I'm Major Jackson, and this is the slowdown.

Recently, I was part of a virtual event with over 50 poets, all contributors to the

anthology, Invisible Strings.

113 poets respond to the songs of Taylor Swift.

The book's concept was hatched by Swifty Christy Dowardy, in celebration of Taylor's

album, The Tortured Poets Department.

The audience peaked close to 250 people and lasted two and a half hours.

I envisioned us together in Prairie Lights Books in Iowa,

New York's Tishman Auditorium, or Seattle Arts and Lectures.

All small venues compared to the arenas Taylor Swift

has been selling out across the globe.

Once I read my piece, I watched for my kitchen and ate chili.

Contributing poets read in the order of their place in the table of contents.

A number of folks claimed not to have been Swifties, but the invitation to submit was too enticing.

Many of our family members are. They would not have forgiven us if we turned down the offer.

Swifties are apparently detectives, and apparently there are millions, so we were encouraged to embed clues to the songs to

which we responded. Invisible strings follows a trend. All shook up, collected poems about Elvis.

Let me say this, a Dolly Parton poetry anthology, and more.

Then, of course, there are all the single-authored collections inspired by musicians

from Sarah Blake's Mr. West to Michael Harper's Dear John, Dear Coltrane.

I celebrate these collections for the simple fact that they potentially serve as a gateway to poetry.

If anyone can get a new generation to read poetry, it is Taylor Swift, much like the many

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