The article is a brief introduction to the work of the "Liverpool poets", a group of young beat poets from Liverpool: A. Henry, R. McGough, B. Patten, popular in Great Britain in the 60s of the twentieth century. Contemporaries of the famous "Liverpool Four", "Liverpool poets" gained recognition not only due to the extreme popularity of Liverpool among young people around the world, but also due to their own original experiments with oral poetic word. The focus on direct live contact with the audience largely determined the specifics of their creative method. The elements of this method should be considered, firstly, the informal, entertaining, performative nature of the performances and the cross-use of various stage methods of influence: musical accompaniment, vocalization, chant, visual clarity, costumes, short dramatic etudes-parodies. Secondly, the emphasis on the colloquial tone of both speeches and the language of the poetic works themselves. Thirdly, the active use of local Liverpool realities and features of the everyday life of an ordinary city dweller. In this sense, the activities of the "Liverpool poets" could be considered provincial. On the other hand, demonstrative provincialism usually involves a challenge to the establishment. In this case, a challenge to metropolitan London, a traditional trendsetter, new trends and critical assessments. Targeting popular popular taste allows critics to place "Liverpool poets" in the category of pop poets. But if for some poet such an assessment may sound like a death sentence, then for the Liverpool troika it is a sign of recognition and success. As an illustration, the article proposes an analysis of A. Henry's poem.
