Paul Robert Mullen is a poet who, after more than 25 years of writing, still resists defining himself by labels or trends. He has no desire to conform to what’s currently ‘in’ or follow what other poets are doing. Instead, he is driven by something far more personal: the fulfilment that comes from continually pushing his craft, experimenting with form, line, and context. For Mullen, it’s about staying true to his evolving voice and focusing on the development of his writing itself, without concern for where it fits in the broader poetry landscape.
The Personal Journey of Writing
“I don’t really think about where my poetry fits in, to be honest,” Mullen tells me when I ask about his place in the poetry world. “If you think too much about something like that, you’ll lose authenticity.” His approach is refreshingly straightforward: he writes for himself, not for others, and certainly not to align with poetic trends. He’s more interested in whether he’s satisfied with how he’s expressed his ideas—whether the execution of a line feels right or if he’s maximised the use of each word. “Padding poems out with unnecessary flesh” is not something he’s interested in. For Mullen, the purity of the line is paramount, and he’s always striving to do more with less.
This mindset is what drives his creative process, keeping him focused on what matters to him—being a better poet, honing his craft, and continually challenging himself. “Approaching poetry with a sense of commercialism or competition is not healthy for me,” he says. Mullen doesn’t write to stand out or to win accolades, though he acknowledges that if his poetry does make an impact, that’s a bonus. “I know people that really value my stuff, and people who don’t. Both is ok.”
Writing Without Intent to Follow Trends
When asked about trends, Mullen offers a clear-cut perspective: “I’ve never been trendy, so I’m miles away from knowing what ‘trends’ are.” His relationship with poetry is deeply personal, more about internal satisfaction than external validation. He reads what he likes, writes what he feels, and lets his poems fall where they may. “It doesn’t really matter to me if or where it fits because it is what it is, and it will lie wherever it lies.”
That sense of independence extends to how he views his relationship with his readers. Once a poem is edited and out in the world, it becomes theirs, not his. “Whatever they get out of the poem is their business,” he says. He’s open to interpretation, welcoming whatever feelings or thoughts his work might stir. “If it truly makes people think and encourages a critical reaction, then that’s cool. If it doesn’t, then that’s ok too.”
Editing with Confidence
Though Paul Robert Mullen has always been open to feedback, there’s a sense that, over time, he’s grown more confident in his ability to refine his own work. “In the past, I’ve had people cast their eyes over things for me. I feel like that was always a confidence issue, but I’m past that now,” he says. These days, he feels equipped to re-enter a poem both objectively and subjectively, with the patience to revisit a piece after leaving it to breathe for a while. The editing process for Mullen has become a way of mastering his voice and sharpening his poetic instincts.
Once a poem is released into the wild, though, Mullen lets go of ownership. He’s not overly concerned with whether readers connect or disconnect—what matters is the creation itself. “If my work resonates with people and triggers emotions, that’s great. But I don’t set out with deliberate intent to be deep.”
Life, Love, and Simplicity
When you step into Paul Robert Mullen’s poetic world, you’ll find a thematic landscape that covers all the major life experiences: love, loss, coming-of-age, mortality, politics, nature, faith, and more. But don’t expect grand philosophical statements or convoluted metaphors. Mullen prefers a straightforward approach, often drawing inspiration from narrative poets who avoid excessive complexity. “Sometimes it’s nice to have a message fall through the letterbox and register it immediately,” he says. He’s less inclined these days to wade through layers of meaning, instead opting for a clarity that speaks directly to the reader.
In terms of style, Mullen has always been drawn to poets who bring an ‘edge’ to their work—those whose writing slices through the noise and leaves a lasting impression. He mentions poets like Charles Bukowski, Louise Glück, and Andrew McMillan, each of whom bring intensity and sharpness to their subjects. For Mullen, an edgy poem is one that has urgency and challenges conventions. “It has a sharpness or intensity that outgrows the ordinary,” he explains.
Still, Mullen doesn’t force his work to fit any mould of ‘edginess.’ “I’d argue that a lot of my work is edgy, but not intentionally. Subject matter often defines that.” While some of his poems might carry a raw or unsettling quality, he insists that originality is less about striving for something outlandish and more about finding your own voice. He’s quick to point out that “a poem doesn’t have to be edgy to be effective either. Sometimes simplicity is bliss.”
Writing Without Expectation
At the end of the day, Paul Robert Mullen isn’t writing to change lives or make a profound statement. He’s more interested in whether his readers feel that their time and money weren’t wasted. “I want people to close the back cover and think, ‘you know what, I’ve not wasted my hard-earned money there,’” he says. And if his work sparks a conversation about poetry, writing, or even the weather, then all the better.
He likens his approach to that of musicians like Paul McCartney, who didn’t set out to write the world’s most covered song with “Yesterday”—he simply wrote it, and the rest followed. Mullen applies the same philosophy to his poetry. “I’d like to concentrate my thoughts on having a good time reading my work, selling a few books along the way, and having conversations with anyone who wants to talk about art.”
A Poet for the People
In his quarter-century of writing, Paul Robert Mullen may not have followed trends or sought to revolutionise poetry, but that’s never been the point. For him, writing is a personal endeavour, driven by a love for language and an endless curiosity about how words can shape our experiences. Whether his work is edgy, simple, or anything in between, it’s always his—and it’s always real.