The most important quote about poetry and politics that I know is from a different situationist, Guy Debord. He was locked in a debate with the French Surrealists, many of whom by the 40s and 50s were part of the French communist party apparatus. Many Surrealists eventually argued for instrumentalizing art for political ends. Debord countered, "I don't want to put poetry in the service of revolution. I want to put revolution in the service of poetry".

I'm trying to mediate between individual agency and structural determination. I accept that people make individual choices, quite thoughtful, quite careful, quite difficult choices, but they don't make them without constraints that shape what choices are possible and provide the intensity of the push toward choosing.

People who oppose violence often defend strikes, forgetting that strikes are historically every bit as violent as riots. They recast history so that strikes were always this ascetic refusal rather than open warfare with private or national military forces, where many, many people died so as to have some possibility of a decent work life, affordable housing, protections - the most practical goals we can imagine.

The most important quote about poetry and politics that I know is from a different situationist, Guy Debord. He was locked in a debate with the French Surrealists, many of whom by the 40s and 50s were part of the French communist party apparatus. Many Surrealists eventually argued for instrumentalizing art for political ends. Debord countered, "I don't want to put poetry in the service of revolution. I want to put revolution in the service of poetry".

Even as I've become more reticent about the political possibilities of the academic space, I want to note that students have played significant roles in insurrectionary activity across the globe for decades and centuries, and I don't think that we've crossed some threshold where that's never going to happen again. We still need to take the university space quite seriously.

There are places in the world where it's easier than in the US to be a person who produces theory and not require the university for sustenance. And there are still places in the world where there is lively poetry communities largely divorced from academia. That's been destroyed in the US. In the US, famously, there were a lot of counter-spaces that lasted into the 60s and 70s, like the Black Arts Movement. They were systematically broken, often by the government, and the workshop arose in their place.

I don't want to be hubristic about art's possibilities. I don't think that art has a causal relationship to revolution. I do think it's a way people coordinate or orient their own often-inchoate experiences, sometimes willfully. With "The Masque of Anarchy," one of the things I note is that many political movements over time have made use of it as a way to orient themselves and to narrate what they were doing.