Since her release of “Milk and Honey” in 2014, many literary critics and poetry lovers alike have been both jarred and perplexed by Rupi Kaur’s fast rise to mainstream success, writing Kaur’s work off as juvenile and formulaic. YouTube videos poking fun at Kaur and other “Insta poets” have racked up millions of views, with viewers following suit in the comment section. One commenter called Kaur’s work the bane of their “personal poetic existence.” Op-Eds ridicule Kaur with bold titles, like “Rupi Kaur is Killing Poetry,” published in “Washington Square News” and Medium’s “Rupi Kaur is a Terrible Poet - Here’s Why.”

Rupi Kaur, who is an Indian-Canadian poet, is largely attributed to popularizing “Insta Poetry” during the 2010s. Wikipedia defines Insta-poetry as “poems specifically written to be shared online” and a style that “usually consists of short, direct lines in aesthetically pleasing fonts that are sometimes accompanied by an image or drawing, often without rhyme schemes or meter, and dealing with commonplace themes.” Other Insta-poets following Kaur’s lead are Atticus, R.M. Drake, and Lang Leav who have also received mass followings online.

Between three poetry books, Kaur has sold 12 million copies of her work worldwide, with “Milk and Honey” being one of the highest selling poetry books of the 21st century. In 2021, Kaur announced a worldwide tour, “Rupi Kaur Live,” where she reads her poetry out loud. She has since done two more tours, all of which had sold out.

Kaur’s poetry seems to especially appeal to teenage girls. It is not uncommon to find an adolescent girl reading Kaur at a cafe or school, or to see Kaur’s poems reposted on their Instagram and Tumblr accounts. In high school, I’d observe girls whom I’d never seen with a book, immersed in Kaur’s words.

Kaur’s appeal to young women makes sense, as her poetry often explores themes of femininity, familial and romantic relationships, sexual violence, and body image. With poems that read like, “neither of us is happy/neither of us wants to leave/so we keep breaking one another/and calling it love” and “when death/takes my hand/I will hold you with the other/and promise to find you/in every lifetime,” it is very easy to understand why this Insta-poet has a mass appeal to teenage girls. Her concise and ambiguous language echo suffering that is unique to the womanly experience, as well as acknowledge growing pains and young love.

Due to her simplicity and juvenile audience, Kaur has become an easy target for those who share the literary space with her. Ashley Wu, the writer of “Rupi Kaur is Killing Poetry” argues that “Kaur’s work allows little room for analysis because of its reliance on aphorisms and other tricks that are meant to make poetry sound ‘deep.’” Wu believes the Insta-poet’s work exploits the emotions of “vulnerable teenage girls” through “cheap” rhetorical devices and cliched wisdom.”

Kaur has a bachelor’s degree in Rhetoric and Professional writing, which she received from the University of Waterloo in Ontario. Kaur evidently does have traditional training as a writer, so it is not fair to dismiss her talents, as her plainess is a choice with the aim to make her work accessible. We can see this approach in many gifted poets, such as Sandra Cisneros who was staunchly opposed to esoteric purple prose and believes writing should be accessible to everyone, no matter their reading levels or education, or lack thereof.

And while it is true that Kaur can often fall back on clichés and language that at times can lack depth, I do not find Kaur’s work exploitative, as she writes from personal experiences with the goal to connect with her target audience, like most poets.

Directness and advice are typically not the words we equate with poetry, but these approaches are what make Kaur’s work impactful and striking; because of her vulnerable audience, it is important she offers comfort and advice, especially when exploring the taboo, like one of her poems from “Milk and Honey” which reads:

Sex takes the consent of two
If one person is lying there not
doing anything
Cause they are not ready
Or in the mood
Or simply don’t want to
Yet the other is having sex
With their body it’s not love
It is rape

According to “RAINN,” one in nine girls under the age of eighteen have experienced sexual assault or abuse. With this disturbing statistic in mind, it is crucial young women understand that unwanted sexual experiences are never their fault. Kaur’s definition of rape addresses the confusion or doubt adolescent girls might face after being assaulted, as what is classified as rape may not always be clear to them.

Kaur also embraces sexuality and self-pleasure in her poems, which is incredibly refreshing, and exemplifies her commitment to advocating for women. Teenage girls are usually shamed for expressing sexual desires, unlike teenage boys, so reminding girls that those feelings are natural and nothing to be ashamed of is remarkable. Therefore, it is fair to say that Kaur is a voice and positive role model for young women who may lack confidence or a voice of their own.

Kaur and her peers have not only boosted poetry sales in general, but their poems are also an excellent introduction to poetry and can lead readers to seek out more sophisticated writers.

Marginalizing Kaur and other Insta-poets contributes to poetry’s reputation as being elitist. That is not to dismiss critiques of these poets, because critique is necessary and should be encouraged, as they do have room to mature as writers. However, poetry should not be intimidating or be limited to high brow writers, like T.S Eliot and Sylvia Plath. Poetry, like all literature, is forever changing. We should welcome this new wave of poetry, as it reflects the unconventionality of contemporary poetry as a whole.