The Paris Review  recently selected four guest editors, poets who will be asked to help select and present poems during a project in the upcoming year. To introduce their project and these editor/poets, they asked the poets for remarks on “Where is poetry now?” Each of the poets had interesting things to say, but I was struck particularly by part of what Vijay Seshadri said.

Seshadri is a contemporary poet of some accomplishments, awards and note, but I had not noted those things, nor could I recall any of his work before reading his remarks. That alone could be remarkable under the subject of “Where is poetry now?”—but let us ascribe that to my own focus and hit and miss reading habits. Seshadri addressed the question I’ve brought up here a number of times: how can or should poetry address political and social questions?

Words Vijay Seshadri did not say: “And so students, poetry lets you experience Other Peoples’ Stories intimately…but now the part you came for, my acclaimed one-man performance of the first season of ‘Stranger Things.”

Seshadri tells of a recent poetry workshop he taught. He describes his students as “young, sensitive, and deeply empathetic.” Looking to current events in the United States, he asked them “to consider the children in cages,” implying that he would like them to address that with their workshop poems, but he found that they could not do so in the work they presented, at least during the week-long workshop. Another writer could have used this observation as a springboard to that hardy perennial topic: “What’s wrong with the younger generation?” or its broader targeted version: “What’s wrong with our culture or society?” Seshadri didn’t.

What did he say instead about why this might be difficult for artists, and what they might do about that difficulty? This is what I present in today’s audio piece, using words of his that I extracted from his remarks. I use as an epigraph a line from one of Seshadri’s poems, and the title I use here, “Poetry vs. Children in Cages,”  is my own concoction, but I hope I am being fair to his thoughts.

These are important questions. I know many of the readers here are poets or other artists. You may not agree with Seshadri’s thoughts on this, but you are still charged to think about this. Perhaps, like Seshadri’s students, you won’t have an answer in a week’s time, but that’s not a reason to stop thinking and trying to find a way to address our world.

To hear my attempt to convey Vijay Seshadri’s thought, use the player below. Musically this time,  I’m back to using something like a traditional rock band instrumentation: electric guitars, bass, and drums, but I also made an attempt to use a virtual instrument rendition of a sarangi, which is a Indian sub-continent version of a bowed fiddle with resonating sympathetic strings, conceptionally similar to the Norwegian hardanger. Even in it’s VI guise, I found I had to be careful of those resonances.