Adrian Mitchell

His best-known poem, "To Whom It May Concern", was his bitterly sarcastic reaction to the televised horrors of the Vietnam War. Mitchell's poems ranged from anarchistic anti-war satire, through love poetry, to stories and poems for children. He also wrote librettos. In 2002, he was nominated, semi-seriously, as Britain's "Shadow Poet Laureate".

Adrian Mitchell studied at Christ Church, Monkton Combe School and Greenways School. The recorded working language is English. The field of work recorded is creative and professional writing, poetry and prose. Distinctions recorded are PEN Translation Prize, Eric Gregory Award and Fellow of the Royal Society of Literature.

Adrian Mitchell was born on 24 October 1932 near Hampstead Heath, north London. His mother, Kathleen Fabian, was a Fröbel-trained nursery school teacher and his father, Jock Mitchell, a research chemist from Cupar in Fife. Adrian was educated at the Junior School of Monkton Combe School in Bath. He then went to Greenways School, at Ashton Gifford House in Wiltshire, run at the time by a friend of his mother. This, said Mitchell, was "a school in Heaven, where my first play, The Animals' Brains Trust, was staged when I was nine to my great satisfaction." His schooling was completed as a boarder at Dauntsey's School, where he collaborated in plays with friend Gordon Snell. Mitchell did his National Service in the RAF. He commented that this "confirmed (his) natural pacificism". He went on to study English at Christ Church, Oxford, where he was taught by J. R. R. Tolkien's son. Mitchell became chairman of the university's poetry society and the literary editor of Isis magazine.

On graduating, he got a job as a reporter on the Oxford Mail and, later, at the Evening Standard in London. He later wrote of this period: Inheriting enough money to live on for a year, I wrote my first novel and my first TV play. Soon afterwards I became a freelance journalist, writing about pop music for the Daily Mail and TV for the pre-tabloid Sun and the Sunday Times. I quit journalism in the mid-Sixties and since then have been a free-falling poet, playwright and writer of stories. Ever inspired by the example of his own favourite poet and precursor William Blake, about whom he wrote the acclaimed Tyger for the National Theatre, Mitchell's often angry output swirled from anarchistic anti-war satire, through love poetry to, increasingly, stories and poems for children. He also wrote librettos. The Poetry Archive identified his creative yield as hugely prolific. He sought in his work to counteract the implications of his own assertion, that "Most people ignore most poetry because most poetry ignores most people." Mitchell gave frequent public readings, particularly for left-wing causes. Satire was his speciality. Commissioned to write a poem about Prince Charles and his special relationship (as Prince of Wales) with the people of Wales, his measured response was short and to the point: "Royalty is a neurosis. Get well soon." In "Loose Leaf Poem", from Ride the Nightmare, Mitchell wrote: My brain socialist My heart anarchist My eyes pacifist My blood revolutionary He was in the habit of stipulating in any preface to his collections: "None of the work in this book is to be used in connection with any examination whatsoever." His best-known poem, "To Whom It May Concern", was his bitterly sarcastic reaction to the televised horrors of the Vietnam War. The poem begins: I was run over by the truth one day. Ever since the accident I’ve walked this way So stick my legs in plaster Tell me lies about Vietnam He first read it to thousands of nuclear disarmament protesters who, having marched through central London on CND's first new format one-day Easter March, finally crammed into Trafalgar Square on the afternoon of Easter Day 1964. As Mitchell delivered his lines from the pavement in front of the National Gallery, angry demonstrators in the square below scuffled with police. Over the years, he updated the poem to take into account recent events. In 1972, he confronted then-prime minister Edward Heath about germ warfare and the war in Northern Ireland. His poem "Victor Jara" was set to music by Arlo Guthrie and included on his 1976 album Amigo. Mitchell was later responsible for the well-respected musical stage adaptation of The Lion, the Witch and the Wardrobe, a production commissioned and performed by the Royal Shakespeare Company that premiered in November 1998 at the Royal Shakespeare Theatre in Stratford-upon-Avon, and transferring to the Barbican Theatre in London. His work for the Royal Shakespeare Company included Peter Brook's US and the English version of Peter Weiss's Marat/Sade. Ever inspired by the example of his own favourite poet and precursor William Blake, about whom he wrote the acclaimed Tyger for the National Theatre, Mitchell's often angry output swirled from anarchistic anti-war satire, through love poetry to, increasingly, stories and poems for children. He also wrote librettos. The Poetry Archive identified his creative yield as hugely prolific. After his death, in 2009 Frances Lincoln Children's Books published an adaptation of Ovid: Shapeshifters: tales from Ovid's Metamorphoses, written by Mitchell and illustrated by Alan Lee.

Mitchell first married Maureen Bush, with whom he had two sons and a daughter. Alistair (a lawyer, died 2019 aged 61), Danny and Briony. They adopted Boty Goodwin (1966–1995), daughter of the artist Pauline Boty, following the death of her father, literary agent Clive Goodwin, in 1978. Following Boty Goodwin's death from a heroin overdose, Mitchell wrote the poem "Especially when it snows" in her memory. He was survived by his second wife, actress Celia Hewitt, who owned a Highgate bookshop, Ripping Yarns, and their two daughters Sasha and Beattie.

Mitchell died on 20 December 2008 at the age of 76 in a North London hospital, following a suspected heart attack. For two months he had been suffering from pneumonia. Two days earlier he had completed what turned out to be his last poem, "My Literary Career So Far".

Fellow writers could be effusive in their tributes. John Berger said: "Against the present British state he opposes a kind of revolutionary populism, bawdiness, wit and the tenderness sometimes to be found between animals." Angela Carter once wrote that Mitchell was "a joyous, acrid and demotic tumbling lyricist Pied Piper, determinedly singing us away from catastrophe." Ted Hughes stated: "In the world of verse for children, nobody has produced more surprising verse or more genuinely inspired fun than Adrian Mitchell." According to writer Jan Woolf, "He never let up. Most calls—'Can you do this one, Adrian?'—were answered, 'Sure, I'll be there.' His reading of 'Tell Me Lies' at a City Hall benefit just before the 2003 invasion of Iraq was electrifying. Of course, he couldn't stop that war, but he performed as if he could." "Adrian", said fellow poet Michael Rosen, "was a socialist and a pacifist who believed, like William Blake, that everything human was holy. That's to say he celebrated a love of life with the same fervour that he attacked those who crushed life. He did this through his poetry, his plays, his song lyrics and his own performances. Through this huge body of work, he was able to raise the spirits of his audiences, in turn exciting, inspiring, saddening and enthusing them.... He has sung, chanted, whispered and shouted his poems in every kind of place imaginable, urging us to love our lives, love our minds and bodies and to fight against tyranny, oppression and exploitation." The critic Kenneth Tynan called him "the British Mayakovsky". The Times said that Mitchell's had been a "forthright voice often laced with tenderness". His poems on such topics as nuclear war, Vietnam, prisons and racism had become "part of the folklore of the Left. His work was often read and sung at demonstrations and rallies".

Walsh, David. To the memory of Adrian Mitchell. (24 December 2008) World Socialist "Adrian Mitchell: protest poet and prose writer", The Times, 23 December 2008. Dan Carrier, "‘Adrian was a genius. He was a tender, political poet who never compromised’", Camden New Journal, 23 December 2008. Michael Rosen, "Passionate poet unafraid of the big stuff", The Times, 23 December 2008.

In the late 1960s, British poets at a conference voted for Adrian Mitchell as the next poet laureate. Around 30 years later, he was nominated, semi-seriously, as Britain's "Shadow Poet Laureate" by Red Pepper magazine. In a National Poetry Day poll in 2005, Mitchell's poem "Human Beings" was voted the one most people would like to see launched into space.

Mitchell won several awards, including: 1961: Eric Gregory Award 1966: PEN Translation Prize 1971: Tokyo Festival Television Film Award 2005: CLPE Poetry Award (shortlist) for Daft as a Doughnut