My latest effort for the 30/30 Project, “Raw/War,” is featured on the site today–a taste of poetry, peace, and palindromes. . . . I hope you’ll enjoy that and the work of my impressive peers on the site.
I’m also gearing up for September 26th, when we’ll ask the world to think about war, peace, our green planet, and role the arts can play to make our time here more meaningful, peaceful, poetic. See 100 Thousand Poets for Change on Facebook.
Here’s to peace, poetry, and palindromes.
How do you feel about “poetry of witness”? I’m referring to a still-debated term used by Carolyn Forche and other poets that respond in their poems to the injustices, oppression, and violence suffered by others.
At the recent AWP conference in Boston, I heard wonderful poets–from the Old Guard and the Newer alike–including Sharon Olds, Olga Broumas, Kathleen Graber, and Kimiko Hahn–praise Adrienne Rich and Muriel Rukeyser. Carolyn Forche is a long favorite of mine as well.
It’s one of many paths poetry can take, and this one can be fraught. My poetry mentors of the ’80s were mostly men who were, while brilliant artists, indoctrinated in the view that any brand of “political poetry” was, categorically, bad. Today I’m sure their views are more nuanced. At least, I like to think so. I don’t think they would have argued that Wilfred Owen’s “Dulce et Decorum Est” is a bad poem, nor Randall Jarrell’s “The Death of the Ball-Turret Gunner,” but when it came to feminism, domestic violence, abject poverty, and a host of other social issues, they turned away, huddled over poems that remained intensely personal or philosophical. I’ve noticed, over the years, that much of this work is written by women or people of color against whom they would never overtly discriminate today.
What makes “political poetry” good or bad? When does some measure of social activism cross the invisible (perhaps undulating) demarcation between compassion and schlock or opportunism or appropriation of others’ experience?