I've previously mentioned that a poet ceases to have any control over a poem once they publish it. From that point onwards, the poem has a life of its own and (with a bit of luck!) initiates a relationship with its readers.
In this context, I'm especially drawn to pieces that weren't among their creators' favourites. Once such example is Philip Larkin's The Mower. It's been shared widely on social media in recent times (for instance, when the well-known American poet, Ada Limón, put it on Twitter the other day, it got over a thousand likes and 200-odd retweets) mainly because of its famous ending, which resonates in the current circumstances...
"......The first day after a death, the new absence
Is always the same; we should be careful
Of each other, we should be kind
While there is still time."
However, the poet himself apparently didn't rate it. In his biography of Larkin, Andrew Motion wrote...
"...Larkin realised The Mower was only a qualified success, worth publishing, but not worth presenting on a national stage. He let it appear in the Hull Literary Club magazine Humberside."
I can't quite imagine what Larkin might think of the poem appearing all over Twitter! And that, of course, is the crux of the matter: he's no longer in charge of people's taste, and a so-called qualified success is fast becoming one of his most renowned pieces.
Another such example, meanwhile, is the excellent Welsh poet Sheenagh Pugh. If you type her name into Google, you're immediately directed towards the following search term: "Sheenagh Pugh Sometimes". This refers to her most famous poem, which was also widely shared in the aftermath of the latest General Election results, though I've no idea why! ;-)
From observing her reactions on Twitter, Sheenagh is less than enamoured of her own poem these days, but she can't stop it cropping up all over the place and many readers associating her name with it, even though she's far prouder of many other poems (she's got a lot of top-notch work to be proud of!). Yet again, the poet can't stop her poem having a life of its own...!
ON REFUGEES I can’t hear a sparrow’s heartbeat but the sparrow can. ONE
SENTENCE The island’s one hotel, fashioned from a government building on
the hill a...
I've explained on my website why I dislike the poem; it is read as purely optimistic, which I didn't mean it to be, so clearly I didn't write it well enough. Also it's just too obvious and superficial, which is why Jenny Joseph disliked her mega-famous one. My reaction to Heaney's "Digging" is much the same - overrated workshop-type poem with a banal ending - and I do wonder what he himself came to think of it.
ReplyDeleteGreat points, Sheenagh - and excellent post, Matthew. Of course, Larkin's most famous poem is probably 'This Be the Verse' and, well, it's hardly 'Dockery and Son' or Church Going' or something, is it? I agree entirely with Sheenagh about 'Digging'. And Yeats's 'The Lake Isle of Innisfree' is gorgeous - but but but but but. This all just tells us what the sweet spot is for what General Publick wants from a poem: a simple or apparently-simple message or moral or depiction, not much else to think about, and not many lines - about 12.
DeleteThanks to both of you for commenting!
DeleteOne issue is how certain poems are now coming to the fore due to Twitter and social media in general, relegating other pieces that maybe don't lend themselves to the recipe that you mention.
I think that's a different phenomenon in the main, the Rupi Kaur (who is SO 2018) phenomenon. Though I suppose you're right: 12 lines of non-gibberish also fit in an Instagram square quite readily. Anyway, you've inspired me:
ReplyDeletei am a little
twitter pome light as
a petal
meaningful as my gurlfrends
gentle cow eyes and
now
i have got anxiety