In the maiden voyage of this column, Poetry for the Nervous, Vol 1, I led with the principle that what you love, what strikes you, what moves you in poetry is what matters. Critics do not matter. The judgments of others do not matter. Poetry is yours to dispose as your heart dictates. If your teachers or friends impose upon you some poem or poet they champion, and you just don’t get it, there is no need to think yourself stupid or inadequate, nor to give up on poetry as a whole. You will find what you love eventually, because poetry in its essence is as deep within us as our desire to communicate.
From an appeal towards what you love, I’ll work into something a bit less romantic. I think the best poetry is also useful. That’s a dangerous word in the world of art, wrapped up as it is in the most ancient debates about aesthetics and utility, but I’m always ready to argue that gallery art is great, but does it really beat, say, a well crafted chair that is beautiful to behold, and is also very comfortable for sitting? Do any human efforts match the art of nature, for whom, especially if you are a cosmologist, utility is the most fundamental quantity?