Right and Wrong

Keats criticised poetry that had a “palpable design” on us. Poets debate at length to what extent poetry today should carry a political or moral message and whether it changes anything anyway. For re-posting and discussion, I’ve selected three poems written roughly around the same time that all raise moral issues, that is, issues of right and wrong.

I’m not afraid to talk of right and wrong. I’m what philosophers call a “soft relativist”, which sounds like an insult, but actually means the position which I suspect most people in the Western world take if they think about such things – that there are very few if any absolute statements of right or wrong actions (that it is never right to lie, to kill, to eat pork, to accept blood transfusion and so on) but this does not mean that anything goes and different actions in different circumstances may be said to be right or wrong by a standard that is not purely related to my own benefit or comfort or the survival of my genes.

I think, though, that poetry ought commonly to confront moral issues by asking questions or drawing attention powerfully to consequences rather than by laying down right answers.

So here’s the first poem and the most politically and morally engaged:


On 6 March 1987 the car ferry “Herald of Free Enterprise”, owned by Townsend Thoresen (later P&O) capsized outside the Belgian port of Zeebrugge, causing 193 deaths. A number of safety measures that would have prevented the disaster had not been taken because they were seen as low priority or would have reduced profits.


In December 2009 the Copenhagen climate change talks ended without countries’ leaders agreeing to Carbon emissions limits, after aggressive campaigns by commercial interests attacked the whole idea that humans were causing global warming.


The Herald of Free Enterprise

Proclaimed a message of hope and joy

In words that could be painted gold

And deep vermilion in a book.

He blew a long note on his horn.

When from the sea there came a scream

From trapped and drowning passengers

And from the writhing, poisoned earth,

The herald turned the speakers off.

In looking back at this I see immediately that the gloss or introduction makes political points much more directly than the poem, but this is because poetic language uses images rather than syllogisms or platform bullet-points.

The poem is very political and moral, though. It charges the profit motive and unchecked capitalism with 193 deaths and with untold suffering and extinctions through global warming. As it happens I am not a socialist and believe attempts to do without private enterprise are pointless. I don’t see it as the role of a poem, though, to suggest and debate the political action that could be taken (some of it is pretty obvious in these two cases).

I use the name of the ship to develop an image of heraldry and hence bright colours and impressive ceremony – and then suddenly introduce reality and, in poetic form, the way powerful interests control information.

Here, by contrast, is the next poem.


The great detective, pantherlike,

Prowls round the web of traps and mirrors

Constructed by the lord of crime

The lord waits sentient inside

He does not need to move to strike.

The great detective makes his maps

His diagrams and brilliant plans

Each trap is tested by the lord

And nothing’s what it first appears

Even the great detective’s word.

The great constructor sits inside

The marvellous complexity

Of art and thought and warm routine,

Watches the prowling of the wolf

And studies the compelling lie.

The wolf has broken through the web

The city of light alarms and screams

The great detective meets the lord

And who should live and who should die

Lies in your hand and lies in mine.

The character of the Great Detective is a recurring one in my poems. He’s dedicated, determined, rational, intelligent and narrowly-focused – in deliberate reference to Sherlock Holmes.  The poem starts by presenting such a detective locked in battle with a Moriarty figure, the lord of crime. No moral ambiguity here. But as it progresses we find the perception shifts. Now we’re seeing the organisation of the lord of crime as a beautiful city threatened by a destructive force, a wolf that is also the Great Detective.

The prowling nemesis breaks in and comes face to face with the lord. Now, says the poem, you choose who should win. This represents the fact that we can influence the outcome of social struggles, but which side we should take is often unclear and there are different perceptions. But the poem is unforgiving: the difficulty does not absolve us of responsibility for taking a decision and acting.

Here’s the third poem.


It will not be all new when we meet again

The blood will still be on the old stone steps

The man at the corner will still be glancing after

The drunken girl who retches beyond the railings.

We recognise the smears, you and I

We know the use of bleach on the grimy standard

Will wreck it beyond loving, and the raising

Of a pure standard is a call to killing.

But where the stray cat wolfs the fallen burger,

Where up the bloodstained steps you come by night

There is the cancer that will grow and scatter

The knowing of the dark, the love of light.

You could say this poem lies between the other two. It suggests an attitude but leaves a lot unclear. The world is dirty, messy, often unpleasant and damaged. But to react with a wish to reject the world for something pure and perfect is dangerous: that way lie fanaticism and mass murder. Robespierre, the Inquisition, the Fascists and Al Qaida were all obsessed with purity. So accept that the world is imperfect – but don’t walk off indifferent.  Know the dark and love light.

Copyright Simon Banks 2012


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  1. This is very interesting…as writers don’t we have the responsibility to bring out anger when things go wrong? Is subtlety the thing that is keeping people away from poetry? I don’t understand….I’ve noticed a trend particularly in the sub-continent that it is writers who take up issues, sides if you like, that get the most attention. Nobody reads poetry for its sake- is this just a problem here or does it extend globally and even in other media like cinema? Thank you Simon for the thought.

    • Thanks for that thoughtful comment, Govardhini. Yes, I think writers on the subcontinent have more moral authority than in Britain or the U.S.. I find, though, that much British “protest poetry” is incoherent and frankly bad writing: the anger and the sound political position seem to be seen as passports. It’s very easy when angry to write a rant. I think a poet, and to a large extent other imaginative writers, can react most powerfully to something like Bhopal by painting a memorable picture of an individual, at most a family, grievously affected. It’s for the journalists, the academics and the politicians to look at the disaster in the round, though obviously in a novel you can include a much wider picture than in a poem.

      I think “Herald of Free Enterprise” was written from and conveys anger, but I do it at one remove in the language I think I’m best at. Another poet might write about one particular incident, for example the crew member who got stuck in a porthole trying to escape, drowned and was found when the divers went down blocking the porthole.

      Yes, I’m sure subtlety is one reason why poetry is a minority taste, and obscurity (not the same thing) is another. However, a lot of people do read poetry. It doesn’t sell well because you can take a long while reading a small book of poetry while you can pick up a typical novel at the airport on your outward flight and coming back a couple of days later you need another.

      My aim in the other two poems was not to express anger but to explore moral ambiguity. Perhaps I’m less political in my poetry, as I am in my worship, precisely because I am directly politically engaged.

  2. You’ve made it much clearer to me…I have stopped dashing, writing and publishing poems….now I wait for them to grow a bit before I send them out or put them on the blog. It is very easy to get carried away by emotion….though sometimes raw emotion needs the least edits….

  3. LadyBlueRose's Thoughts Into Words

     /  December 24, 2012

    this was interesting….
    I always have to stop and think or maybe your words have that effect on me, I want to roll around in my mind for a bit ….one of the things I like most about your writings is I always see different sides…not really a judgement just laying the foundation for one to look at ways of life different and hold the one that feels the best….
    I am not sure my thoughts have structure..I write as I am thinking as the spelling shows most times…I have been sitting back and taking some time on some, I usually just write as the thoughts come and then read it to see if its the least bit coherent to me…

    your last paragraph stays with me…I hadn’t thought about how a perfect world would be…I will stick with the perfection of my imperfect world…
    very good thoughts indeed Simon…..

    Thank you once again ….
    Take Care…

    • Thanks, ladybluerose. Different people of talent have different ways of writing different things. I doubt if there are many good poets who haven’t read or heard someone else and started thinking about how they could write like that, only to realise that would be a pointless attempt and what they themselves write can be good in its own way.

      Yes, I think precisely that socially engaged poetry is better at asking questions than providing answers.

      Many of my poems are as instinctive as yours, though. I wonder if speaking in tongues was really like that. Poems like “Dark Lady” and “Estuary” and “Borderlands” and “Black Bishop” have no conscious message and no conscious question.

      I remember someone stressing that Fascism was very big on purity. The more intolerant religious groups are too and when I found Robespierre was trying to achieve a “pure republic” by slaughtering opponents, something clicked.

      Did you know Heinrich Himmler was fascinated by Arthurian mythology and saw the SS as a re-creation of the knights of the round table?


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