Harriet Monroe, who founded Poetry: A Magazine of Verse in 1912. argued that the more heterogeneous and sprawling the modem world became, the more poetry needed "an entrenched place, a voice of power." But this goal could only be realized if poets were valued in ways that encouraged them to participate in the world and made writing verse economically viable. Monroe argued that poets needed sites of institutional opportunity like those that had been developed for visual artists, architects, and musicians. She believed that the hand-wringing anticapitalism dominating genteel literary* culture—particularly the idea that poetry ought to be removed from "sordid" pecuniary considerations—brought no economic and only illusory aesthetic benefits, instead severing poets from meaningful participation in the modern world.

The author mentions "visual artists, nrchitecis. and musicians" primarily lo