by Andrew Perez
Lawrence Ferlinghetti’s poem “Uses of Poetry” reminds readers to not consider poetry solely on the basis of feeling but on the merit of their historical value. The first lines of the poem describe a war-torn landscape “where armed trains run over green protesters” (Ferlinghetti, line 11) and “promises…will be betrayed” (lines 7-8). Ferlinghetti considers himself to be a “reporter for a newspaper” (line 51) attempting to accurately depict these events unfolding around him, and thus reorienting his art to be worthy of some objective merit.
This difference in Ferlinghetti’s poetic intent argues a point the other two poets in this selection fail to justify beyond chaos and contempt, making it my favorite out of the three. Many of the classic poetic works integrated into teaching curriculum in the US make for excellent literary analysis and examples of mastering writing conventions. Poets like Shakespeare and Lord Byron provide insights on technical skill and larger historical movements, but are arguably utilitarian in what they offer students. The contemporary social and historical contexts of poetic works, as Ferlinghetti claims, justify the necessity of the art form despite the common accusation of sentimental excess poetry carries. None of my English classes in high school read poems by James Baldwin or Maya Angelou, or any political poet for that matter. The ideas these poems contain on sexuality, race, government corruption, among a variety of other variables that shape our world, are extremely helpful for the youth who do not yet understand how we arrived at our current human condition. For this reason, I cannot disagree with Ferlinghetti: the uses of poetry are far more practical than they appear.