PC stuff just lowers the general acceptance of good work and

PC stuff just lowers the general acceptance of good work and

22/09/2025
17/10/2025

PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.

PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and
PC stuff just lowers the general acceptance of good work and

Hear the words of Diane Wakoski, who speaks with a sense of urgency and clarity: PC stuff just lowers the general acceptance of good work and replaces it with bogus poetry that celebrates values that in themselves are probably quite worthy.” In these words, Wakoski addresses a deep concern about the state of modern poetry and art, where the pursuit of political correctness—or PC culture—can overshadow the true essence of artistic expression. She warns that, while the values espoused by PC culture may be admirable in themselves—justice, equality, and respect—they can sometimes be elevated at the expense of artistic integrity. This, she argues, leads to the creation of poetry that is not driven by genuine inspiration, but by the desire to conform to social expectations, thus diluting the quality and power of the work.

The ancients knew the importance of integrity in art. Consider Plato, who famously debated the role of art in society in his Republic. Plato believed that art should reflect the true and the good, but he also cautioned against the dangers of art that simply served to flatter the masses or promote empty ideals. In his vision, the artist was not merely a servant of public opinion, but a seeker of truth. Poetry, for Plato, was an expression of the soul, and should elevate, not pander. The poet’s duty was to pursue authenticity, even when that meant confronting uncomfortable truths. Political correctness, as Wakoski points out, can sometimes subvert this noble aim by transforming poetry into a tool for conforming to social pressures rather than a medium for genuine exploration of human experience.

Consider the story of William Blake, the great English poet and visionary, whose work was often ahead of its time. Blake’s poetry was deeply political, but it was never about following the fashionable currents of his day. Instead, Blake used his words to challenge the establishment, to criticize the moral and political systems that he saw as corrupt. His poetry was not dictated by the values of the society around him, but by his own vision of spiritual truth and human freedom. Blake’s work was not always appreciated in his lifetime, but it was grounded in an unwavering commitment to artistic and moral integrity. His was the true voice of art, which transcended the politics of the moment, for it was driven by a higher truth.

In contrast, the rise of PC culture in the modern era sometimes creates an environment where art is forced to adhere to a set of prescribed values—values that, as Wakoski points out, are often worthy in themselves but are co-opted for the wrong reasons. Poetry written with an eye to pleasing a particular audience or advancing a particular agenda can become hollow, stripped of the emotional depth and insight that true art requires. Rather than offering a window into the soul, such poetry becomes a mirror of social expectations, reflecting only what is deemed acceptable or fashionable at the time. This is what Wakoski means by "bogus poetry," for it lacks the authenticity and passion that makes poetry a powerful force.

The lesson here is one of authenticity and artistic integrity. Just as the ancients revered poets who spoke from the heart, so must we today recognize that true poetry comes from a place of honesty and deep reflection. The best poetry is not the one that conforms to the shifting tides of social opinion, but the one that remains true to the poet’s inner voice, regardless of whether that voice aligns with current social trends. Poetry that is written to serve a political agenda, no matter how noble, risks losing its soul. Art should not be a tool for social control, but a medium for personal and collective expression, where truth can be found, even in its uncomfortable or inconvenient forms.

Practical actions follow. If you are a writer, remember that poetry is a journey of self-discovery and expression. Do not allow the pressures of PC culture or public opinion to shape your words. Instead, write from your heart, and allow your poetry to explore, challenge, and elevate the human experience. If you are a reader, seek out poetry that is driven by personal truth, not by social expediency. Celebrate the voices of poets who challenge norms and push boundaries, for it is through this kind of work that we learn something new about ourselves and the world around us. And, as both writer and reader, always honor the integrity of the art form.

Wakoski’s warning is not one against the values of PC culture, but against allowing these values to become the sole force behind creative expression. Poetry must remain a space for personal insight, for the exploration of what it means to be human. Poetry that is born from the desire to conform or please is not poetry at all, but a mere reflection of the status quo. The true power of poetry lies in its ability to transcend the present moment, to speak to universal truths, and to touch the soul of the reader. It is when poetry comes from this deeper place that it has the power to move hearts and minds.

Thus, Wakoski’s words urge us to recognize the importance of authenticity in poetry—and in all art. Art is not about what is acceptable in the moment, but about what is true and enduring. Let us, as creators and consumers of art, remain steadfast in our pursuit of this deeper truth, remembering that the most powerful works of poetry are those that speak not to our superficial desires, but to the very core of our humanity.

Diane Wakoski
Diane Wakoski

American - Poet Born: 1937

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Have 4 Comment PC stuff just lowers the general acceptance of good work and

HQHung Quoc:3

This makes me think about how cultural movements affect artistic evaluation. Wakoski seems frustrated that well-intentioned values might lead to mediocrity in art. But I’m curious—hasn’t art always reflected the moral climate of its time? Maybe what she’s reacting to is a shift from personal exploration to collective approval. It’s an uncomfortable thought: that sometimes, in trying to do good, we risk losing artistic honesty and tension.

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HNPham Thi Hong Nhung

Wakoski’s remark feels bold and somewhat controversial. She seems to be suggesting that valuing correctness over complexity flattens artistic expression. I wonder how she would define ‘good work’ in this context. Isn’t it possible for poetry to uphold ethical values and still be aesthetically powerful? Maybe her concern isn’t about morality at all but about sincerity—when poems are written to please a cultural trend rather than express genuine insight.

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THThu Huyen

I find this comment challenging because it touches on a real tension in contemporary art. Is Wakoski implying that good poetry is being dismissed simply because it doesn’t align with certain social ideals? I can see her point—sometimes artistic merit gets overshadowed by ideology—but I also think art has always been political. Maybe the problem isn’t political content itself, but when it’s used to replace genuine creative depth.

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LVNguyen Thi Lan Vy

This statement definitely provokes a reaction. It sounds like Wakoski is criticizing the influence of political correctness on artistic standards. But I wonder—can poetry ever really be separated from social or moral values? Maybe what she’s objecting to is when message overshadows craft. Still, it raises a difficult question: how do we balance artistic freedom with social responsibility without reducing art to propaganda or virtue signaling?

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