William McGonagall was born in Edinburgh in 1830. His father was a poor hand-loom weaver, and his work took his family to Glasgow, then to Dundee. William attended school for eighteen months before the age of seven, and received no further formal education. Later, as a mill worker, he used to read books in the evening, taking great interest in Shakespeare's plays. In 1877, McGonagall suddenly discovered himself 'to be a poet'. Since then, thousands of people the world over have enjoyed the verse of Scotland's alternative national poet. This volume brings together the three famous collections – Poetic Gems, More Poetic Gems and Last Poetic Gems, and also includes an introduction by Chris Hunt, the webmaster of the McGonagall website www.mcgonagall-online.org.uk, indexes of poem titles and first lines, and features the first publication of McGonagall's only play, Jack o' the Cudgel, written in 1886 but not performed publicly until 2002.

For over a hundred years, William McGonagall (1830-1902) has been CLIPPER almost universally recognised as the worst poet in English. Utterly convinced of his genius, he remained untroubled by any worrisome self-doubt, despite the mockery of his audiences. This collection brings together some of his best-known works (The Tay Bridge Disaster, The Battle of Tel-el-Kebir), some lesser-known gems (Beecham's Pills, The Faithful Dog Fido), and some autobiographical writings that tell of his ill-fated trip to Balmoral, of his much-fêted performance as Macbeth (in which he was so popular he decided not to die), and why publicans threw peas at him.

William Topaz McGonagall (1825-1902) was a Scottish weaver, actor and poet. He has been widely acclaimed as the worst poet in British history. The chief criticisms of his poetry are that he is deaf to poetic metaphor and unable to scan correctly. In the hands of lesser artists, this might simply generate dull, uninspiring verse. However, McGonagall's fame stems from the humourous effects these shortcomings generate. The inappropriate rhythms, weak vocabulary, and illadvised imagery combine to make his work amongst the most spontaneously amusing comic poetry in the English language. Of the 200 or so poems that he wrote, the most famous is probably The Tay Bridge Disaster, which recounts the events of the evening of 28 December 1879, when, during a severe gale, the Tay Rail Bridge near Dundee collapsed as a train was passing over it. He also campaigned vigorously against excessive drinking, appearing in pubs and bars to give edifying poems and speeches. These were very popular, the people of Dundee possibly recognising that McGonagall was "so giftedly bad he backed unwittingly into genius."

"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

Scots, young and old, at home and abroad, celebrate the memory of 'the worst poet of all time', William McGonagall, and this new presentation of his work will appeal to those who already hold him dear, and bring a new audience to his work.

Writing very bad poetry requires talent. It helps to have a wooden ear for words, a penchant for sinking into a mire of sentimentality, and an enviable confidence that allows one to write despite absolutely appalling incompetence. The 131 poems collected in this first-of-its-kind anthology are so glaringly awful that they embody a kind of genius. From Fred Emerson Brooks' "The Stuttering Lover" to Matthew Green's "The Spleen" to Georgia Bailey Parrington's misguided "An Elegy to a Dissected Puppy", they mangle meter, run rampant over rhyme, and bludgeon us into insensibility with their grandiosity, anticlimax, and malapropism. Guaranteed to move even the most stoic reader to tears (of laughter), Very Bad Poetry is sure to become a favorite of the poetically inclined (and disinclined).

"I'm in love with a man from Dundee Though he lived 100 years or so before me He was a poet He was aware of this" A tragic comedy, McGonagall's Chronicles charts the true life story of the worst poet of all time: William McGonagall. With wit, candour and warmth, Gary McNair tries to understand how McGonagall could be so bad at what he did, and gets to the heart of the dilemma that surrounds his legend – is it okay for us to laugh at someone's obvious and relentless failings?