Category Archives: k morris poet

Do Poets Attempt To “Control” People?

On my way home yesterday evening, I bumped into an acquaintence and engaged in one of those random and somewhat odd conversations one does, on occasions find oneself involved in. My acquaintence with the gentleman with whom I spoke is of a passing nature, in that we have spent a few minutes chatting when we encounter one another. However, yesterday evening we spent some 40 minutes or so talking, during the course of which I learned that he is an artist. This led me to mention that I write poetry, to which his response was that “poets/poetry wants to control people”.

I was, I must confess somewhat taken back by the above statement. Despite me trying to elicit why my acquaintence held such a view, I was unable to obtain an answer which made sense to me. However the statement that “poets/poetry tries to control people” got me thinking about whether there might be any substance to the opinion expressed by my acquaintence.

Poets do (as with the rest of the population) hold views on religion, politics etc, some of which find their way into the poetry they write. Can reading a poem which voices a particular opinion “control” the reader?

Many years ago I remember reading an anthology compiled by the late left-wing Labour politician Tony Benn, entitled “Writings On the Wall: A Radical and Socialist Anthology”. I remember being impressed by some of the writings contained therein, however the book did not turn me into a Socialist. Where there to be a simple connection between what we read and how we vote then, surely I would now be a card carrying member of the British Labour Party or another Socialist party which (as mentioned above) I am not.

A poem has no power to exert physical control over the reader. Indeed, during the course of our chat, I mentioned to my acquaintence that where I to take hold of him and demand that he act in a certain manner that this would, quite obviously entail an attempt by me to exert control over him (I hasten to add that no one was grabbed or maltreated in any manner during the course of our interactions). We can, therefore safely conclude that poetry (or any other form of art for that matter) has no power to (literally) “control anyone.

Having said the above, it is true that Nazi Germany, the former Soviet Union, Mao’s China and various other regimes have banned books and persecuted (or even murdered) writers with who’s work they disagree. For example “The Gulag Archipelago”, which catalogued the horrors of the Soviet prison system was banned in the USSR, and its author persecuted. So, obviously totalitarian governments fear literature that attacks the belief structure on which the regime is built.

Does the fear of totalitarian regimes of literature which attacks their world view proove that poetry (and other forms of art) have the power to “control” those exposed to them. No. What free artistic expression can accomplish is to encourage those exposed to it to question their view of the world (or at least some aspect of it). Encouraging critical thinking is not control. Quite the opposite for, in the case of the authoritarian government it is the regime (not the poet or other artist) who is “controlling”, whilst the artist is questioning the status quo.

In conclusion, poetry does not “control”. It may (and often does) contain a message (political, religious or otherwise), however the reader can make up his/her own mind as to whether they agree (or disagree) with the poet’s perspective. It should, of course also be remembered that much poetry is purely (or largely) playful in nature. There is, for instance in most limericks no desire on the part of the poet other than to produce laughter in his/her readership.

As always I would be interested in the perspectives of you, my readers.

Kevin

Nostalgia? well perhaps, or maybe . . .

In 2016, I published my poem, Squire and Peasant, https://kmorrispoet.com/2016/05/12/squire-and-peasant/.

The above is one of the poems I am minded to read at a poetry reading on Thursday 4 July. This will be a private event (unfortunately not open to the public), hence I wanted to share this poem here in order that it may be more widely enjoyed.

Kevin

Kevin

“I am the girl with tiny arms”

“I am the girl with tiny arms”
You said. and now I
Sigh, and think on the charms
Of the tiny arms
Of a girl of 20 or so.
Although I know
That it will
Never be so.
Still, a man may,
Fruitlessly, pray.

There Once Was A Wasp With No Sting

There once was a wasp with no sting
Who said, “life is a most unfair thing,
As when I attack
They always come back”,
And he wept at the lack of a sting.

When A Young Lady Whose Name Is Jane

When a young lady whose name is Jane
Said, “there is much pleasure in pain.
I shall go first
For better or worse,
I said, “just board the blooming train!”.

Sometimes I Would That I Could Write About Flowers

Sometimes I would
That I could
Write about flowers,
Yet the night
Hours slowly pass
And my thought
Runs on lass
And ought?

‘Tis strange how interpretations differ.
Some will
Read a poem “as is”,
But what is “as is?”

When all is still
At night
The poet may
Stay away
And write
A verse
Or, with a curse
Taste the apple of Eve
Although he does know
That he should leave
The fruit, once sweet
Untasted, he will eat.

“On The Brink Of A Pit”, by David Holbrook, Analysis

In “On The Brink Of A pit”, David Holbrook describes taking his daughter, Kate to a party being held to celebrate the 12th birthday of her Jewish friend, Melanie.

The friendship between the 2 children is very close:

“I took our child to her party, carrying a book-token
Covered in child-gay seals, because they love one another”.

And:
“Melanie assured me with her guileless big blue eyes
Her father would bring Kate home, fondly drew her into the house”.

Here we have a beautiful picture of 2 children, one Jewish and the other non-Jewish who love one another and are unconcerned with racial or religious differences.

This beautiful portrait is enhanced as the street is full of birdsong and:

“Warm sun honeyed the suburban gardens”.

Yet the line:

“handsome women
tapped over a few skeleton leaves on the muddy pavements”, signifies that all is far from being right. “skeleton” speaks of death. The leaves are as dead as the Jews who perished in Nazi Germany’s “Final Solution”, under which approximately 6 million Jews where murdered in gas chambers and by other means.

Holbrook wants “a thousand lives to worship what Melanie was”, and the thought of the horrors of the mass extermination of Jews causes him to openly weep in the street
“There being as much hate in garden cities as at Majdenek”.

This is a deeply shocking poem which never fails to move me. It is as relevant today as when it was written. In its mildest forms I have heard people say, “the Jews control the media”, or “Jews are mean”. Such words are often spoken by those who would be genuinely horrified if they thought that by speaking them they could be contributing to antisemitism, and that they could, indirectly cause a resurgence of virulent Jew hatred. Yet such words do feed the monster of hatred towards Jews, and I hear behind the words spoken in pubs or over dinner tables the crunch of jackboots in concentration camps.

Other expressions of antisemitism are more direct, ranging from the desecration of Jewish graves to the murder of Jewish people.

It is sometimes said, by ignorant people that poetry doesn’t matter. Holbrook’s poem prooves them wrong.

(“On The Brink Of A Pit”, can be found in “The Golden Treasury of The Best Songs And Lyrical Poems In The English Language”, selected and arranged by Francis Turner Palgrave. Updated by John Press. Sixth Edition”. page 571).