As commuters glide through the tunnels of the London Underground, they are often met with more than just the rumble of trains and the hustle of fellow passengers. For the past four decades, Poems on the Underground has been quietly transforming the daily commute into a moment of respite and inspiration.
Conceived by American writer Judith Chernaik in 1986, this simple yet ingenious idea has blossomed into a beloved institution, with poetry installations now gracing public transport systems across the globe, from New York to Beijing. Chernaik, now 91, continues to curate the project, alongside poets Imtiaz Dharker and George Szirtes, selecting six poems three times a year to adorn the underground’s walls and platforms.
The poems themselves span a diverse range of styles and eras, from the contemporary musings of Rachel Boast and Blake Morrison to the timeless haikus of 18th-century Japanese poet Kobayashi Issa. While some selections, such as the 15th-century poem “I Have a Gentil Cock,” have stirred controversy over the years, the project has remained resilient, weathering even the challenges of the pandemic lockdowns.
During this period, a dedicated website was established to ensure that commuters could still access their daily dose of poetry, and new works greeted them upon their return to the underground’s platforms. In 2024, Poems on the Underground was further cemented as a cultural institution with the establishment of an archive at Cambridge University.
The project’s success is a testament to its ability to bring a touch of humanity and imagination to the often-sterile confines of the underground. As Transport for London’s long tradition of art and design has shown, these literary interventions serve as a counterpoint to the subterranean labyrinth of civil engineering, offering commuters a brief respite from the monotony of their journeys.
As Seamus Heaney eloquently observed, “no lyric ever stopped a tank,” but these poems have the power to stop us in our tracks, even if just for a moment. Studies have shown that a daily “microdose” of art can boost our well-being, and Poems on the Underground has undoubtedly contributed to the “life-worth of poetry for many people,” as Heaney himself acknowledged in a letter to Chernaik.
Forty years on, Poems on the Underground stands as a testament to the enduring power of the written word to transform our public spaces. From the Edwardian posters to the iconic David Gentleman mural, this project has become as much a part of the UK’s cultural landscape as Trafalgar Square’s fourth plinth or the Angel of the North. As commuters navigate the darkness of the underground, these poems serve as tiny beacons of light, brightening their journeys and enriching their lives.
