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WHY POETRY? NI IDEA

Among the reasons that proponents of this "little theater" from the "poetic" wielded as need to get the poetry books and return to people to poetry that is to whom it belongs (fallacies evident) is the premise of origin shown that, on the one hand, everyone must admire the poetry and also they, as elected, they will know in good doses administered. On the other hand, consider the problem is education, ie the problem that we do not like poetry because they do not teach us, instruct us not into it. I will focus on how the second premise. The first think you do not need too much added. This second assumption leads to the erroneous conclusion that they "teach the people" poetry portrays not only the small theater but usually cut to a certain point illustrated well established today. The problem of mass culture, low culture, take much more ground than high culture, where it would be poetry. The solution: poetry for those who do not read poetry, poetry by themselves attractive media of mass culture, children and poetry, we must train with poems, etc. All this is fine, but do not think that is the solution. Obviously my position is not illustrated, not from the picture but rather is materialist. Let's see. No one, at school teach Bisbal music or teach the history of Barça, not the Journal of Patricia, but music of Mozart, Baroque, Plato. And yet, after years and years to teach these things, we still prefer to get home culture of mass entertainment culture. Turn on the television. And there is nothing wrong with that. The problem is not in the educational system that teaches what needs to be taught, but elsewhere. In 1939 Clement Greenberg already pointed to the rise of mass culture, what he calls kitsch. Stated: "The alternative to Picasso is not Michelangelo, but kitsch. Second, neither in backward Russia nor in the advanced West, the masses prefer kitsch simply because their governments to push it. Where state educational systems take the trouble to speak of art, to mention the old masters, not kitsch, and yet we hang on our walls a Maxfield Parrish or his equivalent, instead of a Rembrandt or a Michelangelo . Moreover, as Macdonald himself points out, by 1925, when the Soviet regime encouraged a garde film, the Russian masses continued to prefer Hollywood movies. No "conditioning" explains the power of kitsch. " Ie, that the fault does not lie, I think, in the education system. Would require a radical change in our material universe to be given a change of consciousness. And this is impossible. As much as we teach poetry in schools in most of the time people get home to prefer anything else. And there's nothing wrong with that, on the contrary, this is a sign of freedom. Say chance alone (a fact x) can cause someone to approach poetry: no education or the government system or polypoetry, even the authors can do more of what they do. And better that way.

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almost thirty years ago, the philosopher Jean-Francois Lyotard wrote, "the secret of artistic success, as well as the commercial success lies in a dosage between surprising and "well known" among the information and code. This is innovation in the arts, takes up formulas confirmed by previous successes, they are unbalanced through combinations with other formulas in principle amalgam incompatible and appointments, decorations, pastiches. [...] Thus, it is believed to express the spirit of the time, when not only reflects the market. The sublime is no longer art, but on speculation about art. " Because of its simplicity this statement is not indifferent. But when Lyoatrd talked about innovation in the arts at what arts did he mean? Obviously the visual arts, and if we pull and deform the above, including the novel. Thus we see that poetry was outside its territory. Poetry and market? It seems evident that do not match. But it is not so simple. Poetry, English poetry particular, seems to have learned the lesson, and it reflects a delay surprising. How can poetry be a reflection of the market? It's simple, stripped to its core element poetry: language. Innovation does not come on the side of language, but by the side of the bracket, and this obviously has to do with the commercial aspect of the poetic fact. Now there is talk of poetic performances, spoken word, and why? Because the market does not want poetry or poetic language . An example: in New York began using the term spoken word due to the fact of social rejection, but mostly commercial to the word poetry . Therefore, get the poetry books, which is the way the authors of very little interest in the literary aspect, in the writing itself, becomes the target in order to enter the market. Many poets and poets-or whatever-they seem to have discovered yesterday Cabaret Voltaire, but ignore that, as Breton said, the view over and that "long ago the risk lies elsewhere and not in the Screaming. " But obviously it is not imitating a kind of cabaret Voltaire but say it is necessary to remove the opacity of poetry, that is what it is, and how to make poetry accessible to the general public is it back to the jarchas and troubadours. Awesome. And even states that "we will take the poetry out of books to return to the people, that is to whom it belongs." Is it so? Take a counterexample: imagine a visual artist is told that his work leaves the opacity has to return to sixteenth-century painting. Obviously it would be madness. Or that a scientist will say, look, quantum mechanics, string theory and others are very complicated, why do not we all and go back to when everything was simpler?

Finally, in these performances of poetry, as in a perfect diversionary tactic tends to be more focused on the support that language. It seems that not matter what they say but by what they say. So we can see old-fashioned real atrocities, real cheesy ridiculous that, filtered through a screen, yelled his lungs, or hidden under an electric guitar, hide their little literary interest. Holopoetry, perfopoesía, polypoetry, micropoesía, are only forms of subjection to the market from the vague and ridiculous idea "of wanting to reflect otherwise. The weight falls on the prefix and that is when we are lost. Believe reflect the spirit of the time but really reflect the spirit of the market.