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Ben Lerner !!
Education !!
hate !!
Matthew Caley !!
pleasure !!
poetry !!
Rake !!
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The recent controversy over the coverage of Sarah Howe's T. S. Eliot prize win has highlighted again the problems the British press has in discussing poetry. Katy Evans-Bush has analysed the sexism of much of the coverage in an article for the Guardian here, and that is clearly the central issue which needs addressing in this context.
However, apart from Howe's having dared to be young, female and of Chinese heritage, the portrait of her in The Sunday Times also chimes in with that strain of cultural journalism which turns a defensive attitude to poetry into a kind of passive aggression, with cliches about difficulty, elitism and lack of commercial viability to the fore. Poets will be familiar with these assertions, which are offered to them all too readily when they are outed as practitioners of the art in polite company. 'Oh, I've never really got poetry. All too clever for me. And I don't suppose you can make a living out of it, can you.' Sometimes, this is prefaced with a sorry, as if not liking poetry was a mild personal fault; at other times the tone is defiant, as if the very fact of appreciating and even creating poetry was an implicit criticism of all of those who don't.
Imagine substituting poetry for some other minority art in these exchanges. Would your first reaction on meeting a person training for the ballet be to tell them that you don't really get it, that you found it too elitist, that the dancer was never going to make a living out of it? I'm guessing that this would not be the case. Some polite questions about how it was all going and what the dancer's prospects were, perhaps, but nobody would feel it necessary to issue a statement on their own personal distaste for what is, after all, an art which only a small proportion of the population appreciate.
Ben Lerner has written very interestingly here and in a recent book about what he calls 'the hatred of poetry'. His argument, however, focuses very much on poets themselves and intellectuals of various stripes, exploring the notion that, compared to what it ideally wants to achieve, poetry is always to some extent a failure. His argument is a fascinating one and picks up on a neglected strain in thinking about poetry in order to launch a defense of what poetry can do. However, I'm not sure he helps us to understand the widespread hostility towards poetry in a society largely made up of people who do not think about it very much at all. Why is it that it is fine to mention going to the opera or an exhibition of video installations, but any hint of a visit to a poetry reading invites an open declaration of hostility. Most people aren't that bothered about opera or video installations, either (you certainly won't fine me sitting through the Ring Cycle) but nobody feels the need to feel defensive about their lack of engagement in those cases.
My own personal explanation is that other minority arts are not encumbered with the perception that they are educational. Poetry never lost its place on the school curriculum, despite a decline in its public profile, a situation which some poets have benefited from in terms of royalties and paid work with schools. However, when school is the only forum in which young people encounter poetry, the individual poem becomes a kind of test, a sort of overly-complex crossword clue which has to be decoded in order (literally) to make the grade. The novel arguably suffers from this treatment, too. But the young people are exposed to novels in other ways -- they can read Harry Potter or The Hunger Games for pleasure of their own accord and separate that pleasure from the grim accumulation of points in a school test. This, I think, is the reason for the defensiveness many people feel. Not only might you read poetry at them, they might well have to answer questions later about what it all meant. The idea that you might enjoy a piece of art without being able to discuss its deeper meaning in the appropriate academic terms -- as we manage to do every day reading novels, watching movies and listening to music -- does not seem to be extended to poetry.
This is clearly a shame. Contrary to many of the authors discussed by Lerner, I actually enjoy poetry. Reading it gives me genuine pleasure, and is certainly easier than writing it.I don't always know exactly why I enjoy it, either. Reading Matthew Caley's new collection, Rake, recently, I was struck by just how much joy it brought me. Not necessarily because of anything Caley was saying, but because of its wit, its euphony, its ability to surprise, because of all of those things which, put into the dry language of criticism, are not adequately communicated. Let's just say that, on reading (and re-reading), I smiled. I probably couldn't write a decent exam answer on any of the poems (thank heavens I don't have to), but that's not what the poems are there for.
My experience has been that, when exposed to good poetry without the threat of a written test, most intelligent people enjoy what they hear. And most people I have met are certainly intelligent enough to experience that enjoyment. Yes, perhaps our education system could do more to allow people to engage with poetry, so that they could experience that enjoyment for themselves, but until you can get an A+ for having a good time, poetry might well benefit from being taken off the curriculum.
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