It wasn't very long ago that I was sitting in a modern poetry course at Florida International University. The course covered everything from Robert Frost to contemporary poets. On the last day of class, the professor made a poignant yet somewhat diluted point about the state of poetry today when he asked the class to call out the names of people who make a living from poetry alone. The only correct answer was Billy Collins. So, what was the professor trying to say? After all, he was passionate about poetry and even spent his free time working on recovering lesser-known poets. (Recovering poetry basically consists of finding worthy, out of print poets to reprint.) My course concentrated on recovered poet Sarah Piatt, a writer that should have been, at least, as revered as Silvia Plath. Consequently, the course ended on a tone suggesting that even if you're a good poet, time can forget you and if you're a great poet, you'll never make a living at it.

Surely, the poet's paradox is one that quickly becomes apparent to any writer who has in the past or is currently sending out submissions. There seems to be more literary publications than ever before. However, the overwhelming number of literary publications currently in circulation does not necessarily mean that people are reading them Many publications are printed by universities which are, in turn, used for more self gratifying motives like publishing and editing their own works rather than keeping high standards or searching for new talent. Ironically, universities are in the business of producing new talent, these writers go on to become professors of poetry themselves and devote their time towards their own university's publication, while publishing as much as they can on their own. The pattern is obvious, as creative writing programs produce "professional" poets, they are nestled in an academic environment that produces its own literary journal. As professors, these poets go on to play intricate roles in their own university's publication, as well as shaping the minds of future poets. All of these factors ultimately lead to the problematic situation that the state of modern poetry is in, an art form that is, at worst, considered both elitist and outdated; at best, it is a creative outlet that exists only between scholars.

The role of academia within the present condition of contemporary poetry is of central interest in Dana Gioia's essay, "Can Poetry Matter?" In his essay, Gioia explores why only poets read poetry and gives compelling arguments as to why poets have managed to alienate themselves from both readers and fellow writers. Gioia states, "The new poet makes a living not by publishing literary work but by providing specialized educational services." Aspiring writers may read Gioia's essay and want to prove him wrong through success. Yet, others may already accept that every poet being a slave to academia is a sad truth. Even though Gioia's essay holds the connection between academia and poetry in a negative light, Gioia has his own ties to the academic world. It's not clear whether Gioia's essay is meant to be an inspiration for change or an expose into the poetry world. One thing is certain; any modern poet should seriously consider Gioia's implications.

Although it was written over ten years ago, little has changed within the poetry subculture since Gioia's essay was published. The number of creative writing students enrolling in graduate programs increases every year and the Poet's Market gets thicker every time it is published. The opportunities for poets seem to be at hand, yet poetry is still perceived as an archaic art form to most. Poetry readings have turned into poetry slams and it is virtually impossible to find print magazines dedicated to verse that aren't associated with a university. It may still be true that only poets read poetry but as poets it's up to us to do more than just send out submissions relentlessly. We would all benefit from a more communal attitude towards our rare profession, doing anything that will open poetry to a wider audience. Whether writing critiques of contemporary poets, reviewing journals, or simply reading more than writing, poetry must be geared towards a wider audience that both turns away from academia and makes itself more accessible. The time when poets can make a living through publishing verse may not be as near as we would like but the satisfaction of being published will never lose its value. Maybe we can still look at a writer like Billy Collins and take comfort in the fact that if you're talented enough, your work may be able to reach beyond a restricted sub culture and linger among non-fiction bestsellers.