The revolutions in Tunisia and Egypt, and the popular bestirrings in other Arab countries, have of a sudden infused tidal energy in the Arab creative imagination. This energy found expression in a variety of modes: essay writing, fiction, graffiti, song, etc. But most notably it found expression in poetry, the Arabs' primeval art. From the beginning, the Tunisian revolution took as its motto the first two lines from Tunisian poet Abu al-Qasem al-Shabbi's (1909-1934) timeless poem LIFE'S WILL: "If a people decides to live, fate cannot but comply". The Tunisian people translated this poem into action on the streets of their country. The daring revolt and its unforeseen triumphant unraveling of an oppressive prototypically-Arab regime galvanized the imagination of all Arabs. In the midst of the Tunisian revolution, Hisham al-Jakh, an aspiring young Egyptian poet competing in Abu Dhabi's popular PRINCE OF POETS’ TV Show, delivered a fiery poem titled THE VISA, denouncing, to the hosts' discomfort, all Arab regimes as selfish betrayals of their people's pan-Arabist and democratic ambitions. The audience's euphoric response was emblematic of the general emotions gripping the Arabs everywhere. As revolutionary fervor spread to Egypt, the Arabic poetry scene was electrified. New enthusiastic poems in both Standard Arabic and Egyptian Arabic poured in on live television, online, and in print from well-known established poets like Ahmad Matar, Ahmad Abdul Mu’ti Hijazi, Ahmad Fuad Nagm, and Abdul Rahman al-Abnudi, but mostly from fresh young poets who made their exuberant voices heard on the new media. This paper will study this new poetic wave, its main characteristics, its artistic significance, its continuities and discontinuities, its durability in the Arabic literary tradition, and above all, how it balances the subtle esthetic essential to the “poeticness” of any poetry with the direct combativeness central to any revolutionary discourse.