This paper is a re-examination of Louise Rosenblatt's seminal work of reader-response theory, The Reader, The Text, The Poem. I argue that poems are essentially social in nature and that they open up a space in which conversation and interpretation can take place. With Rosenblatt I argue that until a reader engages with a poem, bringing to it a combination of her interest and experience, the text will lie dormant. I go on to argue that this implies a model of pedagogy and discourse about poetry which is currently inimical to the high stakes testing arrangements in the current context in England and the Anglophone world. Via the work of John Dewey, especially his notion of art as experience, I analyse the cultural and critical frameworks which influenced Rosenblatt innovations both directly and indirectly. This includes the tradition of the New Criticism, with its emphasis on empiricism and an assumed reader. For practitioners seeking a model of reader-response and classroom practice that promotes more than pre-prescribed comprehension questions, I offer examples of practice which prefigure the role of talk in aiding the reader's aesthetic and transactional interpretations of poems.