In many literary forums, reaching a shared consensus is a herculean task. Yet little unites users more than the denigration of illustrated poetry slides that go viral on Instagram. The proliferation of this trend does not come as a surprise. With the popularisation of ‘analogue’ living on social media, carousels that incorporate poetry have gained significant traction online. This has led many ‘Instapoets’, such as Atticus and Nikita Gill, to rise sharply in fame, having rolled out highly accessible poetry with visual appeal at the forefront. Easily comprehensible and shareable, such poems are enjoyed by many, but they face mass backlash in literary communities for watering down the depth and profundity native to ‘real’ poetry. However, I would say that this style of literature, which I will refer to as decorative poetry, can be just as rich and meaningful, especially given the pace and complexity of modern living.
Painting a thousand words
Poetry has long evolved from the constraints of circumstance to deliver meaning through different mediums. With the advent of social media, modern poets are faced with a new challenge – creating impactful poetry that can fit on a phone screen. While the shorter and more eye-catching texts are often criticised as simplistic, it is indisputable that tailoring works to fit this brief is a skill nonetheless.
“With the advent of social media, modern poets are faced with a new challenge”
What a decorative poem lacks in length it also makes up for in graphic design. Modern poets now have a range of formatting tools at their disposal, allowing even the less artistically inclined to adapt their works. The introduction of more artistic forms of literature is not a novel phenomenon. Take graphic novels, for example – once dismissed as a product of low-brow culture, there is now increased acceptance that creative choices, from the width of gutters between panels to the font used in dialogue, can hold a wealth of meaning. And so, decorative poetry, born in the intersection between literature and technology, should likewise be recognised in all its richness.
Straight shooting
Known for its mass appeal and broad accessibility, decorative poetry seems to be the antithesis of authentic expression. But nothing could be further from the truth. Simplicity and directness, the widely villainised hallmarks of decorative poetry, are the most effective means of characterising today’s society. The 21st century is defined by unprecedented developments in policy and technology, and caught in the middle of this unpredictable yo-yo of societal change are real people who suffer. It is in this context that the rise of direct address in poetry makes sense.
Consider Rupi Kaur’s take in The Sun and Her Flowers: “borders / are man-made / they only divide us physically / don’t let them make us / turn on each other.” The anthology was published in 2017, when nationalism and protectionism was hiking globally; there was therefore an urgency in ensuring that public opinion did not lead to the marginalisation of vulnerable people. Hence, the poem is presented in a way that is blunt, unambiguous and easily shareable – the author implies that there is no room for alternative interpretation.
The authenticity of decorative poetry can, admittedly, be called into question. Poems with aesthetically pleasing layouts and designs are more likely to go viral online, so there is a strong incentive to replicate popular features. However, practical incentives have long coloured works – this is not a flaw of poetry but an intrinsic quality of it. Even Shakespeare, who gained notoriety during his lifetime, is believed to have pandered to royal patrons. It follows that decorative poetry need not be shielded from public opinion to have literary merit. Through examining what resonates with the masses, we can gain deeper insight into the values we have come to share.
A mile in their shoes
One of the most damning critiques levied at decorative poetry is that it waters down the essence of poetry and perpetuates a ‘me-first’ culture. Poetry has long been used to convey emotions and experiences that readers have not been confronted with, fostering empathy between communities. In contrast, decorative poetry omits the ugly and uncomfortable parts of human existence and selectively propagates messages that can be pleasantly displayed on a living room pinboard. Nuance is lost when poetic sentiments are reduced to a one-liner, meaning only skin-deep narratives can be shared. The deeper issue is that nobody seems to care. The aesthetics of decorative poetry are valued precisely because the reader wants to use them to enrich their own lives. This is reflected in the content of viral poems, which often read more like a self-help slogan than a work of literature.
“Is it so bad that decorative poetry unites people using simple yet powerful language?”
To that, I would once again reiterate the difficulties of modern living. Social networking algorithms have stoked polarisation and insecurity amongst users. Is it so bad that decorative poetry unites people using simple yet powerful language? Popular phrases about acceptance and self-love should not be discounted just because they are less common in the literary canon, as they can likewise be subject to comprehensive analysis.
Additionally, decorative poetry paves the way for deeper connection. One of Ocean Vuong’s most circulated lines is his most relateable: “I miss you more than I remember you.” While many readers can recognise this feeling, Vuong’s other experiences of abandonment, exploitation and harassment are much less universal. His hard-hitting quotation hence acts as a bridge between him and the reader – having realised the depth of feeling that they have in common, the reader is more likely to emotionally engage with the rest of Vuong’s story.
The more, the merrier
The engaging format of decorative poetry invites even the least prolific readers to the world of poetry. The consumption of social media has brought about a marked decline in attention spans and literary enjoyment rates. Consequently, epic poems like Beowulf are afflicted with dwindling readership, and their modern equivalents are similarly unlikely to capture their historic repute. While it is a shame that fewer people are learning from these renowned works, decorative poetry becomes not the problem but the solution. By bringing attention to the potency of figurative language, more people can appreciate the art of poetry and explore it further.
More than that, the discovery of new poets is facilitated by this form of literature. For instance, @poetryisnotaluxury features new poems in sleek, whimsical snapshots every day. In doing so, it breaks down the financial and temporal barriers that keep people from developing literary taste. Perhaps it is in part the outward appearance of poems that attract readers in the first place, but does it matter if they end up finding genres they enjoy? The shareability of decorative poetry also connects poets with an audience that resonates with them, providing motivation for further creativity.
And so, instead of piling on to the hate against ‘Instapoets’, maybe give that post another ponder – who knows, it might be more profound than you think.
