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I have long read, written, collected, and loved poetry. My bookshelves cradle a considerable number of volumes dedicated to this art the ancient Greeks believed was consecrated to Euterpe—an art whose hold on me deepens with time, as I come to grasp the astonishing power of freedom contained in this ποιείν (poiein): the freedom to think, to feel, to speak.
These days, in my classes, it is rare to find a student who chooses a book of poems for their own quiet, autonomous reading. Rarer still the one who brings to their peers a collection by Sophia, José Régio, Miguel Torga, Antero, Pessanha—or even by Florbela Espanca or Eugénio de Andrade (who, despite these “hard times for lyricism,” as Bertolt Brecht once wrote, still manage to glean some measure of admiration). Rarest of all is the one who admits to loving, or even intuitively grasping, this literary form.
Perhaps this is why—saddened by yet another crisis, this slow dwindling of love—I find myself thinking, more and more obsessively, about how to preserve Homer and Hesiod, Virgil and François Villon, Whitman and Emily Dickinson, Federico GarcĂa Lorca and Anna Akhmatova. How to help them survive the great catastrophe of forgetting, and above all, the cataclysm of indifference. For time has taught me that the noblest battles for the life of the spirit are almost fated to fail in a society brutalised and brutal, prosaic and stained in its sentiments by the cement blocks we trample in the streets.
Poetry must be cared for—urgently. As with the great seed vault of Svalbard, we must shelter the most extraordinary force ever forged by the human mind, heart, and courage, working in concert. Only, in place of seeds, we must seal verses within.
