In the mid-1990s, when I was a student of creative writing, there prevailed a quiet but firm admonition to avoid composing political poems. It was too dangerous an undertaking, one likely to result in didacticism and slackened craft. No, in American poetry, politics was the domain of the few and the fearless, poets like Adrienne Rich or Denise Levertov, whose outsize conscience justified such risky behavior. Even so, theirs weren’t the voices being discussed in workshops and craft seminars.
Maybe it was our relative political stability that kept Americans from stepping into the fray. Perhaps America’s individualism predisposed its poets toward the lyric poem, with its insistence on the primacy of a single speaker whose politics were intimate, internal, invisible. Then came the attacks on the World Trade Center in September 2001, and the war in Iraq, and something shifted in the nation’s psyche.