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“... Make over the alleys and gardens to birdsong, The hour of not-for-an-hour. Lie still. Leave the socks you forgot on the clothes-line. Leave slugs to make free with the pansies. The jets will give Gatwick a miss And from here you could feel the springs wake By the doorstep and under the precinct Where now there is nobody frozenly waiting. This is free time, in the sense that a handbill Goes cartwheeling over the crossroads Past stoplights rehearsing in private And has neither witness nor outcome ...”

“... We have sat here in too many poetry readings Wearing the liberal rictus and cursing our folly, Watching the lightbulbs die and the curtains rot And the last flies departing for Scunthorpe. Forgive us. We know all about you. Autumn gives way to midwinter once more, As states collapse, as hemlines rise, as we miss both, And just as our teeth fall discreetly into our handkerchiefs, Slowly the bones of our co-tormentees will emerge Through their skins ...”

“... It was as a poet that Fred D’ Aguiar first won recognition, with his 1985 collection Mama Dot, set in the Guyanese village where the English-born D’ Aguiar was sent to be educated. The place is dominated by Mama Dot, the archetypal grandmother, source of wisdom, comfort and discipline, a woman so important that when she falls ill nature itself goes to pieces: Bees abandon their queens to red ants and bury Their stings in every moving thing; and the sun Sticks like the hands of a clock at noon, Drying the very milk in coconuts to powder ...”

“... some poets today deny them all. Her Serene Highness is distinctively and successfully present in Sean O’Brien’s poems of workaday life. He envisages, for instance, an ‘hour of general safety’ when you can rest peacefully and Leave the socks you forgot on the clothesline. Leave slugs to make free with the pansies in a world where momentarily ...”

“... its wider social and cultural contexts – education acts, decolonisation, immigration – while Sean O’Brien, author of The Deregulated Muse, a fine critical panorama of contemporary poetry, commends ‘the emergence of new poetries from formerly unsuspected sources’. There is also a step towards devolution, with Armitage and Crawford including a ...”

“... reviewers. ‘Given one brief opportunity to convert an uncommitted reader to poetry,’ testified Sean O’Brien, ‘I would place Carol Ann Duffy high on my list of examples.’ ‘Carol Ann Duffy is a poet at the height of her powers,’ insisted Ian McMillan in a review of Duffy’s last collection, Mean Time ...”

“... his writing becomes. His examination of Northern poets such as David Morley, Simon Armitage and Sean O’Brien is marvellously sensitive to their regionalism and to the bitter undertow of history and class politics in some of their work. I have a grouse about both these books: neither has an index. Also, when reading Davidson I occasionally felt a ...”

“... writes Geoff Hattersley). And it is true that a fighting politics seethes in poets like Sean O’Brien and Simon Armitage. One feels, however, that the best and most interesting poets in this large anthology are not the writers that fit inside the editorial fist. For instance, the introduction makes much of the ballad-writers like Paul Durcan ...”

“... all rolled into one. It crops up twice in this batch of collections, in poems by Steve Ellis and Sean O’Brien.The opening of ‘Summer ’84’ by Steve Ellis provides a fair sample:My father-in-law adored a drought.At the first sign of a sun in stasis,cracked soil, rumours on the radio,he’d mobilise an army of bucketsand scurry all over the ...”

“... Rest on the Flight, a chronologically arranged selection of Porter’s poems deftly edited by Sean O’Brien and Don Paterson, deals with his Scottish Australian ancestry, and with despair-haunted, hard-drinking, church-building men who have ‘no life but the marking-time of work’. Probably with Porter’s father’s garden in mind, it ends with ...”

“... In March​ 1957 Brian O’Nolan – better known under his pen names Flann O’Brien and Myles na gCopaleen – then aged 45, applied for a series of jobs at the radio broadcasting studios in Cork, including station supervisor, programme assistant, and balance and control officer. The same month he announced his candidacy for the Irish Senate ...”

“... He grins with browning teeth. ‘There we are at the cashier’s desk in the hall, poor old Mossy O’Brien and myself, I’d been painting the whole week. Bags on the mat. The pony and trap outside on the gravel waiting to take us off to the GS&WR for Dublin. Behind the counter, in her black bombazine and gold chains, old Ma Coughlan, the toughest ...”

“... When, in 1941, Sean O’Faolain wrote to the Irish Times to protest about the ‘miserable fees’ paid by Irish radio for talks by Irish writers, he inadvertently set in train the most nightmarishly savage satire in that paper’s history. O’Faolain’s letter, and the response to it from the impoverished rump that constituted the Irish intelligentsia, led to the foundation by him of WAAMA, the Writers Artists Actors Musicians Association, a short-lived trade union for workers whose services were not exactly regarded as essential ...”

“... said one of the plain people of the West of Ireland, following the notoriety caused by Edna O’Brien’s fine first novel, The Country Girls, published in 1960. The notoriety was echoed in England: the last of England’s eminent Edwardian novelists, L.P. Hartley, described the novel, she has recalled, as ‘the skittish story of two Irish ...”

“... rather than in terms of some unitary principle, racial, cultural, literary or any other. Sean Mac Reamoinn’s book, is illuminated throughout by this assumption. It is an introduction to Gaelic poetry which manages to avoid being propagandistic on its behalf. At the same time, it has no ecumenical ambition to reconcile two opposed literary ...”