Seven Questions with Peter Appleton

Peter Appleton’s poetry stands out for its rare blend of precision, empathy, and a bold commitment to confronting the world as it is. Drawing deeply from his diverse experiences in theatre, education, and refugee advocacy—shaped by years spent living and working across different continents—his voice carries a sense of global awareness that resonates throughout his work. Now living in England, Peter channels this perspective into poems that are urgent, unflinchingly political, and profoundly human. His pieces "Azrael," "Ultima Thule," and "Kuebiko" appear in the inaugural issue of Scribeworth. In this interview, he reflects on how his creative process has evolved, what shaped his poetic voice, and why he sees poetry as a form that must continually look outward—engaging with the broader world in all its complexity.

1. What inspired you to start writing poetry, and how has your relationship with poetry evolved over time?

I have always written poetry, having been lucky enough to grow up in a house full of books and a grandfather who recited Yeats over a whiskey after dinner. Over the years, I have wanted to write more about the world around me and less about my interior life. In this sense, I wish more poetry was political, engaged with the experience of modern life—poems about Tik Tok or migration for example. I'm not a fan of poems about how gazing into a small shell reminds you of the day your old, sick dog died when you were a kid and you were a bit sad. Get out of your own head.

2. How do you decide when a poem is "finished"? Is there a particular moment or feeling that signals it's ready to be shared?

There comes a point when any change you make seems to make the poem worse. Keep earlier versions! I've definitely worked poems so hard they lose any spontaneity or flow. That said, I do put things away for a week and then review, then for a month and review again. I'm always amazed at what I see after time away.

3. How do you approach the writing process? Do you follow a specific routine, or do you write when inspiration strikes?

I am a huge fan of putting aside a regular time for writing as many days as I can. If you have work and a family, then there are going to be times when you cannot write daily and you shouldn't feel guilty about that. We all make a lot of rules, so we don't have to write (because it is difficult and makes you feel vulnerable), like special pencils, notebooks, spaces and all the rest. Just write something on a thing with a thing and you have had a good writing day.

4. What themes or ideas do you find yourself exploring most often in your poetry, and why do you think these resonate with you?

I like to look out into the world, imagine the stories that are behind what I encounter. I've worked with refugees and as a teacher in deprived areas and meeting that with compassion and creativity is valuable. I imagine who is telling the poem, how they would sound, the words they would use, the way they move, where their eyes are looking.

5. Are there any poets, past or present, who have significantly influenced your work? If so, how have they shaped your voice as a poet?

I have this idea that there is a succession from Blake to Whitman to Ginsberg. I love their freedom, engagement and spirituality. James Fenton has influenced me hugely with his journalistic eye. Christina Rosetti for the simplicity of her voice in the service of profound ideas. Kae Tempest for making me rethink what I'm doing. Bob Dylan and Joni Mitchell influence me, though I do think song lyrics are not the same as poetry.

6. What role do you believe poetry plays in society today, and how do you hope your work contributes to that?

None in terms of direct influence on decision makers, nor has it ever. I doubt there are many politicians or CEOs that read a poem and fewer who let it change their mind. Often, I feel I am preaching to the choir. That said, I feel you have to keep fighting for your space artistically and socially, just don't expect to change the world. Poetry is a place to bear witness, to say the difficult thing, more for Fools than politicians. Poetry is there for those who want to feel complicated feelings, who want to build things, not break them.

7. What advice would you give to aspiring poets looking to develop their craft and share their work with the world?

For craft, try and write poems in the third person, even if you are really talking about yourself. Try not to preach or lecture, even when you feel passionate about an idea. Have a go at formal styles like sonnets or a villanelle. They never need to see the light of day but you are using different muscles, and it will show in your other work. As for sharing, find as much as you can in the real world, a teacher, a writing group, an open mike. Take a friend for moral support because you will be scared. Online is good, and if that is all you can find, then use it. Have fun. Find your tribe. Understand that you are essentially playing pretentious D & D. Get drunk (legally where you are) and talk shit with other writers. Try not to fall in love with them- they are as crazy as you. Accept you're never going to make any money from writing poems nor be famous and you'll be a lot happier. Take your work seriously but not yourself. Feel free to ignore advice.

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Peter Appleton's verse reflects his time in theatre, education and with refugees. He is interested in political poetry that reflects current events and debates. He has lived and worked in several countries. He now resides in England.