(When poetry is confined to the stage, public concerns are left behind and in the closed circle of self-obsession, the democracy of poets is reduced to medals and certificates.)
Dr. Satyavan Saurabh
Poetry is the voice of society’s collective consciousness. It is both a document of the times and a courage to confront them. But when we observe most poetry conferences, literary events, and so-called cultural forums today, an uncomfortable question arises: has poetry lost its original purpose?
The scene today is much the same. There are poets on stage, and the audience sitting in front is mostly poets as well. Poets invite each other, poets buy each other’s books, and honors are shared among themselves. The same organizers, the same guests, the same judges, and the same admirers. This is not a literary democracy, but a limited and self-satisfied circle, in which the presence of the general public is almost negligible.
It’s essential to raise the question: who is poetry for? Is it exclusively for poets, or for society? If the reader of poetry is the same person writing the poem, then this situation is one of self-dialogue—not dialogue. The history of literature shows that whenever creative expression has lost its social concerns, it has gradually become irrelevant.
Poetry wasn’t born in an air-conditioned auditorium. It arose from the soil of the fields, the sweat of the laborer, the silence of women, the humiliation of Dalits, the displacement of tribals, and the everyday suffering of the common man. The poetry of Kabir, Nirala, Nagarjun, Trilochan, Pash, or Muktibodh survives because it asks uncomfortable questions of power and gives voice to those on the margins of society. But much of today’s poetry appears to be entangled in close proximity to power, within the safe confines of institutions, and entangled in mutual praise.
Photos of events held at major literary institutions, academies, and universities are flooding social media. Smiling faces, shawls in hand, mementos, and citations. The question isn’t whether the honors are wrong; the question is who is being honored and why. Are these honors for works that have created a stir in society? Or are they the result of networking, connections, and mutual understanding?
Today, poetry is also becoming a form of “branding.” Poets are increasingly identified less by their poetry and more by their appearances, events, and photographs. This situation is detrimental to creativity. When poets focus more on their presence than on their poetry, poetry gradually becomes a means of self-promotion.
Another serious question concerns readers. Why is the common reader turning away from poetry? The answer lies not only in readers’ disinterest, but also in the changing nature of poetry itself. When poetry becomes disconnected from the language, pain, and questions of everyday life, it becomes merely an intellectual exercise. As a result, poetry becomes confined to the stage, and its connection with society begins to break down.
A poet’s responsibility isn’t merely to create beauty, but also to stand for truth. Poetry’s job isn’t to make power comfortable, but to make it uncomfortable. But today, many poets find it safer to compose works in harmony with power rather than confront them. This security gradually erodes the soul of poetry.
The culture of conferences also requires serious introspection. Do we need so many poetry conferences, or should we find new ways to take poetry to society? Is poetry meant only to be recited on stage, or should it reach schools, colleges, labor colonies, villages, and movements? If poetry remains confined to a select few, its social impact will be nullified.
It’s also worth noting that “concern” sometimes becomes a fad. Poverty, women, and marginalization are discussed on stage, but these issues often remain symbolic. They don’t directly connect with the struggles of real life. Poetry cannot be alive unless it is willing to take risks—both social and ideological.
The crisis of poetry is not just a crisis for poets, but a crisis for society’s cultural consciousness. When literature abandons self-criticism, it becomes mere decoration. And when decoration becomes the goal, the possibility of questioning, struggle, and change disappears.
Today, poets need to look within themselves. Ask why they write—for recognition, for the stage, or for society? This introspection may be uncomfortable, but it is necessary. Because the value of poetry isn’t measured by applause, certificates, or photographs. Its worth is determined by what it stands for and what it questions.
Ultimately, the future of poetry will depend on whether it dares to step out of its self-absorbed confines and plunge back into the dust of life. If poetry is cut off from the pulse of society, it will become a mere museum piece—beautiful but lifeless. To keep poetry alive, the poet must connect with living society. This is its duty, its meaning.
(Dr. Satyawan Saurabh, PhD (Political Science), is a poet and social thinker.)
Dr. Satyavan Saurabh,
Poet, social thinker and columnist, All India Radio and TV panelist,
333, Fairy Garden, Kaushalya Bhawan, Barwa (Siwani) Bhiwani,
Haryana – 127045, Mobile :9466526148,01255281381
