The Rest on the Flight.
The Darkness of Snow. Not In These Shoes.
A Bump on the Road. Scenes from an Irish Childhood. Life is a Dream. Once Again Assembled Here.
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This was often setting up workshops and building a strong, supportive literary community. Max Roberts, artistic director of Live, had come across a poem of O'Brien's and asked O'Brien if he was interested in writing a play. O'Brien then wrote a verse drama called Laughter When We Are Dead, which focuses on the corruption of Labour politics during a party conference being held in Tyneside.
Julia Darling, a friend of O'Brien's, was also asked to contribute and the together the two wrote several plays including, One Actors and sketches for a cabaret, organised events. O'Brien found the experience very useful. O'Brien finds the experience working of the theatre very interesting. As a poet, you are the 'writer, producer and star' of your own work but in the theatre it is a more collaborative process.
O'Brien discusses reading at Morden Tower. Prior to the release of his first book, O'Brien had a poem in A Rumoured City - an anthology of poems by poets from Hull published by Bloodaxe.
O'Brien grew to like Morden Tower and after his move to Newcastle, he would regularly attend readings there - often walking out if he was unimpressed! O'Brien recalls a reading he did shortly after moving to Newcastle and the poet Keith Armstrong 'the jingling Geordie' was in the audience. Armstrong is notorious for his opinions and shouted 'You Bloody Liar!
O'Brien talks about the history of Morden Tower - commenting how it was very famous and attracted audiences and poets from all over the world. He laments that it is not operating as much anymore and stresses its importance as a venue for poets.
O'Brien discusses reading at Morden Tower. There is a strong poetic heritage in the city. O'Brien discusses winning both the T. O'Brien's version is in English, unrhymed blank verse and chose this to allow for the steady, incandescence of Dante's work to emerge without having to deform the syntax and sentence structure to accommodate other technical demands, such as 'terza rima'. O'Brien feels a strong connection to the poetry scene in the North East. Selected Poems
O'Brien discusses his interest in literary criticism. For him, if you are a poet, you are reading all the time and engaging with other people's work, working out their craft.
This puts you into the position of a critic already: He discusses the path that literary critics take: O'Brien's relationship with Douglas Dunn. Dunn is a very distinguished poet.
O'Brien and Dunn met in Hull when they both lived together. Dunn advised him on his work and O'Brien is greatly thankful to Dunn for his support as both a friend and teacher. He also discusses his friendship with Peter Porter. O'Brien discusses winning both the T. Eliot and Forward Prize in the same year.
He says this was very unexpected. He also won the Northern Rock Writer's prize that year. It doesn't make it any easier to write but it does give you a temporary boost of confidence that what you've been doing is worthwhile. O'Brien feels a strong connection to the poetry scene in the North East. He feels there are some very good poets just starting to make their mark on the scene, including Chris Johnson, John Challis and Dave Spittle and others.
There is a large body of distinguished writers too who have worked here for a long time. He discusses how there is a large variety of work available and it is a lively and vigorous community but there is a perception the North East as a 'world unto itself' - while it is good people can live and work here, it can be imprisoning in the sense that people are sometimes afraid to look further away in case of rejection. He was interested that anyone should want it or that it could be of interest for study.
So I set about writing poems from then on. I found the way in which the poet was able to substantiate the world. Sean combines his creativity with teaching as a Professor of Creative Writing at Newcastle University. There is a strong poetic heritage in the city.
Hull has been important physically and as part of my imagination. I think about it and visualise it all the time. W H Auden has been immensely influential on my work, because he shows that there is no division between the private and the public or the political and the personal, at least in his early work.
The poet can go anywhere and write about anything, poets are citizens. I still think that is true. Sean deals with global issues facing us all on a personal scale. He combines poetry with writing plays, literary criticism and translation.