by Nguyen Phuong Le, Kathleen Pithouse-Morgan and Thang Long Nguyen
If the phrase ‘write a poem’ makes your stomach do a tiny backflip, you are in good company. The three of us came to poetry from very different places. Kathleen has been working with poetry in teaching and research for many years, across different countries and contexts. Phuong first encountered poetic inquiry while working with Kathleen as a research assistant, learning her way into the field as a newcomer. Long joined as a critical reader of this blog, bringing curiosity from outside poetry‑based research.
Those different starting points matter. None of us came to this work believing poetry was an obvious or easy fit for literature reviewing.
In our conversations, workshops, and conference sessions, we have seen friends, postgraduate students, supervisors, lecturers, and experienced researchers worry that they are ‘not creative’. Some worry their English is not ‘good enough’. Others feel uneasy because poetry sounds personal, exposing, and even childish, in a higher education context.
Our starting point is simple: using a small, low-stakes poetic process to think with literature, stay engaged, and find your way into scholarly conversation. When you do this with another person, the process can feel even more doable. You cannot get this wrong, because the point is not to produce a ‘professional’ poem.
Why poetry in a literature review, seriously?
You don’t have to write poems to review literature. Most reviews are written in conventional academic prose. But if you are doing qualitative research, you may already know that knowledge is not only built through tidy argument. It is also built through attention, resonance, discomfort, contradiction, and voice.
Literature reviews can become a performance of mastery: you read fast, extract key points, categorise, critique, cite, and move on. Although these steps seem straightforward, the focus on moving quickly and efficiently may mean we miss what texts invite us to feel, picture, and connect with. The emotional texture of reading disappears, along with much of what makes qualitative work matter: empathy, imagination, and relational engagement.
Poetry calls for slower digestion. It invites you to ask, ‘What stays with me?’. It offers a way to respond before you feel ready to produce polished academic claims. That response can later feed your analytic writing, without needing to look like academic writing at the start.
What do we mean by “collaborative feedback poetry”?
Kathleen and Phuong’s article, ‘Reimagining qualitative literature reviewing through collaborative feedback poetry’ (Pithouse-Morgan & Le, 2025), introduces the term collaborative feedback poetry to describe a literature-reviewing strategy in which people respond to academic texts through short poems and exchange poetic responses with one another.
In such a strategy, collaboration matters. Many researchers struggle not only with the literature and writing, but also with the loneliness of the process. Working alongside someone else shifts the emotional climate. You are no longer trying to “prove” that you understand. You are noticing, articulating, and learning together.
Feedback matters as much as the poem. In academic settings, feedback often points out what is missing, what is weak, and what needs to be fixed. In collaborative feedback poetry, the focus is not on correction but on extension. The poem becomes a doorway, inviting you to walk further into the text rather than retreat from it.
“But I’m not a poet!”
That’s the point.
In the first few minutes of Kathleen’s collaborative feedback poetry sessions, the atmosphere is often tense. People apologise before they write. They say they are not creative, have never written a poem, or worry that their English is not good enough.
What changes things is permission: Permission to know, from the start, that there is no way to get this wrong.
Permission to be simple.
Permission to be incomplete.
Permission to use a home language.
When that permission feels real, participants begin to read, talk, and act differently. The literature starts to feel less like a wall and more like a space they can enter – through poetry, in whatever form it takes.
Phuong has seen these hesitations surface in conference conversations and informal chats with colleagues in Vietnam. After presentations on poetry as a literature‑reviewing practice, people are often interested but quiet. Later, they admit their worry about whether there is a ‘right’ kind of poem, or that writing poetry in a second or third language will expose them as less than capable.
That hesitancy matters. So instead of defending poetry in abstract terms, we slow down and walk through a small example.
Here is one example, a short haiku:
Creative Arts Professors’ Concerns
Pandemic’s harsh fall,
professors’ struggles echo,
incomplete sonnets.
(First published in Pithouse-Morgan & Le, 2025)
Phuong wrote this haiku in response to two papers by creative arts educators in higher education: Holmgren (2018) and Meskin and van der Walt (2022). Holmgren’s paper, written before the COVID-19 pandemic, explores musical interpretation through philosophic poetic inquiry and autoethnodrama. Meskin and van der Walt’s paper, written during the pandemic, uses poetic inquiry and reciprocal found poetry to reflect on disruptions to educator-artists’ academic and creative lives.
Rather than summarising either paper, Phuong read them together and asked: ‘What feeling carries across both texts?’ The answer was interruption – teaching and creative work that could not fully unfold. This is where ‘incomplete sonnets’ came from.
The poem does not replace the literature review. Instead, it marks what stayed with the reader after reading closely. This is not (just) an artistic move, but an act of attention and relation.
When we introduce this process, we usually ask a few simple questions, such as ‘What stayed with you after reading?’ ‘Which words carry that feeling?’ ‘What happens when you space those words out on a page?’ And ‘What occurs when another person reads and responds to your poem?’
When we introduce this process, we ask readers to notice what remains with them after reading. Kathleen’s poem Growing Beyond came from that noticing: reading across texts about doctoral students’ poetic inquiry (Chan, 2003; Kang et al, 2022) and attending to what stayed with her. In their poetry, Chan and Kang et al wrote about what it felt like to be doctoral students, including experiences of isolation, marginalisation, and internal struggle. Their work highlights the restorative, reflective, and critical possibilities of poetic inquiry in higher education. The poem opens with an impulse Kathleen recognised in their writing:
A sudden compulsion,
a yearning to express,
to write poetry.
(First published in Pithouse-Morgan & Le, 2025)
Why the collaborative element carries weight
Higher education research can be intensely individualised. Even when we are part of a student cohort or a research centre, as students or academics, we often read and write alone before submitting work for evaluation or review. Collaborative feedback poetry encourages a different kind of scholarly space. The goal is not to show you are clever, but to practise staying with ideas and emotions in the supportive presence of another.
That matters for students and academics at different levels, and for supervisors and educators trying to teach literature reviewing without turning it into a fear-fest. It also matters for multilingual writers, who are too often made to feel that academic voice counts only when it sounds like confident English.
Collaboration does not remove difficulty; it changes what difficulty feels like. You are not stranded in it. You are accompanied. To us, this companionship feels more welcoming than working alone, not least because, like many of you, we are also trying to find and express our voices within the wider literature.
A takeaway for you
If you want to try this, keep it small. Choose one article. Give yourself ten minutes to jot down words that come to mind as you read, and select phrases from the text that grab your attention. Shape these into a short poem, in any form, with space around the words. Share it with someone you trust. Ask them to respond – not by grading it, but by writing back with their own short poem. Then briefly discuss what the poems say and why that matters.
If you leave with just one idea, let it be this: literature reviewing is not only about demonstrating coverage. It is also about cultivating relationships with ideas, voices, emotions, and sometimes with each other. Collaborative feedback poetry is one way to make these relationships visible and accessible.
By now, we hope you feel encouraged to step into poetic literature reviewing in ways that feel doable and enjoyable. With baby steps, of course.
Acknowledgement
This work was supported by the Leverhulme Trust through the British Academy/Leverhulme Small Research Grants Scheme. (Grant holder: Kathleen Pithouse-Morgan).
Nguyen Phuong Le is a lecturer in English Education at Hanoi National University of Education, Vietnam. She is a graduate of the Master of Arts in Digital Teaching and Learning at the University of Nottingham, UK, and the Bachelor of Arts in English at Northern Kentucky University, US. Passionate about digital education and literature, she has held various positions in research, teaching, and learning across higher education and educational organisations.
Kathleen Pithouse-Morgan is a Professor of Education at the University of Nottingham, UK, and an honorary professor at the University of KwaZulu-Natal, South Africa. She focuses on professional learning and supporting professionals as self-reflexive, creative learners. Passionate about arts-inspired research and teaching, especially using poetic methods, she co-convenes the British Educational Research Association’s Arts-Based Educational Research group.
Thang Long Nguyen is currently a student of the Master of Arts in Sociology at University College Dublin, Ireland. Graduated from Doshisha University in Japan with a Bachelor of Arts in Liberal Arts, he has an interdisciplinary interest in themes of nationalism. Still, he is deeply concerned with the progress of education in social sciences and humanities in his home country, Vietnam.
