Search results for ""Bloodaxe Books""

In The Conversation, Stephanie Norgate explores relationships between nature and the city, the past and present, and character and writer. Shaped through both speech and storytelling, these visual, sensuous and imaginative poems celebrate friendship, even in grief, closeness in times of isolation and lockdown, and the longing to bridge gaps and find cures. Miracles are found in the everyday, in a child’s sleep or a lit-up house. Textiles transform into remembrancers, landscape into emotion. A contemporary Daedalus views his life from a hang-glider. A scrap of handwriting, cafe talk, an exploding car, an earthquake, the naming of fields or a line of walkers ignite conversations about place, time and the tender paradoxes of mortality. Stephanie Norgate’s first collection Hidden River (2008) was shortlisted for both the Forward Prize for Best First Collection and the Jerwood Aldeburgh First Collection Prize and was followed by The Blue Den (2012). The Conversation is her third collection. Her poetry has been praised for the ‘depth of its lyricism’ (Jackie Wills, Warwick Review), and for being ‘energetic and generous, and displaying a ‘feeling for place, for the roots of things’ and for being ‘searching, memorable and disconcerting … She has the ear for the music of a line and the shape and strength of an image.’ (R.V. Bailey, Artemis).

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A collection of three distinct parts, the poems in Rebecca Perry's Stone Fruit nonetheless speak across their many common preoccupations: memory, grief, the fallibility of the physical form, our connection to and place in the world, natural and otherwise. Opening with a study of a girl in a miniature portrait, expanding into lyrical prose pieces and closing with a reflective long poem – part elegy and part reflective essay on competitive trampolining – the poems are united by a desire to pay absolute attention to both the material and inner world. The worlds within this collection appear to be teeming with life – crabs push through sand, wasps swarm on meat; and forms change – bones are replaced with metal, a human head transfigures into that of a muntjac – but there is nothing frantic in this shifting. The care taken in the poems to properly look, to focus on stillness and acts of interrogation, often gives the feeling that they are being viewed through glass, or placed in a frame. If this book could be said to have a central demand of the reader, it is to consider whether they will allow themselves to attend to the pain and joy of giving due reflection to what is happening in the world around us, in their lives and the lives of others. And what the cost of that is. Stone Fruit is Rebecca Perry’s second collection, and is a Poetry Book Society Recommendation. Her first collection Beauty/Beauty won the Michael Murphy Memorial Prize 2017. It was also shortlisted for the T.S. Eliot Prize, Fenton Aldeburgh First Collection Prize and Seamus Heaney Centre for Poetry Prize, and was also a Poetry Book Society Recommendation.

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This new collection from one of Britain's most innovative poets is an exploration of identity in the face of loss. At its heart is a series of poems about the desolation of miscarriage. These poems try to understand the many different means we use to come closer to articulating, and avoiding, experience. Drawing on the language of comedy, improvisation, drag and clown, Low interrogates humour’s role in enacting the possibility of change. A thought-provoking, irreverent and challenging book, Low exemplifies Chrissy Williams' ability to find 'seriousness in the apparently trivial and ephemeral' (Poetry Review). Chrissy Williams' first collection Bear (Bloodaxe) was one of The Telegraph's 50 Best Books of the Year in 2017. She has also published several pamphlets, one of which was shortlisted for the Michael Marks Award. Low is her second full-length collection).

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In Earth House, Matthew Hollis evokes the landscape, language and ecology of the isles of Britain and Ireland to explore how our most intimate moments have resonance in the wider cycle of life. Beginning in the slate waters of the north, the book revolves around the cardinal points and the ancient elements: through the wide skies of the east and the terrain of a southern city, to the embers of places lost to us, to which we can no longer return. What emerges is a moving meditation on time and the transformative phases of nature that calls many forces into its presence – the wisdoms of Anglo-Saxon verse, the metamorphoses of Norse and Celtic myth, the stoicism of classical thought and the far east – unforgettably phrased by a writer who, in the words of the TLS, ‘makes the language of his poetry an event in itself’. Subtly attuned to the rhythms of the turning world, these poems open with the passing of an old life and culminate in the birth of a new one. They bravely work the seam between the present and the past, between destruction and renewal, humanity and our environment, and make Earth House a timeless exploration of our timed encounter with the remarkable lives of our planet. Longlisted for the Laurel Prize 2023, Earth House was Matthew Hollis’s long awaited follow up to Ground Water (2004), shortlisted for the Guardian First Book Award, the Forward Prize for Best First Collection and the Whitbread Poetry Award. He is the author of Now All Roads Lead to France: The Last Years of Edward Thomas (2011), winner of the Costa Award for Biography and Sunday Times Biography of the Year, and The Waste Land: A Biography of a Poem (2022). ‘A quietly magnificent book. Wholly lived. A magnificat in that way. Devoted to the austere and painful truths that poem by poem it discovers and quietly, as ever, magnifies. These poems sound a music like the warming subsong of a blackbird from the bare heart of a winter thorn, a cold cheer, a kindling blues.' – Tim Dee, author of Greenery ‘A magical combination of the delicate and the intense.’ – Julia Blackburn, author of Time Song ‘Enchanting…what good poems.‘ – Ronald Blythe, author of Akenfield

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Dom Bury’s Rite of Passage is an initiation into what it means to be alive on the planet in the midst of extinction, of climate, environmental and systematic collapse. It is a journey into the shadow of man’s distorted relationship with the earth. And yet in the utter darkness of this hour, these often provocative poems suggest that there is hope. That we have had to come to the edge of our own annihilation as a species to collectively shift how we live, that only in the dark glare of this crisis, can a new world from the ashes of the old one now be formed. Dom Bury is a writer and activist who runs workshops on the emotional and human impacts of climate change and environmental degradation. He received an Eric Gregory Award in 2016 and won the 2017 National Poetry Competition with his poem ‘The Opened Field’. Rite of Passage is his first collection.

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How might poetry help us articulate the body in illness, in work, and in love? Tiffany Atkinson’s fourth collection includes the prize-winning sequence ‘Dolorimeter’, which takes fragments of speech and found text from a hospital residency to pay homage to the inventiveness and humour of patients and staff in a series of meditations on the notion that pain resists language. Away from the wards, other poems consider the strangeness of the workplace and the embarrassing incursions of desire into everyday life, celebrating the ability of poetic language to lay awkwardness and uncertainty alongside unexpected openings and glimpses of revelation. A lumen is a unit of light, but also a channel or an opening inside the body; perhaps, in this collection, it may also serve as a metaphor for the work of the poem itself. Poetry Book Society Recommendation.

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Like the work of the European poets who have nourished him, David Constantine’s poetry is informed by a profoundly humane vision of the world. The title of his eleventh collection, Belongings, signals that these are poems concerned both with our possessions and with what possesses us. Among much else in the word belongings, the poems draw on a sense of our ‘co-ordinates’ – something like the eastings and northings that give a map-reference – how you might triangulate a life. The poems ask: Where do you belong? And have in mind also the hostile: You don’t belong here. Go back where you belong. Many, possibly all, the poems in the collection touch more or less closely on such matters. Perhaps all poetry does, showing a life in its good or bad defining circumstances. In the poem ‘Red’, the defining geography is literal, drawn from an old geological map of Manchester in which Constantine finds ‘the locus itself, a railway cutting / Behind the hospital I was born in’, from which the paths of a life led outward. In other poems the particular becomes universal, a territory holding all our belongings, our memories of the people and the places we hold in our hearts. Behind these explorations another kind of belonging is challenged: our relationship with the planet to which we belong, but which does not belong to us.

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Legna Rodríguez Iglesias has quickly become one of the most celebrated Cuban poets writing today. Her intense – often confrontational – poetry refuses to conform, subverting expectations and challenging social mores. Particularly arresting is her uncomfortable focus on the human body, which she dramatises in isolation, stripping it of context, making it strange and even obscene. Alongside poems of extreme descriptive vigour, Rodríguez Iglesias irreverently skewers the hypocrisies, clichés and hierarchies of our time. This selection offers a broad survey of Rodríguez Iglesias’s work, drawing on eight previous collections in Spanish. Throughout, the poems are inflected with Cuban history and explore the tensions between the generation of the Revolution and her own. The consequences of poet’s long-term residence in Miami are forcefully brought home through poems of emigration and estrangement. The playfulness and verbal dexterity that marks Rodríguez Iglesias’s work in Spanish has been expertly brought to life in English by Abigail Parry, an award-winning poet whose debut collection Jinx was published by Bloodaxe in 2018, working in collaboration with bridge-translator and writer Serafina Vick.

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Frank Ormsby's seventh collection of poems reflects not only the beauty of the Irish landscape and the sensuous and aesthetic impact of the small farms among which he grew up, but also the continuing violence of the 'Troubles'. Close to the surface of mountain and bogland lie the hidden graves of the 'Disappeared'. Ormsby continues to make vivid use of the short, resonant poems which were a striking feature of Goat's Milk and The Darkness of Snow. Here too the content is often delivered and reinforced through rich, contrasting images within or between poems: the scarlet flowers growing in a black kettle, the fuchsia that is both 'redolent of old battles' or a 'peaceful tapestry in the annals of stone'. Among the personae of the collection is the obliging father who volunteers to be buried by his children up to the neck in sand within sight of but some distance from the 'cold shadow of the mountain'. The elegiac note that echoes through the poems rarely darkens the mood. Ormsby’s wit and humour, his sly sense of the absurd and what might be called his affection for the living and the dead draw the reader into considering the conviction that it is sometimes 'possible to believe / that joy grows irresistibly at the roots of everything'.

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Vidyan Ravinthiran’s second collection is a book of sonnets for his wife. These are love poems that turn analytical, consider the world, and in which the pronoun 'we' aspires to stand for a larger community, including (if you like) readers themselves. Many describe life in the North East for a mixed-race couple, considering both the redemptive force of love and the cultural origins of our discontent. Brexit; racist and sexist abuse; class; our work-life balance, and our relationship with institutions (be it our employer, or the NHS); taboos surrounding mental health; civil war in Sri Lanka; media representation of minorities; immigrant anxieties: these poems look inward, but also outward. Worrying at the link between society and our private lives, they scorn a politics which would put us all in separate boxes. Love, and imagination, may not conquer all, but as recent shocks suggest, ‘we’ must at least try to understand people different to us. Shortlisted for the 2019 Forward Prize for Best Collection, the collection is a Poetry Book Society Recommendation.

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The Wound Register, or Casualty Book - which gives this book its title - is an official record of the casualty and sickness details for more than fifteen thousand soldiers of the Norfolk Regiment during the First World War. Written during the conflict's centenary, the poems in Esther Morgan's fourth collection apply the concept to her own family history in the aftermath of her great grandfather's death at the Somme. An unflinching sequence written to her grandmother explores the trauma of losing a father in combat, while other poems address the missing soldier directly as he hovers on the brink of living memory. Morgan's experience of coming late to motherhood brings the book into the present, giving her alertness to loss a fresh urgency as she traces the legacy of three generations. Written with the lyrical precision of her earlier work but with a new intimacy, The Wound Register grapples movingly with the question of whether it's possible to live and love while doing no harm.

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Friedrich Hölderlin was one of Europe’s greatest poets. The strange and beautiful language of his late poems is recreated by David Constantine in these remarkable verse translations. This is a new expanded edition of Constantine’s widely-praised Hölderlin Selected Poems (1990/1996), containing many new translations as well as the whole of Hölderlin's Sophocles (2001), in which he sought to create an equivalent English for Hölderlin's extraordinary German recreations of the classic Greek verse plays. Constantine won the European Poetry Translation Prize in 1997 for his translations of Hölderlin. This new volume presents a substantial selection from the work of a poet who, writing around 1800, addresses us ever more urgently two centuries later. Hölderlin translated all his writing life. Through translation he reached a poetic language of his own, so that much of his best poetry reads like a translation from elsewhere. He was intensely occupied with Sophocles in the winter of 1803-04. His versions of Oedipus Rex and Antigone (he worked at but never finished Oedipus at Colonus and Ajax) came out in the spring of 1804 and were taken, by the learned, as conclusive proof of his insanity. He was by then very near to mental collapse, but no one now would dismiss his work for that. He translated in a radical and idiosyncratic way, cleaving close to the Greek yet at the same time striving to interpret these ancient, foreign and – as he thought – sacred originals, and so bring them home into the modern day and age. Constantine has translated Hölderlin’s translations, carrying as much of their strangeness as possible into his English. The plays themselves need no introduction or apology. These double translations, links in literature from land to land and from age to age, demonstrate the vitality of ancient and modern poetic tradition. Carl Orff used Hölderlin’s texts for his operas Antigonae (1949) and Oedipus der Tyrann (1959), with the producers of recent DVDs of Orff's operas later choosing to use Constantine’s texts for their English subtitles.

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Hoard brings together poems Fleur Adcock had to keep under wraps for several years because they didn't suit the themes of her last two collections, The Land Ballot and Glass Wings. They include reflections on the tools of her trade (handwriting, typewriters), snatches of autobiography (a brief, ill-considered second marriage followed by her migration from New Zealand to England in 1963), and poems on trees, wildlife and everyday objects. Ellen Wilkinson, who led the Jarrow March in 1936, makes two appearances, joining Coleridge, several ancestors and two dogs. The most recent poems in the book recall Adcock's visits around the North Island of New Zealand in 2015, affirming her renewed although not uncritical affection for the country of her birth.

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Bondo is Menna Elfyn's latest collection in Welsh and English. Her title means eaves in Welsh, referring to poems about getting close to language as sanctuary. Other poems were written episodically over a number of years. These meditative poems began simply as a personal engagement with the grief of Aberfan, expressing solidarity with a nation's wound. Bondo is also the voice which echoes the role of the Welsh bard as remembrancer. 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. Like her previous Bloodaxe titles, Bondo is a bilingual Welsh-English edition. Again, the facing English translations are by leading Welsh poets, in this case Elin ap Hywel, Gillian Clarke, Damian Walford Davies and Robert Minhinnick. It is her first new book since Perfect Blemish: New & Selected Poems / Perffaith Nam: Dau Ddetholiad & Cherddi Newydd 1995-2007 and the later collection Murmur (2012), a Poetry Book Society Recommended Translation.

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Carolyn Forché’s The Country Between Us bears witness to what she saw in El Salvador in the late 1970s, when she travelled around a country erupting into civil war. Documenting killings and other brutal human rights abuses, while working alongside Archbishop Oscar Romero’s church group, she found in her poetry the only possible way to come to terms with what she was experiencing first-hand. By 1980, when the fighting was becoming too dangerous, Archbishop Romero urged Forché to return home, asking her to ‘talk to the American people, tell them what is happening to us. Convince them to stop the military aid.' A week later he was assassinated (and is only now being made a saint). Back in the US, Forché gave readings and talks about US-backed oppression in Central America, but found publishers and critics uncomfortable with the startlingly different poems of her second collection, poems relating to torture, murder, injustice and trauma. When the book appeared in 1981, at a time when the conflict in El Salvador had finally forced its way into public awareness, it won her immediate recognition. Briefly available in Britain from Jonathan Cape in the 1980s, it was reissued by Bloodaxe to coincide with the publication by Penguin of Carolyn Forché’s long awaited memoir of those times, What You Have Heard Is True: a memoir of witness and resistance (Penguin, 2018) followed by a new collection from Bloodaxe, In the Lateness of the World (2020). The Country Between Us has sold tens of thousands of copies on the US, where it has never been out of print. It won the Poetry Society of America's Alice Fay di Castagnola Award, and was the Lamont Poetry Selection of the Academy of American Poets.

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In these restlessly exploratory poems and sequences, the space between things is never empty, but alive with messages. Utterly physical even when it is at its most enquiring, Philip Gross's latest collection contemplates space and sound. Even silence reveals itself as multiple and individual. With each book in his ambitious series since The Water Table, winner of the T.S. Eliot Prize, Gross has taken a new step in mapping where we live, in between language and the world. A Bright Acoustic looks at and way beyond the human, to a generously environmental view of the self in its relationships, at the same time playful and profound.

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The Darkness of Snow is Frank Ormsby's most varied and versatile collection to date. It includes three substantial sets of poems whose themes are refreshingly and sometimes painfully new. One is a suite of poems - sombre, good-humoured, flippant - about the early stages of Parkinson's Disease. Ormsby was diagnosed as having the disease in 2011. Another was prompted by the work of Irish painters in Normandy, Brittany and Belgium at the end of the 19th century. There are also further explorations of his boyhood years in Fermanagh, while poems set in Belfast reflect the aftermath of the Troubles and celebrate the city's current phase of recovery and restoration. The book ends with a narrative poem about the trial of an unnamed tyrant in which we learn about the Accused (as he is called), about the villagers who have travelled to bear witness to the atrocities carried out in the village, and about one of the interpreters, who understands the slipperiness of Truth. The Darkness of Snow covers work written since Frank Ormsby's retrospective, Goat's Milk: New & Selected Poems (2015). His broad range and eye for the particular combine to make this an exceptional collection. Poetry Book Society Recommendation. Shortlisted for a National Book Circle Critics Award.

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The "disappearance" of the poet Rosemary Tonks in the 1970s was one of the literary world's most tantalising mysteries - the subject of a BBC feature in 2009 called The Poet Who Vanished.After publishing two extraordinary poetry collections - and six satirical novels - she turned her back on the literary world after a series of personal tragedies and medical crises which made her question the value of literature and embark on a restless, self-torturing spiritual quest. This involved totally renouncing poetry, and suppressing her own books.Interviewed earlier in 1967, she spoke of her direct literary forebears as Baudelaire and Rimbaud: 'They were both poets of the modern metropolis as we know it and no one has bothered to learn what there is to be learned from them...The main duty of the poet is to excite - to send the senses reeling.'Her poetry - published in Notes on Cafes and Bedrooms (1963) and Iliad of Broken Sentences (1967) - is exuberantly sensuous, a hymn to sixties hedonism set amid the bohemian nighttime world of a London reinvented through French poetic influences and sultry Oriental imagery. She was 'Bedouin of the London evening' in one poem: 'I have been young too long, and in a dressing-gown / My private modern life has gone to waste.'All her published poetry is now available here for the first time in over 40 years, along with a selection of her prose. This second edition has an expanded introduction and an additional prose piece.

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This stunning collection gathers never-before-seen poems, found by archivists in boxes kept at the Pablo Neruda Foundation in Chile in 2014. Neruda is renowned for poetry that casts away despair and celebrates living, fired by his belief that there is no unsurmountable solitude. Then Come Back presents Neruda's mature imagination and writing: signature love poems, odes, anecdotes, and poems of the political imagination. Translator Forrest Gander beautifully renders the eros and heartache, deep wonder and complex wordplay of the original Spanish, which is presented here alongside full-colour reproductions of the poems in their original composition on napkins, playbills, receipts, and in notebooks. Then Come Back: The Lost Neruda simultaneously completes and advances the oeuvre of the Nobel Laureate. Discovered during the cataloguing of Neruda's papers, there are 21 poems in all, together with detailed notes about how they relate to his published work.

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Penelope Shuttle's collection explores cities (London, Bristol) on foot and via inward exploration, drawing on architecture, history and personal memory. These are poems drawn from the flipside of experience, undermining and rebuilding syntax in order to precipitate language, and, in the main, abjuring punctuation. The poems also engage with inward exploration where both active and meditative thinking seek a vulnerable and temporary equilibrium; poems more interested in framing questions than arriving at answers. The volatile and tactile realities and delusions of being in the world direct much of the language's traffic here; there's a commingling of sadness and wry humour in Shuttle's travels through our physical and metaphysical worlds. Pared-back imagery and lyric purpose are embodied here throughout in the work of a poet who agrees with Ekbert Faas's comment: 'as soon as you have a new syntax, you have a new way of breathing, and as soon as you have that you have a new consciousness'. Will You Walk a Little Faster was Penelope Shuttle's first new book-length collection after her Bloodaxe retrospective, Unsent: New & Selected Poems (2012), and was published on her 70th birthday.

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John Agard has been broadening the canvas of British poetry for the past 40 years with his mischievous, satirical fables which overturn all our expectations. In this new collection, he puts on the mask of Moses Maimonides (aka the Rambam), the Medieval Jewish rabbi and physician who wrote his Guide of the Perplexed in Arabic at a time when Judaism, Islam and Christianity cross-fertilised each other in Moorish Spain. Now the ghost of Maimonides returns to the contemporary world, no less perplexed, and trailed by the figure of the Jester, whose wise fool musings shadow Maimonides' discourses on a range of subjects from sectarian fanaticism to God's incorporeal lack of taste buds. In Playing the Ghost of Maimonides, the rabbinical, the parabolical, the nonsensical, are symphonically interwoven in a thought-provoking romp of metaphysical shapeshifting that resonates with the current climate of extremism.

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Tongulish is the language of sweet talk and honeyed words, babble and blather, quibble and quizzical. And tongulish is spoken throughout Rita Ann Higgins's lively new collection. These are provocative and heart-warming poems of high jinx and telling social comment by a gutsy, anarchic chronicler of Irish lives and foibles, mischievous and playful in their portrayal of feckless folk and outcasts, flirts and weasels, gasbags and scallywags.

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Amali Gunasekera’s first collection was published under her former name of Amali Rodrigo. This is a book marked by a sense of being on a threshold between worlds. In South and East Asian religious symbolism, the lotus flower embodies the promise of purity and transcendence because it rises clear out of the muddy mire of its origins. It represents both abstract realms and the concrete phenomenal world. The lotus root is also an aphrodisiac. Whether the occasion of these poems are relationships, customs and superstition, war and its aftermath, the fabular or simply a piece of driftwood, they question scale, geographical and emotional distances, and our habitual gaze. At the heart of the collection are her multi-voiced Aftersongs exploring the nature of the male gaze, religious didacticism and artistic inspiration. This epigrammatic sequence is based on the ekphrastic graffiti-poems inscribed between the 8th and 10th centuries at a royal pleasure palace and fortress in Sri Lanka, addressing the frescoes of the beautiful 'cloud maidens'.

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Choman Hardi's Considering the Women explores the equivocal relationship between immigrants and their homeland - the constant push and pull - as well as the breakdown of an intermarriage, and the plight of women in an aggressive patriarchal society and as survivors of political violence. The book's central sequence, Anfal, draws on Choman Hardi's post-doctoral research on women survivors of genocide in Kurdistan. The stories of eleven survivors (nine women, an elderly man and a boy child) are framed by the radically shifting voice of the researcher: naive and matter-of-fact at the start; grieved, abstracted and confused by the end. Knowledge has a noxious effect in this book, destroying the poet's earlier optimistic sense of self and replacing it with a darker identity where she is ready for 'all the good people in the world to disappoint her'. Choman Hardi's second collection in English ends with a new beginning found in new love and in taking time off from the journey of traumatic discovery to enjoy the small, ordinary things of life. Poetry Book Society Recommendation.

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America's Kim Addonizio has been called 'one of the nation's most provocative and edgy poets'. Her poetry is renowned both for its gritty, street-wise narrators and for a wicked sense of wit. With passion, precision and irreverent honesty, her poems explore life's dual nature: good and evil, light and dark, joy and suffering, exposing raw emotions often only visible when truly confronting ourselves - jealousy, self-pity, fear, lust.

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Lawrence Sail's new collection encompasses a striking variety of subjects. He reflects on detail in the natural world, both in micro- and macrocosm, looking for example at flowers, birds, the sea, the earth seen from space; he explores the intricacies and balances of love and family relationships; he finds new resonances in the paintings of David Bomberg, Howard Hodgkin and Paul Klee, and affinities in his translations of Mallarme, Rilke and Trakl. His imaginative scope extends into a sequence of prose poems responding powerfully to Gabriel Faure's nine Preludes for piano. Throughout the collection, close attention to the physical world is paired with the perceptions such careful consideration provokes. Often this embodies a duality - instances of love carry the shadow of grief; a beached boat evokes the horizon; a book is both an object and an emblem of lost authority; the fragment of a Roman carving suggests wholeness restored. Above all, there is in Sail's writing a celebration of the world, its preciousness magnified by the ways in which he takes the measure of what appears in the title poem as 'all that lasts, / all that is gone', the juxtaposition of the transient and the enduring.

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Girls Are Coming Out of the Woods is an unflinching collection of poems that weave between topics from violence against women to time and memory. Tishani Doshi's third full collection in English blends visceral power with artistic elegance, re-imagining form as it sifts through detail and emotion. It followed two earlier, highly praised collections, Everything Begins Elsewhere, published by Bloodaxe in 2012, and her debut, Countries of the Body, winner of the Forward Prize for Best First Collection. Tishani Doshi was shortlisted for the Ted Hughes Award 2018 for Girls Are Coming Out of the Woods and for her accompanying dance performance of the title poem. Poetry Book Society Recommendation. Her fourth collection, A God at the Door, was published in 2021.

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Raving Beauties women's theatre company was born out of a deep sense of frustration with domesticity, naivete and a burning need for a creative outlet. It led to an enormous personal, political and professional learning curve. Hallelujah for 50ft Women is their third anthology of women's poetry. Their first book, In the Pink (The Women's Press), sold thousands and was reprinted six times. Our relationship to our bodies is affected by many things including culture, religion, family, sex, hunger, pleasure and pain. This new anthology is inspired by a passionate desire to celebrate our bodies in a fully realised way, leaving Barbie's grotesque silent pliability in her box for good. Instead of pouting, our mouths have the power of language, our romantic fluttering hearts give and receive compassion, skin ages with grace when we see beauty in everything, a pierced belly button connects us to our ancestors and a belly needs to be strong before it's flat. This book has been selected from over a thousand submissions. New poets published here for the first time are proud to share this anthology with established writers such as Selima Hill, Kim Addonizio, Jackie Kay and Helen Dunmore. By revealing the complex depths of our relationships with our bodies Hallelujah for 50ft Women makes a much needed contribution to a compassionate understanding of our evolving selves.

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Pia Tafdrup is one of Denmark's leading poets. She has received the Nordic Literature Prize - Scandinavia's most prestigious literary award - and the Swedish Academy's Nordic Prize. This new translation of her work combines two recent collections, The Migrant Bird's Compass and Salamander Sun, which comprise the third and fourth parts of a quartet written over ten years: the first two parts are The Whales in Paris and Tarkovsky's Horses (published in English by Bloodaxe in 2010 as Tarkovsky's Horses and other poems). The Migrant Bird's Compass is a book of poems about the dimensions of travel, either to specific countries or as an inner journey. The route from birth to death is also portrayed. Travel demands commitment and curiosity. The only predictable thing about it is the unpredictable. Travel implies vulnerability, but also much that has happened at home while one was away. The poems are about the experience of 'resting in myself / despite the fire in the centre of the earth'. Salamander Sun presents 60 poems, one for each year, from 1952, when Pia Tafdrup was born, to 2011; from the first chaotic sensations, through the gradual discovery of the world and its diversity, and of language, its possibilities and challenges; from growing up on a farm, puberty, study, politics, love, to becoming a poet, having two sons, getting older and having old parents; to leaving one's mark and understanding one's place in the passage of time. The poems cast light backwards, but also seek a focus in the future. Together with The Whales in Paris and Tarkovsky's Horses the two books form a quartet that centres on the theme of journeying and passage, its individual parts creating a field of tension. Each part portrays an element: water, earth, air and fire, each represented by a creature, and each part has a key figure: the beloved person, the father, the mother and the "I" that recalls its life. The quartet is an attempt to find structure in the midst of chaos.

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A land ballot was the means by which Fleur Adcock's grandparents, immigrants from Manchester during World War I, were able to bid for a piece of native bush on the slopes of Mount Pirongia in the North Island of New Zealand. Their task was to turn this unpromising acreage into a dairy farm. When things didn't work out as they had hoped much of the responsibility for running the farm and engineering their eventual escape fell on their teenage son, Adcock's father. This sequence of poems follows the course of their efforts and builds up a portrait of a small, isolated community.

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Matthew Sweeney's eleventh collection of poems is haunted by mortality, by other worlds and far-flung places, by visitations and violent events like the Spanish Inquisition. The poems are imaginative riffs featuring troubling companions and troublesome thoughts: ghosts and spirits, anger and guilt, crows and horses, a runaway calf and a footballing elephant. And yet amid the outlandish adventures and macabre musings in Inquisition Lane, other notes are also sounded: the poems can be lyrical as well as exuberant, saddened as well as extravagant. Dear friends are remembered. Faith is questioned. The Catholic Church is interrogated. German monks zoom by on Harley-Davidsons and chocolate is mined by French monks beneath the Madeleine in Paris.

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For twenty years Micheal O'Siadhail's beloved wife, Brid, suffered from Parkinson's disease. These love poems chronicle the last two years of her life, her death and his grief. In Love Life, now available again in his Collected Poems, he told their story of over three decades of marriage. In this sonnet sequence their love faces illness and death and sounds the depths of parting. There is a tenderness, intensity and gratitude which will resonate with those who know both love and loss.

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Imtiaz Dharker was born in Pakistan, grew up a Muslim Calvinist in a Lahori household in Glasgow, was adopted by India and married into Wales. Her main themes are drawn from a life of transitions: childhood, exile, journeying, home, displacement, religious strife and terror, and latterly, grief. She is also an accomplished artist, and all her collections are illustrated with her drawings, which form an integral part of her books. Over the Moon is her fifth book from Bloodaxe. These are poems of joy and sadness, of mourning and celebration: poems about music and feet, church bells, beds, cafe tables, bad language and sudden silence. In contrast with her previous work written amidst the hubbub of India, these new poems are mostly set in London, where she has built a new life with - and since the death of - her husband Simon Powell.

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Niall Campbell grew up on South Uist in Scotland's Outer Hebrides, and his first collection, Moontide, is filled with images of the island's seascapes, its myths, its wildlife, and the long dark of its winters. Quietly reflective and deftly musical, these thoughtful poems resonate with silence and song, mystery and wonder, exploring ideas of companionship and withdrawal, love and the stillness of solitude. After winning an Eric Gregory Award in 2011, Niall Campbell published a widely praised pamphlet, After the Creel Fleet, in 2012, and won the Poetry London Competition in 2013. Now this highly assured debut collection will establish him as one of the most distinctive lyric voices to emerge from Scotland in recent years. Poetry Book Society Recommendation, winner of the Saltire First Book of the Year Award, also shortlisted for the Fenton Aldeburgh First Collection Prize, the Forward Prize for Best First Collection and the Michael Murphy Memorial Prize.

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These are poems of wonder and precarious elation, about learning to embrace the seemingly disparate landscapes of hermitage and court, the seemingly diverse addresses of mystery and clarity, disruption and stillness - all the roadblocks and rewards on the long dangerous route to recovering what it is to be alive and human. Wandering, digging, falling, coming to terms with unsettlement and uncertainty, finiteness and fallibility, exploring intersections between the sacred and the sensual, searching for ways to step in and out of stories, cycles and frames - these are some of the recurrent themes. These poems explore various ambivalences - around human intimacy with its bottlenecks and surprises, life in a Third World megapolis, myth, the politics of culture and gender, and the persistent trope of the existential journey (which intensifies in the new poems). Arundhathi Subramaniam's previous book from Bloodaxe, Where I Live: Selected Poems (2009), drew on her first two books published in India plus a whole new collection. Shortlisted for the T.S. Eliot Prize, When God is a Traveller was her fourth collection of poetry, and was the Poetry Book Society Choice for Winter 2014.

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After starting out as a neo-surrealist American poet in the 1970s, Thomas Lux 'drifted away from surrealism and the arbitrariness of all that. I got more interested in subjects, identifiable subjects other than my own angst or ennui.' The later Lux writes more directly in response to more familiar but no less strange human experience, creating a body of work that is at once simple and complex, wildly imaginative and totally relevant. He uses humour or satire 'to help combat the darkness - to make the reader laugh - and then steal that laugh, right out of the throat. Because I think life is like that, tragedy right alongside humour.' Each of Lux's multi-faceted poems is self-contained, whether it is musing or ranting, lamenting or lambasting, first person personal or first person universal. 'Usually, the speaker of my poems is a little agitated,' says Lux, 'a little smart-ass, a little angry, satirical, despairing. Or, sometimes he's goofy, somewhat elegiac, full of praise and gratitude.'

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Tua Forsstrom is a visionary Finland-Swedish poet who has become Finland's most celebrated contemporary poet. Her poetry draws its sonorous and plangent music from the landscapes of Finland, seeking harmony between the troubled human heart and the threatened natural world. One Evening in October I Rowed Out on the Lake is her first new collection since her celebrated trilogy, I studied once at a wonderful faculty, published by Bloodaxe in 2006. As Sweden's August Prize jury commented, this is poetry 'both melancholy and impassioned', expressing a 'struggle against meaninglessness, disintegration, destruction - against death in life'.

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Two words, hope and doubt, dominate Not All Honey, the seventh full collection by Roddy Lumsden. These awkward cousins appear repeatedly as the poet 'fathoms the ingredient for happy' despite a tendency for the 'terrific melancholy' which named his last book. Roddy Lumsden is one of the most inventive poets writing today, always keen to explore and invent forms and to challenge the musical limits of language. The collection veers between sequence and stand-alone poems, the recurring subjects including viscous liquids, popular music, folkloric beasts and relationships and friendships with younger people. This book also reproduces Lumsden's acclaimed limited edition short collection The Bells of Hope which, in 51 short and exuberant 'kernel poems', records the poet's first ever year lived alone. Shortlisted for the Saltire Scottish Poetry Book of the Year.

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Ten: the new wave presents poetry from some of the most exciting new poets in Britain today. These ten poets were selected for The Complete Works 2 mentoring project, a groundbreaking initiative to promote diversity and quality in British poetry, initiated by the writer Bernardine Evaristo. The poets follow on from the first group to take part in this scheme, whose work was published in Bernardine Evaristo and Daljit Nagra's anthology Ten: new poets from Spread the Word (2010). Most of those poets have gone on to win awards and have their poetry collections published. The new poets in this anthology are Mona Arshi, Jay Bernard, Kayo Chingonyi, Rishi Dastidar, Edward Doegar, Inua Ellams, Sarah Howe, Adam Lowe, Eileen Pun and Warsan Shire. These poets have backgrounds in Asia, Europe, the Caribbean and Africa, and their work draws on their multicultural heritage and tapestry. Many of them also work across art forms and have enjoyed success as playwrights, graphic artists and even in the martial arts. Talented, adventurous and culturally rich, these poets will open up new landscapes for the reader.

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Vidyan Ravinthiran's much-anticipated first collection contains many poems about Sri Lanka which fuse politics, personal history and myth, yet his voice pitches itself not so much halfway between East and West as between emotional forthrightness and linguistic exuberance. Traditional forms - of culture, of verse - contend with brusquer impulses in an era of technological distortion; without taking himself too seriously, the poet asks if perhaps we don't take ourselves seriously enough. These are poems of impassioned intelligence, which refuse to separate thought and feeling and seek not only to delight and disturb but to work through difficult problems. The intricacies of the modern relationship - the smallest society, a haven of two - are reconnected with the historical world; translations, some from classical Tamil, ask how close two languages or two people can get. Indeed, Grun-tu-molani is concerned throughout with a range of human behaviours common to different societies - the need to assert oneself, save face, explain, and touch; the last of which would not be possible were it not for the distances between us.

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Like the work of the European poets who have nourished him, David Constantine's poetry is informed by a profoundly humane vision of the world. Many of the poems in his latest collection spring from particular localities: Scilly, the North of England, Southern France, the Aegean, Wales; others from certain places (loci) in literature and mythology. Inspired by such 'local habitations' and the people who live there, the poems of Elder express gratitude and loyalty, but also grief at every harm and death. Published on his 70th birthday, David Constantine's tenth book of poetry sounds many personal elegiac notes as well as - in the story of Erysichthon, for example - anxiety at the abuse of Earth, but there is also much celebration of love, beauty and the hope and aspiration in human beings to live well in the time allowed.

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A new child should mean new hope. But what if that's no longer so? Ailbhe Darcy's second collection unfolds in an intimate world, in which the words home and love dominate. But the private world is threatened by a public one. Written in the American Rust Belt, in an era of climate change and upheaval, Insistence takes stock of the parent's responsibility to her child, the poet's responsibility to the reader, and the vulnerability of the person in the face of global crisis. In a long poem, Darcy revisits Inger Christensen's 1981 Alphabet, a work which expresses the heart-sickening persistence and proliferation of beauty after Hiroshima. In Darcy's 'Alphabet', the spiralling form takes over, insisting on hope. But this is a doubtful sort of hope: hope for life on earth, not necessarily human life. Stink bugs work their way across America, cockroaches waltz, and quixotically-named mushrooms rise from the earth in this flirtatious but volatile collection. Described by David Wheatley as 'boldly overhauling the received categories of the Irish poem' with 'cunning and humour', Ailbhe Darcy's poems interrogate cosmopolitanism as much as they do rootedness, love as much as grief. Ailbhe Darcy's first collection, Imagininary Menagerie, was published by Bloodaxe in 2011. Insistence won the Wales Book of the Year Award 2019, the Roland Mathias Poetry Award, and the Pigott Poetry Prize 2019 in association with Listowel Writers' Week, and was shortlisted for the Irish Times Poetry Now Award 2019 and the T.S. Eliot Prize 2018.

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This changes things was Claire Askew's first full collection, coming after years of work in Scotland's flourishing poetry and spoken word scene. Her poems focus on the lives and experiences of women - particularly the socially or economically marginalised - at pains both to empathise and to recognise the limits of this empathy. They embody a need to acknowledge and challenge the poet's privileged position as documenter and outsider, a responsibility to the poem's political message and to that message's human subject. This changes things draws much of its strength from this exploration of inbetweenness. Claire Askew's purposeful deployment of objects, lighting effects and liminal spaces implicates her reader in the poem's argument, holds up a mirror and asks us to pay attention. The book's romantic relationships, depictions of frustrated travel or social mobility, are bound up in its awareness of the systems of power that permit no true state of innocence. Even the final poem, 'Hydra' - with its celebration of the body and its senses - cannot ultimately allow us off the hook. This changes things was shortlisted for the Saltire Society First Book of the Year Award 2016, Seamus Heaney Centre Prize for First Full Collection 2017 and Michael Murphy Memorial Prize 2017.

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R.S. Thomas (1913-2000) is one of the major poets of our time, as well as one of the finest religious poets in the English language and Wales’s greatest poet. This substantial gathering of his late poems shows us the final flowering of a truly great poet still writing at the height of his powers right through his 70s and 80s. It begins with his autobiographical sequence The Echoes Return Slow, which has been unavailable for many years, and goes up to Residues, written immediately before his death at the age of 87. These powerful poems – about time and history, the self, love, the machine, the Cross and prayer – cover all of his major areas of questioning. This is R.S. Thomas in a winter light, his fury concentrated on the inhumanity of man and modern technology, his gaze absorbed by the God he felt in Nature, but finding nourishment in 'waste places'. At the same time he writes with resigned feeling and immense insight, as well as grim humour and playful irony, of isolation, ageing, marriage and 'love’s shining greenhouses'. For Thomas, 'Poetry is that / which arrives at the intellect / by way of the heart.' Collected Later Poems 1988-2000 is the sequel to R.S. Thomas’s Collected Poems 1945-1990 (Dent, 1993; Phoenix Press, 1995), which only covers his collections up to Experimenting with an Amen (1986). It reprints in full the contents of R.S. Thomas’s last five collections, The Echoes Return Slow (Macmillan, 1988: unavailable for many years), and Bloodaxe’s Counterpoint (1990), Mass for Hard Times (1992), No Truce with the Furies (1995) and the posthumously published Residues (2002). It was a Poetry Book Society Recommendation. It was followed in 2013 by Uncollected Poems and in 2016 by Too Brave to Dream.

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Osip Mandelstam was one of the great Russian poets of the 20th century, with a prophetic understanding of its suffering, which he transformed into luminous poetry. Childish and wise, joyous and angry, at once complex and simple, he was sustained for 20 years by his wife and memoirist Nadezhda Mandelstam, who became, with Anna Akhmatova, the saviour of his poetry. The Moscow Notebooks cover his years of persecution, from 1930 to 1934, when he was arrested for writing an unflattering poem about Stalin, and subjected to gruelling interrogations and torture. The Notebooks include that fatal poem – with its clinching line ‘His cockroach moustache laughs, perching on his top lip’ – and present a shattering portrait of Moscow before the Great Terror. He attempted suicide twice, slashing his wrists in prison, and jumping from a hospital window. Exiled to Voronezh, he seemed crushed. A friend described him then as ‘in a state of numbness. His eyes were glassy. His eyelids were inflamed, and this condition never went away. His eyelashes had fallen out. His arm was in a sling.’ But it was to be four more years before Mandelstam was completely beaten. In Voronezh he broke a silence of 18 months, writing the 90 poems of the three Voronezh Notebooks. Nadezhda’s memoir Hope Against Hope includes a moving account of their time in Voronezh, and Anna Akhmatova’s poem ‘Voronezh’ describes her visit there in 1936, when ‘in the room of the exiled poet / fear and the Muse stand duty in turn / and the night is endless / and knows no dawn’. With an introduction by Victor Krivulin, this edition combines the two previous separate editions of The Moscow Notebooks and The Voronezh Notebooks published by Bloodaxe.

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The informing spirit of Garrett's second collection is music – in the cadences of the language, the forms and resolutions of the poems. For her, a memorable poem is a kind of two-part invention, an interplay of the reader's imagination and the poet's intention. As in Bach's deceptively simple studies of that name, when the two discrete melodic lines of reader's and poet's imagination run parallel, polyphony is suggested. Elizabeth Garrett's debut volume The Rule of Three was one of the 20 'New Generation Poets' titles in 1994. A Two-Part Invention was her second collection.

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Yves Bonnefoy (1923-2016) was a central figure in post-war French culture, with a lifelong fascination with the problems of translation. Language, for him, was a visceral, intensely material element in our existence, and yet the abstract quality of words distorts the immediate, material quality of our contact with the world. This concern with what separates words from an essential truth hidden in objects involved him in wide-ranging philosophical and theological investigations of the spiritual and the sacred. But for all his intellectual drive and rigour, Bonnefoy's poetry is essentially of the concrete and the tangible, and addresses itself to our most familiar and intimate experiences of objects and of each other. In his first book of poetry, published in France in 1953, Bonnefoy reflects on the value and mechanism of language in a series of short variations on the life and death of a much loved woman, Douve. Douve, though, is the French word for a moat, that uncrossable body which separates us from safety and from danger. With this undercurrent at work we read the poems as if they are about the divide between us and death as much as they are about the divide between us and the untouchable reality of text. This is dangerous writing, fulfilling Derrida's "fatal necessity" by making us substitute the textual sign for reality. In his introduction, Timothy Mathews shows how Bonnefoy's poetics are enmeshed with his philosophical, religious and critical thought.

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The poems of Arundhathi Subramaniam's Love Without a Story celebrate an expanding kinship: of passion and friendship, mythic quest and modern-day longing, in a world animated by dialogue and dissent, delirium and silence. Circling themes of intimacy and time, they return to the urgency of conversation: that fragile bridge across the frozen attitudes that divide our world. But at the heart of the collection is a deeper preoccupation, with those blurry places where humans might walk with gods, where the body might touch the beyond, where the enchanted might intersect effortlessly with the everyday. Where one stumbles upon what the poet simply calls ‘love without a story’. Arundhathi Subramaniam's previous book from Bloodaxe, When God Is a Traveller, was shortlisted for the T.S. Eliot Prize. Love Without a Story is her fourth collection of poetry. Her earlier work is available in Where I Live: New & Selected Poems.

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