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Pauline Rowe considers the unique skills required as a writer working in community settings and argues that this ‘hidden’ work has much to offer writers, beyond the pay packet.

Peter Oswald speaks with John Greening about his passion for verse drama, his work translating writers such as Schiller, his introduction to Steiner and theosophical theatre and the struggle to find institutional support for verse drama and long-form poetry.

'In the Hay green room, I once met Carlos Fuentes. I admired him so much that I took a selfie with him; only the second time I have ever done such a crass thing. In terms of the actual event, if asked, I would say: prepare, prepare, prepare.'
'Good nature poetry is about looking, but it's also about having the right vocabulary, which most of us townies are losing. It's worth reading a few poets who really know about trees and flowers.'
Dan Richards describes some of the quirkier objects writers have used as touchstones to inspire them to write, and some of the rituals they employ for the same reason.
'At the back are all the books I'm embarrassed to have read; the trashy romances, chick lit, badly written thrillers, comfort reading for a tired brain.'
Should poetry be about something — other than itself? asks John Greening, considering some famous examples of works that have defied this question, as well as others which have dared to be topical, even at the risk of becoming irrelevant over time.

Hilary Davies speaks with Julia Copus about the long poem's role in the literary landscape, and discusses her own long poem 'Imperium'.

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