The historical frame helps to understand the legacy of increased funding in the UK in the previous decade, which Tony Blair described as a 'golden age' for the arts two months before his resignation, and a year before the global financial crisis which succeeding governments used to justify major funding cuts. With this economic emphasis, the book challenges the historical perception of poetry's market autonomy, for a period in which it has moved beyond Pierre Bourdieu's view of it as 'the disinterested activity par excellence'. Drawing on an emerging body of research into the newly defined creative economy, alongside materialist and sociological approaches, the book is structured around a range of case studies - from new publishing formats, new degree programmes and mentorship schemes, plagiarism scandals, to poems going 'viral' - emphasizing an underlying shift towards professionalisation and entrepreneurial rhetoric associated with new poetry. Ultimately, it argues that poetry's continued growth and diversification also leaves individuals with more responsibility than ever for sustaining its communities.
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