“The second observation is that poetry is a universal human art. Despite post-modern theories of cultural relativism that assert there are no human universals, there exists a massive and compelling body of empirical data, collected and documented by anthropologists, linguists, and archeologists that demonstrates there is no human society, however isolated, that has not developed and employed poetry as a cultural practice. Most of this poetry, of course, has been oral poetry. Many of these cultures never developed writing. But the fact remains—and it is a demonstrable fact, not mere opinion—that every society has developed a special class of speech, shaped by apprehensible patterns of sound, namely, poetry”

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Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

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American writer 1950

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“For most of history poetry has been an oral art, it retains the vestiges of orality, an experience embedded in the sensuality of sounds.”

Edward Hirsch (1950)

How to Read a Poem And Fall in Love with Poetry (1998)

“Poetry is a transfusion of the ephemeral blood that sustains the universal heartbeat within human society.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

The Cosmos as a Poem (2010)

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“Literature is a state of culture, poetry is a state of grace, before and after culture.”

Juan Ramón Jimenéz (1881–1958) Spanish poet

"Poetry and Literature" (1941), as translated in Selected Writings (1957).

“Even if great poetry continues to be written, it has retreated from the center of literary life. Though supported by a loyal coterie, poetry has lost the confidence that it speaks to and for the general culture.”

Dana Gioia (1950) American writer

Essays, Can Poetry Matter? (1991)

“Poetry merely descriptive of nature, however vivid, no longer seems enough for me, there has to be added to it, the human judgement, the human evaluation.”

John Gould Fletcher (1886–1950) American writer

Life is My Song, John Gould Fletcher, Autobiography, 1937

“The romantic poetry is a progressive universal poetry.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Die romantische Poesie ist eine progressive Universalpoesie.
Progressive Universalpoesie (1798); in the German language, particularly in the Romantic schools, "Poesie" means both poetry as genre and faculty and the source of creativity to form poetry.

“Cultural anthropologists have gathered exactly the data required to examine this hypothesis for human societies—and their findings are conveniently arranged in R. B. Textor's A Cross Cultural Summary.”

James W. Prescott (1930) American psychologist

"Body Pleasure and the Origins of Violence" (1975)

“The default designation of poetry has become written poetry. That's why we have to prefix the adjective "oral," because the unmodified noun no longer covers anything but written poetry. That's also why we resort to other unwieldy phrases to pigeonhole events and phenomena that our cultural proclivities have silently eliminated from consideration. Thus a "poetry reading" describes a performance (from a published text, of course) before a well-behaved, often academic audience. Thus "spoken-word poetry"—so redundant from a historical perspective—identifies voiced verbal art, verse that is lifted off the page and into the world of presence and experience.”

John Miles Foley (1947–2012) American literary scholar

How to Read an Oral Poem (2002), p. 30

“Third and finally, poetry originated as a form of vocal music. It began as a performative and auditory medium, linked to music and dance and associated with civic ceremony, religious ritual, and magic. (The earliest poetry almost certainly served a shamanistic function.) Most aboriginal cultures did not distinguish poetry from song because the arts were so interrelated as to be porous. Nor did the classical Greek or Chinese cultures two or three millennia ago differentiate poetry from song”

Dana Gioia (1950) American writer

10
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

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