Pigeon Songs was launched last year before all this horrible virus misery. It has poems about miscarriage and immigration and fatherhood. Here's what some of the reviewers said.

Eoghan Walls’s Pigeon Songs is a reviewer’s (and any sensible reader’s) delight. It works through a dizzying richness of topics and motifs … The inventiveness of the collection is also marked by the fresh narratives that Walls offers.

David Malcolm, Poetry Salzburg Review, July 2020.

Walls is a master at creating resonant lines that catch the eye and the ear … The poems that reference family members do not descend into mere domesticity but carry with them an energy all of their own … The scope of the subject matter is astonishing

Neil Leadbeater in WriteOutLoud March 31, 2020

There’s impressive range in Pigeon Songs.Walls, it should not be doubted, has the ability to deeply conceive and map out such flights of imagination, and to offer them on the page with singular power.

Martin Dyar, Poetry Ireland Review, October 7, 2019

Formal metre and structure, by definition, don’t usually signify content that can flow free and wild. This is why Eoghan Walls’s Pigeon Songs is such a refreshing read. Its content, themes, tone and free word play are not what you might expect sitting within stanzas so formal. The juxtaposition of content and form give the reader a thrill.

Liam Nolan, Gwales, July 16, 2019

Prefer short stories? Have a read of this then, so. It's Stillness - a story featuring Heidegger, boobs and loosely veiled autobiography - over with Granta.

Here's a bit about my first collection. 

Eoghan Walls was born in Derry, Northern Ireland.  He won an Eric Gregory Award in 2006, an Irish Art's Council Bursary in 2009. His work has been published broadly in anthologies and journals; this is his first full length collection of poetry.  It was shortlisted for the Short Award for Best First Collection in 2012.

The old world is finished, The Salt Harvest tells us, and I am terrified. From Derry to Drogheda to Eastern Europe and beyond, an aluminium angel with a frogsoul  contemplates the meat and animals of a dry world darkening, probes starmatter in vain for limbo, titillates with leftover words like pray or sacrament in a negative baptism where nothing is funny as it used to be. A griefdappled dirgebook lifted alive by love from the water.

                                     Medbh McGuickian

What the reviewers said about The Salt Harvest, my first collection...

… what separates The Salt Harvest from many first collections is a willingness to look for the poetic in pretty much anything, an almost aureate diction, and a darkly exuberant style …
The Guardian

…Walls wields a voice which strikes out on its own and, like all the best poetic voices, seems almost entirely to lack antecedents … here, “praise be”, is a voice bringing something really new ...

The Edinburgh Review

The poems in this collection are like footprints in the sand that seem to form then disappear behind, their clarity almost ghostly.  They’re made more sinister by Walls’ formal adeptness ...

...the poems are unified through explorations of meeting-points between the physical human form and, well, everything else, creating some highly sensual effects
The North