The present tense rejects the future. It generates, but it generates excess without the ordering structures of lineage. It subsumes and consumes pasts into its present, erasing their priority. It’s self-defeating; its rejection of survival into a future may be infanticidal. Without a concern with past or future it necessarily negates many of the values which come with Western literary tradition, including stability, well-craftedness, elegance, restraint, timelessness, humanism. It is concerned with the media through which it moves, flimsy concerns and flimsy conceits, superficiality, errata and (likely) ephemera, flexibility, instability, unevenness, but it also partakes of a non-productive productivity typified by bombast, excess and overproduction. This art often involves failure and ‘bad fits’—the ‘bad fit’ of one genre into another, the bad fit of one media into another. Its modality is violence, frequently a self-violence against the text itself, so that text is something that explodes, exhausts, breaks down, flounces around, eats and/or shits itself, is difficult to study or call a text at all.

--from "The 'Future' of 'Poetry'" by Joyelle McSweeney, a talk delivered as part of a panel on "The Future of Poetry" at the Minnesota Book Festival and reprinted at Johannes Göransson's blog Exoskeleton