Michael Walsh might be better known as a novelist and poet had his life not been interrupted by the needs of nationalism.  Born into a radicalised family of writers and achievers the lyricist and journalist penned his first collectible poem at 24-years of age. Inspired by rural tranquillity Morning was followed by over 800 elegies, sonnets, and poems.

Were these poems the scribbling of a self-indulgent fantasist worthy only of self-praise? Hardly, in 2000 Michael Walsh was arguably Britain’s most popular contemporary poet.

collage_Poetry with captions -6

Poetry is the forgotten art largely because expressive verse has been removed from the syllabus or replaced by the gobbledygook of self-styled modernists. Despite a public dislike of modern ‘poetry’, the popularity of Michael Walsh soliloquy, rhyme and limerick baffled the literati fashionistas.


The Writer’s and Artist Yearbook was quite clear. Regarded as the writer’s bible the advice given was that it would be foolish to publish more than 500 copies of a poetry collection as there is no public appetite for verse. However, Michael Walsh’s poetry was clearly what people hunger for.

The first collection, A Sea Veneer of Merseyside, sold 1,000 copies in several weeks in one city alone. This success was followed by his publishing Believing of Liverpool and 2,000 copies sold out within weeks.

Tom Roberts, whose countrified life was an echo of Henry Williamson, famous for his Tarka the Otter book, was unstinting in his praise.  An erudite student of English literature, Roberts said of Michael’s poetry; “it is more than equal to that which is regarded as the greatest of English literature.




The summer air was heavy,

On the meadow by the stream,

Where cattle flick their tails, I wonder,

What do cattle dream?

They dream of neither morning,

Nor evening yet to come;

They dwell upon the moment,

Not future yet un-spun.

Upon the now, not after;

Of neither when nor where,

Beneath the ancient oak tree

In the still of summer’s air.

Tributes continue to pour in from all over the world. Praise includes accolades penned by leading figures in the world of entertainment and theatre, the Church, political elite and from those of influence in the world of literature and business. Michael Walsh’s writing has been compared to that of Rudyard Kipling, Robert Service, and Tolstoy.

The Oldest Love Letter, My Auburn Ma Vourneen, The Girl I Met in May and Ma Vourneen are a spectacular success on YouTube.  The small collection has enjoyed a total of 13,393 visits without their being promoted. This again identifies the writer as likely the world’s most popular living poet.

It is impossible to identify Michael’s best work as such is subjective. As many as 100 Michael Walsh poems, limericks, soliloquy and elegies can safely be regarded as being incomparable and of the highest standard of international verse.

Michael Walsh never sought recognition or sponsorship; he has never been mentioned by media or recognised by the art and literary world. Ignored by media and literati, the dissident poet’s achievements are due solely to the support of his global fans.

His poem, When after Fifteen Minutes, was typically well received. However, it must be said that the tributes were similar in passion and eloquence to those received in response to many other Michael Walsh poems.


‘I have no words, there were tears instantly’ (Ukraine). ‘My goodness; this is the best poem yet.’ (Kentucky).  ‘It is just beautiful, Michael’ (Canada). ‘This is truly great and touching poem, the best’ (Latvia). ‘Oh, my God!!! It touched my soul’s strings… goose bumps… You are the MASTER of words, it is so …. don’t make me cry again.’ (Latvia).

‘This is the saddest poem Michael. A loving and a philosophical…. The tears of the river….’ Absolutely beautiful! My tears are flowing freely!’ (France). ‘Love it. Michael you are the best … (California), ‘Sad and lovely!’ (France),

‘Michael that is a beautiful poem loved reading it.’ (Ontario).  Lisbon in Portugal: ‘I’ve no words to express my feelings … its normal reaction when you hear the language of the soul. Thank you.’ It is the most beautiful poem about bereavement that I have ever read. Thank you so much.



When after fifteen-minutes,

I haven’t breathed at all,

It’s best to snuff the candle out,

I answered Final Call;

No need to get upset, dear,

For souls can never cease,

You know we’re still together,

And for sure I’m now at peace.


When, after fifteen-hours,

You’re wondering what is now,

The tears are often coming,

And heavy hangs your brow,

You’ll find my words of comfort,

Behind the mourner’s hearse,

My poems are always with you,

My love’s in every verse.


When after fifteen-days, dear,

Though past has never fled,

It’s time perhaps to better think,

Of good times still ahead,

To live in hearts you leave behind,

Is not to die but live,

With memories I leave behind,

There’s still so much to give.


When fifteen-years elapses,

I’m still a passing thought,

I hope my life and passing was,

A lesson fondly taught,

Then you will know the path to me,

And all you ever knew,

In garden bower where once we met,

Is where I wait for you.


The complete collection of Michael Walsh poetry so far published consists of eleven beautiful bound and illustrated titles. Far from being a one topic lyricist, Michael Walsh’s collections include verses of romantic nature, anti-war, travel, rural life, poignancy, death and spiritualism, religion and humour.




 MA VOURNEEN (My Darling)

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