The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture.

There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness.

As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.

Pinsky . . . champions the importance of each individual whose breath creates or carries a poem, without which society would be nonexistent.

One is never in any doubt about the tendency of Pinsky's argument. He urges appreciation not of what the poet does in writing a poem, but of what the poet does in reading it. The poet mainly counts as one more reader. So, too, Pinsky's idea of the place of poetry in democratic culture comes from an image of someone reading a poem to an audience.

Pinsky is, by turns, whimsical and profound.

Robert Pinsky's books include Jersey Rain, Americans' Favorite Poems, The Sounds of Poetry, The Handbook of Heartbreak, The Inferno of Dante: A New Verse Translation, The Figured Wheel: New and Collected Poems 1966-1996, The Want Bone, Poetry and the World, History Of My Heart, and three works published by Princeton: An Explanation of America; The Situation of Poetry; and Sadness and Happiness. This book emerged from the Tanner Lectures that Pinsky delivered at Princeton's University Center for Human Values in 2001.

Acknowledgments ix

I: Culture 1

II: Vocality 19

III: Self-Consciousness 30

IV: Performance 43

V: Social Presence 46

VI: Readers 55

VII: The Narcissistic and the Personal 64

VIII: Models of Culture 73

IX: Conclusion 79

Index of Names 95