For whatever reason, people, including very well-educated people or people otherwise interested in reading, do not read poetry.
Frost isn't exactly despised but not enough people have worked out what a brilliant poet he was.
Of course, you can't legislate for how people are going to read.
The other side of it is that, despite all that, people reach out to poetry at the key moments in their lives.
I was born in Northern Ireland in 1951. I lived most of my life there until 1986 or 1987.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
Your average pop song or film is a very sophisticated item, with very sophisticated ways of listening and viewing that we have not really consciously developed over the years - because we were having such a good time.
I believe that these devices like repetition and rhyme are not artificial, that they're not imposed, somehow, on the language.
That's one of the great things about poetry; one realises that one does one's little turn - that you're just part of the great crop, as it were.
We simply have not kept in touch with poetry.
The point of poetry is to be acutely discomforting, to prod and provoke, to poke us in the eye, to punch us in the nose, to knock us off our feet, to take our breath away.
If the poem has no obvious destination, there's a chance that we'll be all setting off on an interesting ride.
I do a lot of readings.
On the other hand, at some level the mass of unresolved issues in Northern Ireland does influence the fact that there are so many good writers in the place.
I suppose for whatever reason I actively welcome being put down, something which perhaps goes back to my upbringing - that accusation of not being worthy which could be laid at one's door.