The Poetry Manifesto

By Natasha Derezinski-Choo
The experience of poetry refers to the process of reading poetry, trying to interpret poetry, and/or writing it.
The necessary process for poetry: (
PURPLE
) The writer immerses herself in the world and gains some sort of insight that the
writer wishes to express through poetry. The writer employs language, in the form of metaphor, figurative language, simile,
imagery, etc. An audience reads and interprets the poem.
Interpretation:
Option A (
BLACK
): The poem, as a result of the authors intentions or methods, conveys a single message and leaves
little room for alternative interpretations.
Option B (
RED
): The poem leaves room for myriad interpretations within the subject mater and/or language usage of
the poem. The language of the poem does not limit its meaning. This creates ambiguity. The images in the poem
offer insight and new ways of thinking to the reader while at the same time its ambiguity creates a sense of
confusion. The confusion from ambiguity manifests itself as an emotional response to the poem. The reader does
not fully understand the poem, but s/he knows how to feel about it. This effect is accomplished when the writer
employs metaphors whose tenors are unknown or indefinite. Experiencing poetry in this manner ignites a sense of
wonder that reminds the reader of the ambiguity and confusion of the external world. The poetry offers both
questions and answers, but by no means in a linear fashion. By viewing the world through the eyes of the speaker of
a poem, the reader sees the external world as meaningful and full of wonder but also meaningless and confusing.
Option C (
BLUE
): The poem, by judgement of the writer or reader, lacks meaning or originality. While this does not
disqualify the piece as poetry, the subject/language is clich. The writing lacks intellectual or emotional substance.
This method of experiencing poetry does not set out to standardize poetry. Other methods of viewing poetry may also be
valid. This is not how poetry should be done, but how it can be done.
The experience of poetry should be fluid. This experience may occur in a different order than explained but the effect
remains the same.
Poetry is and should not be dogmatic
Writers should attempt to constantly renovate poetry. The methods outlined in this manifesto should someday become
irrelevant due to new ways of thinking and writing.
The Poetry Manifesto
The experience of poetry refers to the
process of reading poetry, trying to interpret
poetry, and/or writing it.

The necessary process for
poetry: (
PURPLE
)
The writer immerses herself in
the world and gains some sort of
insight that the writer wishes to
express through poetry. The
writer employs language, in the
form of metaphor, figurative
language, simile, imagery, etc. An
audience reads and interprets the
poem.

INTERPRETATION
Option A (
BLACK
):
The poem, as a
result of the authors
intentions or
methods, conveys a
single message and
leaves little room for
alternative
interpretations.

Option B (
RED
):
The poem leaves room
for myriad
interpretations within
the subject mater
and/or language usage
of the poem. The
language of the poem
does not limit its
meaning.
Option B (
RED
):
This creates ambiguity.
The images in the poem
offer insight and new
ways of thinking to the
reader while at the
same time its ambiguity
creates a sense of
confusion. The
confusion from
ambiguity manifests
itself as an emotional
response to the poem.
Option B (
RED
):
The reader does not
fully understand the
poem, but s/he knows
how to feel about it.
This effect is
accomplished when the
writer employs
metaphors whose
tenors are unknown or
indefinite.
Option B (
RED
):
Experiencing poetry in
this manner ignites a
sense of wonder that
reminds the reader of
the ambiguity and
confusion of the
external world. The
poetry offers both
questions and answers,
but by no means in a
linear fashion.
Option B (
RED
):
By viewing the world
through the eyes of the
speaker of a poem, the
reader sees the external
world as meaningful
and full of wonder but
also meaningless and
confusing.
Option C (
BLUE
):
The poem, by
judgement of the writer
or reader, lacks meaning
or originality. While this
does not disqualify the
piece as poetry, the
subject/language is
clich. The writing lacks
intellectual or emotional
substance.
Comparing the three methods


This method of experiencing poetry does not set out to
standardize poetry. Other methods of viewing poetry
may also be valid. This is not how poetry should be
done, but how it can be done.
The experience of poetry should be fluid. This
experience may occur in a different order than
explained but the effect remains the same.
Poetry is and should not be dogmatic
Writers should attempt to constantly renovate poetry.
The methods outlined in this manifesto should
someday become irrelevant due to new ways of
thinking and writing.