Mapping Poetic Emergence

The focus of Devolved Voices is on poets who have emerged since 1997. One of our key initial tasks therefore has been to develop a discussion document that seeks to pinpoint 7 stages of emergence. We’ll soon be publishing our document on this blog.

Emergence here should not be confused with poetic development. The former relates to profile, while the latter relates to craft. Obviously, these two processes – emergence and poetic development – very often do go hand in hand; but sometimes they do not. When the document is made available, it is important therefore that the scale should not be seen as equating emergence with a measure of artistic worth necessarily. In the best sense, we aim to produce a document that is objective. It may be used to locate a poet on the scale; but it also considers what poets actually do within the poetry community as well as the impact of what they do. It is finally quite important to note that our scale of emergence relates to emergence through poetry for the page. We greatly value and appreciate the increasing role spoken word has within the poetry community, but the primary focus of our project relates to those poets who establish themselves in publishing.

The discussion document is an important part of our beginning. But we hope that it will also raise some interesting questions about the very nature of a poet’s trajectory in itself. It may also provide us with some indication of how a poet’s career trajectory has changed over the course of time – for example, how a comparatively recent phenomenon such as the establishment of creative writing programmes has impacted on entry routes and endorsement for new poets and has achieved further prominence for established poets.

Emergence, as we’ve been considering it at length, can prove fascinating. The scale of emergence shows that poets can sometimes skip phases if one phase has gathered enough momentum or cultural ‘cluster’. Poets can, of course, recede in prominence as well as moving forwards over the course of their career (although, as my previous comments try to emphasise, this is not a quality judgment). Poets can plateau. Some poets may, in fact, plateau at a relatively early stage or a middle stage, while other poets can reach – and remain at – the highest stage on the scale (our ‘Stage 7’), acquiring a national or even an international profile, generating study at schools or universities, and developing a cultural presence of some distinction through the media.

How have we gone about shaping this document? We’ve pooled our knowledge of the field as engaged critics and practitioners. We’ve reassessed our initial thoughts. We’ve discussed and considered at length individual poets and their career trajectories as examples for our thinking. We’ve factored in certain classic, prestigious entry routes towards book publication, such as the winning of a bursary or an Eric Gregory Award. Poets make their way through magazines and journals, as we know. But particular attention from an editor in regularly publishing specific new poets and fostering their talent on a magazine’s pages can have a great impact, making the poets in question especially recognisable new names – as well as notable attractions for a book editor, who might then make a direct approach. We’ve considered the role writing reviews or essays has in helping to increase visibility and interest – sometimes before a full collection has even been published. Then there’s the issue of poet advocacy – a major figure endorsing the work of a new poet. Similarly, we have had to ask ourselves about the part played by complementary roles – work that a poet may undertake that is somehow related to literary practice and yet is distinct from the act of making poetry itself. An example here might be the interplay between a role in academia or a role as an editor (traditionally the ‘cultural gatekeeper’) and the profile of a poetic output. What role does the winning of prizes or shortlistings play in career advancement? On a clearly related note, what sort of impact does judging poetry competitions and prizes have on a poet’s position in the scale? How, exactly, can one be considered to have arrived? Each stage on our scale contains a range of factors, some or all of which a poet has secured.

Of course, it is in the nature of a discussion document that adaptation will play its part. Once we publish this document, we’ll be interested to hear your views and welcome your comment on this blog.

4 thoughts on “Mapping Poetic Emergence

  1. Pingback: Meanwhile… | Kathryn Gray

  2. I really hope you’ll strenuously avoid any sense of a conventional trajectory. I ought to have emerged well before 1997, and I’m still not sure I’ve emerged even now, given that I don’t get asked to give readings in Wales – never have, even though I’ve contributed poems and reviews to Welsh periodicals since 1980. I won a Gregory award and I published in most of the best places in my twenties and thirties, including what was then the best place, The New Review, where I appeared alongside Robert Lowell and Les Murray. But I couldn’t publish a book, and this continued even though I published in the London Review of Books, The TLS and the Los Angeles Times Book Review. It wasn’t until I was in my fifties that I finally published a book and that was shortlisted for a Forward prize. I’m sure I’ve made strategic errors, but I’m also sure that there are very constrictive publishing ideologies at work in Wales, especially around Seren, and also regional biases. Living in North Wales might well be the worst place in Britain to live in this context, especially if you’re not originally from Wales.

  3. Dear Ian – Thanks so much for your comment. We’re aiming for a document that focuses on ‘indicators’ for each stage. Soon, when we publish, you’ll be able to comment on specific points. I hope, though, I’ve indicated here already that there is complexity, as well as interest, in how poets develop in profile, ’emerge’ – or so we have found. Some poets do indeed have very conventional paths; some, as you indicate, have a less conventional – or perhaps less rapid – journey to publication in book form and subsequent progression – for all sorts of reasons. There are also issues relating to how a poet may feel in profile in relation to how he/she is regarded in profile within the poetry community – a particularly pertinent point for the poet in contemporary society. The other points you raise – about publishing and about writing within Wales as a non-Welsh-born poet, may be things you’d like to talk about when I begin interviews with poets and commentators? Best wishes, Kathryn