I’m concerned about poetry. I have always been concerned about poetry. Poetry was that white muse who held my hand when I was so young, took me to a white land, entrapped me in black words, and we never came back. I grew up to grow my own manifesto of poetry: a real poem would carry all its needed instruments within itself. A real poem needs neither camera, nor light to be projected in your mind. A real poem creates images, music, shadow, light, pauses, rhythm, pains and joys out of words; nothing but words. They only exception for me seems to be the voice of the poet. I think a poet’s voice is a part of poetry. I have believed in pure poetry. Am I too old to revise my manifesto? Do I even need to revise it? I still want to think about poetry, as I still want poetry to think about me.
Billy Collins, the former Poet Laureate of the United States , in his amazing Ted Talk Everyday Moments Caught in Time explains why he has decided to present some of his poems in a new visual medium , with animation, despite his initial resistance, as he always thinks that “poetry can stand by itself.” I am amazed by discovering a huge harmony between my own view of poetry and Collins’ standpoint. “If you are reading a poem that mentions a caw, you don’t need on the facing page a drawing of the caw”, absolutely true, I say. Now the same Billy Collins announces that he is going to present poetry-animations or animated poems to his audience, that he has been trying to take poetry to public places, “poetry on buses, poetry on subways, on billboards” and let it “happen to you so suddenly that you don’t have time to deploy your anti-poetry deflector shields.” This idea is totally strange to me, to let poetry happen suddenly to the resentful busy audience of a crowded world. Collins presents his animated poems, and the experience turns to be unbelievably unique. I can explain it as a conceptual visualization of visual concepts or something like that! What he presents is different from the hasty juxtaposition of poems and random pictures that usually make me stop the clip before the end to avoid letting the beauty of a pure poem be ruined by some mediocre visual supplements. Collins introduces the possibility of creating new forms for presenting poetry in digital age. Poetry needs new weapons to take part in digital revolution, and digital revolution needs that call for new weapons to still be revolutionary.
The fourth chapter of Tom Standage’s Writing on the Wall indicates that poetry, along with other genres, has also been used as an available social medium, but as a minor participant in an ongoing act of communication. The historical stories of this chapter talk about “the circulations of poetry within court circle” (77) and how poetry was used as a hidden messenger of forbidden desires or “as a way to amuse friends, win the favor of patrons and advance their careers” (82.) Poetry in this chapter is not depicted as an art but as an available means of communication, “self-expression and self-promotion” (69) which existed before and naturally enough continues to exist. Poetry has been taken for granted. This pervasive underestimation of a super-sensitive art makes me remember once more that we should really think about poetry. The question of poetry’s position in the context of our contemporary creative and communicative world is as essential as any other primary concern that we might have today. Poetry is not really a circulating self-expressing method to be generated, replaced or adapted easily. Poetry needs to be helped to survive our new world;and our new world would need poetry to survive.