Regina Leader-Post

Poetry in motion

From Instapoets to YouTube bards, poetry moves up the popularity charts

- LAVANYA RAMANATHAN

Mahogany L. Browne’s first taste of internet fame came when her poem Black Girl Magic found its way to Facebook.

“You ain’t ’posed to get married. You ain’t ’posed to want no dream that big,” she spat in two-minute video. “You ain’t ’posed to dream at all.”

“I didn’t know what viral was until I went viral,” Browne says. “As a poet, I’d never experience­d it.”

Poets, after all, pen chapbooks. They lecture at universiti­es. They drop verses at poet stomping grounds. Going viral is for Eagles fans who face-plant into poles.

But social media is upending what it means to consume poetry and what it means to create it. It has birthed a new cohort of bards known as “Instapoets” who share on Instagram tidy compositio­ns that have the feel of literary selfies. And it has allowed writers of verse to reach a generation that grew up with Twitter, emoji and memes.

Lily Myers couldn’t understand why she was getting so many messages about her poem Shrinking Women, which she performed at a 2013 slam competitio­n. “And then I saw it on Facebook,” she said. Today, it’s racked up more than five million views.

It’s as if social media is the defibrilla­tor that has zapped the age-old art back to life, at a time that some feared it was becoming extinct. But if you think poetry was eager for the shock — well ...

“There was something about this that felt over the top touchy-feely ultra new age feministy,” a commenter groused beneath the YouTube video of Myers’ performanc­e. (Commenters! One thing Robert Frost never had to deal with.)

“There’s a lot of negativity,” sighs Sam Cook, 34, a founder of Button Poetry, which spreads the gospel of poetry through YouTube. “Poetry has been such a niche space for so long, and the people in it feel like they’re entitled to decide what is good and what is bad.”

No one riles them up quite like Rupi Kaur, an Indian-Canadian poet who has emerged as the Sylvia Plath of Instagram. A couple of times a week, she posts one of her short, elegiac poems, illustrate­d by delicate line drawings, for more than two million followers.

The Torontonia­n has sold millions of copies of her books The Sun and her Flowers and Milk and Honey — which, even three years after its initial publicatio­n scored the No. 2 spot on Amazon’s bestseller list for last year.

If you look at the work of Kaur and others like her, it’s largely made by young women for audiences of young women. The poems are highly personal messages of self-esteem and empowermen­t, deeply rooted in call-out culture — taking aim at abusers, bad boyfriends, and all the (generally, male), oppressors of the bedroom and boardroom.

The popularity of such poetry on social media “demystifie­s this idea that poetry is some high, academic art of white men brooding in corners, trying to write poems that nobody understand­s,” says Rob Casper, head of the Poetry and Literature Center at the Library of Congress, which appoints the U.S. poet laureate.

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