English performance poetry

Those who know me will know my history in performance poetry. This emerged largely from my stage presence as a musician and front-man for several rock bands in the 80s and 90s. During that time I developed a performance style constructed on the spoken word, humour, ad-libbing and story telling. Out of fascination, I delved into the history of performance poetry in my own country and it is fascinating. Read on...

Modern English performance poetry emerged during the cultural revolution of the 1960s, transforming poetry from a predominantly printed literary form into a vibrant live art. Influenced by music, theatre, political activism, and the spoken traditions of earlier times, performance poets tried to engage audiences directly through their voices, rhythm, humour and storytelling. Today, it flourishes in festivals, theatres, schools, cafés and online, making poetry more accessible than at any time in recent history.

In my opinion, the most influential pioneers of performance poetry were the Liverpool Poets—Adrian Henri, Roger McGough and Brian Patten. Living and performing in a city that was also home to the Beatles, they captured the energy and optimism of the 1960s. Rather than writing solely for academic audiences, they produced poetry that could be heard as well as read. Their performances often included music, visual art, and humour, breaking down the barriers between poetry and popular entertainment.

I own a copy of their landmark anthology, The Mersey Sound (1967) and often dip into it for inspiration. It is one of the best-selling poetry collections in British publishing history. Adrian Henri combined surreal imagery with pop culture and jazz influences, while Roger McGough became renowned for his wit, wordplay and memorable public performances. Brian Patten's deeply personal poems about love, childhood and social injustice balanced accessibility with emotional depth. Together, they demonstrated that poetry could appeal to a broad audience without sacrificing artistic quality, inspiring countless poets to perform their work rather than simply publish it.

Parallel to the Liverpool Poets, Adrian Mitchell emerged as one of Britain's foremost political performance poets. A passionate campaigner against war, nuclear weapons and social inequality, Mitchell believed that poetry should speak directly to ordinary people. His energetic performances combined humour, satire and moral conviction, making him a regular presence at political rallies, literary festivals and public events.

The rise of punk during the late 1970s gave performance poetry a new voice through John Cooper Clarke. Often described as the Punk Poet (other poets were available), Clarke delivered quick-fire poems full of dark humour, sharp social observation, and working-class wit. Performing with rock bands, he introduced poetry to audiences who had little interest in traditional literature. His influence can still be seen in today's spoken-word performers and stand-up poets.

The 1980s and 1990s saw performance poetry become increasingly diverse. Benjamin Zephaniah combined reggae rhythms, Jamaican oral traditions, and political activism to create an unmistakable performance style while Linton Kwesi Johnson achieved something similar with dub-poetry. His poems addressed racism, inequality, environmental issues, and human rights with warmth, humour, and urgency. Zephaniah's refusal to separate poetry from everyday life helped establish spoken word as a respected literary form. Other notable performers, including John Hegley, blended comedy with thoughtful observations about family, education, and modern society, proving that performance poetry could be both entertaining and deeply moving.

In recent years, performance poetry has flourished through poetry slams, open-mic nights, festivals, podcasts and via social media. The internet has enabled poets to reach global audiences without relying solely on traditional publishers. Luke Wright has become one of England's leading live poets, combining political commentary with autobiographical storytelling and humour. Hollie McNish has attracted large audiences through performances addressing motherhood, feminism, class and everyday life with honesty and wit. Brian Bilston, often described as the 'Poet Laureate of Twitter' has demonstrated how social media can introduce poetry to new readers through clever, accessible verse that frequently translates successfully to live performance.

Among England's most respected contemporary poets, Simon Armitage, the current Poet Laureate, is a gifted performer whose conversational style makes his readings engaging. His work bridges the gap between page and stage, while poets such as Kae Tempest have taken it much further. Tempest has blurred the boundaries between poetry, theatre, music and spoken-word performance, attracting audiences far beyond traditional literary circles. Although his work incorporates rap and dramatic monologue, it sustains the performance tradition established by earlier generations. Another in this mould is Chris Turner who performs free-style comic rap, working with suggestions from live audiences to create spontaneous, real-time poetry.

Today, performance poetry holds an important place in English culture. Schools encourage spoken-word competitions, literary festivals regularly feature live performances, and poetry slams continue to attract new voices from every background. The tradition established by the Liverpool Poets has evolved into a diverse movement that embraces humour, politics, identity, music, and personal experience.

English performance poetry has transformed the way poetry is written, shared and enjoyed. From the pioneering performances of the Liverpool Poets to the political passion of Adrian Mitchell, the punk energy of John Cooper Clarke and contemporary voices such as Simon Armitage, Luke Wright, Hollie McNish, Brian Bilston and Kae Tempest, performance poetry in England has ensured that verse remains a living, dynamic and accessible art form in the twenty-first century. 

Steve Wheeler

The Irish Bards

Coming as I do from Irish stock (my maternal ancestors were from Cork, Waterford and Dublin), I love visiting Ireland. It feels like coming home. On one trip with my wife, we visited the Dublin writers museum. It's well worth a visit to be sure.

Irish poetry is one of the oldest and most celebrated literary traditions in Europe, with a history stretching back more than 1500 years. It has evolved through periods of political upheaval, religious change, colonisation, and cultural revival while remaining deeply connected to Ireland's language, landscape, and identity. From the ancient Gaelic filí to contemporary poets, Irish poetry has preserved the nation's history, expressed its struggles, and celebrated its rich cultural heritage.

The origins of Irish poetry lie in the oral traditions of early Gaelic society. Professional poets, known as filí, occupied positions of great importance in medieval Ireland. They composed praise poems for kings and chieftains, recorded genealogies, preserved myths, and recounted heroic legends. Their poetry followed strict rules of metre and rhyme and was often passed down orally before being written in manuscripts such as the Book of Leinster and the Book of the Dun Cow. Nature, heroism, spirituality, and mythology were recurring themes, reflecting the close relationship between the Irish people and their land.

The arrival of Christianity in the fifth century significantly influenced Irish poetry. Monasteries became centres of education where monks preserved both religious and secular literature. Christian faith blended with older Celtic traditions, producing poetry that celebrated faith while retaining the imagery and symbolism of earlier Gaelic culture. These monastic communities played a crucial role in preserving Ireland's literary heritage during the medieval period.

The English conquest of Ireland from the sixteenth century onwards led to the decline of the Gaelic aristocracy, weakening the traditional patronage system that had supported professional poets. Despite political repression, many continued writing in Irish Gaelic. Aogán Ó Rathaille was one of the last great Gaelic poets, expressing grief over the collapse of the old Irish order in powerful political and elegiac verse. Brian Merriman, best known for The Midnight Court, combined satire, humour, and social criticism, demonstrating the resilience of Irish-language poetry during a period of profound cultural change.

The eighteenth and nineteenth centuries witnessed a renewed interest in Irish culture and folklore. The poet philospher Thomas Moore achieved international popularity through his Irish Melodies, which blended traditional Irish music with patriotic and romantic verse. James Clarence Mangan translated Gaelic poetry into English while producing original works that reflected themes of nationalism, exile, and suffering. Sir Samuel Ferguson also contributed to the revival of Irish mythology through narrative poetry inspired by ancient legends.

The Irish Literary Revival at the end of the nineteenth century marked one of the most significant periods in Irish literary history. Its leading figure, William Butler Yeats transformed Irish poetry by combining folklore, mythology, mysticism, and politics with innovative poetic techniques. His collections, including The Tower and The Wind Among the Reeds, explored themes of love, national identity, ageing, and spirituality. Yeats was awarded the Nobel Prize in Literature in 1923, becoming the first Irish writer to receive the honour and helping establish Irish poetry on the international stage. Alongside Yeats, Lady Augusta Gregory and George Russell (aka AE) promoted Irish literature and preserved many elements of Irish folklore and tradition.

Throughout the twentieth century, Irish poetry became increasingly diverse and personal. Patrick Kavanagh challenged idealised portrayals of rural Ireland by writing honestly about farming life, loneliness, and ordinary experience in poems such as The Great Hunger. His work demonstrated that profound poetry could emerge from the prosaic. Although best known as a playwright and novelist, Brendan Behan also wrote poetry that reflected working-class Dublin, political conflict, imprisonment, and Irish identity. His poetry shared the wit, compassion, and rebellious spirit that characterised his dramatic works.

In the latter half of the twentieth century, some of Ireland's most celebrated poets emerged. Seamus Heaney, awarded the Nobel Prize in Literature in 1995, explored memory, history, farming and the Troubles in Northern Ireland through richly textured language and imagery. Along with Heaney, Derek Mahon, Michael Longley and Paul Muldoon addressed themes of conflict, identity, and cultural memory with distinctive poetic styles. Eavan Boland transformed Irish poetry by giving voice to women's experiences and challenging traditional literary perspectives, while Nuala Ní Dhomhnaill revitalised contemporary poetry in the Irish language through mythological and feminist themes.

Today, Irish poetry continues to thrive through the work of contemporary poets such as Sinéad Morrissey, Leontia Flynn and Doireann Ní Ghríofa, whose writing reflects contemporary concerns including identity, migration, memory, family, and environmental change. Many modern poets continue to write in both Irish Gaelic and English, maintaining Ireland's bilingual literary tradition while adopting new forms of expression.

Steve Wheeler

Photo by Irish Paper Freestock

Celebrating American Poetry

I have always been fascinated by America. I've been privileged to travel many times, and even on occasion, work in America over my years as an academic. One big connection I have is that my home city of Plymouth is the location for the Mayflower Steps - from where the 'Pilgrims' set sail in 1620. The time I spent in California, Nevada, South Dakota and Minnesota, as well as travels along the Eastern seaboard, always remind me that we are one people separated by a common language! I'm a great fan of American poetry, so it's high time I wrote something to celebrate this particular genre of poetry. 

Here is a brief history of some of the most prominent American poets, each one hyperlinked to a biography and other relevant information (I encourage you to click on these links because they are incredibly informative!)

The earliest American poetry emerged during the colonial period of the seventeenth century. Much of it was influenced by those Pilgrims I previously mentioned - the Puritan settlers of New England, whose poetry focused on faith, morality and spiritual life. One of the first published American poets was Anne Bradstreet, whose collection The Tenth Muse Lately Sprung Up in America (1650) was a personal reflection on her faith and family. Another important colonial poet, Edward Taylor, wrote deeply spiritual poetry that remained largely unpublished until the twentieth century but is now recognised as one of the finest examples of early American devotional poetry.

Following the American Revolution, poetry increasingly reflected the ideals of independence and national identity. Writers sought to distinguish American literature from its British roots by celebrating democracy, liberty and the nation's landscapes. Philip Freneau, often dubbed the 'Poet of the American Revolution,' wrote patriotic and political poems while also exploring nature and Native American life. His work helped establish a distinct American literary voice during the nation's early years.

The nineteenth century marked the emergence of some of America's greatest poets. The romantic poet William Cullen Bryant was famous for his meditations on nature and mortality, while Henry Wadsworth Longfellow gained international fame through narrative poems such as The Song of Hiawatha and Paul Revere's Ride. Longfellow's accessible style widened the appeal of poetry and helped establish American literature abroad.

Two of the most influential poets of the nineteenth century were Walt Whitman and Emily Dickinson, whose innovations transformed American poetry. Whitman's Leaves of Grass rejected traditional poetic forms in favour of free verse, celebrating democracy, individuality and the diversity of American life. His expansive style and optimistic vision influenced generations of poets around the world. In contrast, Dickinson wrote short, intensely personal poems that explored death, faith, nature and the inner self. Although most of her work was published posthumously, she is now regarded as one of America's greatest lyrical poets. Another influential poet and writer of the time was Edgar Allen Poe, who introduced the world to poetry that could be mysterious with a hint of the macabre. 

The twentieth century was characterised by an extraordinary diversity in American poetry. Modernist poets such as T. S. Eliot, Ezra Pound, and Marianne Moore experimented with language, symbolism, and fragmented forms to reflect the complexities of modern life. Edward E. Cummings took such creative deviance to another level with his experimentation in the fracturing of form, structure and meaning.  

The Harlem Renaissance of the 1920s introduced powerful African American voices, including Langston Hughes and Claude McKay, whose poetry celebrated Black culture while confronting racism and inequality. 

Following the Second World War, American poetry continued to diversify. Robert Frost gained widespread acclaim for poems rooted in rural New England that explored universal human experiences. Allen Ginsberg, a leading figure of the Beat Poets (see my earlier post for a fuller explanation of this movement), challenged conventional society through bold, experimental works such as Howl.  The raw, honest and dry realist poetry of Charles Bukowski influenced generations of free form poets. 

Other influential poets, including Sylvia Plath, Anne Sexton, and Robert Lowell, pioneered confessional poetry by examining mental health, family relationships and personal identity with brutal honesty. In the 70s Gil Scott Heron incorporated the spoken word and extemporised music into his politically aware street poetry. Carl Sandberg wrote vibrant celebrations of American industrialism, championing the working class through accessible, free-verse language.

The late twentieth and early twenty-first centuries have seen American poetry become increasingly inclusive. Poets such as Maya Angelou, Louise Glück and Rita Dove all addressed issues such as race, gender, history, indigenous identity and social justice. Their work reflects the multicultural nature of contemporary America and demonstrates the continuing ability of poetry to inspire dialogue and social change. In 2021 The Hill We Climb by Amanda Gorman introduced a new generation to the power of poetry in public life when she performed it at the presidential inauguration of Joe Biden. 

We have seen that the history of American poetry is one of constant innovation and diversity. From the devotional verse of Bradstreet to the democratic vision of Whitman; the introspection of Dickinson, the modernism of Eliot; the experimentation of Cummings and Pound; to the contemporary voices of Angelou and Gorman, American poets have continually redefined what poetry is able to achieve. Their work reflects the nation's history while exploring universal questions of identity, freedom, and human experience, form and meaning, which ensures that American poetry remains one of the world's most dynamic literary traditions. 

Steve Wheeler

Image copyright 2026 by Steve Wheeler

The Beat Poets

In a recent blog post, I documented a brief history of British poetry, and I intend to write other short articles on influential movements and eras of poetry. Today, I highlight the influence of the Beat Generation of poets who emerged in the USA during the late 40s and early 50s. Anyone who knows me, knows how much I'm enamoured with the Beats, and how much they have influenced my own writing. 

The Beats were characterised as a literary and cultural movement that resisted the conformity, materialism and political conservatism of post-war America. The Beat poets sought new forms of expression based on spontaneity, personal liberty, spiritual exploration and social protest. The movement transformed modern poetry and helped shape the counterculture of the 1960s, influencing later movements in environmentalism, civil rights, feminism and spoken-word performance.

New Jersey poet Allen Ginsberg along with Jack Kerouac and William S. Burroughs are seen as the central figures of Beat poetry, although it drew a wider community of writers connected to the San Francisco Renaissance. Ginsberg's Howl (1956) became the notorious, defining work of the movement. Its long, free-flowing lines, said to be inspired by Walt Whitman, combined personal soul searching with political criticism and spiritual yearning. The successful defence of the work in an obscenity trial established an important legal precedent for artistic freedom in the United States.

Although Ginsberg became the movement's public face, several other poets broadened its intellectual and artistic range. Gregory Corso introduced wit, surrealism and irony through poems such as Bomb and Marriage, demonstrating that Beat poetry could be humorous while confronting serious issues such as nuclear war and social convention. Gary Snyder incorporated Zen Buddhism and ecological awareness into collections, including Riprap, which foreshadowed environmentally aware modern writing and expanded the Beat ideal of personal freedom into a philosophy of harmony with nature.

The Beat movement included other significant voices whose contributions have only recently received wider recognition. Diane di Prima challenged the male dominance of the movement by combining Beat experimentation with feminist politics. Bob Kaufman fused jazz improvisation with surrealist imagery and African American cultural experience, while Philip Whalen and Michael McClure explored Buddhism, mythology and the natural sciences through highly original poetic forms.

The Beats did not emerge in isolation. They inherited important ideas from earlier writers including William Carlos Williams, whose advocacy of everyday American speech and concrete imagery profoundly influenced Ginsberg, and from modernists such as Ezra Pound and T. S. Eliot. They also admired the mystical intensity of William Blake and the rebellious spirit of Jean Rimbaud, while jazz improvisation shaped both the rhythm and spontaneity of their poetry.

Arguably, no figure was more important to the movement's success than Lawrence Ferlinghetti. It was through City Lights Books in San Francisco that he published affordable paperback poetry and gave emerging Beat writers an audience. His publication of Ginsberg's Howl and his successful defence against obscenity charges secured a lasting victory for literary freedom. Ferlinghetti's own collection, A Coney Island of the Mind, combined political criticism with humour and lyrical accessibility, reflecting his belief that poetry should engage ordinary readers rather than an academic elite.

In summary, the Beats revolutionised twentieth-century literature by rejecting formal conventions in favour of free verse, oral performance and honest self-expression. Their influence extends beyond poetry into music, environmentalism, performance art and contemporary culture. Although Ginsberg remains the movement's best-known voice, the contributions of Corso, Snyder, di Prima, Williams, Ferlinghetti and others show the Beat Generation to be a remarkably diverse literary community whose commitment to artistic freedom and social criticism continues to resonate to this day.

Steve Wheeler

Photo copyright Steve Wheeler 2026

British Poetry

Wheelsong books is based in Plymouth, in the United Kingdom. Founded by Steve Wheeler (a performance poet, musician and retired university professor) and his wife Dawn Kendal Wheeler (Teacher of English language and literature), Wheelsong was established as a not-for-profit company focused on a) raising the profile of new and unknown poets and b) raising fund for children in crisis. Wheelsong has a long partnership with Save the Children and all its profits go to this international relief organisation. 

The United Kingdom of Great Britain (England, Wales and Scotland) and Northern Ireland has a rich tradition in poetry. It's one of the oldest and most influential literary traditions in the world. Spanning more than a thousand years, it reflects the history, culture, beliefs, and emotions of the British people. From the epic verses of the Anglo-Saxon era to the modern works of contemporary poets, British poetry has continually evolved while maintaining its power to inspire, entertain and provoke. To mark this long history, several prominent British poets are buried or commemorated in Westminster Abbey, at Poets' Corner (Pictured above).

The origins of British poetry can be traced back to the Anglo-Saxon era, when poems were passed down orally before being written. One of the most famous examples is Beowulf, an epic poem that celebrates courage, loyalty, and heroism. During the medieval period, poets such as Geoffrey Chaucer transformed English literature through works like The Canterbury Tales. Chaucer's use of the English language instead of Latin or French made poetry more accessible to ordinary people and laid a firm foundation for future English literature.

The Renaissance marked a golden age for British poetry. During this period, William Shakespeare (the Avon 'Bard') became renowned not only for his plays but also for his sonnets, which explored themes of love, beauty, time, and mortality. Another important British poet, John Milton, wrote Paradise Lost, a masterpiece that examines the biblical story of the fall of humanity. His powerful language and complex themes continue to influence writers today.

The Romantic movement of the late eighteenth and early nineteenth centuries brought a renewed focus on nature, imagination, and personal emotion. Poets such as William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, and Lord Byron celebrated the beauty of the natural world and the importance of personal experience. Wordsworth held that poetry should express the feelings of ordinary people in simple language, while Keats explored beauty and the ephemeral nature of life through rich imagery and emotional language.

The Victorian era introduced the poets Alfred, Lord Tennyson and Robert Browning, whose works reflected the social changes, scientific discoveries, and moral questions of the time. Their poetry often balanced personal emotion with broader concerns about society and progress. Later, during the twentieth century, British poetry became even more diverse. Famous British Great War poets such as Siegfried Sassoon and Wilfred Owen drew attention to the brutality of conflict. Later in the century, poets including W. H. Auden, Dylan Thomas, and Ted Hughes experimented with style and form and addressed themes including war, identity, and the human condition. 

British poetry continues to thrive in the modern era. Modern day UK poets write about themes such as multiculturalism, gender equality, environmental concerns, and mental health, demonstrating that poetry remains a relevant and powerful form of expression. Modern poets use both traditional forms and free verse, showing that the art continues to adapt to changing times while preserving its rich heritage.

British poets continue to make an enormous impact on world literature. Through its exploration of universal themes such as love, nature, faith, loss, and identity, British poetry has touched the lives of readers across multiple generations. The diversity of its voices and styles reflects the changing history of Britain itself. Contemporary poets such as Carol Ann Duffy, John Cooper Clarke, Roger McGough and the current UK Poet Laureate, Simon Armitage are prominent in British society. Whether through ancient epics, Romantic lyrics, or contemporary verse, or street poetry, British poetry continues to inspire readers with its beauty, depth, and timeless appeal.

Steve Wheeler

Image: Poets' Corner, Westminster Abbey used under a Creative Commons Licence

Why novels sell better than poetry books

I once joked at a live poetry event (it was also during a general election) that there was no difference between a poetry book and an election manifesto... because nobody's buying either. Everyone laughed, but there is an element of truth in it. Generally speaking (there are one or two exceptions) poetry books don't sell as well as fiction novels or other similar publications. 

Why don't poetry books sell as well as novels?

There are many reasons for this disparity, not least the fact that most readers would rather sit down and read a fiction novel by one of their favourite authors than they would a poetry book. A standard novel can take up to 30-40 hours to read, and this is often over a period of several days or even weeks. A poetry book can be finished in one sitting of a few hours. The perception by readers is that there's more value for money in a book that takes longer to read.

Furthermore, and this is arguable, poetry books tend to require a lot more investment in cognitive energy. That is, poetry involves interpretation of metaphors, analogies and symbolism than a standard novel. One may have to read a poem several times to tease out the nuances and apprehend its meaning. Poems can therefore be harder to read and understand, depending of course on the poet (AI poetry is often so simple it looks like it's been stolen from a greeting card). The bottom line is that most readers would rather not have to struggle to read a book, and somehow, poetry books remind them of school.

On the brighter side ... although a best selling novel may sell hundreds of thousands or even millions of copies worldwide, and successful poetry books might sell perhaps a few thousand ... the impact of poetry may be longer lasting and have more impact over time than many novels. Therefore, commercial success may not be an accurate yardstick for poetry, which might be better measured in terms of its cultural influence. 

Wheelsong poetry anthologies typically sell three to four hundred copies for each edition, and in a world replete with poetry publications, that is fairly good going.  What is even better is that for each sale, we are able to donate around £3.00 to our chosen charity, Save the Children. Everyone who buys a Wheelsong book knows that they are not only purchasing a quality publication they can cherish for the rest of their lives, they have become a part of a worldwide humanitarian effort to defeat poverty with poetry. That must be worth something. 

Steve Wheeler

Politics and Religion

There is an old saying that in polite company you should never talk about religion or politics. It is a quote that has been attributed to just about every high profile figure from Mohandas K. Gandhi to Micky Mouse. There is another famous quote, this one directly attributable to the writer and poet G. K. Chesterton (the author of the Father Brown mysteries). He said: 'I never discuss anything else except politics and religion. There is nothing else to discuss.'

So who is correct? And in poetic circles, is it taboo to write about politics and/or religion? 

I know for a fact that several members of my own online group, Invisible Poets, feel strongly that neither should be the subject of one of their poems. Others in the group feel that poems about religion or politics should be removed from the group stream so that people aren't offended. And believe me, there have been poems about both topics that have offended some and caused others to leave the group. Yes, politics and religion are divisive, and often cause a lot of consternation among readers.

But does that mean that poets should steer clear? 

My view is that poets should always write from the heart. If what is exercising your mind is a theme about injustice, poverty, lawlessness, or conflict, then you should write about it. In so doing, you will be touching on political sensibilities. If your mind is full of questions about eternity, your soul, life after death or the meaning of life, than write about it. In so doing, you will be touching on religion in some form or another. Yes, you are liable to upset someone, or cause a ruction among readers, but isn't that what poetry is for? Isn't that what all art forms seek to achieve? 

Another famous quote is 'Anything can make you look, but only art can make you see.'

Personally, I write often write poetry to provoke a reaction. Whether it's about my strong conviction to improve the lives of those in difficult situations, I find that writing to provoke is a very powerful tool to raise people's awareness of a context. If I'm writing about homelessness (one of my more frequent topics, after spending years supporting rough sleepers) or about starving kids (I have seen this at close hand in Africa), I am not going to pull any punches. I'm going to hit you right between the eyes with the problem. And I will make no apologies if I offend someone with my poetry. 

Perhaps they needed offending so their eyes could be opened to the truth. Is that the job of a poet? You bet your life it is. In the immortal words of the great philosopher Tom Petty 'No, I won't back down.' 

And neither should you.

Steve Wheeler

Image above copyright Steve Wheeler 2026 (Gambian children fetching fire wood)

Call for poems: Wheelsong Poetry Anthology 8

Do you want to be a part of something truly amazing? Something that reaches much further than poetry? Would you like to be a part of something that will leave a lasting legacy and do some good in the world long after you are gone? Invisible Poets, Wheelsong Books and a number of other poetry groups periodically band together to raise funds for a well known international children's charity - Save the Children

Together, we will soon be publishing the latest anthology in our charity series. It's number 8 in a book series representing our efforts to make lives better for underprivileged children around the globe. We will literally mobilise poetry against poverty. Each book sold raises enough funds to feed a malnourished child for a month. We would love to include you as a contributor! 

Here is some context: Wheelsong Books Ltd was established in the Plymouth, England in 2020 as a not-for-profit organisation. Its mission statement is twofold: To give emerging poets the means to reach larger audiences and to help children who are in need. Since then, Wheelsong, in partnership with Invisible Poets and its affiliated groups, has published around 60 books including 13 charity poetry anthologies. Here are our anthology statistics: 

Absolutely Poetry Anthology 1: 170 poems (310 copies sold)

Absolutely Poetry Anthology 2: 176 poems (287 copies sold)

Wheelsong Poetry Anthology 1: 183 poems (258 copies sold)

Wheelsong Poetry Anthology 2: 214 poems (237 copies sold)

Wheelsong Poetry Anthology 3: 229 poems (417 copies sold)

Wheelsong Poetry Anthology 4: 245 poems (395 copies sold)

Wheelsong Poetry Anthology 5: 248 poems (348 copies sold)

Wheelsong Poetry Anthology 6: 265 poems (353 copies sold)

Wheelsong Poetry Anthology 7: 249 poems (295 copies sold)

Invisible Poets Anthology 1: 352 poems (317 copies sold)

Invisible Poets Anthology 2: 242 poems (83 copies sold)

Invisible Poets Anthology 3: 246 poems (84 copies sold)

Invisible Poets Anthology 4: 263 poems (101 copies sold)

No other poetry group on Facebook comes anywhere close to these charitable efforts. (We have published a total of 3062 poems written by more than 500 poets representing 130 countries across all 6 continents, and have sold more than 3470 copies at the time of writing). And that's just the anthologies. 

All the above books are still selling on Amazon and through other online outlets, including Waterstones (UK) and Barnes & Noble (USA). The proceeds from Amazon sales of these books is donated directly to Save the Children - a worldwide charity that cares for children in crisis, providing emergency nutrition, health care, medicine, safety and education. To date, Wheelsong Books has donated approximately £15,000.00 ($18,000.00) to Save the Children and we are only getting started! We plan to publish another Wheelsong anthology this year, as well as two more Wheelsong Anthologies and another Invisible Poets Anthology next year.

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Dear poet, please think about this... You possess an amazing creative gift ... you have the ability to capture your thoughts, ideas, memories and emotions and present them as beautiful, evocative words. 

You can, if you want to join us, use your wonderful talent to freely give back a little to children who are ltrapped in desperate, often life-threatening situations. 

We all want our poetry to be read and appreciated by others. Publishing your work in Wheelsong Poetry Anthology 6 will ensure that you gain a new audience for your poetry, but that's not the most important aim! 

Better than that is this ... your poems will be helping to raise much needed funds to support those children in crisis. You will also retain ownership of your poetry, and Wheelsong Books will protect and administer your copyright for you. 

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To be considered for inclusion in the review process you will need to follow these instructions very carefully:

Firstly, do not bother to submit your poetry if you do not intend to buy at least one copy of the book. We will expect you to pledge to buy at least one copy direct from Wheelsong Books if your work is published. This is a charity publication, and all profits from Amazon sales will go to help children in crisis. If you're not prepared to invest in helping children, we won't be publishing your poetry (we are dismayed that around two thirds of featured poets do not purchase a copy of the anthologies once they have been published). Please give more than you take, because this is not about you or about Wheelsong Books - this is about helping children who are in desperate need. 

Secondly, only submit poetry that is a) your own work and b) has not been subject to any other publishing agreement. Poetry you've shared on Facebook and other social media is fine, but please do not send in work that has been published elsewhere, and is subject to a previous publishing contract. That could lead to legal action being taken against you. The editorial team will also reject poems if we suspect they have been either plagiarised in part or whole, or generated partly or wholly through artificial intelligence.

Thirdly, submit up to 3 poems as either plain text or in a Word file via email direct to this email address: wheelsong6@gmail.com. Submissions by any other means will not be considered. Poetry submitted as images or photos will not be considered, nor will links to external sites. Please supply a title for each of your poems. Please also supply your real name - we will not publish works by poets using pseudonyms. 

And before you ask: There is NO specific theme. Write about what you want. 

Finally, all poems submitted will be subject to review by our editorial team. Your poetry will be anonymised (your name blanked out) so the editorial team can't see who you are. If your poetry is selected, you will be informed via email and a publication agreement will be sent to you for you to complete and return. Your work will be then published under your name. If your work is not accepted for publication, you will receive an email informing you of the team's decision. No correspondence other than via email will be valid. Please don't try to text or direct message us. We won't answer. 

The window for submission is now open, and will be closed at midnight (UK time) on Thursday 16 April, 2026. Any submissions received after this time/date will be not be reviewed. If there is an extension to this date, you will be informed. The editors' decisions will be final. 

Please Note: Shorter poems are more likely to be accepted for publication than longer pieces - space will be limited in the book due to resource and production limitations. Several poetry groups will participate, including Invisible Poets, Wheelsong Poetry, Pure Poetry and Safe Haven. Poets from outside these groups are also eligible to take part, so please point anyone you think may be interested to this blog, and keep visiting this blog to find out news as it unfolds. We look forward to reading your submissions. Good luck! 

Steve Wheeler (Editor in Chief) 

P. S. It might be worth your while (if you haven't already done so) to purchase an anthology or two just to check out the quality of the poetry, the way it is presented and the various themes covered. That might give you an idea what to aim for if you want to be included in this next anthology...

Photo by Steve Wheeler (with children from the Khayelitsha Township, South Africa)

Invisible Poets Anthology 4

I find it amazing that a small germ of an idea from three years ago has slowly evolved into a large, vibrant and creative community of poets. Invisible Poets was founded in a project by two English poets; me and my friend Charlene Phare. I first met Charlene four years ago when I visited her for the day and we jointly presented several live poetry shows and recorded two YouTube interviews. Since then we have collaborated on a number of poetry related projects, and in February 2023 we decided to start a new poetry group on Facebook. Charlene set up the mechanics of the group and I named it, and designed the logo (the crouching hoodied poet). 

Since then, Invisible Poets has grown steadily to the point that it's now the size of a small city at just over 85,000 members. Not all are active, but those that are regularly share their poetry in the group and participate in a number of projects and activities. These include the live poetry shows on most days, the prompts and challenges, and various other activities. There is also the Invisible Poets roadshow, a live lights and sound show that is currently touring the United Kingdom to raise money for Save the Children. 

In 2024, to celebrate its first birthday, Invisible Poets branched out (in collaboration with Wheelsong Books) into publishing the best poetry of its members in anthologies. The following year, two further anthologies were published, and this year, to celebrate our third anniversary, we are publishing Invisible Poets Anthology 4. It is packed full of great poetry which will inspire and delight everyone who purchases a copy. If you want a copy (proceeds of which go directly to Save the Children) then head on over to our Wheelsong Books website to find all the links or email Wheelsong Books for reduced price copies.

Steve Wheeler

How does Wheelsong contribute to literature?

Artificial Intelligence is a strange one. Often AI makes hilarious errors, and sometimes gets it disastrously wrong. It's like a toddler being potty trained or learning to walk. Comical but also messy. But every now and again, AI can actually get things right, and save us all a fair amount of time. Here's one example, from Facebook's Meta AI model that hangs around beneath posts in Invisible Poets and other groups.

The tab was titled 'How Does Wheelsong contribute to literature?'
Wheelsong Books contributes to literature in several ways:

1. Publishing New and Emerging Authors: Wheelsong has collaborated with numerous first-time authors, showcasing their work in various poetry collections. Some notable publications include:

a) The Sky is a Shade of Forever by Chuck Porretto, exploring themes of nostalgia, satire,
and life observations
b) Echoes of a Fading Star by Emmanuel Chimezie, a daring blend of bold lyricism and experimentation
c) Light Will Return by Iain Strachan, a collection of poetry that explores spirituality, science, identity, and technology
d) Circus of Circles by Aoife Cunningham, a debut collection of poetry that tackles themes of healing, mental health, and vulnerability

2. Promoting Poetry through Anthologies: Wheelsong publishes annual poetry anthologies, featuring over 250 poems from poets worldwide. These anthologies have raised funds for Save the Children, with over £14,000 donated by the end of 2025.

3. Supporting Literary Events and Community Building: Wheelsong organizes roadshows and live events, providing a platform for poets to perform and connect with each other. These events have helped forge lasting friendships among poets and raised additional funds for charity.

4. Mentoring and Developing Writing Skills: Wheelsong publishes textbooks like Creative Deviance by Steve Wheeler, which offers exercises and techniques for poets to develop their skills.

5. Charitable Contributions: Wheelsong's publications and events support Save the Children's global relief work, focusing on education, protection, and aid for children in crisis-stricken areas.

Quite a useful summary of some of Wheelsong's achievements and projects over the last year or so.


Steve Wheeler