Amateur Radio, Poetry, Hardcore

[Originally published March 2011. Edited to remove an image that is no longer available, 11 September 2023]

Dominic Rivron wrote a post recently about his love of amateur radio, with some details about what amateur-radio enthusiasts do and how the whole thing works. It reminded of something I have been thinking about for several years now—a passage from "Poetry and the Problem of Taste," an essay by Brian Phillips that appeared in Poetry in September 2007. Here, Phillips is discussing a "line of thinking" exemplified, for him, by Dana Gioia's essay "Can Poetry Matter?", which leads him to the comparison that has stuck with me:

Starved of a general readership, poets are writing only for other poets, like shortwave radio hobbyists who build elaborate machines on which they can only reach each other.

I've been pondering various ways of thinking about this comparison, but only Dominic's post made me wonder what the passage might sound like to "shortwave radio hobbyists," who are surely being disparaged here (not by Phillips, of course, at least not directly) as providing nothing of value to the larger culture.

One of the lines of thinking I have been following is to wonder whether it might not be better for poets to embrace their similarity to "hobbyists" of various kinds—embrace, that is, the idea that we are only talking to each other and not to the rest of the world. In the light of Robert Archambeau's recent discussion of Tennyson, Yeats, and Eliot, which I commented on in my last post, such a self-isolation (whatever its merits in terms of reduced anxiety for poets might be) would reduce the poetry that we produce (by eliminating the productive tension between hermetic aestheticism and various forms of desire to have an influence on the world).

But last night I went to a hardcore concert. I do not usually listen to hardcore, though I enjoy hearing it live once in a while, and I wanted to go to this particular concert because my friend Andreas's band Flimmer was playing, and I have been wanting to see him play for years. And one thing about hardcore is that it is a world unto itself: anyone who plays hardcore does not do so because of any ambition to be a success with it in the larger world. The only reason to play hardcore is that you love it.

Similarly, the only reason to do amateur radio is that you love it. And what if poets stopped worrying about the age when Tennyson sold zillions of poems that clarified and confirmed the world to his readers, and instead focused our attention on the joys of talking to each other? Writing "inspired notes," as Tranströmer said.

There's more to say about the comparison between poetry and radio (and poetry and hardcore), but I'll save it for another day.

From Tennyson to today

Robert Archambeau has just posted a long discussion of tensions between aestheticism and morality (or politics) in Tennyson, Yeats, and Eliot. He starts with a discussion of a tension in Tennyson's work between "cryptic, symbolic, ambiguous poems ... that resist being converted to moral messages" and poems that "told the bourgeoise reader what he wanted to hear about decency, self-sacrifice, and the keeping stiff of the upper lip." By the end of the 19th century, then, the market for the latter kind of poem had dried up, and Symbolist poets and their Modernist successors focused their attention on aesthetic issues, while still being drawn to such extra-aesthetic issues as Irish politics (Yeats) and the renewal of community (Eliot; through a return to pre-twentieth-century Christian values).

Archambeau's discussion of these issues is fascinating, and it led me to ponder the extension of his point about tensions in the work of these poets into the contemporary era. These days, many poets in North America, Great Britain, and Ireland have put a lot of energy into pondering how the audience for poetry can be increased. Since the loss of the market for moralistic poetry in the course of the nineteenth century and poetry's subsequent aestheticist turn, very little poetry has managed to reach a wider audience. Those poets who want to do so could theoretically try returning to the kind of moralism that characterizes "The Charge of the Light Brigade," but given developments in poetry since then, it is highly unlikely that they would find such a project at all interesting—and in any case, as Archambeau makes clear, there's little or no market for such work anymore anyway.

The main aestheticist strains of contemporary poetry tend to be pretty disdainful of those poets who do achieve modest success (meaning more sales than most poets, but still very small blips on the radar of whole culture), such as Billy Collins and Mary Oliver in the United States and Simon Armitage and Carol Ann Duffy in the United Kingdom. (With Armitage, at least, I could provide a defense of the aesthetic quality of all of his work, as I could with parts of the work of Collins and Duffy—neither of whom I have read all of—but that is something for another day.) But what is there for them to do, the poets who feel tensions like those felt by Tennyson, Yeats, and Eliot while also finding that the work of Armitage, Collins, Duffy, and Oliver lacks such productive tension between aesthetics and some kind of public voice? The very fact that I use the vague phrase "some kind of public voice" points toward a solution and highlights the problem at the same time: poets need to create a market for poetry to have a public voice, but it is not clear what kind of public voice that ought to be.

But here is where I return to a point I have made frequently over the years (probably somewhere on my blog, but definitely often in conversation): even if there is little market for poetry in the contemporary English-speaking world, there is a huge market for verse—it's called pop music. Now some might immediately dismiss this point by saying that song lyrics are not poetry, but I hope they would at least agree that "page poems" and song lyrics are both examples of "verse" in a broad sense that is completely consistent with the traditions of both poetry and popular song (written in lines, often with meter and rhyme). And it is worthwhile for poets to consider what it is that makes the verse of popular music so popular.

Generally, pop music does not aspire to the kind of moralism that shaped one side of Tennyson's work (although it does contain a strain of that moralism in such songs as "We Are The World"—things that make you feel like a good person when you sing along with them). And of course it is hard to generalize about all pop music without people jumping in with counterexamples. But one relatively consistent feature of pop music is that it does not impose itself on its listeners: the lyrics tend to be simple, even vague, so that they are open enough for listeners to relate them to their own lives in general and their own particular experiences.

In contrast, one relatively consistent feature of contemporary poetry in English is that it does impose itself on its readers: it makes the reader listen to the voice of the poet, instead of providing, as pop lyrics do, a space for listeners to fill with their own voices, as it were. This focus on the poet's voice is in keeping with the Romantic-aestheticist tradition that Archambeau discusses, and I am all in favor of being imposed on by poets, since I am part of that tradition. But poets who feel tensions between the privacy of aestheticism and the possibility of a public voice might well consider the ways in which pop lyrics, the contemporary verse with the broadest popular appeal, relate to the audience that consumes them.