To date, there has been very little sociological research on the field of poetry, and even less on the field of British poetry. To rectify this oversight, my study systematically examines the specific ‘logic of the field’ of contemporary British poetry – that is, the career trajectories, geographical locations, publishing practices, and complex social interactions of 185 contemporary mid- to major-level British poets. I draw on Bourdieu’s theory of fields to examine which factors shape poets’ entry into the field of poetry, which modes of capital define the field, and how changes within the publishing industry have affected the field of contemporary British poetry. My thesis also tests Bourdieu’s contention that fields of poetry are distinguished by autonomy, conflict, competition, and an inverted hierarchy. However, while I use a Bourdieusian framework, I abide by Bourdieu’s suggestion to use his theory as a ‘toolkit’, as opposed to a prescriptive method.

For data collection and analysis, I use a mixed method approach. Quantitative data was gathered first, then interpreted and used to illustrate 185 elite British poets’ various forms of capital and positioning in the field of contemporary British poetry. By unveiling the poets’ attribute variables, including current location, place of birth, gender, age, ethnicity, educational achievement, and primary occupation, my study helps to clarify whether the subjects share a similar habitus, as some critics have charged. The quantitative data provides a strong foundation from which to reveal the hierarchical structure of the field. I also use secondary research to ground my thesis in the current literature on sociological and historical studies of poetry communities.

Qualitative data, primarily in the form of interviews, was gathered from 60 mid- to major-level British poets, poetry publishers, and other significant players. The qualitative data reveal the importance of social and symbolic capital in the field of British poetry. Drawing on the quantitative and qualitative data, I show that the field of contemporary British poetry operates by distinctive rules and conventions, which distinguishes it from other fields of poetry. This uniqueness is due to several factors, including the diverse geographical distribution of the players; the British class structure (as mediated by educational achievement and institutions); changes within the British awards system; and the emergence of a new generation of poets. Rather than providing a history of the field of contemporary British poetry, the aim of my study is to provide a systematic and detailed analysis which focuses on the structure and operations of the field of contemporary British poetry today.