So, what does this mean for us poets? Poetry rarely pays well, and most poets remain obscure throughout their lives and even after death. As Doctorow and other advocates say, the danger for authors lies not in "piracy" but in obscurity. But with the use of a Creative Commons license, it becomes easier to distribute one's works.
"Another day, another poem. I turn the page of the three-year Alhambra Poetry Calendar (selected by Shafiq Naz, Belgium; see www.alhambrapublishing.com) which Paul Kane introduced us to a couple of years ago. It's the 21st September, 2009. In 2008 it fell on a Sunday, this year it's Monday. Page 342's poem is (surprise --genuine surprise) : Coventry Patmore's To The Body. At last! I think aloud, --A POEM!
The trouble with this poem is that it is too well-known for its own good. I'm trying, without much success, to remember the first time I read it. It seems always to have been among the poetry furniture in my head, and so I can't really ever recapture the first electrifying effect of my first encounter with it. But electrifying it was, that I recall, and it is good now to have the challenge of re-assessing this over-familiar poem and experience it as the new.
"Tell someone you're a poet and their reaction will rarely be a brisk nod and an even 'right you are then'. More likely they will suddenly regard you in one of two ways - either with undeserved and inappropriate wonder or, more often, with equivalent and barely-concealed contempt. In the latter instance, their reaction seems to say: 'A poet? What's the point of that?'"
"A biography which gives more than name and past works is at fault because it inevitably influences the reading of a poem."
"It is now six months since Craig Arnold died — or vanished, as most notices have termed it."
"Black and minority ethnic poets don't always behave in the expected way for poets; that is, they don't always sit down and write in standard English about Greek myths. Perhaps that's why they struggle to get into print. In 2004, writer-critic Bernardine Evaristo discovered that fewer than 1% of those published by mainstream poetry presses were non-white."