Kate O’Shea is a crack poet


His poems are words upon words
like eggs smeared with henshit.
They could be free range or organic –
who knows? Too calculated to be risky.
I buy 30 for 1.99 in Liberties Market
and dodge small boys with girls’ earrings
who have never heard of Jackson Pollock
but make an impression on the
bottom of Francis Street and day-trippers,
a stone’s throw from the Bad Art Gallery
which is pretty all right if you like
Mia Funk and well-built women
doing dirty things with bananas.
That’s the problem with men
who are too into blowjobs
more words upon words
like eggs smeared with henshit –
stylised, idolised.
Eggs is © Kate O’Shea


Misery heaped on misery like an Irish Sunday dinner.
It’s hard to swallow; lives like this happen to people
that sprouted dreams like Mr Potato head.
Once fat faces chipped away by keeping body
and soul a hive of useless colony,
the queen bee washed-out and martyred.
Even back then with bamboo rod
and fishing net, catching tadpoles in jam jars,
I wrote sentences in water, used the strange
bodies as living commas, apostrophes
following Os, no ownership,
unlike other daughters I scrutinized in photographs,
I turned wild like the ditches dividing fields,
at the roadside, always on the edge, barbed,
 keeping out of the way, scuttling in the sunlight
with rabbits and wrens, foxes, badgers, and hedgehogs.
Words hurt like a kick in the teeth. A fist.
Sitting at a desk I feel I have come full circle.
Tadpoles swim in the pupils of my eyes,
drip from my tongue, squirm on the page for all to see.
I imagine a thumb come to squish them.
I imagine his hazel eyes,
dumb as nuts telling me nothing –
the mouth moves like a loom.
Conformity, conformity, conformity.
I am sick of language, and even he cannot comfort me.
Old allegiances like dead frogs
spread-eagled to reveal their insides.
Anatomical clocks. Ancillary. Tadpoles.
Tadpole is © Kate O’Shea

Dandelion Clocks

Female poets with cropped hair bang on about their weariness,
world-weariness and immortality on the grey page.
There is grief and they are all alone, day after day after day,
their lovers have skedaddled, now they drag the icy moon
after them like a giant pill into middle age.
This is the stage I dive roll across like a navy SEAL
avoiding cat flaps and vintage night gowns with tiny buttons
up to the neck, trying not to look pensive,
that finger-cocked-under-the-chin faraway gaze
like Rodin’s statue, but not the same. Bang.
I inhabit a different space, my only dread, going home,
or whatever that means, to hang like a windsock
on a calm day, slightly awkward and out of place.
I have moved on and how I chose to wear my hair
contains no clue to my tabernacle, the fugitive in me
plays rummy and quaffs light beer, takes two foreign holidays
a year and listens to Wallis Bird full blast – ‘To My Bones’.
I scrimped and saved all my words for grand sentences
and the joy of christening nameless things,
whether broken or chipped, chilled by the breath of history,
no longer walking on tiptoe but stomping a sean-nós dance,
and here is the mystery, my feet dodging the bodies
scattered across the floor like unloved seeds of blow balls,
our dandelion clocks.
Dandelion Clocks is © Kate O’Shea

Kate O’Shea lives in Dublin. Her chapbook Crackpoet is available on Amazon. She was short listed for the Cork Literary Review Poetry Manuscript Competition and the Patrick Kavanagh Award twice. She is widely published in journals abroad. Her latest publications were in The Seranac Review, Orbis, Cyphers, Outburst, and Prole. Most recently she has been nominated for a Pushcart Prize in America.

She has been published in Icarus, Electric Acorn, Poetry Ireland Review Issue Number 34 (1992), The Burning Bush, Riposte, Poetry on the Lake , Silver Wyvern Anthology (Italy), Out to Lunch Anthology 2002, Poetry.com, Shamrock Haiku, Bamboo Dreams an Anthology of Haiku Poetry from Ireland, Poetry Bus 3 & 4, Outburstmagazine Issues 8, 9, 10, 11, 12 & 13, First Cut, CANCAN (Scotland) June 2013, LucidRhythms (U.S.A) ,Angle Poetry Journal, Australia (Issue 3, March 2013) The Galway Review and Turbulence Magazine (U.K.) June 2013.
Her first published work was a short story, and for this, she won the Prudential Young Irish Writers’ Award 1990. Her humorous sketches were broadcast on Mike Murphy’s Arts Show on RTE Radio 1. She was one of the youngest members of the Dublin Writers’ Workshop, and after that went on to found Chocolate Sundaes at La Cave with William Kennedy and Christopher Daybell in the mid nineties. She was the winner of the Gerard Manley Hopkin’s Poetry Award 1991 and took the overall prize for poetry in the 1998 Clothesline Writers’ Festival. Two poems highly commended by Al Alvarez, were published in The Silver Wyvern Anthology in Italy, 2001.
Kate edited and published posthumously, the selected poems of her good friend Christopher Daybell, The Man With The Crowded Eye (2001).
She is an accomplished performer and respected on the open mike circuit. She wrote about her experiences in Poetry Ireland Review Magazine (2003), and has read in New York and Rome. She recited in The Palace Bar 2009 to honour Patrick Kavanagh; in 2010 she did a reading/stand up routine, for GLÓR, International Bar. She was one of the poets from Dublin’s lunchtime reading series organised through Bank of Ireland’s Arts Centre and featuring contemporary poetry in Ireland today. The OUT TO LUNCH anthology (2002) featured the works of “…young, emerging poets like Paul Grattan, Conor O’Callaghan, Kate O’Shea, and Enda Wyley.”

The Censorship of ‘Fragmens Sur Les Institutions Républicaines IV’ by Shane Cullen

IMMA Image of Cullen's work
IMMA Image of Cullen’s work

It interests me when politicians, whether local or national, decide that they’d really like to censor the work of artists. This interest stems from my studies at UCD under Dr. Alistair Rowan, Dr Nancy Dunn-Czak, and of course Dr. Paula Murphy. The study of the History of Art includes numerous modules on censorship of art, including the censorship of art works here in Ireland from the foundation of the state onwards.

Mostly I am interested in calls for censorship that derive from a political system that has existed in an unreformed state for many years, wherein politicians achieve power through local agitation, or as we refer to it here gombeen politics. Power in Ireland is sought after and attained when a (mostly) young male climbs from his youth group, to council, to government. A degree or equivalent isn’t really necessary to the hot housing of politicians, and therein lies the difficulty.

Maybe I expect that local  politicians should have an awareness of the major policy issues of their party in government and if there is a lack in their understanding, then surely they could take advice? Advice on art censorship can be had simply enough by a call to one or other of our university art or historical departments.

Shane Cullen’s Fragmens sur les Institutions Républicianes IV has caused some controversy in Athlone, where Cllr Mark Cooney has tabled a motion to have the work withdrawn from the Luan Gallery. Cllr. Cooney is a local politician of the Fine Gael party who are in coalition government with the Labour Party. Fine Gael has presented our Arts Department with our current Minister for Arts, Jimmy Deenihan T.D, who has made numerous pronouncements on the independence of both the arts and the boards of cultural institutes. Most recently in relation to unpopular merge proposals for our National Cultural institutes. 

I read the (arts) manifestos, such as they were, of all the political parties coming up to the 2011 elections. They were not very inspiring and seem to present a seamless continuation of the previous government’s policies, that is, cuts to and bureaucratization of the arts. Nowhere was it mentioned that the then opposition parties would repeal the 2003 Arts Act which has had such profound effect on the independence of the arts in Ireland. Apart from slinging finances at The Gathering and the 2016 Commemorations, there are no new ideas. The Arts have always been second cousin to sports here, or maybe to a twee sentimentalism that represents how our country wishes to be seen abroad.

A small local row about censorship has done enough for me to be convinced that a Cllr. of the FG Party calling for censorship of visual art has absolutely nothing new to bring to the table with regard to how he perceives the attainment and the usage of his power. I am waiting to be convinced that it is otherwise, but the Minister of Arts is conspicuously silent on the issue and the problem of censorship is hived off into local rows that speak of ignorance in responsibility to culture, heritage and arts in Ireland.

Locus+ Image

Catechism; a reading for Pussy Riot in Dublin

Poets across the UK and Ireland come together to mark the nine-month anniversary of Pussy Riot’s performance in a Moscow Cathedral by reading from Catechism: Poems for Pussy Riot, English PEN’s anthology for the group.

This link gives the list of locations and readings in the U.K and Ireland. Ireland’s readings are organised by Christodoulos Makris & Barbara Smith.

Participating poets are: Kimberly Campanello, Sophie Collins, Sue Cosgrave, Anatoly Kudryavitsky, Christodoulos Makris, Máighréad Medbh, Paula Meehan, Alan Jude Moore, Christine Murray, The Poetry Divas, Sam Riviere.

DUBLIN 21/11/2012

6.30pm, Wednesday 21 November
The Grand Social
35 Lower Liffey Street, Dublin

Admission free

Further Information at Irish PEN and at  English PEN

And Other Poems

This is a brief note about the And Other Poems blog which is owned and written by Josephine Corcoran. What a breath of fresh air the blog is, judging by contemporary availability of good poetry (and critique). To say that poetry is sorely neglected in the face of market-forces is a wild understatement, but more polemic anon.

“And Other Poems is simply a quiet, uncluttered place to read poems by different writers posted by Josephine Corcoran. The blog’s aim is to give readership to poems which would not otherwise be available, for instance poems no longer elsewhere online, out of print poems, poems published in print but not online, and new, unpublished poems by established writers. Poets have given permission for their work to be featured and copyrights remain with the poets.”

I had been seeing some of Josephine’s link on Twitter for a period of time, and as always was gladdened to see the advent of blogs and websites dedicated to the reader of poetry. Quite a few blogs and websites deal in modern and contemporary poetry in all its wonderful variety. Whilst some people may look on this avant-gardeism as a niche-activity, it is important that the poetry-reader can access all types of poetic-writing. It has been a while since I looked at how poets use online tools to disseminate literature  but I see a radical improvement and diversification in the area. Josephine knows her poetry which is excellent for her readers. I recommend a perusal of her blog and of  her list of poets which is wonderfully diverse. I am adding here the And Other Poems index , and of course a link to my poem i and the village (after Marc Chagall) which she kindly published on 11/09/2012.

I have never presumed that poetics are a niche-activity , but that a wholly conservative approach to critique combined with a mechanistic desire to advance contemporary fiction book-sales dominate newspaper editorials/reviews,  at least in Ireland. The fact that many readers seek poetics through varieties of means, combined with news that 30,000 people signed up to PENN State’s Modern and Contemporary Poetry Course in 2012  would suggest that market-forces are just wrong. Or actually repellent !  Editors would rather clever women review silly books, than look at poetry or actual literature.  If  poetry readers seek adequate reviews of women authors and their books they must look elsewhere than the media, hence the blogs, the small presses, the literary journals and forums dedicated to poetry.

There is a list of blogs and websites dedicated to poetry on the right sidebar of this site. Links to And Other Poems are embedded in this post and given below :

Irish Poetry Imprints (Online and Print)

My submission to the Copyright Review Committee 2012.

‘The Arts and the Public Domain; Arts Practice as Culturally Necessary.’


The Arts and the Public Domain. 

Ireland requires not alone a statutory organisation, such as a copyright council, it requires also a non-governmental centre for social-media where artists and developers can discuss and decide manifestos which will protect their original works and others’ rights to access those works online.

  1. The  very nature of arts practice lends itself to derivatives which allow original works to be adapted, used, or translated for the benefit of the entire community. A locked-in copyright system deprives the community of access to original-works in theatre, film, music and performance. (Center for Social Media, America and The Harriet Monroe Institute of the Poetry Foundation)
  2. Certain aggressive methodologies of blocking can cause those artists who use CC licences,  blogging-platforms, wikimedia-commons, and other modes of dissemination to lose both income and influence. The artist , in this case has chosen to invite others to use their works (cf.  CC-Licences, UCC,  2011-2012. Development of Creative Commons licences, incl. Sharealike.)
  3. Limiting the modes of transmission of code and/or blogging tools used by The Telegraph, The Guardian, France24 , the BBC, Wordpress and others is counter to Ireland’s stated acceptance of free-speech as a right. It is also counter to the artist’s ability to work as an avant-gardeist in terms of how their work utilises web-tools which have been available globally for an entire generation.
  4. Access to web-tools and free-speech online is an issue that should not be decided by how much lobbying access is available to a stake-holder , but must needs countenance how legislation impacts on all areas of arts-practice and innovation. The CRC12 Review has not afaik broadened its  base to include proponents of arts practice, or the Arts Council. Whilst business is in the business of protecting its hard-cash and profit-base, legislators should be advised that web-tools that were freely developed and shared have ameliorated the lives of artists and writers by allowing access to data that required travel and expense before now. It also allows for shared interests at the level of creativity that was unthinkable 20 years ago. In terms of collaborative translations , for instance, the web allows real-time collaboration in the musical and poetic arts.

Further to my submission of July 2011 and my engagement with the online questionnaire, I wish to expand on the issue of arts practice and the public domain under the following specific headings:

  • Use of Creative Commons Licences in arts practice.
  • Use of social-media by artists/rights holders and innovators.
  • Derivatives in arts practice.
  • Intellectual rights and access to legal remedies
  • Summary.

Initial remarks regarding the difference between arts practice at cultural level, and the entertainment industry.

There is a very real danger of the Copyright Review Committee leaving out originators of creative works due to issues which include, but are not limited to : artist’s lack of online capacity, know-how, awareness; and knowledge of tech by artists. Artist-intermediaries include, web-designers , agents, publishers  and others like tech-innovators. It is the intermediary’s job to understand current thinking on copyright. Not all artists, indeed the vast majority of artists lack agents and or other intermediaries.

Innovation occurs at the  base level and is not top down. Further to that a distinction must be made between arts practice which is a cultural form, and entertainment which is mass-dissemination of a product and is generally profit-based in its thinking. The fact that media tend to swap and blur the boundaries between culture and entertainment should not advise the issue.

There is no demonstrable parity of esteem evinced by legislators who wish to protect the intellectual property rights and/or rights of transmission to those who are not protected within corporate legal frameworks. The majority of artists, translators, and tech-developers are innovators and are thus not fairly treated with regard to accessing legal remedy because of the prohibitive cost of legal-remedy. Tech-development has been ongoing for over a generation with artists using licensing such as ccs for permitted sharing based in attribution, this issue is not discussed demonstrably within the media-coverage and current discussion within  the CRC12 Review.


Use of Creative Commons Licences in arts practice.

Legislators are necessarily not reviewing copyright at the level of innovation but at the level of business where original works are not created, but where funds are immeasurabely larger for access to legal remedies. There is a presupposition on the part of legislators that artists are managed or governed by a few limited companies, this is inherently wrong. An example of this would be a person who has caught a film or photograph and put it up online, if the thing goes viral but is ripped off there is no remedy for someone who happened to be in the right place at the right time to get an exclusive coverage of an event.

Media platforms such as France24, Guardian Open-source and Telegraph co.uk, have provided copyright remedies or attribution, (through using open-source platforms) over a period of some years to allow for ground-up access to mass-media by individuals and artists.

There is an inherent responsibility on the part of legislators to allow for innovation and open-source work to develop for fear of ossification by what is sometimes referred to as mainstream media. In free-speech terms , current media tends to be quite male-dominated and uncaring of women’s perspective in issues that are often made invisible by the signal to noise level of mass media. There is a responsibility to protect and nurture free-speech in relation to avant-garde web-use by women, by artists and by those people who are using the web in an innovative manner. To that end one wonders why media and government have been under-utilising open source and other modes of communication that have been developed over a generation?

There is a very real danger of removing the artist’s choice in how s/he wishes their work to be used and allowing that decision to be made by an intermediary,hence an entity who profits from the original works of other people. Review of copyright in arts practice begins at the level of artistic creation and not at the level of sales.

Use of social-media by artists, rights-holders and innovators.

The Harriet Monroe Institute of The Poetry Foundation , and the Center for Social Media (U.S) have been leading on issues pertinent to artists with regard to Fair-use and online distribution of original works I have cited this discussion before in my July 2011 submission to DETI on ‘Radical Copyright Reform’.

Artists wish for attribution and fair-use policies to both protect and allow for the online distribution of their original works. The difference between the development of a fair-use doctrine in the US and in Ireland is that the issue is led not by business,  but by those people who understand creative practice. The fact that the discussion here in relation to copyright reform and to isp-blocking has been led by increasingly narrow interests, with little desire to communicate widely on issues of pertinence to originators: innovators , poets , artists, and those who use licences to protect their work.

The severe limitation here is that there appears to be a generational bias that does not countenance how artists are actually using blogging and tech platforms that are available to them. The matter of choice in how one accesses a song or poem is reduced to a profit-based understanding of artistry. Many bands and artists are streaming their original works online and fully utilising social-media to reach mass-distribution levels for their works. In cutting out the middle-men they are working directly with their audiences to bring their work to newer and younger audiences who use online very naturally and have little awareness of issues like copyright. The reduction of , or threatening of social-media methodologies of arts transmission could actually impact an entire generation who rightly perceive the use of blocking tools to be a desperate and badly educated attempt to corner profit for those people who have thrived on other’s work and who proffer a mostly limited idea of what is actually entertaining for young people.

I question why there is a resistance amongst corporate interests to broadening out the discussion on rights to include those people who they actually claim to represent. Very few artists are represented by big business who have access to parliaments and to lobbying materials. Interestingly avant-garde arts were never subject to ownership by business, but developed upward from creative works.  Limiting avant-garde approaches to web-dissemination of arts practices can also have impact on freedom of speech which is demonstrated in censorship of civil-society groups and artists in repressive regimes. Having what could be called an ‘acceptable art’ is both anti-art and anti creative-practices. People are moving away from mass-consumption of ‘entertainment’ towards cultural discourses and expression, necessarily limiting that in order to create a cultural locus based in what is considered ‘entertainment’ only contributes to ossification at a cultural level.

Derivatives in arts practice.

At one end of the scale globalisation contributes to calls for censorship of the cornerstones of western culture, such as in the recent calls for the filtering of Dante’s ‘The Divine Comedy‘ from Italian universities, and at the other end of the scale writers of original works face into mass-distribution systems of art-works which include machine-based translations and bad derivatives of their original works. Whilst debates about how to cope with these issues are ongoing, the people who create the works are left out of the discussions by intermediaries who do not comprehend arts practices.

I have used before now examples of derivatives in arts-works. They include theatrical and musical adaptation, translations, pictorial adaptations from, and use of original lines from works, including how artists like Leonard Cohen or Sinead O’Connor use lines and quotes from Lorca, or from biblical sources –  Who owns the original , Lorca or Cohen , when the source of the work is creative practice based in inspiration from an existent object or piece of art ?

The fact is that I can set my derivatives licence in a  manner that allows for certain adaptations of my original work and hope that it isn’t ripped off or badly translated. In poetry, for instance, there are numerous translators like google and babel who have adapted my lines through machines and lost the sense of the poem. Vast machine-like translations of poetry can destroy the original work and take from it the intent of the originator of that work. Interestingly this aspect of internet discussion is wholly absent from current debate because the company or entity involved in leading discussions has  not the experience of how bad derivatives can effect the work, their interest is solely in protecting their income source without reference to the artist.

This is why I have called again and again for the wider and broader discussion about the type of platforms, open-source systems and methods of creative practice and licensing that are available to originators, again I see little discussion of these issues in the media or the legislature.

Intellectual rights and access to legal remedy.

Robert Spoo, in his essay Tithonus, Dorian Gray, Ulysses ,* discusses the problems related to locked down (locked-in) copyrights which do not recognise the relative merits of the three above-mentioned works. He cites the case of the Joyce estate V David Fennesy in relation to a musical adaptions from Finnegans Wake, and other cases wherein copyright has become little more than a toll-booth with negative repurcussive impact on arts and adaptions from original work. A Fair Use doctrine would have allowed Mr Fennesy to adapt the few words from the Wake in order to create a work that had been commissioned in Europe.

The difficulty inherent in a straitened and overly legalistic approach to copyrights is that ossification occurs at a cultural-level. The artist has the right to ownership of their original work which should benefit their estate. However , there is an understanding with arts and art’s practice that derivatives do occur at the levels mentioned above here in regard to theatrical/cinematic/ musical and other adaptations. The right of ownership and attribution should be clearly established with creative works but the knowledge that creative works , such as Ulysses, or the songs by Leonard Cohen which clearly are adapted from , or inspired by the work of the late Federico Garcia Lorca require some degree of flexibility in terms of copyright. A fair use doctrine in the intellectual and artistic sphere is necessary for the protection of the rights of the originator and for the rights of the adapter.

Robert Spoo refers to this as ‘ overlong copyright protection’ which exists as ‘an inhibition on the full organic development of a masterpiece’. In the case of access to legal remedy , it is the intermediary or the corporate entity who have access and rarely the individual blogger or developer whose works are barely protected under law. A more mature approach to parity before law would be for the artist to have good access to licences like Creative Commons , and copyrights to protect their works coupled with an ability to access remedy in smaller courts. This isn’t discussed with any seriousness in what has become a tit for tat set of threats and sound bytes which include the words ‘banning’, ‘blocking’, ‘criminalisation’.

Tithonus, Dorian Gray,Ulysses  by Robert Spoo, The National Library Of Ireland, Joyce Studies 2004. Dublin, Ireland.


Ireland requires not alone a statutory organisation , such as a copyright council but a non-governmental centre for social-media where artists and developers can discuss and decide manifestos which will protect their works and rights.The nature of arts practices lends itself to derivatives which allow original works to be adapted, used, translated for the benefits of the entire community. A locked-in copyright system deprives the community of access to original-works in theatre, film, music and performance.

Those that need to be brought into this discussion on copyright are not being brought in because the issue is considered to be ephemeral and that others (intermediaries) can transmit information to them. As I quoted from Spoo above here I will reiterate my comments again,

a work does not really become a classic until it is unqualifiedly available for cultural exploitation.‘ *

* Tithonus, Dorian Gray, Ulysses by Robert Spoo, The National Library Of Ireland. Joyce Studies 2004. Dublin, Ireland.

Creative Commons License
‘The Arts and the Public Domain ;  Arts Practice as Culturally Necessary.’ by C Murray is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

 I should just call it an anti-mechanism manifesto , which is what Irish politics have become reduced to: mechanistic expedience, a reductio ad absurdum of leadership !

 I am adding here the pdf that I initially submitted to DJEI in 2011 as link, http://www.djei.ie/science/ipr/murray_christine.pdf