(Pores 4)

How and why do the ways of reading poetry in the UK that are most publicly visible still exclude work that is aesthetically and linguistically radical? What is the history of these models of reading poetry, and what is their relationship to marketing? What are the key sites of influence and how do they work (as cultural practices and as forms of power)? Why have recent moves, for example in Poetry Review, to give some recognition to the range of British poetries aroused such hostile responses? What is at stake? What are the possibilities for real change? What types of writing and publishing are offering alternative economies of reading to those that postmodern capitalism benefits from?