.
Indeed, news stories depicting incarcerated individuals in a positive light elicited a response analogous to that provoked by sensational news reports concerning recidivism.
The authors of the study hypothesised a number of potential causes for the observed phenomenon. Firstly, the act of creation is a reminder of our shared humanity. Furthermore, the identity of "poet" is regarded as a prosocial identity, a role widely perceived as cooperative and beneficial to society. In contrast, the identity of "inmate" is viewed less favourably. Furthermore, the childhood perspective could have been a contributing factor, given that public opinion is more receptive to juvenile rehabilitation.
Irrespective of the combination of factors, it was impossible to ignore that these poems helped readers see the authors in a new light.
Researcher Jeroen Dera was curious to ascertain whether a comparable phenomenon might be occurring within the #poetry TikTok affinity group. This informal community on the popular social media application consists of self-proclaimed amateur poets and readers exchanging verses, with an audience of more than 70 billion users at the time of Dera's study.
Lili Pâquet's previous research had suggested that while the poetry shared on social media is often perceived as superficial, critics who dismiss it as low-brow or trite overlook its important spirit of self-help.
Pâquet's position was that, rather than the further isolation of academic culture from popular interest, scholars should acknowledge these poems as legitimate. In response, Dera conducted his own analysis of posts and engagement under #poetry and related tags.
It was found that #poetry content, in resisting social media stereotypes of instant gratification and instead prompting nuanced critical discussions as well as therapeutic applications, lived up to what are ultimately the real qualifications of poetry: using language to unite the mind and heart. Moreover, it reflected a desire for the establishment of cultural connections and the formation of a cohesive community, as opposed to the pursuit of entrepreneurship and personal interests.
The poetry in question was not merely "legitimate" in nature; rather, it was characterised by its relationality, despite the fact that the platform in question typically prioritises profit.
This is encouraging and qualitative. The present study examined the content of commentaries on poetry, specifically the posts Dera studied, which included the following quip: "Who is cutting onions?" and the subsequent declaration of goosebumps.
In order to provide an objective assessment of emotional response, it is necessary to demonstrate the veracity of the "goosebumps" comments reported by these individuals.
The following hypothesis is put forward: the experience of poetry evokes a physical reaction in the brain.
The "Goosecam" is a camera designed to capture goosebumps on film with scientific accuracy.
Whilst the concept may initially seem absurd, this is precisely the approach adopted by researchers in a 2017 study conducted at the Max Planck Institute for Empirical Aesthetics. The integration of psychophysiological techniques, neuroimaging methodologies, and behavioural records, such as participants' responses to specific stimuli, notably the act of clicking a button in response to a perceived emotional response, facilitated the group's capacity to quantify emotional responses to poetry recitals.
The team observed that an area of the brain associated with pleasure, known as the nucleus accumbens, exhibited a distinctive response to poetry. This finding suggests that individuals can experience aesthetic pleasure while concurrently manifesting physiological indicators of negative emotion. It has been suggested that human beings are most "moved" by a complex interplay of pleasure and suffering.
It is intriguing to note that the experiment's sophisticated methodology for tracking the sensation of chills enabled the identification of salient 'chill-driving features of poetic language'. These features include word positions, with chills being most likely to occur at the ends of lines, stanzas, or poems, and speech acts, with participants being more likely to feel chills during lines or phrases that code social communication or emotion, such as the use of second-person pronouns like 'you'.
Another article from 2016, in which Christina Wu of University College London elucidated cognitive neuroscience principles through the lens of the T.S. Eliot poem "The Love Song of J. Alfred Prufrock," sheds light on the
psychological underpinnings of our aesthetic pleasure derived from poetic phenomena.
While other human pleasures, such as the consumption of cinnamon rolls (or more harmful substances researched by psychologists), have been shown to trigger the brain's dopamine-based "wanting system", aesthetic pleasure is believed to originate from a more "disinterested interest". This is a fascination without desire, which is more commonly associated with the brain's opiate- and cannabinoid-based "liking system".
As Wu explains, the human brain exhibits a propensity to derive pleasure from poetry, a phenomenon that can be attributed to four distinct categories of experience.
The establishment of connections, particularly across distances, is a significant aspect of the study. The process of unravelling the intricate associations of a clever metaphor or themes and motifs in a piece of work can be a pleasurable intellectual exercise. This phenomenon can be explained by the fact that it satisfies the brain's pattern recognition impulse. Furthermore, it has been demonstrated that this process is particularly gratifying when one is able to establish connections between concepts that do not appear to be related.
The process of problem-solving, particularly in instances where a problem proves resistant to resolution. Furthermore, the process of problem-solving has been shown to be more rewarding when confronted with challenges (Jones, 2019). In a poem that resists interpretation, as we untangle and construct meaning in one instance while simultaneously raising questions in another, our higher mental effort actually results in increased feelings of pleasure.
The process of prediction, followed by the subsequent confirmation or refutation of those predictions, is of paramount importance in this field. The discrepancy between prediction and outcome has been demonstrated to be a significant factor in the magnitude of the resultant emotional response. The poem's content may be characterised by unexpected rhetorical devices, such as the use of figurative language, as illustrated by the following excerpt: "I should have been a pair of ragged claws / Scuttling across the floors of silent seas."
The process of acquiring knowledge, particularly in the context of resolving conflicting perspectives or positions. The process of learning has been shown to induce a state of heightened pleasure in the human brain, which is contingent upon the extent of neural activity engaged in during the learning process. According to Wu, the employment of new turns of phrase has the capacity to engender delight, whilst the utilisation of hackneyed clichés can evoke a sense of intellectual stagnancy.
The potential for neuroimaging research to explore the aesthetic qualities of poetry is a novel and exciting area of enquiry. However, it is evident that engagement with poetry can be a source of significant personal enjoyment.
The following five points present a series of recommendations for the celebration of National Poetry Month.
The following recommendations are designed to facilitate the activation of the brain's innate system for language appreciation during the present month.
1. It is imperative to cultivate a habit of reading.
It is evident that there is a rationale behind the efficacy of initiatives such as the Poetry in Motion programme (which has illuminated New York City's underground rail network with over 200 poetic compositions) and the U.S. poet laureate Ada Limón's You Are Here project (which involves the installation of poetry-themed public art in national parks): The composition of poetry does not necessitate a considerable temporal investment.
It is important to note that engaging with poetry can be likened to swimming against the flow of a river, particularly for those who have developed an aversion to it over time. It is imperative to consider the elements that may require deconstruction. It is important to remember that the interpretation of poetry is a matter of personal preference.
One method of engaging with poetry is to read it aloud. As posited by Wu, the auditory experience of a poem has the capacity to engender a sense of satisfaction that is analogous to that derived from a resolved musical phrase. This phenomenon can be attributed, at least in part, to the mesolimbic striatal system. One may opt to commit to memory a stanza, utilising it as a personal mantra, or one may choose to heed the counsel of former poet laureate Billy Collins, as outlined in his works "Introduction to Poetry" and "waterski / across the surface", thereby avoiding undue pressure.
There are several free poetry e-letters, including Poem-a-Day, the newsletter of the Poetry Foundation, and Poem of the Week from Split This Rock. These sites also boast an archive that can be browsed, and for those seeking a more concise form of religious instruction, podcasts such as The Slowdown or On Being offer a convenient option, accessible even during one's commute. The charcuterie board is an essential component of the tasting experience.
2. It is inadvisable to engage in poetic composition in solitude.
One possible avenue for further engagement could be to consider joining an online community, or alternatively, exploring the potential for incorporating verse into a book club or professional growth circle. Indeed, it is possible to identify a poetry community within one's own home. In the event of having children, it is recommended that poetry be read to them (younger children may find the works of Shel Silverstein or Jack Prelutsky to be enjoyable).
It is recommended that the stylistic preferences of the group in question are taken into consideration, and it can be stated with a high degree of confidence that the claims made by certain sources regarding the superiority of the aesthetic qualities and therapeutic benefits of so-called "classic" poems are unfounded.
One potential activity for this purpose would be the exchange of poems with loved ones. Emily Dickinson was known for sending poems to friends, as well as for writing them on chocolate wrappers (a practice which, it is asserted, marks her out as a friend of the author's). In order to alleviate pressure, it is recommended that individuals engage in activities that promote well-being and social interaction. One such activity that has the potential to enhance feelings of joy and foster a sense of connection is the exchange of poetry, akin to the tradition of Secret Santa, between a group of friends. This practice may yield outcomes that exceed initial expectations.
3. Engagement with live poetry is encouraged.
One potential avenue for further exploration would be to identify open mic events in the local area. Additionally, it would be advisable to consult with the local library or bookstore to ascertain whether they offer any programming specifically designed for Poetry Month. Following the conclusion of April, it is recommended that attention be directed towards literary contributions from local authors and poets.
It is recommended that individuals provide support to young people in their lives who may be participating in the Poetry Out Loud competition by offering to listen to their poem and watching the national finals in early May. Furthermore, there is the option of attending virtual open mic events or accessing spoken word poetry via YouTube.
Regardless of one's level of engagement, the act of reading and honouring the contributions of contemporary writers, as emphasised by the #TeachLivingPoets initiative, holds immense significance. Attending events where poets present their own work orally is also highly recommended.
4. It is recommended that the reader should endeavour to acquire new information.
It is recommended that an attempt be made to ascertain whether there is one new thing that can be discovered this month about the craft or history of poetry.
It may be of interest to consider the enhancement of figurative language skills or the exploration of poetic influence on commonplace phrases. It may be of interest to explore the phenomenon of poets who have written in response to one another, and the underlying reasons for such responses. Alternatively, there is the possibility of engaging with a form that is unfamiliar to the reader, such as the prose poem or the lyric essay.
A plethora of learning materials can be found online, including content from YouTube and organisations such as Poetry in America, Coursera, and Masterclass. Additionally, there are special offerings for April.
5. It is imperative to grant oneself the autonomy to engage in recreational activities.
It is recommended that a number of writing exercises are attempted, or that a poem which is appreciated be imitated for the purpose of entertainment. It is recommended that users consider the potential benefits of engaging in creative activities involving parody or collaborative writing with ChatGPT. It is recommended that the exploration of sound, rhythm and metaphor be approached in novel ways, or ways that have not been experimented with for some time.
For those seeking to commence their poetic endeavours, it is recommended to employ the following prompt for the composition of free verse: Compose a poem that comprises a series of concise expressions of gratitude, addressed to the tangible objects for which you are thankful on this day. The subjects under discussion are to be described in as much detail as possible, without the disclosure of their identity.
8) From science to stanzas – The role of poetry in research communication
Poetry is often perceived as being at odds with science, representing a non-rational mode of thought, and it has been famously expelled from Plato's ideal republic. Nonetheless, poetry functions as a unique medium of communication, offering a distinctive approach to engaging audiences and facilitating their engagement with complex issues. In this post, Sam Illingworth provides a reflection on his transition from atmospheric physics to the realm of scientific research communication through the medium of poetry. He discusses the merits of this alternative mode of communication and its potential as a valuable form of research dissemination.
The Arctic is undergoing accelerated warming, with the result that the sea ice is not guaranteed to persist. As the sunlight penetrates the ice, the algae continue to bloom.
This poem is an example of a scientific poetic form. To elaborate further, the subject under discussion is the opening verse of a Kyrielle, which is a poem of considerable length. The subject of the poem is scientific research on the effect of phytoplankton on the warming of the Arctic. To elaborate further, the poem under discussion is a scientific poem written by the present author. The quality of the work is not satisfactory. Indeed, it is objectively terrible.
This poem was among the initial contributions to my blog, The Poetry of Science, which was initiated in early 2014. At the time, I was a junior academic who was not yet aware of the limitations of his own knowledge. The present author was in the midst of transitioning their research from the domain of atmospheric physics to that of science communication, and it was hypothesised that poetry might prove to be a beneficial tool in this endeavour. It is a remarkable fact that despite the aesthetic shortcomings of these early first attempts, success was achieved.
The author initiated electronic correspondence with the scientists whose work had been the subject of their poetry, and received a favourable response. The dissemination of the blog commenced, with an initial readership emerging. The text was subject to commentary, some of which was contributed by human beings. One of my colleagues (to whom I am greatly indebted) even encouraged me to transform my blog into a research experiment, which I duly did.
Following the initial success of the project, further consideration was given to the potential applications of poetry in the communication of scientific concepts. Concurrently, I was undertaking performances of my poetry in public, participating in poetry slams, and delivering performances at open mic events. This experience provided an opportunity to engage with a diverse group of professionals, including poets and spoken word artists.
It was evident that my poetic talent was not comparable to that of my new contemporaries. In order to improve my craft, I sought to attend poetry workshops. The workshops were of an exceptional standard. The objective of the exercise was to establish a secure and open environment conducive to the composition of poetry and the facilitation of discourse among the participants. The proposal of a new concept was made, namely to utilise the workshops as a space for the convergence of scientists and other members of society. The following discourse is intended to facilitate the exchange of ideas pertaining to both the scientific research being conducted by the scientists in question and the potential implications thereof for other communities.
One poem composed by a member of the community during the workshops has left an indelible impression on me. The community under scrutiny is a group of individuals residing in the inner city of Manchester who are confronted with challenges pertaining to their mental well-being. The objective of the exercise was to facilitate an in-depth discussion on the nature of air pollution and its potential consequences. A poetry workshop was thus arranged between this community and a group of scientists with a view to exploring the subject collaboratively. As the session drew to a close, one of the participants composed the following poetic reflection:
The phenomenon of pollution has only recently come to my attention; prior to this, I had not noticed it. It has always been present, but I was unaware of its existence, and I have been breathing it in.
For all of the scientists in attendance (myself included), this constituted a formative experience. The group of individuals in question were some of the least responsible and yet most vulnerable to environmental change. This group of individuals had hitherto had their voices unsought and unnoticed. However, it is important to acknowledge the role of poetry in providing a medium for these voices to be heard.
Since that time, I have facilitated numerous collaborative poetry workshops, encompassing a diverse array of scientific subjects and comprising a broad spectrum of communities. The facilitation of these workshops has facilitated the development of my skillset as a facilitator, poet and science communicator. Consequently, this has prompted the pursuit of novel collaborative endeavours and educational prospects. The creation of an album featuring collaborations between poets and scientists is one of the most notable achievements of this field. Another significant development was the establishment of Consilience, which was the world's first peer-reviewed science poetry journal.
The synthesis of these experiential insights has culminated in the publication of my latest book, Science Communication Through Poetry. It is hoped that the present study will assist in establishing a framework for the utilisation of poetry as a medium for both the communication and interrogation of scientific concepts. It is also hoped that the text will demonstrate the efficacy of maintaining a blog, and that commitment to the refinement of a skill will engender unforeseen yet beneficial outcomes.
The present study investigates whether the quality of the poetry under scrutiny has been enhanced since the commencement of the attempt to rhyme the term 'status quo' with 'billion of years ago'. It is not my place to conclude this discussion, but I would be remiss if I did not offer a final thought in the form of a poem. This poem draws upon recent research findings, which suggest a correlation between neighbourhood green space and reduced healthcare expenditures. While I am unable to categorically assert a positive evaluation of the subject, I am also unable to condemn it outright.
The subjects, cast from beds unmade,
weary bones and aching hearts,
cry out for some return.
The chromatic progression of green, encompassing a myriad of hues, is overshadowed by the monochromatic presence of grey, which symbolises advancement in the context of environmental decline. The high-water marks of progress, indicative of human intervention, juxtapose the tonal shifts of nature's deterioration.
Through the medium of chrome, glimpses are perceived – avenues of shaded leaves, gardens suspended from balconies, potted plants and roadside trees.
The following remedies have been utilised for an extended period, originating from regions that were previously inhabited by our ancestors.
9) Why Is Poetry Important to Our World Today?
The importance of poetry lies in its ability to facilitate understanding and appreciation of the world around us. The strength of poetry lies in its ability to cast a "sideways" light on the world, thereby allowing the truth to sneak up on the reader. It is indisputable that... The study of poetry has been demonstrated to engender an understanding of how to live. The function of poetry can be likened to that of Windex, a cleaning product designed for the removal of dirt and grime from car windows. In a similar manner, poetry exposes the vulnerabilities of human beings, thereby facilitating a deeper level of understanding between individuals. As a self-professed proponent of poetry, I am delighted to present my colleague, the poet Lidy Wilks, on my blog today. Lidy's recent publication, entitled Can You Catch My Flow?, is now available for purchase. She kindly took the time to discuss the significance of poetry in her life and to offer complimentary copies of her work (further information regarding this can be found at the conclusion of this article).
Lidy Wilks:
The importance of poetry in the contemporary world is a question that merits rigorous examination. The rationale behind this phenomenon is readily apparent upon observing the current state of affairs. Indeed, the prevailing sentiment is that the primary motivation behind the news media is the pursuit of ratings, with the result that the world we live in is depicted as being characterised by ugliness, chaos, violence and a paucity of mercy. The prevailing sentiment is that the contemporary world is characterised by profound divisions and discord.
It is submitted that, if poetry is embraced and allowed to flourish, it has the capacity to engender empathy among individuals. The immediacy of poetry can be regarded as a form of counselling, facilitating understanding between individuals. The process of transitioning from negative emotions such as hate, violence, and cruelty to positive ones like love, mercy, and pity.
As previously stated, poetry serves as a conduit, facilitating communication across the divide. This approach offers an immediate pathway to personal development and the capacity to effect positive change on a global scale. The objective is to create a world in which the focus is less on the act of tearing each other down and more on fostering unity. The process of realisation that the disparities between individuals are not as pronounced as perceived has been facilitated. Despite the evident differences between them, it is important to acknowledge that they are not alone in their respective experiences of grief, pain, joy and happiness.
The act of reading and writing poetry is to be encouraged, as it is a pursuit that is of significant value. The advantages are attributable to the reconstruction and fabrication of a more interconnected and compassionate world.
From Alice: As we proceed towards April and National Poetry Month, it is recommended that consideration be given to the integration of poetry into one's daily life. These activities may include the daily reading of a poem, participation in a poetry workshop, the exploration of a classic poetry collection in a library, or attendance at a poetry reading in a local bookstore or coffee shop. The assertion is that poetry is ubiquitous; it is simply a matter of locating it.
10) Found Poetry & Redacted Art – The Question of Plagiarism
With the inclusion of Fun Poetry Stuff, currently on the Home Page, some pertinent questions arose with respect to copyright with regards to blackout poetry.
Just as a collage reuses existing images, blackout and erasure—forms of found poetry— reuses existing words where the originality lies in the selection and framing. So yes, blackout/erasure poetry is not plagiarism when done transparently and with transformative intent. Reverse graffiti is closer to remix culture than to theft.
Found Poetry and Offshoots
Found poems take existing texts and refashion them, reorder them and present them as poems. The literal equivalent of a collage found poetry is often made from newspaper articles, street signs, graffiti, speeches, letters, or even other poems. A pure found poem consists exclusively of outside texts: the words of the poem remain as they were found, with few additions or omissions. Decisions of the form, such as where to break a line, are left to the poet.
Blackout poetry originated as a form of found poetry in the mid-20th century, though its roots stretch back to playful newspaper redactions in the 1700s and experimental art movements like Dada in the early 20th century. The technique became more formally recognised in the 1960s–70s through artists such as Doris Cross and Tom Phillips.
Erasure poetry, akin to blackout poetry, is where the majority of the text in a printed medium is erased, or redacted, to leave only the chosen words, thus forming a new poem. There are different types of this poetry.
Not Plagiarism with Important Caveats
Context matters: In a classroom or contest, failing to mention the source could raise eyebrows.
Academic versus artistic: In scholarship, copying without citation is plagiarism; in art, transformation is the point.
Transparency: Best practice is to name the source text, especially if it’s well-known.
Early Roots
Caleb Whiteford (1700s), a neighbour of Benjamin Franklin, humorously redacted newspapers, turning serious news into jokes and puns. Though not considered ‘literary’, this is one of the earliest examples of blackout-style work.
Modern Popularisation
Austin Kleon (2010): His Newspaper Blackout book brought the form into mainstream culture, especially online.
Isobel O’Hare (2018): Known for politically charged blackout poems, often using celebrity apologies as source texts.
Political resonance (2017 onward): Blackout poetry gained traction as a form of protest and commentary, especially in response to government documents and censorship.
Wole Soyinka (1970s): Though not a ‘blackout poet’ per se, his prison poems (A Shuttle in the Crypt) and satirical sketches (Before the Blackout) embody erasure, censorship, and resistance—making him a powerful antecedent to the political uses of blackout poetry. Many have used his texts to create blackout poetry because they resonate thematically, giving him credit on the actual pieces produced.
Reverse Graffiti
Around 2024, artists and activists began experimenting with graffiti erasure poetry, selectively removing or painting over sections of street art to leave behind new, often ironic or political messages. This practice was seen as an extension of found/erasure poetry into public space, and like traditional blackout poetry, it was framed as transformation rather than plagiarism. The ‘source’ was a public wall, so transparency was implicit.
Examples & Legacy
Urban protests (2023–2024): Erasure of political graffiti in cities like New York and Berlin created new slogans from hostile or bureaucratic wall text.
ArtReview (2024): Highlighted how erasure (including graffiti) was used to expose hidden meanings in official and public texts.
Poetry Lab (2025): Documented graffiti as one of the everyday sources for erasure poetry, alongside newspapers and advertisements.
CONCLUSION
Whatever form the redacted poetry takes, the reuse of existing text, wall ‘art’, etc, is not plagiarism when it is transformative, transparent, and situated within artistic tradition.
All these forms remind us that originality isn’t about inventing words from scratch, but about reframing them. That’s why they’re celebrated as art rather than condemned as plagiarism.