Contemporary Love Poetry In Its Era

In its own era, contemporary love poetry has many unique modes of expression. Some of them are accepted immediately, while others are seen as being 'out of their element'.

In other words, not all of the expressions of contemporary love poetry are regarded as being appropriate, or necessarily accepted immediately by everyone. It may take time, but some are never accepted, particularly if they are considered to be repulsive in some way, or a blatant violation of their era. They may be abhorred, severely criticized and rejected as inappropriate, not unlike like anything else that is new or different.

But everything has its own time and place and thus, contemporary love poetry may also find its time and place in terms of immediate acceptance, publication and distribution. There is always the risk of being relegated to 'the shelf of later discovery' or that of 'never-never-land'. 

Contemporary love poetry is unique in its own era, as its vast horizon of possible genres can differ considerably. New genres can appear on the horizon in any era, but again, when unfamiliar and different, they risk rejection. Anything regarded as truly unique in a good way will likely be accepted.

Contemporary love poetry is often written on inspiration and thus, assumes a literary expression appropriate for its era. The source of the inspiration for the contemporary love poetry may be the same as, or similar to that of the past or the present. It may also be associated with transition from one era to another with its orientation to the future.

There are no hard and fast rules for contemporary love poetry although freedom of expression and rule breaking can be deemed problematic.

In its era, one of the major difficulties that arises with respect to contemporary love poetry interpretation has to do with the inevitable inability of others to relate to it. The blatant refusal of some to even try to interpret it, or the outright refusal of others to make any attempt to relate to it, places the contemporary love poet in an awkward or difficult position. The question becomes one of who should conform? It will probably not be the contemporary love poet who 'has written what he or she has written'.

Sometimes, bones of contention have to be chewed for a long time. For example, new words or expressions in contemporary love poetry may be regarded as appropriate by the contemporary love poet, but not perceived that way by others. Trying to understand them may be too much like having to learn and employ a new language which requires time and effort.

The ongoing or continual creation of contemporary love poetry is actually a good thing, not something to be regarded as a necessary evil. Exciting new horizons of thought often have ingenious literary structures that portray life and its energy in constant motion. Progress resonates in the thoughts and words of the contemporary love poet. There is no stagnation.

Without contemporary love poetry in each area love poetry would likely die, although there may always be those who try to cling to the past. Nowadays, even ancient love poetry tends to re-surface with timely poetic changes or interpretation more contemporary in scope.