I believed that Fukayama line: the end of history. But History didn't end, did it? Logan Dankworth, columnist and Twitter warrior, grew up romanticising the political turmoil of the 1980s. Now, as the EU Referendum looms he is determined to be in the fray of the biggest political battle for years. Meanwhile, Logan's wife Megan wants to leave London to better raise their daughter. As tensions rise at home and across the nation, something is set to be lost forever. The third of Luke Wright's trilogy of political verse plays looks at trust and privilege in the age of Brexit. "Poet Luke Wright doesn't mince his words. His performances rumble with rage, passion and humour. They are also peppered with brilliantly smart observations. You will leave his show brimming with energy, heart pounding and brain whirring." The Guardian

'My poor old heart, I've left its drawbridge down' Divorced, and perhaps a little bruised, Luke Wright journeys off the sunken roads of southern England and into himself, pursued by murderous swans, empty car seats, and his father's skeleton clocks. Both brazen and elegiac, these poems pull on the 'tidy hem' of responsible existence, unravelling the banal frustrations of online outrage and ageing friends, and grasping at something 'beyond our squeaky comprehension'. Wright files through the shackles of cynicism to ask how can we let go without giving up. 'Luke Wright is one of the greats. A poetic pugilist. Beguiling, hypnotic and master of the emotional sucker-punch. The Feel-Good Movie of the Year is his best yet.' - Carl Barat

We all want something to believe in. It's 1987 and Frankie Vah gorges on love, radical politics, and skuzzy indie stardom. But can he keep it all down? Following the multi award-winning What I Learned From Johnny Bevan, Luke Wright's second verse play deals with love, loss and belief, against a backdrop of grubby indie venues and 80s politics. Expect frenetic guitars, visceral verse, and a Morrissey-sized measure of heartache. Written and performed in deft verse by Fringe First and Stage Award for Acting Excellence winner Luke Wright. 'Pulsating, poetic story-telling' **** (Lyn Gardner, Guardian).

An escaped lion roams the streets of Essex; a lonely pensioner holds a tower block fete; and a young woman dreams of leaving home. Travel the unfashionable A-roads and commuter lines of England -'where industry meets marsh'- with poet Luke Wright. In his stunning new collection, discover a country riven by inequality and corruption but sustained by a surreal, gallow's humour. The Toll combines the elegaic with the anarchic, placing uproarious satire cheek-by-jowl with wild experiments in form and touching poems of parenthood. In this mature follow-up to his best-selling debut, Mondeo Man, Wright captures the strain of austerity Britain, speaking truth to power and registering the toll it takes on us all.

Explosive political satire and acerbic wit leap from stage to page in Mondeo Man - the hotly anticipated debut collection from Luke Wright. Yummy mummies and debauched Tory grandees mingle with drunk Essex commuters and leering tabloid paps; a small town chip-shop becomes the site of a heart-wrenching story of failed marriage; and a televised manhunt enthrals an entire nation. Wide-ranging, approachable and formally adept, Mondeo Man both celebrates and laments a country of disappearing pubs, celebrity anti-heroes and motorway service stations, perfectly capturing the English idiom at the turn of the twenty-first century. Whether in sonnet, ballad, ottava rima or univocalism, Wright's fast-paced rhythms and inventive rhyme always hit the spot and never pull their punches. This is poetry at its most contemporary, satirical, fun, and archetypally English.

At university, two worlds collide. Johnny Bevan, the whip-smart, mercurial kid from a city council estate, saves Nick Burton from living his father's safe life, but it ends tragically. Years later, a world-weary Nick is reminded of their friendship. Can Johnny save Nick again? Luke Wright makes his theatre debut with a story of friendship, class and a really bad idea for a festival. All told in beautifully deft and funny verse. 'Some of the most incisive writing you'll see' (Exeunt). ***** (Scotsman, List).

This book is the first systematic historical examination of Samuel Taylor Coleridge's prose religious works. Coleridge (1772-1834), the son of a clergyman, "was born and died a communicating member of the Church of England." He was a prolific writer on the subject of the relationship between church and state. At age twenty-three, Coleridge published his first theological work, Lectures on Revealed Religion, which focused on the concept of reason facilitating virtue. Luke Wright maintains that this theme unites Coleridge's theological writings, including the posthumous Confessions of an Inquiring Spirit (1935). Although he was an advocate of radical politics in the 1790s, by the time Coleridge published The Friend (1809), he had become high Tory. His major contribution to Anglican religious discourse was the revival of the Tory position on church and state, which saw the two as an organic unity rather than separate entities forming an alliance. His writings were vigorously opposed to the Court Whig theory of church and state. After Coleridge's death in 1834, his arguments were taken up by William Gladstone and carried forward. Wright's careful reconstruction of Coleridge's dedication to church-state issues provides a new perspective on the writer himself and on the intellectual history of early nineteenth-century England.