Conceived as a film-poem, Liberty Hall, attempts to recreate the lives of previous generations, not in terms of data or facts, but in terms of the 'emotional weather' of O'Loughlin's parents and grandparents. Using the cinema of their time as a collective memory, O'Loughlin looks not at history itself, but at the associations around it, bringing together personal and national history in a way O'Loughlin often resisted in his previous work. More focussed on performative aspects, in terms of structure and delivery, Liberty Hall engages with questions of class and nationality, the personal and the political, the elsewhere and the canon of muse-mongers, and re-explores the boundaries between poetry and prose, the verbal and the visual, the individual and the state. Liberty Hall comes at a time when the very foundations of these constructs are being reinterpreted by anyone who would call themselves any sort of a 'Dubliner'.