Search results for ""Carcanet Press Ltd""

The Strongbox, a modernist poem, is an extended work that develops elements of Greek mythology, epic literature and the cultures of wars, both ancient and painfully recent.

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The third Carcanet collection from award-winning Glasgow-based poet and novelist Oli Hazzard.

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The January-February 2022 issue. Major essay by Alberto Manguel on translating Dante. Sasha Dugdale's radical new translation of Osip Mandelstam, with an important commentary by Andrew Kahn. Jenny Lewis on translating from languages one does not know first hand. Frederic Raphael pens one of his Last Post letters to Vladimir Nabokov (Mes hommages, cher Volodya, si j’ose dire. Frederic.). New to PN Review this issue: Romulo Bustos Aguirre, Armando Uribe, Kerrin P. Sharpe and Amy Crutchfield. And more...

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The November-December 2021 issue Includes 'Scattered Snows, to the North' by Carl Phillips, shortlisted for the Forward Prize Best Single Poem Award 2022 Major spread of poems by Carl Phillips, one of America's leading contemporary poets, essayists and translators Jee Leong Koh's erotic lyrics Poet-editor Rachael Allen in conversation Raymond Williams remembered Francesca Brooks's 'Love Letters of the Hampstead Modernists' New to PN Review this issue: Subha Mukherji, Charlie Louth, Joyelle McSweeney and Michelle Penn and more...

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Midnight in the Kant Hotel is an absorbing account of contemporary art, composed over twenty years. The essays revisit the same artists as they develop, following them in time, changing perspectives as he, and they, develop. Mengham is a significant curator, organising exhibitions: 'There is no more productive engagement with someone else's artworks than finding the right way to show it, since artworks are always direct statements or questions about articulations of space, and the curator's job obviously is to enhance such questions and statements.' This discipline gives the writer a series of uniquely privileged perspectives, touching, lifting, moving and re-moving the objects: 'nothing compares to living with art'. The book opens with themes: what is domestic space? what does the atrocity exhibition tell us? what is the refugee aesthetic? Essays on particular artists follow, including Marc Atkins, Stephen Chambers, Jake and Dinos Chapman, Tony Cragg, Antony Gormley, Damien Hirst, Ilya and Emilia Kabakov, Anselm Kiefer, Laura Owens, Doris Salcedo, Agnes Thurnauer, Koen Vanmechelen and Alison Wilding. Always, he is in dialogue with the work, rather than with the artist.

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The September-October 2021 issue; PN Review has a ‘soft relaunch’ with a new cover design, new internal design and layout; Dutch supplement: outstanding new writing from Holland; Major essays:; Colm Tóíbín on Thom Gunn; David Herman on ‘The Last Jewish Intellectual’ – Edward Said; Gwyneth Lewis on Gillian Clarke’s The Gododdin; New to PN Review this issue: Alice Hiller, Theodore Ell, Jane King and Joshua Weiner; and more...

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The teasing title poem of this book is about weather. Rain falls, wind cracks its cheeks as in Macbeth; the noises are drops like kisses falling, 'fallen into birdsong on Mars'. What would it sound like, be like, to hear it? The poem wants to know what it can't yet know. But as the book proceeds, the poet - on a human heath, tormented by loss - hears something like it, unearthly sounds on a planet without atmosphere, sound making quite another kind of sense. Jon Glover wrote most of the poems in this collection before his wife's sudden death from cancer in 2019. He developed the themes and fragmenting style of his previous book, Glass is Elastic (2012), where language was always quizzing itself and how it might relate to the actual and the historical world. Intense, playful, unpredictable, the poems surprised. Here, in the disturbing environments of Upstate New York, Calgary Bay or his Bolton front room the poet confronts illness (his own), hospitals (his visits) and wonderful ambulances (his transports). He resists attempts to see hints or destinies. Then bereavement throws up an actuality of a different order. The collection ends with a mock-sonnet sequence, written during the pandemic, in which the poet tries all the doors and windows to find her, to speak with her - love poems where love has not changed but its circumstances have. 'Will I want ever to get out of this place - the past of the poems in this book?' the poet asks. There are no answers, yet.

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A Tenderfoot is a novice, someone unaccustomed to hardship. Here, he is a white boy growing up in 1960s Ethiopia, a place he loves even as he learns his own privilege and foreignness. Later he hears rumours of a famine in the mountains and imagines a boy his own age living through it, surviving on angry couplets. Years after, he sees this famine-boy grown up and questions him. A sequel to Ethiopia Boy, Beckett's celebrated first Carcanet collection, Tenderfoot teems with praise-shouts for Asfaw the cook, for the boys living as minibus conductors or chewing-gum sellers, even for Tenderfoot's own stomach that hangs 'like a leopard in a thorn acacia tree'. Featuring storms and droughts, hunger and desire, donkeys who quote Samuel Johnson and a red bicycle that invites you on a poem tour of Addis Ababa, Tenderfoot takes in what is happening around but also inside the boy's mind and body - a human transformation.

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A work of historical fiction, an experiment in life writing and a verse drama designed to be read aloud. Vital Stream takes the form of a long sonnet sequence, revisiting six extraordinary months in 1802 - a threshold year for William and Dorothy Wordsworth. Parted when they were very young, the siblings had eventually set up home together in the Lake District, where they were to remain for the rest of their lives. After two years in Grasmere, William became engaged to Mary Hutchinson. There followed an intense period of re-adjustment for all three, and for his former lover Annette Vallon, who had borne him a daughter he had never met. During 1802 the Wordsworth siblings wrote some of their most beautiful work; these were their last months of living alone, and their writing has an elegiac quality. Their journey to see Annette Vallon and meet William's daughter for the first time took them through London to Calais during the brief Peace of Amiens, involving a careful dissociation from his past. Other complications coloured their lives, to do with Coleridge and his failing marriage. Lucy Newlyn draws all this material into the vital stream of her sequence. with a preface by Richard Holmes PUBLISHED IN ASSOCIATION WITH THE WORDSWORTH TRUST

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Shortlisted for The 2019 Oxford-Weidenfeld Prize for Translation. Heroines from Abroad introduces a vibrant new voice to the English language. Christine Marendon's enigmatic, meditative poems, translated here from the German and collected for the first time, draw on dreams, fairy tales and childhood memories to tap into a world beyond conscious reach. Marendon's poems do not present ideas so much as embody states of mind. Something is realised through the poem, rather than said within it. Here, the voice is more important than the particularities of what is said - language, not words. For the translator, Heroines from Abroad is the fruit of seven years' steady work. The poems' clarity and subtle force, the `crystalline, precise quality of their lyricism' (Sasha Dugdale), are testament to that humble, unhurried collaboration in words.

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In The Little Sublime Comedy John Gallas reanimates one of the great works of world literature for the twenty-first century. Relocated from medieval Italy to modern-day New Zealand, Dante’s Divine Comedy is given a new lease of life in Gallas’s darkly funny, surreal adaptation. Discovered snoozing on a mountainside above Lake Rotoiti, Mr Gallas – our millennial Dante – is taken under the wing by his Horatian guide, one Samuel Beckett. Over the course of 147 `songs’ we accompany the pair on their journey through the Bad Place, the Better Place and the Good Place, and witness the horrors and delights that befall the dead. On our way we encounter a skiing Pohutukawa Tree, a Golden Kiwi, Lineout the dog, a Vegetable Ewe, souls falling off things, Philosophy, and lots of bright, coloured lights. Divine order is replaced by modern Physics, by Klein bottles, super-speeds and black holes. Gallas’s Comedy is a metaphysical plunge through torment and triumph, as subtly satirical as it is unsubtly silly.

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Set Thy Love in Order: New & Selected Poems gathers the work of some thirty years, taken from Stephen Romer's four previous collections, along with a substantial selection of new poems. The title is a Dantesque imperative as old as the Trecento: Ordina questo amore, O tu che m' ami - set thy love in order, o thou who lovest me. Romer's central theme is encapsulated by these words, and his prolonged and painstaking exploration of the 'intermittences of the heart', frequently carried out with a Francophile self-consciousness and rueful wit, constitute so many variations on the theme. Romer's New & Selected articulates the constant oscillation between love, loss and longing, and the religious desire for 'refuge' or 'higher things', and how powerfully these can come to rhythm the life of the mind and the emotions. His more recent work has included poems of love and mourning for his parents, and elegies for friends. Derek Mahon singled out Romer's first collection Idols for its 'emotional candour and intellectual clarity', and since then the poet has endeavoured to turn the light of the intellect (and the wit) on the frequently chaotic and contradictory material of the heart.

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'Ach! I misspoke. What I mean to say is this ...' In Long Pass, Joey Connolly's first collection, the poet - in love, in puzzlement, in frustration or in elegy - keeps catching himself out, starting again. He wants to speak truthfully. He wants to say things simply. But nothing is as simple as it seems at first. Nothing strikes the interlocutor quite as he intends. Ach! He goes back. Deflections, tangents: the long pass, the long unfolding sentence, the growing sequence, move away from what they intend to say in order at last, wittily, angrily, ironically, to swerve in and say it.Translation, too, is hard. There are often competing versions - of Lorca, for example, and Cavafy. ' The painter is frustrated to be always / painting onto something, to be / concealing precisely as he displays.' Words reveal and at the same time conceal, yet what they conceal is part of what they want to say.The poet throws the poem for someone who isn't always there to catch. The fortunate reader intercepts.

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Smoothie is Claudine Toutoungi’s debut collection of poems. It takes a tender, exuberant and deliciously dark look at our desire to be heard, whatever the cost; a desire that can be treacherous, comical and sometimes – often enough to fend off despair – fulfilled. Smoothie plots the wayward wanderings of a beguiling cast of misfits – hotel eavesdroppers, city interlopers, lone wolves, phantom bird-watchers, disaffected language robots and triumphant piano-swallowers – as they try to express themselves. The poems are candid without being confessional: the poet’s `I’ encompasses the reader. Language’s smooth surface bubbles up as Toutoungi’s characters reveal their peculiarly twenty-first-century disorientations, riffing off loneliness, authenticity and heartbreak as they go.

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Frank Kuppner’s The Third Mandarin contains 501 quatrains in five `books’. It collages an alternative Imperial China of drunk poets, grumpy sages, and sex-starved emperors. The poems riff on a variety of forms, from prophecies and love letters to drinking songs and graffiti. As a storyteller, Kuppner sticks faithfully to the path of least significance. His is a poetry of things that might happen in a minute or two, to people we don’t really care about, for reasons too complicated to go into. His characters have a habit of turning up late to their own poems, as the poet rushes off to find them so that he can get started. Half riddling philosopher, half drivelling idiot, Kuppner’s speaker has the air of someone who has forgotten why they came into the room, 501 times. Funny, ridiculous, and beautiful, The Third Mandarin confirms Kuppner as a poet `of immense intellectual and comic power’ (Poetry Review), `one of the most distinctive voices in contemporary British poetry (LRB).

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Shortlisted for The Felix Dennis (Forward) Prize for Best First Collection 2017. Raking Light is Eric Langley's debut collection of poems. Characterised by his rigorous fascination with language's latent etymologies and semantic layers, Langley's poems take their cue from the art conservation technique of 'raking light', in which an oblique beam is thrown across the surface of a picture to expose its textures and overlays. Under raked light, paint reveals its damage and deterioration, its craquelure and canvas-warp, and discloses a backstory of abandoned intentions. With his attentiveness to resonance and echo, Langley picks up on lost meanings and buried contradictions in language, probing its abandoned significances. Finding traces of obscured sense or inarticulacy, his verse picks at words to test their efficacy and authenticity, feeling out their substance, proving their worth. These are poems - elegies, love lyrics - concerned with miscommunication, with intentions gone astray, with loss and the uncertainties inherent in interaction. They are excited and exciting, defusing and detonating by turns the 'hectic honeyed hand-grenades / in amongst your alphabets'.

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Shortlisted for the 2017 Saltire Society Poetry Book of the Year Award. The poems in Richard Price's Moon for Sale delight in linguistic play, turning over sound and sense with gleeful dexterity. But they are equally visually sensitive: Price's lyricism speaks as much to a cinematic sensibility as to a poetic one, to Terrence Malick's Tree of Life, to the carefully braided documentaries of Viera Cakanyova, and to the elegiac filmscapes of Margaret Tait. In the shadow of a culture in which even the moon is up for auction, Moon for Sale records the decadence of our times by incorporating and repurposing that culture's language. At the same time a haven of meaning is sought in the erotic, in the intimate transactions between bodies, that 'rush of unclevering' which both simplifies and intensifies the world.

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Written in the wake of Ireland's 2008 economic collapse, Thomas McCarthy's Pandemonium moves between lament and protest in search of a meaningful response in language. Many of the poems were written during a period of retreat along Ireland's south-west coast, a landscape that imbues McCarthy's politics with geological intensity. The Atlantic horizon 'where the sun lies down in the west to die' is mirrored inland by corruption and rot, a modern Ireland beset, in the poet's eyes, by financial and moral pandemonium. McCarthy's subtle satiric wit and understated lyricism preserve raw outrage as historical document. His poems register the moral ire of many during a pivotal era of Irish history, leading with the poet's only weapon, the word - 'the ink trail that pain makes on the page'.

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Willis Barnstone is a literature in himself: poet, translator, interpreter, in one year he can range from Jesus to Sappho and Borges with calm authority and good humour. He re-translates the New Testament in a version Harold Bloom describes as 'a superb act of restoration'. Borges himself declared, 'Four of the best things in America are Whitman's Leaves, Melville's Whale, the sonnets of Barnstone's The Secret Reader, and my daily Corn Flakes - ' Mexico in My Heart is the essential Barnstone, drawing on fifteen collections, poetry from six decades of writing and from several continents. He went to Mexico at the age of fifteen and, gathering languages and literatures, has never stopped learning.

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Dubbed 'an immaculate survivor' by Robert Creeley, Tom Raworth has remained steadfastly independent of literary fashions and cliques throughout a poetic career spanning fifty years. As When is the first selection of Raworth's writing to address the full range of his work, from the first poem he ever shared with anyone outside his family, 'You Were Wearing Blue', to his most recently published poem, 'Surfing the Permafrost through Methane Flares'. The book includes prose work and notational pieces that were intentionally left out of his Collected Poems (2003), along with poems that were only published in little magazines or as ephemeral cards and broadsides. Some pieces appear in correct, definitive versions for the first time.

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Peter Scupham's eleventh collection brings his customary elegance and skill to bear on themes as diverse as the "Battle of Arras", "Kilvert's Diary", and an unexpected encounter with his parents on holiday from the underworld. These parables and truthful fictions explore meeting points and intersections between 'is' and 'was', or 'is' and 'might be'. The centre of the book is a substantial sequence, "The Northern Line", where the poet's double, in his old guise as a National Serviceman, takes a journey by ghost train through the 1950s, that hinge of the century when the trouble of great wars gave way to the troubles of a patchwork peace.

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Ros Barber's second book forms a meditation on human loss; it is a more personal and autobiographical collection than her first, described by Neil Rollinson as 'an honest, unflinching and hugely satisfying debut'. Sarah Law described her as 'a 'traditional' contemporary poet along the lines of Larkin' and it is Barber's sure hand with rhyme and meter that gives the hard material of these poems (both personal losses and those experienced through others) their steady focus and makes them so readable. Throughout, the poetry remains strong, thoughtful and refreshing.

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Inspired by tombstones and their inscriptions, Mak Dizdar's rich and haunting poems in "Stone Sleeper", his most famous work, are a journey into the mysterious heart of medieval Bosnia. The poems form a three-way dialogue between the modern poet, the Christian heretics awaiting Judgement Day beneath their enigmatically-carved tombstones, and the heretic-hunters. Beneath the local and temporal, Dizdar explores universal issues: the value of resistance, though it might be futile; of faith, though it might be illusory; and, of life, though it ends in death. Francis R Jones' inventive and beautiful translations convey his deep understanding of Dizdar's purpose. In addition a penetrating analysis of "Stone Sleeper"'s historical, religious and spiritual background is given by the distinguished scholar Rusmir Mahmutaehajia, whose book "Across the Water: On the Poetry of Mak Dizdar" is published by Fordham University Press.

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Anthony Hecht described Donald Justice as 'among other things, the supreme heir of Wallace Stevens.' This memorial volume of his complete poetry testifies to his subtle and enduring brilliance. With painterly vividness and plainspoken elegance he endeavoured to make the local views which his titles often evoke - "Bus Stop", "Men at Forty", "Dance Lessons of the Thirties" - part of the literary heritage from which he so often took solace and inspiration.

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The Peregrination of Fernão Mendes Pinto, soldier of fortune, trader, pirate, agent, ambassador. During twenty-one years in Ethiopia, Persia, Malaya, India, Burma, Siam, China, Japan, sailing uncharted oriental seas, he was five times shipwrecked, thirteen times captured, sixteen times enslaved. He met a saint, repented his ways, returned home and wrote his story for his children and for posterity. Born around 1510, Fernão Mendes Pinto was the most articulate of the Portuguese trader-adventurers who swarmed through the Orient in the wake of Vasco da Gama. Here his story has been abridged and brilliantly translated by Michael Lowery, and is introduced by Dr Luis Sousa Rebelo.

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"Over", Jane Draycott's third book, takes its title from a sequence of twenty-six poems based on the international phonetic alphabet: Alpha, Bravo, Charlie, Delta - In these and other pieces, Draycott creates a world of echoing voices and reflections. She evokes the mirrors and doorways, dreams and night-time journeys that transform the familiar: entrances into a different reality. "Over" explores liminal places where ocean meets land, land drops to ravine, lives intersect in piazzas. The poems cross thresholds between what is finished and what is 'not over yet', between present and past and, in an extract from her new translation of the medieval dream-vision Pearl, between a sunlit garden and the mysterious landscape of the world to come.

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Walking the Animals is a sort of travel book: it brings together inner and outer landscapes, the wet skies of the Pennines and the drought of the South African lowveld; landscapes of loss, landscapes of longing. Carola Luther tracks journeys between disparate worlds, between north and south, earth and air, fantasy and fact, the future, the present. Her poems explore dislocation and search, and the importance of relationship in establishing a sense of place. In her first collection, Carola Luther makes a new kind of space in poetry, both impassioned and level-headed.

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Caroline Bird at first appears to be a traditional story-teller. But the stories she tells are suspended, charged with metaphor, and built upon foundations strangely familiar: fairy tale, fantasy and the sweet-bitter world of romance. The further one reads in her haunted tales, the more remarkable becomes the variety of forms, metres and rhythms she uses, and the clearer their appropriateness. Things are not ever as they seem, and the poems bring us closer to how the world 'really' is for this talented teenager. They work metaphorically through our expectations and prejudices, which she rearranges and reanimates ('with a step/in your dance, a forecast for lightning'), or those that relate to the world of childhood ('I came to see if you were okay') where language itself has never quite got a grip. In the poems of Caroline Bird gender politics are starkly redefined, as are the languages with which generations communicate and fail to agree.

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This text collects: all that Helen Thomas wrote about the poet Edward Thomas; the volumes "As It Was" and "World Without End"; her letters to Edward; and separate memoirs of her meetings with W.H. Davies, D.H. Lawrence, Ivor Gurney, Eleanor Farjeon, Robert Frost and W.H. Hudson. The book has been assembled by Myfanwy, Edward's and Helen's youngest daughter. She includes her own account of childhood with her father, and his death at the Battle of Arras in 1917. She adds an appendix of six letters from Robert Frost to Edward Thomas. Helen wrote "As It Was", the story of her courtship and early marriage, shortly after Edward's death, and "World Without End" a few years later. In the original editions and later reprints fictitious names were used for the protagonists. In this edition the actual names are restored.

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Tom Raworth's Collected Poems (2003) was acclaimed by the Times Literary Supplement as a milestone: thirty years' work by a major poet of English modernism gathered for the first time. Raworth moves on, radical, inventive and politically engaged. Windmills on Fire takes a vertiginous ride through the language landscape we inhabit. Poems fragment and distort, veer in unexpected directions, reconfigure. Playful, often funny, Windmills on Fire is fuelled by anger at the use of language as an instrument of political deceit and military aggression.

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'We seem to live, intellectually and emotionally, in sealed-off universes,' writes Gabriel Josipovici in an essay on Hebrew poetry in medieval Spain, just one in a lively multiverse of writings gathered in The Teller and the Tale. The book draws on a quarter of a century's worth of critical reflection on modern art and literature, Biblical culture, Jewish theology, European identity, the nature of beginnings, and the bittersweetness of writing fiction - to name but a few of the subjects upon which Josipovici's ranging, pansophic attention rests. The author describes paths between these distant regions of space and time with characteristic warmth and ingenuity. Proust, Kafka, Woolf, Pasternak, Eliot, Spark, Valery, and Beckett dwell here alongside Dante, Shakespeare, Sterne, Cervantes, and the Brothers Grimm. Each of these great writers is a point of departure for personal reflection, and a series of critical essays takes on a second life as a book of intimate recollections and fond remembrances, recalling departed friends and peers, evoking the pain and ecstasy of childhood, the personal struggle to be a writer, and the life-long project of becoming a person.Here is a snapshot of influences on one of the English language's most distinctive voices, and an opinionated, sensual, and informed exposition on Western literature and culture.

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Frank O'Hara (1926-66) composed poems 'any time, any place', collaborating with and inspired by a circle of artists, musicians and poets, immersed in the creative life of New York. For O'Hara, the city was a place of possibility, both disorientating and exciting, and his poems have an immediacy that draws its energies from the pace and rhythms of city life, and from the contemporary artforms of jazz, film and painting. It is this openness to experience that makes O'Hara an indispensable poet of the imaginative experience of the modern city. Reviewing this new selection in the Guardian, Charles Bainbridge wrote: 'Frank O'Hara is a wonderful poet - funny, moving, chatty, engaging, enthusiastic, risk-taking, elegiac, supremely urban - and anything that encourages people to read him is a good thing. His poems have a disarming intimacy, a kind spontaneous enthusiasm and his work proves, with tremendous elan and energy, that you don't have to adopt a solemn tone in order to write poetry of seriousness and purpose. As O'Hara himself says of the nature of writing in the brilliantly comic "Personism: A Manifesto": "You just go on your nerve. If someone's chasing you down the street with a knife you just run, you don't turn around and shout, 'Give it up! I was a track star for Mineola Prep'." '

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Wordsworth's lines on Thomas Chatterton (1752-1770) contributed to a legend that became better known than Chatterton's work itself. His story is moving: a sensitive, unhappy boy, he fell in love with the medieval world and escaped into it from miserable schooling and the drudgery of apprenticeship. He read and then wrote "medieval" poetry which he passed off as genuine. When the poems he wrote in his own name brought him some success, he went to London to seek his fortune as a writer. After six months' struggle, too proud to admit defeat, starving and alone, he killed himself in his attic room. He was seventeen. There is more to Chatterton than the romantic archetype. His poetry was admired by Keats, Shelley, Coleridge and Wordsworth; as Grevel Lindop says in his introduction, "Chatterton's work contains in essence the whole of Romanticism". This selection, with its detailed notes, shows the historical significance and unexpected range of Chatterton's poetry, and also enables the reader to enjoy it for its rich resonance and wonderfully memorable rhythms.

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Thomas Kinsella stands apart in modern Irish poetry. His work, employing traditional and modernist elements in individual poems and open sequences, deals in a range of subjects from the most intense and psychic privacy to political satire and social commentary, from love and the enabling feminine to metaphysical speculation in a variety of earthly settings. Kinsella is a city poet. Born in Dublin in 1928, he attended University College, and entered the Irish Civil Service, but resigned from the Department of Finance in 1965 for a career in poetry in the United States. He published from the beginning with the Dolmen Press, later co-publishing his poetry and translations with Oxford University Press. His translations from the Irish include the Iron-Age prose epic "The Tain" and "Poems of the Dispossessed: 1600-1900". He is editor of the "New Oxford Book of Irish Verse".

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William Sydney Graham (1918-1986) was born in Greenock, Scotland, `beside the sugar house quays’ – a setting open to the sea. He remained a Celt, moving from Scotland to Cornwall where he found seascapes without urban clutter, just an occasional ruined tin-mine with its human echo. In the 1950s and 1960s he became a key member of the artistic scene in St Ives. A friend of T.S. Eliot, Dylan Thomas, Edwin Morgan, Roger Hilton, Peter Lanyon and many others, he could be demanding, but he gave back generously. A prolific letter-writer, he is first heard here in the passionate apprentice years, then writing from and of Fitzrovia, the Apocalypse, and his years in Cornwall after The Nightfishing (1955). We come at last to his apotheosis in the brilliance and wry wisdom of his late work. Dedication and commitment to his craft produced an extraordinary body of work during a life lived wildly and to the full. These letters (interspersed with poems and drawings) are a testament to the close intellectual and spiritual bonds with nourished his writing over many years.

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Louise Gluck's collection is a work of ends and beginnings. Her poetry comes in white-hot sequences of passionate intensity. "Vita Nova" is a sequence of poems which dramatises the end of a relationship and the beginning of a new life. Vibrant, at times anguished, but never resigned, the voices in this collection are a reminder of both the pleasure and pain which accompany all our relationships. Gluck manages an act of perspective that brings into resolution the smallest human Hope and the vast forces that shape and thwart it.

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The drop of water on the tongue, writes Gillian Clarke, 'was the first word in the world', and the language of water is the element in which these poems live. Ocean currents create histories and cultures - the port cities of Cardiff and Mumbai; myths are born where great rivers have their source high in the mountains. A bottle of spring water contains the mineral elements of life; we can read the earth's deep history in arctic ice. We share the rhythms of migrations in the pull of tides and seasons through rivers and estuaries. In her first collection since becoming the National Poet of Wales in 2008, Gillian Clarke explores water as memory and meaning, the bearer of stories that well up from a personal and collective past to return us to the language of the imagination in which we first named the world.

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Shortlisted for the 2014 Forward Prize for Best Collection 'At last the night surrounded me; / I floated on it, perhaps in it, / or it carried me as a river carries / a boat'. In Louise Gluck's new collection, night takes on the dimensions of myth, becomes the setting for a sequence of journeys and explorations through time and memory, as the speaker of the poems moves backwards into childhood and forwards into 'the kingdom of death'. Gluck draws equally on the worlds of fairy-tale, of dream and of waking life, each poem a door into a narrative both haunting and compellingly beautiful.

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Caroline Bird's two earlier collections were acclaimed for their exuberant energy, surreal imagination and passion - 'a bit of a Howl for a new generation', wrote the "Hudson Review". "Watering Can" celebrates life as an early twenty-something. The poems, writes Caroline Bird, 'contain prophetic videos, a moon colonised by bullies, weeping scholars, laughing ducks, silent weddings - all the fertiliser that pours on top of your head.' The extraordinary verve and compassion of her verse propels us into the anxiety of new responsibilities. Raw but never hopeless, "Watering Can" has comedy, wordplay and bright self-deprecation.

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"Child: New and Selected Poems" 1991-2011 combines a generous collation of poems from Mimi Khalvati's five Carcanet volumes with previously uncollected sequences. She orders her work autobiographically, telling the stories of her life in four sections: childhood and early adulthood; motherhood; meditations on light; and love and art, circling back to childhood in her celebrated final sequence ("The Meanest Flower"). The figure of the child stands at the centre of the book, appearing in many guises: the poet as a schoolgirl on the Isle of Wight, or in half-remembered later years living with her grandmother in Tehran; her two children, now grown up; children in art; and, an enduring sense of oneself as a child that is never left behind. Here is the essential Khalvati: exquisitely nuanced, formally accomplished, Romantic in sensibility; rapturous and tender in response to nature, family and love. Her poems, David Constantine writes, "say what it feels like being human, the good and the ill of it, with passion, tact and lightness".

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Judith Wright (1915-2000) is one of Australia's best loved, and essential, poets, devoted to place, responsive to landscape and to the violence done to the land and its inhabitants. As John Kinsella writes in his introduction, 'she looked inwards into Australia, and in doing so made the local...universal'. A Human Pattern, a selected poems she prepared after she had abandoned writing poetry in order to devote her time to fighting for Aboriginal rights and conservation, presents her best work from 1946 to her last collection, Phantom Dwelling (1986). Australia, alive with human and natural history, is vibrant in this selection. She is, John Kinsella writes, 'a poet of human contact with the land'. She speaks directly to our perennial concerns.

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Longlisted for the Highland Book Prize 2023. In her first Carcanet collection, Lesley Harrison looks north to the sea, the heat of the land at her back. In inventive arrangements of sound and page, Harrison meditates on whale hunts, lost children, cities seen and remembered, and the sound of the gamelan in the Gulf of Bothnia.

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A Publishers Weekly and New York Times Book of the Year. Shortlisted for the National Book Award for Poetry 2023. Monica Youn's first UK collection is her fourth and most ambitious book. It ends with prose, or at least with paragraphs, the long lyrical essay 'In the Passive Voice', and the intense 'Detail of the Rice Chest', explorations of race, identity and belonging seldom so directly broached in poetry, though they are the unspoken theme of much of our silenced discourse. Monica Youn is an undefended poet, which is not the same thing as defenceless. On the contrary, the undefended poet speaks truths without defensive irony. When there is humour it disarms the reader, until we too are undefended and can confront some of the themes we are reluctant to speak of. The poems recast classical myth in the light of coloniality, otherness and desire, juxtaposing figures which elicit one another's deeper natures. There are metamorphoses, fables. In place of Wallace Stevens's blackbird, Youn proposes 'Thirteen Ways of Looking at a Magpie', the two-hued bird with a bad reputation.

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Late Gifts is a joyful and anxious book. The eponymous late gift, this book's occasion, is a son, born to a middle-aged father. How does this change his sense of present and future, of time itself? The poet focuses on this demanding and joyful relationship in terms that are funny and re-energising, his world renewed. The child's future makes more urgent the environmental and political themes which have long been a concern for the poet. Here Price has developed new forms for his subject matter, including striking longer pieces which survey contemporary worlds with arresting imagery and a hypnotic energy, the twin gatherings of prose poems 'Shore Gifts' and 'Shore Thefts', and quieter, meditative poems of elegy and awe-struck praise. As Maureen N. McLane has written, 'He is one of our most attentive, delicate, ferocious transmitters, singers, makers.'

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In Tristram Fane Saunders' first collection, readers encounter a poet whose ingenious forms dazzle, even while exploring darker themes. Drawing on delicious, unconventional rhymes and rhythms, Before We Go Any Further conjures a contemporary London as it maps the ways we try to communicate with each other across real and invented distances. Sphinxes and sea-creatures, sleepwalkers and surrealists visit poems about art and friendship, poems that are 'trying to tilt toward love', but 'can't help tugging/at the invisibly thin/line between true and honest’. They discover wry humour in that struggle.

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A Poetry Book Society Summer Recommendation 2023 BBC Poetry Extra's Book of the Month August 2023 This, Lisa Kelly's second collection, responds to the repression of British Sign Language (BSL) as its occasion and inspiration. Kelly develops the subject through extended sequences which attend to mushrooms and fungi, lifeforms that develop in secret, unnoticed, unappreciated, yet whose existence enriches everyday life. What can such hidden others teach us - if we attune all our senses?

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Winner of the Pulitzer Prize for Poetry 2023. Then the War and Selected Poems, 2007-2020 is two books in one: a representative selection from seven of Carl Phillips's innovative earlier collections and a complete new book of poems, providing a powerful introduction to European readers. A seemingly gentle but resolute attention to the things of this world evokes the joyful and painful elements in the contemporary human condition, characterised by loneliness and an unquenchable thirst for love. He is a poet who knows the rules and bends or breaks them, a master of syntax and prosody, avoiding convention and pursuing the lines of desire. In a starred review of this book, Publishers Weekly said, 'These lyrically rich, insightful poems are full of palpable aching [...] and a human urge to understand. This remarkable compendium is a testament to the spirit of Phillips's work.'

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Shortlisted for the Wales Poetry Book of the Year Award 2023. A Marginal Sea is written from the vantage point of Ynys Mon/Anglesey, which is both on the edge of Wales and in a marginal sea of the Atlantic Ocean - the island is imagined here as a site of archipelagic connection with other places and histories, where the spaces of dream and digital technology are interwoven with the everyday. Skoulding's poems take their readers into new worlds: we come to terms with the oystercatcher's 'muscle of belonging'; we chart the cross-cultural coordinates of 'Newborough Warren with Map of Havana' ('and it's this way to the Malecon /to look out over the Menai Strait'); elegy and song overlap in moving poems which think through how we remember and misremember: 'it's my voice // deepening with others that won't let themselves / be buried.' ('Anecdote for the Birds'). A Marginal Sea is inventive, exhilarating in its soundscapes, and brilliantly awake to otherness, in language, and in the animal and natural world.

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