Via Holborn, and from the pages of the communist Morning Star, a headline of crushing cultural import: 

115 Poets Back Labour.

Yes, with an election looming, the full weight of the nation’s leftwing “poetry community” is being brought to bear, no doubt decisively. Inspired and uplifted by these leftwing poets and their immense cultural gravity, “our austerity-scarred society” will be “healed” with the balm of “social justice.” Being leftwing poets, there are of course demands attached, including an entirely selfless call for even more “state support for… producers of the arts and culture” – half a billion or so a year being deemed insufficient, you see – along with a “universal basic income pilot,” and “an end to the political scapegoating of the unemployed.”

No tittering at the back.

Readers who can recall a line of verse by any of the signatories will receive a drinks voucher.

And if searing leftwing poetry is your thing, you may wish to gargle the radical outpourings of Mr Roy G Guzmán.

For newcomers, more items from the archives:

Her Loveliness Revealed.

Slate’s Christina Cauterucci has discovered a “brilliant new weapon of progressivism.”

You see, those “right wing, centrist, or politically complacent parents” – the parents you love, presumably – must be purged of their “ill-informed allegiances” and made to conform politically, with the threat of never seeing grandchildren. Which is how well-adjusted adult offspring behave, of course… Ms Cauterucci’s parents are no doubt proud of their daughter and her charming, terribly enlightened fantasies of coercion, in which children are imagined primarily as a form of political leverage, a tool of rather sadistic emotional punishment. And all in the name of progressive piety.

Your Failure To Enthuse Is Violence, Apparently.

Roy G Guzmán is oppressed by the “violence” of people not liking his poetry.

After dismissing the recent, rather negative appraisals of his work as driven by “toxic masculinity” and “(white) male fragility” – no other possibilities being conceivable, of course – Mr Guzmán has apparently retired from Twitter. We are, it seems, a terrible disappointment to him.

Hear The Lamentations Of Unstable Leftist Women.

Their marriages failed, they have psychiatrists on speed-dial, and it’s all Trump’s fault. Oh, and white men, obviously.

Being a “queer feminist poet” schooled in “critical race theory,” Ms Alison Whittaker is, of course, unhappy:

We’re in the midst of a renaissance in First Nations literature. I should be elated… So why do I feel this restlessness? 

Appearing as a headline guest at Australia’s recent Stella Prize longlist party, “a celebration of women’s writing,” Ms Whittaker felt a need to air her “itching discontent” and “confront” the “majority white audience” for the sin of pretentious enthusiasm – namely, their enthusiasm for works by people such as herself:

I talked about the “endless, patronising praise” I got from white audiences, and how I salve it with the frank reading of Indigenous women who “do you the dignity of taking you seriously.”

Fun night. We must do this again.

We’re told that being a “coloured” or “Indigenous” writer is fraught with “structural oppression,” on account of being “marginalised” – as when being invited to literary award parties and then swooned over by pretentious pale-skinned lefties. “Whiteness” and “white men” are particular burdens to Ms Whittaker and her peers, whose suffering – their “collective plight” – is seemingly endless and endlessly fascinating, at least among those for whom such woes are currency. As Ms Whittaker’s world is one of practised self-involvement, her point is at times unobvious. However, our unhappy poet appears to be annoyed both by “underwhelming responses” to her own writing and by insufficiently convincing displays of approval. All that “endless patronising praise.”

At which point, the words high maintenance spring to mind.

Mr Roy G Guzmán, whose tweet appears below, describes himself as “a marginalised writer,” and an “artist and influencer,” thereby signalling to lower beings both his suffering and his modesty. He’s also, it seems, a tad sensitive:

Note the gratuitous use of white woman. Perhaps that tells us something about Mr Guzmán’s poetic soul. A sample of Mr Guzmán’s creative output, titled Queerodactyl, is reproduced in full below. But before we venture further, you may wish to grip the arms of your chair:

Because you crave more feminist poetry and Ms Desireé Dallagiacomo feels the need to share:

“My thighs feel upset because you only offered one bite of your Ben & Jerry’s Cherry Garcia.” Previously.