Dr Ian Seed

Lecturer in Creative Writing; Programme Leader, BA Creative Writing; Department Co-ordinator for Cheshire Prize for Literature


BA Hons, MA, PhD, FHEA.


Ian is Lecturer in Creative Writing, and Programme Leader for the BA in Creative Writing. He previously taught at the University of Lancaster and at the University of Cumbria. As well as tutoring in Creative Writing, he has lectured in Italian language and literature. He is a poet, critic, fiction writer, editor and translator.

He has read at a number of events and venues, for example: The Anthony Burgess Foundation (Manchester), Dove Cottage (Grasmere), Lancaster Litfest, Liverpool Blue Coat Arts Centre, Sedbergh Literature Festival, and Swedenborg Hall (London).

Ian has published a number of collections of poetry and prose, most recently Identity Papers with Shearsman, a leading publisher of contemporary poetry. This book was showcased on BBC Radio 3’s The Verb.



His work is featured in the anthologies The Best British Poetry 2014, eds Mark Ford and Roddy Lumsden (Salt, 2014) and The Forward Book of Poetry 2017, eds Liz Berry, Don Share, George Szirtes and Tracey Thorn (Faber & Faber, 2016).

He is Assistant Director of the International Flash Fiction Association (IFFA), a member of the National Association of Writers in Education (NAWE), and a Fellow of the Higher Education Academy.


Ian specialises in poetry, fiction and life-writing.  Modules that he teaches on include:

  • Understanding Poetry (Convenor)
  • Poetry: Other Voices, Other Forms (Convenor)
  • Writing the Past (Convenor)
  • Writing Poetry for Publication (Convenor)
  • Writing Project
  • Studying Literature
  • Varieties of Writing
  • MA Creative Writing: Writing and Publishing Fiction
  • MA Modern and Contemporary Fiction

Postgraduate supervision:

He welcomes enquiries about research projects on:

  • The prose poem
  • Surrealist poetics in poetry or prose
  • Contemporary poetry
  • Translation
  • Italian literature.

Also creative writing projects, especially:

  • Poetry
  • Innovative poetry or prose
  • Life writing in poetry or prose.

Published work

Full-length collections

  • The Thief of Talant (a translation from the French of Pierre Reverdy) (Wakefield Press, 2016)

  • Identity Papers (Shearsman, 2016)

  • Makers of Empty Dreams (prose poetry) (Shearsman, 2014)

  • Shifting Registers (poetry) (Shearsman, 2011)

  • Anonymous Intruder (poetry) (Shearsman, 2009)



  • Fidelities (Red Ceilings Press, 2015)

  • Sleeping with the Ice Cream Vendor (poetry) (Knives, Forks and Spoons Press, 2012)

  • Threadbare Fables (prose poetry and flash fiction) (Like This Press, 2012)

  • Amore mio (fiction) (Flax ebooks, 2010)

  • The straw which comes apart (translation from the Italian of Ivano Fermini) (Oystercatcher Press, 2010)

  • No-One Else at Home (translation from the Polish of Joanna Skalska) (Flax, 2007)


Publications in Anthologies

  • ‘Russian Bar in Turin’ [prose poem] in The Forward Book of Poetry 2017, eds Liz Berry, Don Share, George Szirtes and Tracey Thorn (Faber & Faber, 2016).
  • ‘Recall’ [prose poem], in Poets in Solidarity with Refugees (Five Leaves Press, 2015).
  • ‘Prize-Giving’ [poem sequence], in The Best British Poetry 2014, eds Mark Ford and Roddy Lumsden (Salt, 2014).
  • ‘Faith’ [poem], in Tower of Babel, ed. Rupert M. Loydell (Like This Press, 2013).
  • From ‘The Straw which Comes Apart’ [translation of Italian poetry by Ivano Fermini], in Sea Pie: An Anthology of Oystercatcher Poetry, ed. Peter Hughes (Shearsman, 2012).
  • ‘Senza Risposta’ [poem], in Entanglements: New Ecopoetry, ed. David Knowles and Sharon Blackie (Two Ravens Press, 2012).
  • ‘All Kinds of Dust’, ‘Broken Window’ and ‘Recount’ [poems], in This Line is Not for Turning: An Anthology of British Prose Poetry, ed. Jane Monson (Cinnamon Press, 2011).



Flash Fiction: Stories and Reviews

  • ‘Reckoning’ ‘Festival’, ‘Capitalists’ and ‘Hollywood’, The Café Irreal, 59 (Summer 2016); online.
  • ‘New York Hotel’, ‘Existentialist’, ‘Interview’, ‘The New Therapy’, ‘History’ and ‘Early Promise’, The Fortnightly Review (June 2016); online.
  • ‘Boss’, ‘New Teacher’, ‘History’ and ‘The Poet’, Flash: The International Short-Short Story Magazine, 9.1 (Apr. 2016).
  • Review of Marcela Sulak and Jacqueline Kolosov (eds), Family Resemblance: An Anthology and Exploration of 8 Hybrid Genres (Rose Metal Press, 2015), Flash: The International Short-Short Story Magazine, 9.1 (Apr. 2016).
  • ‘City’, ‘Sale’, ‘Chances’ and ‘The Test’, Flash: The International Short-Short Story Magazine, 8.2 (Oct. 2015).
  • ‘Nine Very Short Stories’, The Fortnightly Review (May 2015); online.
  • Review of Alan Zeigler (ed.), Short: An International Anthology of Five Centuries of Short-Short Stories, Prose Poems, Brief Essays, and Other Short Prose Forms (Norton, 2014), Flash: The International Short-Short Story Magazine, 7.2 (Oct. 2014).
  • ‘Winter’, ‘A Life’ and ‘Investment’, The Café Irreal, 47 (Autumn 2013); online.
  • ‘Insect’ and ‘The Only Ones Awake’, Flash: The International Short-Short Story Magazine, 6.2 (Oct. 2013).
  • ‘Documentary’, Flash: The International Short-Short Story Magazine, 6.1 (Apr. 2013).
  • Review of Etgar Keret, Suddenly, a Knock on the Door (Chatto & Windus, 2012), Flash: The International Short-Short Story Magazine, 5.2 (Oct. 2012).
  • Review of Vanessa Gebbie, Storm Warning: Echoes of Conflict (Salt, 2010), Flash: The International Short-Short Story Magazine, 4.2 (Oct. 2011).
  • ‘Therapeutic Massage’, Flash: The International Short-Short Story Magazine, 4.1 (Apr. 2011).

Other Journal Publications

  • ‘American in Rome’ and ‘Apparatus’ [prose poems], Decals of Desire, 1 (Sept. 2016); online.
  • ‘Late’, ‘Country’, ‘Debt’, ‘Cottage’ and ‘Rogues’ [prose poems], Shearsman Magazine, 109&110 (Oct. 2016).
  • ‘Beach’, ‘Church Steps’, ‘Certain Nakednesses’ and ‘Varieties’ [poems], Molly Bloom, 11 (Sept. 2016); online.
  • Review of Will Eaves, The Inevitable Gift Shop: A Memoir by Other Means (CB Editions, 2016) in PN Review, 231 (Sept.-Oct. 2016).
  • ‘Vacation’ [poem], Stride (Aug. 2016); online.
  • Review of Carole Coates, Jacob (Shoestring Press, 2016) in PN Review, 230 (June-July 2016).
  • Review of Martin Stannard, Poems for the Young at Heart (Leafe Press, 2016) in PN Review, 230 (June-July 2016).
  • ‘Differences’, ‘Russian Bar in Turin’, ‘Mean-Spirited’, ‘Filer à l'anglaise’, ‘As of Old’ and ‘Journey South’ [prose poems], Poetry Salzburg Review, 29 (Spring 2016).
  • Review of Andrew Crozier, Free Verse’ as Formal Restraint: An Alternative to Metrical Conventions in Twentieth-Century Poetic Structure (Shearsman, 2015), PN Review, 228 (March-April 2016).
  • Review of Harriet Tarlot, Poems 2004-2014 (Shearsman, 2015), PN Review, 228, (March-April 2016).
  • ‘Nonsense and Wonder: An Exploration of the Prose Poems of Jeremy Over’ [article], Tears in the Fence, 63 (Winter 2016).
  • ‘The Moral Realism of Beppe Fenoglio’s Appunti partigiani’ [article], Italica, 92.3 (2015).
  • ‘Place to Rent and Other Poems’, PN Review, 226 (Nov.-Dec. 2015).
  • ‘From Identity Papers’ [prose poems], Shearsman, 105-106 (Oct. 2015).
  • ‘Absences’ [poem sequence], Long Poem Magazine, 13 (May 2015).
  • ‘Tram in Milan’, ‘Incident’, ‘In the Pavilion’ and ‘Changes’ [poems], Tears in the Fence, 61 (Feb. 2015).
  • ‘In a Foreign Country’, ‘Figures’, ‘Fish’, ‘A Poet’ and ‘He Alone’ [translations of French poems by Jules Supervielle], The Fortnightly Review (Autumn 2014); online.
  • ‘Phantom Limbs’, ‘Greetings’ and ‘Fidelities’, Poetry Salzburg Review, 25 (Spring 2014).
  • From ‘Banished White’ [translation of Italian poetry by Ivano Fermini], Shearsman, 99-100 (Spring 2014).
  • Review of Nicholai Duffy, Relative Strangeness: Reading Rosmarie Waldrop (Shearsman, 2013), PN Review, 215 (Jan.-Feb. 2014).
  • ‘Prize Giving and Other Poems’, PN Review, 214 (Nov. 2013).
  • ‘Estate’, ‘Recruit’ and ‘Fair’ [poems], Tears in the Fence, 58 (Nov. 2013).
  • ‘Sale’ [prose poem], The Harlequin, 3 (Oct. 2013); online.
  • ‘The Excuse’ [prose poem], Sentence: A Journal of Prose Poetics, 10 (Oct. 2013).
  • From ‘the straw which comes apart’ [translation of Italian poetry by Ivano Fermini], Poetry Wales, 49.2 (Sept. 2013).
  • ‘Bad Faith’ [prose poem], Free Verse, 23 (2013); online.

Excerpts from some reviews

  • ‘His work should really come with some kind of health warning, for these poems are not only intoxicating  – they are addictive’  – Mark Ford (from back cover of Identity Papers)

  • 'We are in a dreamlike world in these poems which is always peopled and full of activity, yet strangely and rather beautifully empty' - Jeremy Over, PN Review.

  • 'Beauty, in Seed's debut, never loses its power, and is everywhere pressing, active'  - Virginia Konchan, Jacket Magazine.

  • 'The mystery and sadness of empty rooms, chance encounters in the street, trains traveling through a landscape of snow become magical in Ian Seed's poems' - John Ashbery (back cover of Shifting Registers).

  • 'The voices and landscapes in Anonymous Intruder are both elusive and yet hauntingly present' - Paul Wright, Writing in Education.

  • ‘There is a warm confidentiality and nakedness to Seed’s prose that will sate the appetite of most flash enthusiasts. At his best, he is among the better short-short authors writing today’ - Emily-Jo Hopson, Flash: The International Short-Short Story Magagazine.

  • 'These poems and prose poems are full of atmosphere, fractured stories and suggestive directions' - Steven Waling, The North.

  • 'Journeys haunt this collection of poems [...] Ian Seed allows the reader a glimpse of what is already gone, a return to what is no longer there, a teasing echo' - Ian Brinton, Tears in the Fence.

  • 'There is something in Ian Seed's poems of the atmosphere of [De Chirico's] vast, empty plazas, something of their dream-like stillness & otherness, their brooding, uninterrogated menace. But there's a real enthusiasm and delight in here as well, an unforced pleasure in pushing at the language to open up new spaces and cast new light on the kaleidoscopic fragments of our experience' - C.J. Allen, Leafe Press.

  • ‘These are superb pieces that give us a glimpse into some kind of translated backlit European hinterland full of the music of menace and desire. I read them in my conservatory in Barnsley and I was instantly transported to a city that I half-knew, full of people I wanted to meet or avoid. Prose poetry at its very best.’ —Ian McMillan (back cover of Makers of Empty Dreams)


Current Creative Writing and Research

Ian is currently writing a full-length collection of prose poetry, with a working title of New York Hotel. This is the final volume in a trilogy, and follows on from Makers of Empty Dreams (Shearsman, 2014) and Identity Papers (Shearsman, 2016). He is also researching contemporary prose poetry, with a view to writing one or more critical articles. As a follow-up to his article on the Resistance writing of Beppe Fenoglio, published in Italica in 2015, he is researching areas where he can contribute to the subject of Resistance literature. He also continues with translations of Italian and French poetry into English, as well as working on his own poetry and short fiction.