Poetry / poems by individual poets

Book SynopsisGwyneth Lewis's highly inventive Sparrow Tree puts nature writing in a spin, presenting a huge variety of birds, both British and American: blue tits, blackbirds, egrets, juncos, starlings, herons and hummingbirds as well as the sparrows of the title. The book explores birds as mouthpieces for inhuman song and the wild inside the mind. Launching flights of avian fancy or fantasy on several levels, Sparrow Tree moves from birdsong as proto-language to birds as decorative beings. The collection includes her already well-known How to Knit a Poem, commissioned by BBC Radio 4, and ends with images of the human word as a form of love. Winner of the Roland Mathias Poetry Award (Wales Book of the Year).Trade ReviewThese are poems that gather darkly and peck. They feint and play hazardously with their beaks and sometimes take to wing… These are poems more concerned with the mechanisms of song – both human and avian – than they are with the song itself, and it is this resistance that makes the poems so often mesmerising…What Lewis pulls off…feels like an avian feat: she strikes a fine, improbable balance between gravity and levity. Even as her speaker struggles to access the language, to get the voice right, she gets us off the ground and ungiddily bids us, look. -- Elyse Fenton * New Welsh Review *

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Book SynopsisAilbhe Darcy's debut collection is a set of urgent dispatches from her point of origin, Dublin, and from her skirmishes further afield: London, Paris, Africa, Eastern Europe or the States. Driven less by metaphor than by wild conceits, semantic leaps, and startling juxtapositions, these are poems that itch and pluck at the pelt of what we think we know. Darcy is an exuberant and inventive new presence in the poetry world.Trade Review"Ailbhe Darcy's work has a precision and purpose rare in one so young. Her poems turn up without a word out of place and are not content to just decorate the page with metaphors, but determined to communicate to the reader Darcy's vision of things as they are. Her words are sometimes soothing, sometimes brutal with her truths as she sees them. Never self-absorbed, she is a poet consumed by what the world around her is doing; it is this quality above all others which numbers her among the most promising new Irish poets" - Kevin Higgins. "Here is a new writer for whom it is worth putting a kink in the usual niceties of the space-time continuum - quirkiness without archness, the bellybutton fluff of youth but the empty taxis and left-behind pubs and streets of the left-behind cities afterwards - The talent for splicing the heterogeneous together, cadavre exquis-style" - David Wheatley. "A real find for Irish readers" - Dave Lordan, Arena, RTE Radio.

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Book SynopsisRoddy Lumsden's Terrific Melancholy is a book of changes, physical and emotional. It begins with a diverse sequence on that most dubious and folkloric of changes, rebirth into a new life, exploring our history's advances - changeless, changeful. Meanwhile, in the lengthy title-poem, an actor's reluctant crush on a younger colleague leads him to look back on life from middle age, while the poet himself does the same during travels in the USA. This is Lumsden's sixth collection and it also contains a miscellany of new poems which display the writer's acclaimed inventiveness with form and structure and his breadth of approaches: satire, listing, praise poems and a new form, the 'ripple poem', which develops the use of 'fuzzy' rhyme.Trade ReviewThere is a level of talent that will ransom any project in any school. On the one hand, it will be interesting to see where Lumsden goes next; on the other, he's so good that it hardly matters. -- D.H. Tracy * Poetry *Although the verse is hopping with linguistic antics, the foci of the language are music and rhetoric and, whip-smart as these poems are, they tend to resist chin-stroking analysis - the rhymes, the larks, the brutal punch-lines tug Lumsden's poems off the page and into the living context they describe. -- Matthew Smith * Verse *One of the best poets writing in English on the planet today. -- Don Share * Squandermania *

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Book SynopsisJean ‘Binta’ Breeze was a popular Jamaican Dub poet and storyteller whose performances were so powerful she was called a ‘one-woman festival’. Her poems are Caribbean songs of innocence and experience, of love and conflict. They use personal stories and historical narratives to explore social injustice and the psychological dimensions of black women’s experience. Striking evocations of childhood in the hills of Jamaica give way to explorations of the perils and delights of growth and change – through sex, emigration, motherhood and age. Introduced by renowned critic Colin MacCabe, the book brings together new poems with poetry and reggae chants from four previous collections: Riddym Ravings, Spring Cleaning, On the Edge of an Island and The Arrival of Brighteye. Many of the poems were included in two performances by Jean ‘Binta’ Breeze filmed by Pamela Robertson-Pearce at Leicester’s Y Theatre available by scanning QR codes printed in the book, along with an interview with Jane Dowson.Trade ReviewJean ‘Binta’ Breeze… emerged in the 1980s as the first female dub poet, fusing reggae rhythms and music with the spoken word… Through the use of a variety of women’s voices and contexts, Breeze’s work challenged the usual stances of the dub and performance poetry tradition. Whether on stage, record or page, she spoke for – and to – black female experience, encompassing a wide range of subjects, styles and tonalities. -- Lyn Innes * The Guardian *Jean 'Binta' Breeze... was a poet who first came to prominence among Jamaica’s dub poets, but whose work quickly distinguished itself from its origins to gain a subtlety and versatility of its own. Dub poetry... was already capable of delivering powerful political messages. Breeze adopted this eagerly, but brought to it a more intimate voice that enabled her to advance feminism as well as openness about mental illness and sex...Her range included not only the polemical and the personal, but also more extended narratives and memoirs. -- Obituary * The Daily Telegraph *A major, perhaps even a great voice. For stature, Jean Binta-Breeze invites a Caribbean comparison with Maya Angelou, except that her range is broader still. Her poetry shifts effortlessly through standard English to a native Jamaican which has no equal in its emotional depth. -- Alexander Linklater * The Herald *

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Book SynopsisClare Pollard's fourth collection is steeped in folktale and ballads, and looks at the stories we tell about ourselves. From the Pendle witch-trials in 17th-century Lancashire to the gangs of modern-day east London, "Changeling" takes on our myths and monsters. These are poems of place that journey from Zennor to Whitby, Broadstairs to Brick Lane. Whether relocating the traditional ballad 'The Twa Corbies' to war-torn Iraq, introducing us to the bearded lady Miss Lupin, or giving us a glimpse of the 'beast of Bolton', "Changeling" is a collection about our relationship with the Other: fear and trust, force and freedom. Poetry Book Society Recommendation.Trade Review"Her work really is emphatically of our time, capturing the world in its beauties and horrors in writing that's technically superb, but which also has what, if I was a sentimental chap, I'd call heart" - Ian McMillan, The Verb. "The themes are ancient - guilt, grief, the almost unbearable com-mingling of beauty and suffering - but shown through contemporary globalised life in all its grossness and glory - Pollard's wit, honesty and recklessness" - Frances Leviston, Yorkshire Post. "Clare Pollard has so much youthful talent that it's alarming. The poems are raw and sexy, exotic and compelling, their insights at once intimate and universal. There's a cruel precision of observation too, coupled with a real opulence, about these pieces - I loved the headlong rush of it all" - Catherine Czerkawska, Mslexia.

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Book SynopsisThe central theme of Carole Satyamurti's new collection is the shifting relationship between loss and gain. It explores the varied ways in which that relationship is played out in day-to-day experience. The poems range from personal to the political, the psychological to the scientific, many addressing the human cost of war and terror, most notably in 'Memorial', written after a visit to Oradour-sur-Glane, the still desolate French village where six hundred innocent people were massacred in 1944. A sense of the transience and fragility of life runs through all the poems - whether it is life cut short prematurely, or the natural process of ageing. And under that is the profound mystery of time itself - how are we to conceive of it? How can we best live within its inexorable constraints? And how can we engage with it in language? The poems address these questions with both seriousness and humour, as well as bringing to bear a sharp eye for detail.Trade Review"No matter how compelling her themes, with their demands of compassion and political conscience, Satyamurti never loses hold of her main topic: the capacity of language" - Bernard O'Donoghue, Poetry London. "Carole Satyamurti's poems look to be stations on a road map of psychological discoveries, sometimes personal, sometimes objective and scientific. Her best poems are not so much confessions as meditations" - Anne Stevenson, London Magazine. "Her unobtrusive approach is deceptive - these poems have unexpected stings in their tails" - Penelope Shuttle.

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Book Synopsis"A Story I Am In" is not just James Berry's life in poetry but a book of all the lives he has witnessed or been part of - a story of life itself. He came to Britain in 1948, in the first postwar wave of Jamaican emigration, later becoming one of the first black writers in Britain to achieve wider recognition. Poetry mattered to Berry from an early age, exposed to two main languages: the standard English of Bible and prayerbook heard every Sunday at church, with all its rhythms and sounding patterns; and the tunes of everyday Jamaican language, with its sayings and proverbs, its special dialect words with their African connections, its expression of a roots culture. These experiences gave him that strong and particular Caribbean awareness of language which has nourished his poetry over many years. This major retrospective of his work covers five collections published over four decades, plus a selection from four books of poetry for children. Much of his poetry celebrates the divided world of a lifelong outsider. Growing up in Jamaica, Berry felt as much disturbed by his African background as by the European slave-trade and its aftermath. His poetry shows how 'root agonies' made him view Africa as a thoughtless and neglectful mother, how his years in Britain - most of his adult life - left him worried by past, present and future. Now in his mid-80s, he has sought in his later work to give voice to all the people who came on the first ships from the Caribbean, whose journeys held strange echoes of earlier sea voyages from Africa to the slave plantations.Trade ReviewWhen I think of James Berry's poetry I think of celebration - celebration with an echo of despair, but his urge to find worth and joy in both the remembered life of his rural Jamaican childhood and in his sojourn as a "bluefoot traveller" in Britain through the last forty years, is the real motive force of his work - Berry has been at the forefront of the struggle to validate and honour the language people of West Indian origin in Britain actually speak. -- Stewart Brown

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Book SynopsisIn his nineties Philip Gross's father, a wartime refugee, began to lose his several languages, first to deafness, then profound aphasia. Deeply thought as well as deeply felt, these poems reach into that gulf to find him - through recovery of histories both spoken and unspoken as well as an excavation of the spoken word itself. Readers who admired Philip Gross's subtlety and range in his T.S. Eliot Prize-winning collection The Water Table will find those qualities brought to a new human urgency in the compelling sequences of Deep Field.Trade Review'A book of great clarity and concentration, continually themed but always lively and alert in its use of language. Gross takes us from Great Flood to subtly invoked concerns for our watery planet; this is a mature and determined book, dream-like in places, but dealing ultimately with real questions of human existence' - Simon Armitage, T.S. Eliot Prize judges' comment. 'Great poetry is like walking on water. In this paradoxical, humane collection, Philip Gross achieves that miracle' - Polly Clark, Guardian. 'Haunting, vividly imagined poems, whose fierce intelligence is gentled by the sonorous grace of the language - A considerable poetic talent offers us an elegant and subtle re-evaluation of the modern world' - Sarah Crown, The Guardian.

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Book SynopsisGig Ryan's edgy, excoriating poetry takes the pulse of urban Australia, but her territory is as much the human rat-race and the hell of contemporary life as the particular lives she seizes upon with icy, ironic precision. Her range of reference brings together heroes, heroines and put-upon mortals of both ancient and modern times: slaves and moneygrabbers, pretenders and worshippers of ephemera and effluvia, for whom 'I continue my existence as a negative role-model / bathing in the blood of others / sitting in a cone of noise.'Trade Review'Postmodern poetry discovers its classical voice - Her monologues have a fragmentary quality, as if spoken in a post-Poundian landscape littered with broken statues' - Michael Hulse, Poetry Review. 'Abrupt, pared-back, given to juxtapositions that reshape the urban world her poetry evokes with satirical insight and a dry wicked humour, Ryan's poetry is no easy thing... More the demotic of a dystopia than the vernacular of a republic, Ryan's use of language - its truncation, tautness and drama - cuts equally across the body politic and the scene of poetry. Throughout all of this, her humour, insight and tight music both test and engage the reader. She gives street-learning a classical voice; post-modernism, experience' - Michael Brennan, Poetry International Web.

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Book SynopsisGjertrud Schnackenberg is a major voice in American poetry known for the sensuous richness of her imaginatively daring poetry of ideas. Her first new book for a decade, Heavenly Questions is a setting of six long poems of passion, mourning and redemption. Shifting effortlessly between the lyric and the epic, it is her most deeply compassionate and strikingly personal book of poetry as well as a powerful work of intellectual, aesthetic and technical innovation. The book won her the Griffin Prize International Poetry Prize.Trade ReviewI've just discovered a wonderful American poet called Gjertrud Schnackenberg - she really is called that - and I wish I had the time to catch up with everything she's done. I think she's brilliant. -- Clive James * BBC Two's Front Row Late: When Mary Beard met Clive James *Schnackenberg is best known for her stunning command of prosody. She is the most accomplished master of blank verse on the planet… Her dream songs remain both impossibly intimate and formally perfect: a double monument to love and to grief. Here is the most powerful love poetry of our time. -- Eliza Griswold * The American Prospect *The momentum of her lines suggests grief's endless reprisals and perpetuations, and the rhythms of an infinite, recombinant universe. In six long poems, which constitute a single integrated work, Heavenly Questions guides us through the transformations of bereavement. The effect is immersive and utterly compelling… The ambition and ingenuity of Heavenly Questions reminds us of what it is possible for elegiac poetry to achieve, particularly given a longer form; but the courage at its core, the tremendous, vulnerable dignity, the refusal to seek easy consolations, or depict such a grief in familiar terms, are what hold the most power to enchant and impress, and make these poems resonate long after the book has been closed. -- Frances Leviston * The Guardian *

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Book SynopsisThe poems in "Terrestrial Variations" respond to the sheer chanciness of life. They are elegies for friends, relations, dead selves, and unrealised lives, but - like Jane Griffiths' previous poems - they are also full of things, both real and remembered, whose importance is as much literal as it is symbolic. Linguistically playful and sometimes ironically impatient with their own attention to detail, they record repeated attempts to make sense of the world and the strange business of getting on from day to day. Their slant perspective invites the reader too to realise: 'You'll never again say this is where I stand, and mean it.' Jane Griffiths' previous book "Another Country: New & Selected Poems" was shortlisted for the Forward Prize for Best Collection. "Terrestrial Variations" shows her extending her explorations of people and place with delight at being in the world, despite the threat of loss.Trade Review'Jane Griffiths is a poet attracted to the cross-hatchings of matter and spirit; inner and outer; air and water; foreignness and a sense of home - she has something of the Dutch still-life painter's eye: the comprehension of solid form as nothing, finally, but the effect of light. Sensuously wrought and even, at times, subtly erotic, her poems simultaneously evoke another level of pure abstraction, with words in place of coils of paint' - Adam Thorpe, Guardian. 'For Griffiths, meaning is not so much to be teased out of the universe as it is to be seen. Her underlying conviction seems to be that, if we can eliminate our own warring needs, distractions and expectations, we can read the language of the world' - Rose Solari, Poet Lore 'A major achievement... outstanding...complex and subtle in thought, supple of tone and piercing in its observation' - Sarah Broom, TLS. 'The extraordinary exuberance of Jane Griffiths's poems is a product of their strange balancing between the image and the idea. The images seem to have a verbal life of their own, generated by a dominating thought that the reader is hardly aware of. But then it dawns on you, slowly but unforgettably, and you enjoy the things in the poem all the more when you see what they are for' - Bernard O'Donoghue.

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Book SynopsisPoetry Book Society Recommendation. Moving from the violent to the erotic, "Conquest" describes women questing to rediscover their own desire. Split into three sections, the collection begins in the 19th-century England of the Bronte sisters, travels through the vast continent of the USA, and finally finds the answer to women's longing in a walled garden in the decorous city of Paris. In America and Europe, the heroines struggle against the conquest of bodies and of place, facing issues like miscarriage, lost love and domestic violence. Consolation comes, however, by discovering their own desires and independence. The collection begins with 'My Last Rochester', a sequence devoted to the Bronte sisters and their struggle to meet expectations of them as women, lovers and wives. The English Gothic gives way later to a story of American immigration in the title-sequence. 'Conquest' pans to the wide open spaces of the USA, where pioneering women still quest to satisfy the sweetness of their own longings. Such satisfaction is only unravelled by retreating to a walled garden in the final sequence, 'The Lady and the Unicorn'. Original in its use of form, "Conquest" questions the brutal aspects of Western society, especially violence against women and the colonial mind-set. Inspired by the tapestries at the Musee Cluny in Paris and the artwork of Victoria Brookland, the poems visualise women rediscovering their own pleasures, desires, loves. Bridging the personal and the universal, Conquest offers a compelling vision of healing and consolation.Trade ReviewExploring sexuality and politics with imaginative subtlety, Conquest is a book about pursuit and capture and the things that elude us in the chase… What seems to interest Brigley most about pursuit is what is evaded in the chase. Her poems are full of references to the lost and the untouchable… This is a beautifully disconcerting collection, intelligent in its treatment of its themes. -- Helen Mort * Magma *

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Book SynopsisAt once a reckoning with a lost political legacy, a meditation on love, marriage and middle age, and a reaching back into foreign ancestry, The Winter Sleep of Captain Lemass is Harry Clifton's fullest and most ambitious attempt so far to bring together, in a single book, the discordant elements of an evolving Ireland, as it discovers itself, through public and private destinies, in the 21st century. Harry Clifton is one of the finest and most widely travelled poets of his generation.Trade ReviewThe poems begin with something seen, remembered, or suddenly known, or a melancholy feeling about time passing, or complex emotions about love, and then they take a longer view, or hold their breath while a new tone, filled with sonorous risk and odd wisdom slowly seeps into an end-line of a stanza or a new section of a poem… There are moments when you hold your breath… and you sit up in pure delight… there are a number of poems in this book that will be read as long as any poems are read anywhere… The last poem, "Oweniny, Upper Reaches", filled with soft, haunting cadences and strange, ambiguous musings on solitude, memory and the meaning of things, is a masterpiece. It displays Clifton’s reticence and technical skill against the need to let the poem soar into a truth that emerges from the gap between the words, and then it allows the words themselves to glide up and out in all their hushed and controlled beauty. -- Colm Tóibín * The Irish Times on The Winter Sleep of Captain Lemass *

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Book SynopsisIn this, her first poetry collection since the award-winning Countries of the Body, Tishani Doshi returns to the body as a central theme, but extends beyond the corporeal to challenge the more metaphysical borders of space and time. These new poems are powerful meditations born on the joineries of life and death, union and separation, memory and dream, where lovers speak to each other across the centuries, and daughters wander into their mothers’ childhoods. As much about loss as they are about reclamation, Doshi’s poems guide us through an ‘underworld of longing and deliverance’, making the exhilarating claim that through the act of vanishing, we may be shaped into existence again. Everything Begins Elsewhere was followed by two further collections, Girls Are Coming Out of the Woods in 2018, and A God at the Door in 2021.Trade Review'These poems move in different directions, as true poetry should. We hear in them joy and sadness, praise and lament, love and disenchantment - simultaneously. Tishani Doshi speaks courageously about herself, about her choices, about the growing shadows. It's a beautiful book' - Adam Zagajewski. 'There is a fierce power to Tishani Doshi's poetry. Delicate as spun silk, it draws us into the zone of desire, even as it opens us to what lies beyond - the quick of the metaphysical. Places slip and slide and melt into each other - lover, mother, father, brother appear and disappear, time perfects itself as eternal vanishing' - Meena Alexander. 'Doshi's poems embody a world of longing - her laments and dreams sear the reader's senses, setting their world alight. She makes you want to dance to the strings of her taut and tender soundboard, and echo aloud her fathomless world. Here is a poet with lyrical acuity in abundance' - Menna Elfyn. 'A striking, emergent talent who is prepared to take risks in pursuit of sensual, emotionally engaged and passionate poetry' - John Burnside, Forward Prize judge's comment. 'A quest for the truths contained within that "failed infinity / Of body, fibre, blood". She works under her expressive title to offer an eloquent dissection of the body - its attributes, metaphors, deficiencies and contradictions - all delivered in chromatic, richly textured lines, in which the assured manipulation of rhythm and internal rhyme produces poems of remarkable balance and grace' - Sarah Crown, Guardian. 'Free of the habitual lyricism of Indian writers, her work is austere and beautiful. Her refreshing muscularity gives her a distinct voice, both as a woman and an Indian, focusing on the female body, which she treats as a venue for male pleasure and a factory for patriarchy, producing desired sons and unwanted daughters' - Nirpal Dhaliwal, The Times Online

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Book SynopsisMenna Elfyn's collection Murmur is full of murmurings – in English and Welsh – such as the need ‘to walk the earth as if there’s a baby sleeping next door’. Murmur is a poetry of meditation, from the reverberations of dead poets to murmurs of the heart which force the poet to dwell on the irregular beat of the poet’s lot. Distant sounds too are heard from captivity in a sequence of poems about the last princess of Wales, Catrin Glyndwr, daughter of Owain Glyndwr, who was incarcerated with her children in the Tower of London for over two years until their mysterious death. Fittingly enough, "mur-mur" in Welsh also means "wall-wall", so the book's leitmotif is one that stresses the distance between words and worlds - and the way poetry is a language beyond language which we can sometimes only grasp through sound. Menna Elfyn is the best-known, most travelled and most translated of all Welsh-language poets. The extraordinary international range of her subjects, breathtaking inventiveness and generosity of vision place her among Europe's leading poets. Murmur is her first new book since "Perfect Blemish: New & Selected Poems / Perffaith Nam: Dau Ddetholiad & Cherddi Newydd 1995-2007", and includes translations of poems by Welsh folk hero and poet of peace Waldo Williams (1901-71) which challenge the notion of the Celtic melancholy and testify to a 'hesitant hope'. Her own poems have facing English translations by leading Welsh poets: Elin ap Hywel, Joseph Clancy, Gillian Clarke, Damian Walford Davies and Paul Henry.Trade Review'Menna Elfyn is the firebird of the Welsh language, bright, indomitably modern and as undestructible as the phoenix. She gives hope to all writers in lesser spoken languages that great things can rise from the ashes' - Nuala Ni Dhomhnaill. 'Elfyn is a poet of healing - both compassionate and celebratory. Like a soul doctor she questions and probes, like St Teresa she endures the darkness, but in the end she sings a song which affirms that flawed humanity is indeed perfectible' - Katie Gramich, Planet. 'Liberation and enclosure are powerful themes in Menna Elfyn's work. She is a political poet, writing with passion of the Welsh language and identity for which she campaigns. But she makes her claims with realism - a restless, intensely responsive imagination' - Helen Dunmore, Observer.

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Book Synopsis"People Who Like Meatballs" brings together two contrasting poem sequences about rejection by 'this brilliant lyricist of human darkness' (Fiona Sampson). The title-sequence, "People Who Like Meatballs", is about a man's humiliation by a woman. Into my mother's snow-encrusted lap is about a dysfunctional mother-child relationship. Like all of Selima Hill's books, both sequences in "People Who Like Meatballs" chart 'extreme experience with a dazzling excess' (Deryn Rees-Jones), with startling humour and surprising combinations of homely and outlandish.Trade Review'Arguably the most distinctive truth teller to emerge in British poetry - Despite her thematic preoccupations, there's nothing conscientious or worthy about Hill's work. She is a flamboyant, exuberant writer who seems effortlessly to juggle her outrageous symbolic lexicon - using techniques of juxtaposition, interruption and symbolism to articulate narratives of the unconscious. Those narratives are the matter of universal, and universally recognisable, psychodrama - hers is a poetry of piercing emotional apprehension, lightly worn - So original that it has sometimes scared off critical scrutineers, her work must now, surely, be acknowledged as being of central importance in British poetry - not only for the courage of its subject matter but also for the lucid compression of its poetics' - Fiona Sampson, Guardian. 'Her adoption of surrealist techniques of shock, bizarre, juxtaposition and defamiliarisation work to subvert conventional notions of self and the feminine - Hill returns repeatedly to fragmented narratives, charting extreme experience with a dazzling excess' - Deryn Rees-Jones, Modern Women Poets.

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Book SynopsisAcross one day in London, twelve elderly men and women sit in flats, walk, or wait, and speak about their histories, their hopes, their loves, their disappointments and griefs - and above all seek to express who they are and what their life has been. Most are immigrants - Irish, West Indian, Polish, Italian, and German, struggling with a feeling of rootlessness. Drawn from Sally Read's experiences as a community psychiatric nurse in central London, these twelve monologues are the voices of schizophrenia, dementia, depression, and anxiety. Authentic and moving, they form a vivid portrait of the capital - its richness and its sadnesses, its waves of immigration, and its living witness to the devastating effects of World War II. Four of the voices are Jewish refugees who arrived in London as children, leaving parents to die in Nazi-occupied Europe. Candid and vivid, these monologues make us privy to entire lives through a poetic voice that is at once brutally realistic, and beautifully realised. Above all, these poems give marvellous expression to people whose speech, memory, and coherence is often marred by illness. The result is a stunning insight into other people's stories, and how we may come to measure our own.Trade ReviewRead defines herself by her risks…violence and elegance walk hand in hand – her style is not unlike that of Plath's middle period. There is real pleasure in the disparity between her light lyric touch and the menacing and /or visceral description she frequently employs; she disarmed this reader and defied the expectation. -- Kathryn Gray * Magma *

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Book SynopsisPenelope Shuttle is one of Britain's leading poets. This selection - drawn from ten collections published over three decades plus new work - shows both her consistency of voice and her energised openness to language and to life. Adventurous, searching, interested in the luminous instant of reality that dwells in the perpetual now of the poem, Penelope Shuttle is a poet who clearly shares Picasso's view that 'If you know exactly what you're going to do, what's the point of doing it?' Not for nothing was one of her books titled Adventures with My Horse. The new poems of Unsent are communications to and with her husband Peter Redgrove, remembering their shared past with love, wit, paradox, exasperation and a lightness of heart towards ageing and sorrow. With these poems Shuttle concludes her triptych of mourning for Redgrove, and ceases 'to weep on the world's shoulder'. If a poet's work is her personal experience of the universe then this book takes us deep into that Shuttle-verse. In earlier collections her concerns are with language as a safety net from life's difficulties and a guide through widening regions of love and motherhood. Her themes range widely: personal life, that part of our 'secret working mind' which we call dreams, the landscape of Cornwall, myth and fairytale. And she has a passionate awareness of the many ways - sacred and profane, comic, sensuous, and joyful - in which we sustain ourselves through poetry, combining a provocative intelligence with uninhibited emotional power.Trade Review'One of our most compellingly sensuous poets - Shuttle is a poet of immense reach, both in the range of her subject-matter and the breadth of her language. She is both an acute observer and an inventive fiction-maker. One senses that she has her life perfectly in tune with her poetry, so that it registers the slightest variation in her state of being. In this sense, the narratives of emotional, erotic and maternal love that can be traced through these poems collocate into the drama of a life lived in the full flood of being' - Gerard Woodward, TLS. 'Penelope Shuttle, as both thinker and poet, seems to me exemplary in her use of the intuitive faculty: a self-forgetful procedure for the renewal of awareness which one might describe as the making of leaps, rather than the taking of "logical" steps, or what Virilio, discussing Proust, calls "the Sophist idea of agape, the suddenness of this possible entry into another logic".' - John Burnside, Poetry Review. 'Her poems of mourning...are among the best she has written' - Elaine Feinstein, The Times.

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Book SynopsisSo Many Moving Parts, Tiffany Atkinson's third collection, is an eccentric 21st-century meditation on the awkwardness of body and spirit and their unexpected, often unwanted intrusions into the business of everyday life. Lyrical and experimental by turns, these poems push familiar events - commuting, telephones, babysitting, foreign travel - to open out toward unanswerable questions and elemental connections with an unstable physical world. A cast of real people observed over a year reveal momentary dramas as in a series of sketches, and the poet turns an ironic, unflinching eye on her own generation's transition from youth to middle age. Bold, wishful, ambivalent, sometimes even grudgingly affectionate, the collection is a spiky celebration of the almost invisible revelations that insist when you only look closely enough. Winner of the Roland Mathias Poetry Award (Wales Book of the Year).Trade ReviewReviews of Tiffany Atkinson's Catulla et al: 'Thin-skinned, labile, multi-hued and engaging, these poems enact as much as describe. They are speech in action - The poem - becomes an event' - Oliver Reynolds, TLS. 'A smart, sardonic and vulnerable updating of Catullus - Atkinson's versions are in the finest tradition of creative adaptation: keeping the originals as ballast, but unafraid to sail off on their own tangents - Other poets translate Catullus; Atkinson creates Catulla, a modern, anxious, sympathetic and merciless persona, caught up in a life she sees through but can't quite get beyond' - Patrick McGuinness, Guardian. 'Occasional poems start conventionally enough in landscape of the weather and disclose their depths through tautness of style and singularly precise imagery. Others - riskily balance captivating surfaces and dark narrative lacunae' - Douglas Houston, Poetry Review. 'Catulla augments Atkinson's fabulous inventory of metaphor and feeds her poems the drama of living language where lines stop in the middle, don't obey rules. Her work is funny and brave and Catulla exerts a moreish power over it' - Jackie Wills, The Warwick Review.

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Book SynopsisPauline Stainer is a poet 'working at the margins of the sacred', conveying sensations 'with an economy of means that is breathtaking - her poems are not merely artefacts, they have an organic life of their own' (John Burnside). As in all her books, the luminous poems of her eighth collection Tiger Facing the Mist are minimal but highly charged - with presences and hauntings, sensing the spirit incarnate in every part of the living world.Trade ReviewOver the past 20 years, Pauline Stainer has all but perfected the art of illumination without demystification, in search of what she calls "the divining shiver", a phrase that can only gesture towards the combination of physical immediacy and numinous wonder that her marvellous poems possess - Stroke by stroke, apprehension by apprehension, Stainer is building a unique and extraordinary body of work. -- Frances Leviston * Guardian *Her territory is predominantly that of legend: its symbols and its creatures – the unicorn, the falcon, the serpent – but she often draws them into a contemporary setting where they neither shed power nor lose meaning. Her purpose is not so much to import the ancient world into the modern as to demonstrate that those worlds are of a piece: that old rituals still obtain, that old beliefs still govern instinct. -- David Harsent * PBS Bulletin *

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Book SynopsisC.D. Wright’s work is enormously varied: she was an experimental writer, a Southern writer, and a socially committed writer, yet she continuously reinvented herself with each new volume. Much of her poetry is rooted in the landscape and people of her childhood in the Ozark Mountains of Arkansas. Long admired for the honed ferocity of her vision, she wrote with a distinctive Southern accent and a cinematic eye, cut with a secular wit that only slightly tempers her exigency. The resulting poems are hypnotic documentaries that offer what she called ‘a once-and-for-all thing, opaque and revelatory, ceaselessly burning’. Bloodaxe published her first UK retrospective Like Something Flying Backwards: New & Selected Poems in 2007. In One with Others, Wright returned to her native Arkansas and examines an explosive incident grounded in the Civil Rights Movement. In her signature style, she interweaves oral histories, hymns, lists, interviews, newspaper accounts, and personal memories – especially those of her incandescent mentor, V (Mrs Vittitow) – with the voices of witnesses, neighbours, police, activists and a group of black students who were rounded up and detained in an empty public swimming pool. This is a history told by many voices, and it leaps howling off the page. Both a book-length poem and a probing work of investigative journalism, One with Others won the National Book Circle Critics Award.Trade Review'One with Others represents Wright's most audacious experiment yet in loading up lyric with evidentiary fact. An affecting element of this book is the way its elegiac impulses accord with, even as they chafe against, the documentary impulses' - Dan Chiasson, The New Yorker. 'Through juxtaposition and repetition, [Wright] weaves a compelling, disturbing, and often beautiful tapestry that at once questions the ability of language to get at the complicated truth of history ('because the warp is everywhere'), and underscores the ethical imperative to try. As Wright learns from V, "To act, just to act. That was the glorious thing".' - Publishers Weekly. 'Wright's sharply fractured, polyphonic, and suspenseful book-length poem is both a searing dissection of hate crimes and their malignant legacy and a lyric, droll, and fiery elegy to a woman of radiant resistance' - Booklist.

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Book SynopsisConnie Bensley's poems are sharply satirical, often poking fun at social pretence and suburban pretension. They present a comedy of manners in which mismatched characters are bounced between love, death and disappointment. Hers is a seemingly small world but one which spans a whole universe of everyday life. Finding a Leg to Stand On is a retrospective selection of her delightfully pointed poems drawn from six collections published over three decades, plus new work.Trade Review'Connie Bensley's poems are not only funny but truthful. This is the world viewed from London SW13: but hope, betrayal, love, self-delusion, moments of happiness characterise life lived in the suburbs just as much as anywhere else' - Harry Eyres, Express on Sunday. 'Someone who can write with panache about the insouciant pleasure given by a new bra and the coital habits of camels is worth reading' - Helen Dunmore, Poetry Review. 'If Alan Ayckbourn wrote poetry instead of plays, he would sound something like Connie Bensley - like Ayckbourn she has the comic's knack of placing a lot of weight on thin-shouldered words, words blurred by common currency which are suddenly brought into sharp focus and don't really want to be. Beyond the laughs there's great poignancy' - Adam Thorpe, Observer.

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Book Synopsis'Omnesia' is Bill Herbert's melding of omniscience and amnesia, the modern condition of thinking we can know everything about our world but, in actuality, retaining dangerously little. This doubly impressive new collection - published in twin editions, the alternative text and the remix - approaches and evades such flawed totality. Neither the alternative text nor the remix is the primary text. They are two variations, doppelgangers haunted by the idea of a whole neither can embody or know. Readers can read either or both versions. Booksellers can stock either or both. Only the literary prize judges will have to read both in order to shortlist either or both as one. For the past seven years Herbert has wandered from the Turkic west of China to the barrios of Venezuela; from Tomsk, the 'Athens of Siberia', to the heat of Hargeisa, capital of Somaliland, an unacknowledged country. These are travels to translate and, in more than one sense, to be translated; brief encounters with poets and poetics outside the Eurocentric norm; looking-glass meetings, omnesiac pilgrimage. Along the fracture lines between east and west in the Balkans, Greece, and in Jerusalem, across the cultural gaps that mark the north and south of the British Isles, Herbert teases out, through tensions between lyric and satire, English and Scots, formalism and experiment, what it is we hope to mean by home, integrity, or authenticity. Herbert's Omnesia is riven by the anxiety of incompletion: it is two variations desiring to be one theme; doppelgangers haunted by the idea of a whole neither can embody or know. Which one are you reading?Trade Review'W.N. Herbert's poetic prescription is kill or cure. Herbert specialises in big, spine-burstingly various and formally eclectic books, in both Scots and English, that are always in the end unified by the energy, wit and intellectual adventurousness of their author - several books in one by a writer who should by rights count as several poets in one' - Patrick McGuinness, Poetry Review. 'This antithesis of the slim volume bubbles and seethes with wit and polysyllabic adventurousness' - Edwin Morgan, The Scotsman.

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Book SynopsisC.K. Williams (1936-2015) was the most challenging American poet of his generation, a poet of intense and searching originality who made lyric sense out of the often brutal realities of everyday life. His poems are startlingly intense anecdotes on love, death, secrets and wayward thought, examining the inner life in precise, daring language. In Writers Writing Dying, he retains the essential parts of his poetic identity - his candour, his compelling storytelling, the social conscience of his themes - while slyly reinventing himself, re-casting his voice, and in many poems examining the personal - sexual desire, the hubris of youth, the looming spectre of death - more bluntly and bravely than ever. In 'Prose', he confronts his nineteen-year-old self, who despairs of writing poetry, with the question 'How could anyone know this little?' In a poem of meditation, 'The Day Continues Lovely', he radically expands the scale of his attention: 'Meanwhile cosmos roars on with so many voices we can't hear ourselves think. Galaxy on. Galaxy off. Universe on, but another just behind this one - ' Even the poet's own purpose is questioned; in 'Draft 23' he asks, 'Between scribble and slash - are we trying to change the world by changing the words?' With this wildly vibrant collection - by turns funny, moving, and surprising - Williams proves once again that, he has, in Michael Hofmann's words, 'as much scope and truthfulness as any American poet since Lowell and Berryman'. Poetry Book Society Recommendation.Trade Review'A voice that has become utterly distinctive: restless, passionate, dogged, and uncompromising in its quest to find and speak the truth - an intelligence both compassionate and fierce - poems that delve into everything from the most joyous and private matters of the heart (he is one of our greatest love poets) to the chaos and horror of politics, warfare, and our species' seemingly innate penchant for cruelty and self-destruction - Few poets leave behind them a body of work that is global in its ambition and achievement, but C.K. Williams is one of them. His poetry will speak to future generations, as it does to us, of what it was to be human in our time' - Chase Twichell.

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Book SynopsisRobert Wrigley is a poet of America's northern Rocky Mountains. Over three decades his poetry's pervading concerns have been rural Western landscapes and humankind's place within the natural world. His most recent poems have presented a portrait of a nation, one that is a singular part of a singular planet, with an exuberant and frequently exasperating culture. In such a country, the glimpse of a horse under a full moon can be a defining moment, full of grace and a new, if not always comfortable, awareness. So it is with a saved lock of a lover's hair, the memory of a vanished glacier, or a childhood friend disappeared in war. This selection is his first UK publication and covers work from nine collections, including Reign of Snakes, Lives of the Animals, Earthly Meditations and Beautiful Country. Elegiac and lyrical, playful and angry, The Church of Omnivorous Light offers a vision that is fierce, unflinching, and clear. Poetry Book Society Special Commendation.Trade Review'Wrigley ponders what it is that we have that animals lack, and what animals have that we can only long for: their perfect fit with the cosmos - Dramatic and heady, his transporting poems knit us tightly into the glistening web of life' - Booklist. 'In this new book, Wrigley has become someone else, someone who has wandered into a ferocious cave of the natural world and suddenly sees his life, and ours as well, in bold and undreamed of colours. It's almost as though a veil has been lifted from his eyes, and the glorious and terrifying truths have been revealed in poems that are at once majestic and terrifying' - Philip Levine, Ploughshares. 'Lives of the Animals is, in my opinion, a living, breathing, honest-to-goodness contemporary masterpiece' - John Burnside, The Poetry House (Scotland).

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Book SynopsisMatthew Sweeney's tenth collection of poems is as sinister as its dark forebears, but the notes he hits in "Horse Music" are lyrical and touching as well as disturbing and disquieting. Confronting him in these imaginative riffs are not just the perplexing animals and folklorish crows familiar from his earlier books, but also magical horses, ghosts, dwarfs and gnomes. Central to the book are a group of Berlin poems - introducing us to, among things, the birds of Chamissoplatz who warn of coming ecological disaster, or the horses who swim across the Wannsee to pay homage to Heinrich von Kleist in his grave. Many poems in the book range freely across the borders of realism into an alternative realism, while others stay within what Elizabeth Bishop called 'the surrealism of everyday life' - such as a tale about Romanian gypsies removing bit by bit an abandoned car. "Horse Music" is not only Matthew Sweeney's most adventurous book to date, it is also his most varied, including not only outlandish adventures and macabre musings, but also moving responses to family deaths - balanced by a poem to a newborn, picturing the strange new world that will unfold for her. That strange world unfolds for us too in the eerie poems of Horse Music. Poetry Book Society Recommendation.Trade Review'Horse Music… finds Matthew Sweeney's grim, gleeful, unrelenting fantasies in exuberant shape.' - Sean O'Brien, Independent, Books of the Year 2013 'In Sweeney's poems, things happen for no reason, it seems, other than to tantalise and entertain. But the cumulative effect is to force us to consider imagination itself: its quirks, its curious dissatisfaction with the everyday...this is a wonderful collection, madcap, laconic, and provocative too.' - Bill Greenwell, Independent [on Horse Music]

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Book Synopsis'Omnesia' is Bill Herbert's melding of omniscience and amnesia, the modern condition of thinking we can know everything about our world but, in actuality, retaining dangerously little. This doubly impressive new collection - published in twin editions, the alternative text and the remix - approaches and evades such flawed totality. Neither the alternative text nor the remix is the primary text. They are two variations, doppelgangers haunted by the idea of a whole neither can embody or know. Readers can read either or both versions. Booksellers can stock either or both. Only the literary prize judges will have to read both in order to shortlist either or both as one. For the past seven years Herbert has wandered from the Turkic west of China to the barrios of Venezuela; from Tomsk, the 'Athens of Siberia', to the heat of Hargeisa, capital of Somaliland, an unacknowledged country. These are travels to translate and, in more than one sense, to be translated; brief encounters with poets and poetics outside the Eurocentric norm; looking-glass meetings, omnesiac pilgrimage. Along the fracture lines between east and west in the Balkans, Greece, and in Jerusalem, across the cultural gaps that mark the north and south of the British Isles, Herbert teases out, through tensions between lyric and satire, English and Scots, formalism and experiment, what it is we hope to mean by home, integrity, or authenticity. Herbert's Omnesia is riven by the anxiety of incompletion: it is two variations desiring to be one theme; doppelgangers haunted by the idea of a whole neither can embody or know. Which one are you reading?Trade Review'W.N. Herbert's poetic prescription is kill or cure. Herbert specialises in big, spine-burstingly various and formally eclectic books, in both Scots and English, that are always in the end unified by the energy, wit and intellectual adventurousness of their author - several books in one by a writer who should by rights count as several poets in one' - Patrick McGuinness, Poetry Review. 'This antithesis of the slim volume bubbles and seethes with wit and polysyllabic adventurousness' - Edwin Morgan, The Scotsman.

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Book SynopsisHeather Phillipson is an internationally exhibiting artist and award-winning poet. Instant-flex 718 is her much anticipated first book-length collection. She is already a widely published and anthologised poet. Her Faber New Poets pamphlet appeared in 2009, and her text Not an Essay from Penned in the Margins in 2012. She received substantial publicity as one of the first four writers featured in the Faber New Poets launch, taking part in a national tour supported by extensive TV, radio and newspaper coverage. Heather Phillipson’s poems are a protest against well-stitched seams, an off-loading of intellectual baggage, a shout from the deepish channels of fear. With its cover designed by the artist-poet herself, Instant-flex 718 is an operatics of reactivation. Phillipson has an impertinence and dynamism incomparably her own. Her poems observe the ordinary world stagger.Trade Review'Instant-flex 718 is an explosive first collection from a poet and artist who thrills and disconcerts in equal measures. Heather Phillipson's poems fuse subterranean erotic landscapes with the complex pleasures of thought. They conduct a weird, addictive verbal electricity that can both jolt and elate. Handle with care: this book is not for those who like their poetry safely earthed' - Mark Ford. 'Phillipson's work is often very funny as it rebounds from one untenable erotic or intellectual position to another...sounding like the love child of Frank O'Hara and Rosemary Tonks' - Sean O'Brien, Guardian. 'Heather Phillipson's poems display heroic bafflement...a humour both quirky and robust' - Andrew McCulloch, Times Literary Supplement.

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Book SynopsisThis selection presents for the first time the thirty year trajectory of an acclaimed Irish poet who has lived and worked between the secular and the religious, Eros and history, Ireland and elsewhere, be it west Africa after civil war, south-east Asia after the Khmer Rouge or Europe at the collapse of the Berlin Wall, and whose extraordinary body of work has re-defined what it means to be Irish in the twenty-first century. Harry Clifton has published six other books of poetry, most recently The Winter Sleep of Captain Lemass (2012) from Bloodaxe, and Secular Eden: Paris Notebooks 1994-2004 (2007), winner of the Irish Times / Poetry Now Award, from Wake Forest University Press in the US. His other books include On the Spine of Italy (1999), his prose study of an Abruzzese mountain community, and Berkeley's Telephone (2007), a collection of short fiction.Trade ReviewThere is so much history in Harry Clifton's poems, so much geography, landscape, cityscape, repeopled precincts of the imagination, so much human drama and comedy; so many people, mythic, unlikely and hauntingly real. And all of it is limned with a masterful formal dexterity and an apparently limitless cultural curiosity. -- C.K. WilliamsThe poems begin with something seen, remembered, or suddenly known, or a melancholy feeling about time passing, or complex emotions about love, and then they take a longer view, or hold their breath while a new tone, filled with sonorous risk and odd wisdom slowly seeps into an end-line of a stanza or a new section of a poem - There are moments when you hold your breath - and you sit up in pure delight - there are a number of poems in this book that will be read as long as any poems are read anywhere - The last poem, "Oweniny, Upper Reaches", filled with soft, haunting cadences and strange, ambiguous musings on solitude, memory and the meaning of things, is a masterpiece. It displays Clifton's reticence and technical skill against the need to let the poem soar into a truth that emerges from the gap between the words, and then it allows the words themselves to glide up and out in all their hushed and controlled beauty. -- Colm Toibin * Irish Times, on The Winter Sleep of Captain Lemass *His dazzlingly accomplished book is arguably the first great work of Irish poetic post-modernism - His is a universe of aftermaths, hauntings and returns, in which even God - dreams of becoming flesh again - an Irish voice that is utterly contemporary in its restless movement through time and space. -- Fintan O'Toole * Irish Times, on Secular Eden. *

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Book SynopsisFleur Adcock's title refers to the transparent, glittering wings of some of the species - bees, mosquitoes, dragonflies - celebrated or lamented in a sequence of poems on encounters with arthropods, from the stick insects and crayfish of her native New Zealand to the clothes' moths that infest her London house. There is an elegy for the once abundant caterpillars of her English childhood, while other sections of the book include elegies for human beings and poems based on family wills from the 16th to the 20th centuries, as well as birthday greetings for old friends and for a new great-grandson. Poetry Book Society Recommendation.Trade Review'Adcock has a deceptively laid-back tone, through which the sharper edge of her talent is encountered like a razor blade in a peach' - Carol Ann Duffy, Guardian. 'Adcock's reputation has been founded on her spare, conversational poems, in which the style is deceptively simple, apparently translucent - those who see in such poems only flatness are missing the power of a voice which teases both reader and subject' - Jo Shapcott, TLS. 'Her imagination thrives on what threatens her peace of mind, and only when she is unguarded can these threats have their full creative effect - Throughout her writing life, she has made a fine art from holding on to principles of orderliness and good clear sense; but she has made an even finer one from loosening her grip on them' - Andrew Motion, TLS.

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Book SynopsisWaiting for Bluebeard tries to understand how a girl could grow up to be the woman living in Bluebeard's house. The story begins with a part-remembered, part-imagined childhood, where seances are held, and a father drowns in oil beneath the skeleton of his car. When her childhood home coughs up birds in the parlour, the girl enters Bluebeard's house paying the tariff of a single layer of skin. This is only the first stage of her disappearing, as she searches for a phantom child in a house where Bluebeard haunts the corridors like a sobbing wolf. Waiting for Bluebeard is Helen Ivory's fourth book of poems.Trade ReviewA direct approach, via deep folklore and dream imagery, to the conundrum of being a woman…in keeping with what I think we mean when we say "women’s writing". This book is mischievously dark, rich with anti-logic and harnessed to the power of something we used to call magic. -- Katy Evans-BushHelen Ivory creates a troubled yet beguiling world rich in irony and disquiet. She possesses a strongly-grounded narrative voice which, combined with her dextrous transformative takes both on reality and on what lies beyond reality’s surface, puts one in mind of the darker side of Stevie Smith who said that poetry "is a strong explosion in the sky". -- Penelope Shuttle

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Book SynopsisAhren Warner's second collection of poems opens with the sequence Lutece, te amo: a raw paean to the Paris it inhabits that flits between past and present and offers both adoration and horror in equal measure. Elsewhere, London 'licks and laps'; an anonymous man 'works his bones with a micro-plane' and translations of Baudelaire and Kojeve rub shoulders with Kurt Cobain and 'Little Lord Tory-Tit'. More capricious, fleshly and darker than Warner's previous work, Pretty culminates in Nervometer: thirteen poems hovering between a collage, translation and performance of Antonin Artaud's Le Pese-nerfs, which bring Pretty to a beautifully ugly end.Trade ReviewTheatrical, toxic and oddly gorgeous… Warner moves from playful social observation, through reflections on memory and artifice, to a near-Baudelairean spleen, his games with language and ideas as serious in their investigations of the given world as any philosophy. -- John Burnside * Poetry Book Society Bulletin *Witty and wide-ranging… Ahren Warner has a claim to be the "poet's poet" of his generation. Even in apparently domestic and personal guise, he's a writer whose work conveys voluptuous but intelligent delight in language and technique. -- Carol Rumens * Guardian *

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Book SynopsisChallenging and tender, these poems are a rite of passage. Philip Gross's much praised previous collection, Deep Field, explored the loosening connections between the self and language in his refugee father's old age. This new book goes further, through the failing of the body, through the mind's weakening hold on the borderline between the present and the traumas of the past. It follows the journey to the end - then beyond, to the tentative byways through which mourning moves. With an instinct for form that both controls and releases depths of feeling, Philip Gross writes poetry that proves it can be trusted with the most raw yet essential things of life.Trade Review'A powerful and tender successor to the T.S. Eliot prize-winning The Water Table - The writing is sinewy, urgent and resourceful. This poet is a master of form, deploying his visual and aural patterns for emphasis, as if the page were a musical score - The collection evokes an essence of what it is to be human, the sense of both wonder and estrangement, our place within science, the sheer oddness of who we are. Deep Field is as strong in celebration as in lamentation. With language as its theme, it soars linguistically' - Michael Symmons Roberts & Moniza Alvi, PBS Bulletin, on Deep Field. 'This book speaks directly to the heart of Lapidus concerns with how language can convey, transcend and re-enchant human experience. Philip Gross has not only honoured his father but created something of great beauty and wonder out from those final wordless years' - Victoria Field, Lapidus Journal. 'Philip Gross's previous collection, the T.S. Eliot Prize winning The Water Table, suggested a deepening vision based on focused contemplation of the world and our place - or lack of place - within it. This new collection takes us deeper still, sustaining with extra ordinary virtuosity a series of meditative variations on the related themes of language and wordlessness, human existence and the loss of identity' - Jem Poster, Planet. 'Philip Gross knows how to make silence and suggestion resonate - he touches an alien, intractable dimension - Gross's poems are about lost bearings and blurred frontiers' - Terry Eagleton, Independent on Sunday. 'Some of the poems are marvellous, not because they are brave about their subject, not even because of the technique on display, but because they are electrifyingly well observed and beautifully written' - David Morley, Poetry Review.

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Book SynopsisBrendan Kennelly's Guff is both mouthpiece and mouthed off, Devil's advocate and self critic, everyman and every writer consumed by self-doubt and self-questioning. The book of Guff is about words writing the man. Words drive him into the cave of himself where he questions everything including words that seem to constitute answers and answers that question both questions and answers. Do poets write poems or do poems write poets? And consider the shape of that question-mark, like a snake twisting in its sleep: so twisting, or twisted snakes, lie beside Guff as he tries to sleep in his cave, led now by the words that the snake hisses in his old head. All through his book-length poem Guff hears both the hissing of the words he believes he loves as well as the hissing mysteries of love. Guff is prey to the ruthless continuity of one word leading to another, until these words relax and settle down into what he thinks, or hopes, is "meaning". Like Kennelly's Cromwell, The Book of Judas and Poetry My Arse, Guff is a knockabout Swiftian satire, a mischievous meditation on the human condition. It's also a powerfully expressive hymn to life with all its flaws, a snaking poem with the movement of a river in its different moods from cold anger to summer warmth for minds and bodies, which asks who or what is a genuinely noble person? Dublin is the backdrop to Guff's jabbering quest, a city where haunted men walk the streets talking to themselves, at times with passion, at times with an air of secrecy or self-accusation, at times as if seeking a friend prepared to listen. Guff is a brother to these strange wanderers. In the poem he becomes at one or at odds with them.Trade Review'With considerable honesty and bravery Kennelly enters and becomes others in order to perceive, understand and suffer - always moving, probing and doubting, never willing or able to settle on any one certainty - There is clash and conflict, cruelty and irony, sardonic wit, passion' - Aidan Murphy, Sunday Press. 'His poems shine with the wisdom of somebody who has thought deeply about the paradoxical strangeness and familiarity and wonder of life' - Sister Stanislaus Kennedy. 'He is the people's poet. He spends his life wondering and thinking and daring to think and see differently. He also asks impossible questions and suggests unthinkable answers about the things that really matter. And he refuses to be precious or out of touch with the rest of us - a serious contribution to the nation's mental and spiritual well-being' - Jim Farrelly, Editor-in-Chief, Sunday Tribune.

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Book SynopsisRichard Murphy (1927-2018) was one of Ireland’s most distinguished poets, known particularly for poems drawing on the people and history of the west of Ireland with classical rigour and 'unvarnished' clarity. He emerged in the 1950s with John Montague and Thomas Kinsella as one of the three major poets in the new Irish poetic renaissance. The Pleasure Ground expands the scope of his much acclaimed Collected Poems of 2000 to include a selection of new poems along with an appendix featuring illuminating commentary on the historical and personal background of some of his most notable work, including 'The Cleggan Disaster', 'The God Who Eats Corn', The Battle of Aughrim, and the poems of High Island. Poetry Book Society Special Commendation.Trade ReviewOne of the truly great things about Richard Murphy's Collected Poems is just how alive the book is to the west of Ireland: its history and people, the landscape, customs and folkways of making a living (as Murphy did) from the sea. But it is not as pastoral that these poems really live; the western islands and the terrain become austere emblematic presences, dramatising an intense struggle for personal and cultural identity. Traversing this geography of the mind, Murphy auspiciously reinvented in The Battle of Aughrim (1968) an historical frieze of war and conflict in the late 17th century spliced through with images drawn, almost cinematically, from 20th-century Ireland - Richard Murphy is an intriguingly available poet and, like those of Robert Graves, his poems have all the bright music of great love songs. -- Gerard Dawe * The Irish Times *Oscillating from beginning to end and from page to page between narrative and lyric, public and private, love poem and elegy, The Pleasure Ground is a hugely significant achievement. Now well into his ninth decade, Richard Murphy continues to be a poet of great fortitude and resource, one of the finest of our time. -- Michael Longley * The Irish Times *Richard Murphy's verse is classical in a way that demonstrates what the classical strengths really are. It combines a high music with simplicity, force and directness in dealing with the world of action. He has the gift of epic objectivity: behind his poems we feel not the assertion of his personality, but the actuality of events, the facts and sufferings of history - I don't know of any other contemporary poet who has so redeemed the classical manner. Every line is unique and wrought, somehow organic, yet the whole thing is simple. The plainest statements have an almost plastic life and solidarity. And the final effect is of a formal beautifully sustained music of essentials. This kind of poetry, which is nowadays so terribly difficult to write, reminds us that poems too must take their final test of health in the world of action. -- Ted Hughes

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Book SynopsisMacedonia's Nikola Madzirov is one of the most powerful voices in contemporary European poetry. Born in a family of Balkan War refugees in Strumica in 1973, he grew up in the Soviet era in the former Republic of Yugoslavia ruled by Marshall Tito. When he was 18, the collapse of Yugoslavia prompted a shift in his sense of identity - as a writer reinventing himself in a country which felt new but was still nourished by deeply rooted historical traditions. The example and work of the great East European poets of the postwar period - Vasko Popa, Czeslaw Milosz, Zbigniew Herbert - were liberating influences on his writing and thinking. The German weekly magazine Der Spiegel compared the quality of his poetry to Tomas Transtromer's. There is a clear line from their generation, and that of more recent figures like Adam Zagajewski from Poland, to Nikola Madzirov, but Madzirov's voice is a new 21st century voice in European poetry and he is one of the most outstanding figures of the post-Soviet generation. Remnants of Another Age, his first book of poetry published in English, is introduced by Carolyn Forche, who writes: 'Madzirov calls himself "an involuntary descendant of refugees", referring to his family's flight from the Balkan Wars a century ago: his surname derives from mazir or majir, meaning "people without a home". The ideas of shelter and of homelessness, of nomadism, and spiritual transience serves as a palimpsest in these Remnants' - while Madzirov himself tells us in one of his poems, 'History is the first border I have to cross.' Bilingual Macedonian-English edition.Trade Review'Arresting, enigmatic and mysterious in the great Eastern European tradition' - Simon Armitage. 'Madzirov's poems are like Expressionist paintings: filled with thick, energetic streaks they seem to emerge from the imagination and to return to it right away, like night animals caught in the headlights of a car. "We are the remnants of another age" - Nikola Madzirov succeeds in convincing us' - Adam Zagajewski. 'He is a truly exceptional poet of great lyrical depth, purity, insight and originality. I am certain that he is one of the great European poets of our generation - His poetry has some parallels with major philosophical/contemplative poets like Mark Strand and Louise Gluck, but is rooted in a Balkan sensibility of dispossession and woundedness, and is more intimate and emotionally affecting (his poems make me feel at once happy and sad, like all the best poetry - )' - Kapka Kassabova. 'Madzirov created loud silence. He brought back the space and peace to the power. There are times (now) when we long after exactly this kind of purity' - Tomaz Salamun. 'Nikola Madzirov's poems move mysteriously by means of a profound inner concentration, giving expression to the deepest laws of the mind. Their linguistic "making" is informed by a vivid evidence of a serious self-making, soul-making, and heart-making' - Li-Young Lee.

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Book SynopsisThe Touch of Time is a comprehensive retrospective of the work of one of Scotland's leading poets drawing on ten previous books published over five decades. The new work here pursues the themes of his earlier Bloodaxe collections Stolen Light: Selected Poems (1999), Ghosts at Cockcrow (2005) and The Breakfast Room (2010). With what Professor Carla Stassi sees as 'his thoughtful attention to small details, his redeeming gaze, his formal control of impeccably constructed verses, and his deep and warm humanity', he movingly explores everyday events and revelations and how - like our lives and those of our loved ones - they are transformed by time.Trade Review'Stewart Conn is one of Scotland's most skilled and wide-ranging poets. A sympathetic, if quite unsentimental, treatment of the natural world, or the rural one at least, does run throughout his poetry, but so do the themes of love, family relationships, the nature and power of art, and that time-honoured subject of poetry - the fragility and transitoriness of life itself' - David McCordick, Scottish Literature in the Twentieth Century. 'Ghosts at Cockcrow is a graceful "slipping" as he puts it, into seniority, at once a coming of old age, and an acquiring of senior status among Scotland's poets. It is full of high culture, old Europe and wry self-deprecation, visiting Barcelona, Burgundy and the capital to which he played laureate for three years, Edinburgh' - W.N. Herbert, Poetry London. 'Characteristically restrained, subtly lyrical and filled with gentle humour, The Breakfast Room is a beautiful and moving collection' - Anne Donovan, Sunday Herald. 'He stands among the indispensable poets of modern and contemporary Scotland' - Douglas Dunn, The Dark Horse.

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Book SynopsisA collection of essays covering a variety of subjects and locations. It includes a vivid series of attempts to strip away the exhausted mythologies of the writer''s own country. Reprint; first published in 1992.

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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