Introduction
The Cultural Politics of Slam Poetry: Race, Identity, and the Performance of Popular Verse in America Susan B. A. Somers-Willett http://www.press.umich.edu/titleDetailDesc.do?id=322627 The University of Michigan Press, 2009. Introduction Slam and the Search for Poetry’s Great Audience To have great poets, there must be great audiences, too. —Walt Whitman, “Ventures, on an Old Theme,” 1892 Anyone who hopes to broaden poetry’s audience—critic, teacher, librarian, poet, or lonely literary amateur—faces a daunting challenge. How does one persuade justly skepti- cal readers, in terms they can understand and appreciate, that poetry still matters? —Dana Gioia, “Can Poetry Matter?” 1992 On or about August 1988, contemporary American poetry changed. The relations between poetry and its audience—between academics and their venerated tomes, MFA students and their assigned readings, rap- pers and the rhymes they busted—shifted. The catalyst for this shift was the claim that poetry and the intellectual culture it inspired was dead. In August 1988, Commentary published Joseph Epstein’s editorial “Who Killed Poetry?” which made the familiar claim that poetry was rarely enjoyed outside of a small subculture of readers. The cause for this “vacuum,” Epstein posited, was the vast and growing number of academic creative writing programs in the United States and the poets ‹rmly ensconced there as teachers.1 The following year, the Writer’s Chronicle, a trade magazine published by the Association of Writers and Writing Programs, reprinted Epstein’s essay along with responses from 101 writers over the span of three issues. One of those writers was the poet-critic Dana Gioia (now chairman of the National Endowment for the Arts), who published an extended version of this response enti- tled “Can Poetry Matter?” in the April 1991 Atlantic.
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