Search results for ""Bloodaxe Books""

A poet of existential magnitude, deep intellect and playful subversion, America’s Nicole Sealey writes poems that are restless in their empathic, succinct examination and lucid awareness of what it means to be human. The ranging scope of enquiry undertaken in Ordinary Beast – at times philosophical, emotional, and experiential – is evident in each thrilling twist of image by the poet. In brilliant, often ironic lines that move from meditation to matter of fact in a single beat, Sealey’s voice is always awake to the natural world, to the pain and punishment of existence, to the origins and demises of humanity. Exploring notions of race, sexuality, gender, myth, history and embodiment with profound understanding, Sealey’s is a poetry that refuses to turn a blind eye or deny. It is a poetry of daunting knowledge. Ordinary Beast was first published in the US by Ecco in 2017, and was a finalist the Hurston/Wright Legacy Award and for the PEN Open Book Award. This first UK edition of her debut collection is published by Bloodaxe in 2023 at the same time as her second book of poetry, The Ferguson Report: An Erasure, an excerpt from which won the Forward Prize for Best Single Poem in 2021.

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In Peter Bennet’s poetry nothing is what it seems to be. Modern spaces are haunted by the past and the unreal. We cannot tell the encroacher from the encroached. Discontinuities in time and space and playful short-circuitings produce exhilarating shivers. Bennet is an astute observer of people, places, and things, however, and we find ourselves surprisingly at home on this border between plausible narrative and the wilder territories of the imagination. This comprehensive selection reflects Bennet’s full range for the first time, and begins with poems from the early 1980s, when he arrived in Jon Silkin’s Stand at the no longer young age of forty. It draws on seven collections published since then and includes his major sequences: The Long Pack, Jigger Nods, Folly Wood, Bobby Bendick’s Ride, Landscape with Psyche and Ladderedge and Cotislea. New work introduced here centres on another major and powerfully imagined sequence, a colloquy which bridges three centuries to evoke the voice of the Quaker James Nayler, who was abominably punished for ‘horrid blasphemy’. The book concludes with a substantial group of recent poems. Poetry Book Society Special Commendation.

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The Hopeful Hat is Carole Satyamurti's last collection. She was preparing these poems for publication at the time of her death, and left the manuscript in an advanced state of readiness. The sequencing of the poems, and the sections they are grouped in, had already been decided by her. These late poems are informed by Satyamurti's keen eye for social injustice and, equally, by the breadth of her compassion. Poignantly, they are also her nuanced poetic response to having her voice box removed following a diagnosis of laryngeal cancer. The poems' formal accomplishment is carried lightly; characteristically, it is this light touch that enables Satyamurti to move so deeply. Clear-eyed in the face of her own mortality, she produced a series of courageous poems that are, as Carol Ann Duffy said of her work, 'laced with the hard stuff'. They are also graced with Satyamurti's unique and subtle wit. The preface by the poet's daughter, Emma Satyamurti, places this collection in the larger context of four decades of published work, and provides an illuminating insight into the poems gathered together here. Poetry Book Society Recommendation.

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America’s Tony Hoagland (1953-2018) was known for provocative poems which interrogate human nature and contemporary culture with an intimate and wild urgency, located somewhere between outrage, stand-up comedy, and grief. The poems in his final collection Turn Up the Ocean examine with an unflinching eye and mordant humour the reality of living and dying in a time and culture that conspire to erase our inner lives. Hoagland’s signature wit and unparalleled observations take in long-standing injustices, the atrocities of American empire and consumerism, and our continuing habit of looking away. In these poems, perseverance depends on a gymnastics of scepticism and comedy, a dogged quest for authentic connection, and the consolations of the natural world. Turn Up the Ocean is a remarkable and moving collection, a fitting testament to Hoagland’s devotion to the capaciousness and art of poetry. Tony Hoagland's poems poke and provoke at the same time as they entertain and delight. He was American poetry's hilarious 'high priest of irony', a wisecracker and a risk-taker whose disarming humour, self-scathing and tenderness are all fuelled by an aggressive moral intelligence. He pushed the poem not just to its limits but over the edge.

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High Desert is a psychedelic journal of end-times and an ode to the American Southwest. Exploring such key events as the First Red Scare, the Tulsa Race Massacre and the West Coast’s wildfire epidemic, Naffis-Sahely’s reflections on class, race, and nationalism chart the region’s hidden histories from the Spanish Colonial Era to the recent pandemic. The poems in High Desert also revel in their rootlessness, as the author shifts his gaze outside of the US, travelling from Venice and Florence to Chittagong and St Petersburg, tackling our turbulent times and the depths of its problems in searing, extraordinary poems of witness and vision. High Desert is André Naffis-Sahely’s second collection, following his debut The Promised Land: Poems from Itinerant Life (Penguin Books, 2017), a gathering of portraits of promised lands and those who go in search of them: travellers, labourers, dreamers; the hopeful and the dispossessed. It includes poems from his recent pamphlet The Other Side of Nowhere (Rough Trade Books, 2019). All his collections present poetry as reportage, as much an act of memory as of sinuous, clear-eyed vision. André Naffis-Sahely is a poet, editor and translator, and editor of Poetry London. He is a Visiting Teaching Fellow at the Manchester Writing School in the UK, and a Lecturer at University of California, Davis, in the US.

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America’s much celebrated poet-undertaker Thomas Lynch is renowned for his thought-provoking poems on life, faith, doubt and death. This new retrospective shows the passage of his work over time, ‘a pilgrimage of sorts through growing old and facing death – subjects that caregivers know all too well. Lynch’s upfront, unvarnished style is likely to resolate with many who have come face to face with life’s most important questions’ (Mary Plummer, New York Times). Lynch – like Wallace Stevens and William Carlos Williams – is a poet who writes about real things with language rooted in the everyday yet masterfully infused with power. He spent his working life as an undertaker in Midwest America, becoming in his off-hours a writer of exceptional insight with much to say about life’s questions and mysteries – big and small. Drawing on his own daily routine, he transforms the mundane task of preparing the dead into life-affirming accounts of how we live our lives. His lyrical, elegiac poems describe the dead citizens of of his home town, his own family relationships, and scenes and myths from his Irish Catholic upbringing.

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Jo Clement's first collection confronts Romantic impressions of British Gypsy ethnicity and lyrically lays them to rest. From Wordsworth to Top Gear, her poems invite us to consider notions of otherness, trespass, and craft. She steps between ancient stopping places and mardy council estates to trill elegiac Romanes, English, and birdsong about witches, wild camping, and Silver Cross prams. Compelled by a brutal Gypsy, Roma, and Traveller diasporic legacy, Outlandish tenderly praises the poem-as-protest and illuminates a hidden and threatened culture. Born in Darlington in 1986, Jo Clement received a scholarship to gain a PhD in Creative Writing at Newcastle University. She has published two pamphlets, including Moveable Type (2020). She is a lecturer in Creative Writing at Northumbria University, Editor of Butcher’s Dog poetry magazine, and founded the imprint Wagtail with support from the European Roma Institute for Arts and Culture (ERIAC).

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Anne Rouse is a keenly observant writer of spiky satirical portraits and shapely lyrics of the ordinary and the bizarre. Her perspective in Ox-Eye – the term for a small cloud presaging a storm – is one of apprehension in poems relating to personal and social change. Ranging from her native east coast of America to her adopted home on the south coast of England, these incisive but often amused poems question how we view past and present, dismantling obsolete nostalgia, and casting a critical eye on what we wish for and what may happen instead. Ox-Eye is her fifth collection from Bloodaxe, appearing 14 years after her previous book, The Upshot: New & Selected Poems, which included the new poems of The Divided (2008), along with selections from her first three critically acclaimed earlier collections, Sunset Grill (1993) and Timing (1997) – both Poetry Book Society Recommendations – and The School of Night (2004).

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Clare Shaw’s fourth collection Towards a General Theory of Love shows that poetry can say as much as about who we are – and especially how we feel – as psychology. They also feed each other. Harry Harlow’s famous experiments on baby monkeys changed the course of psychology. They proved that we need care, contact and love – and they inflicted profound and lasting suffering on their subjects. Clare Shaw’s poems in Towards a General Theory of Love are driven by the same furious need to understand the experience of love and its absence. Harlow’s findings, attachment theory, mythology and art are set alongside stories of attraction, grief and desire. The book is inhabited by the character of Monkey, who shows by example how early attachments and trauma may shape us, but how ultimately the individual – like the reader – will come to realise her, his or their own general theory and practice of love.

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This new comic-book version of Euripides’ classic The Trojan Women follows the fates of Hekabe, Andromache and Kassandra after Troy has been sacked and all its men killed. The Trojan Women is a wildly imaginative collaboration between the visual artist Rosanna Bruno and the poet and classicist Anne Carson. Both wacky and devastating, the book gives a genuine representation of how human beings are affected by warfare. All the characters take the form of animals (except Kassandra, whose mind is in another world). Anne Carson collaborated with artist Bianca Stone on their Sophokles reimagining, Antigonick, published by Bloodaxe in 2012. This new collaboration with Rosanna Bruno couldn’t be more different. Rosanna Bruno is an artist who makes paintings, comics and bad puns. Her first book, The Slanted Life of Emily Dickinson (Andrews McMeel, 2017), is a book of cartoons based on the myth of her life.

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Fresh Out of the Sky is a book of songs, dreams, laments, narratives and comedies intertwined with passages about major life changes involving country, identity and belonging. It is about perpetually standing at the edge of change, anticipating it, reflecting on it and dreaming about it. The title sequence of the book returns to the terza rima theme of memory, following sequences in his earlier books, such as those about early Budapest childhood explored in Reel, and about growing to adulthood in England in An English Apocalypse. Here the theme is arrival in England as a child in 1956. These are wound around poems set in the aftermath of war, upheaval, and life in contemporary England as tracked by a series of dreamlike reports from the Covid bunkers we have been inhabiting. Covid poems run through the collection like a thread holding the book – and indeed the condition of England – together. The thread embraces the second part of The Yellow Room, a continuing poem of impossible questions about residual Jewishness experienced as a dialogue with the poet’s late father, as well as a bestiary of transformations woven through Guillaume Apollinaire and Graham Sutherland. The book ends on occasions of consolation, delight and joy in the midst of darkness and uncertainty.

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In The Voyage of St Brendan, A.B. Jackson tells the tale of the legendary seafaring Irish abbot in poetry and prose. After burning a book of fantastical stories, Brendan is compelled to sail the ocean with a crew of six monks in a leather-skinned currach; his task, to prove the existence of wonders in the world and create a new book of marvels. Discoveries include Jasconius the island-whale, a troop of Arctic ghosts, a hellmouth of tortured souls, a rock-bound Judas, and the magical castle of the boar-headed Walserands. Although the roots of this legend lie in early Irish tales and the Latin Voyage of Brendan the Abbot of the ninth century, Jackson has taken the 14th-century Middle Dutch version of Brendan’s voyage as the template for this engaging, witty and spirited interpretation, notable for its humour and inventiveness. The book is beautifully illustrated with a series of black and white linocuts by the American artist Kathleen Neeley, one of which features in colour on the cover.

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Deborah Landau’s fourth book of poetry, Soft Targets, draws a bull’s-eye on humanity’s vulnerable flesh and corrupted world. In this ambitious lyric sequence, fear of annihilation expands beyond the self to an endangered planet on which all inhabitants are “soft targets”. Her melancholic examinations recall life’s uncanny ability to transform ordinary places – subways, cafés, street corners – into sites of intense significance that weigh heavily on the modern mind. ‘O you who want to slaughter us, we’ll be dead soon / enough what’s the rush,’ Landau writes, contemplating a world beset by political tumult, random violence, terror attacks and climate change. Still there are the ordinary and abundant pleasures of day-to-day living, though the tender exchanges of friendship and love play out against a backdrop of 21st-century threats with historical echoes, as neo-Nazis marching in the US recall her grandmother’s flight from Nazi Germany. Deborah Landau is director of the Creative Writing Program at New York University. She has published three previous collections in the US, most recently The Uses of the Body (2015) and The Last Usable Hour (2011) with Copper Canyon Press. CNN commissioned an opinion piece from her, ‘We are all soft targets’, in the light of US inaction on gun control following the latest shootings in August 2019.

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Seán Ó Ríordáin (1916-77) was the most important and most influential Irish-language poet of modern times. He revitalised poetry in Irish, combining the world of Irish literature with that of modern English and European literature, thus adding to the Irish tradition from the other side. His poems ‘seek to answer fundamental questions about the nature of human existence and the place of the individual in a universe without meaning’ (Gearóid Denvir). Many of Ó Ríordáin’s poems came out of his struggle with the isolation, guilt and loneliness of life in mid-century Catholic Ireland experienced in Cork, the native locale also of the poet Greg Delanty, translator of Apathy Is Out. Ó Ríordáin’s poems have been translated by many poets, but until now no single writer has translated the majority of the poems. This collection gives a much more unified sense of Ó Ríordáin’s work, catching the poetry’s verve, playfulness and range and also ‘the music you still hear in Munster,/even in places where it has gone under’. It includes the dark, sorrowful poems Ó Ríordáin has usually represented with in anthologies but also poems of exuberance and celebration, notably ‘Tulyar’, one of the funniest satirical critiques of the Irish Church’s attitude to sex which matches any similar attack by Patrick Kavanagh or Austin Clarke. Seán Ó Ríordáin renewed poetry in Irish by writing out of the modernist sense of alienation, fragmentation and identity, but he also saw beyond Modernism’s confines to the connective matrix of our world.

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War of the Beasts and the Animals is Russian poet Maria Stepanova’s first full English-language collection. Stepanova is one of Russia’s most innovative and exciting poets and thinkers, and founding editor of Colta.ru, an online independent site which has been compared to Huffington Post in its status and importance. IImmensely high-profile in Russia for many years, recognition in the West has followed the publication of her documentary novel In Memory of Memory, first in German translation in 2018 and now with Sasha Dugdale's English translation – published by Fitzcarraldo in the UK and by New Directions in the US – longlisted for the International Booker Prize in 2021. War of the Beasts and the Animals includes her recent long poems of conflict ‘Spolia’ and ‘War of the Beasts and Animals’, written during the Donbas conflict, as well as a third long poem ‘The Body Returns’, commissioned by Hay International Festival in 2018 to commemorate the Centenary of the First World War. In all three long poems Stepanova’s assured and experimental use of form, her modernist appropriation of poetic texts from around the world and her constant consideration of the way that culture, memory and contemporary life are interwoven make her work both pleasurable and deeply necessary. This collection also includes two sequences of poems from her 2015 collection Kireevsky: sequences of ‘weird’ ballads and songs, subtly changed folk and popular songs and poems which combine historical lyricism and a contemporary understanding of the effects of conflict and trauma. Stepanova uses the ready forms of ballads and songs, but alters them, so they almost appear to be refracted in moonlit water. The forms seem recognisable, but the words are oddly fragmented and suggestive, they weave together well-known refrains of songs, apparently familiar images, subtle half-nods to films and music.

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Pia Tafdrup is one of Denmark’s leading poets. She has published over 20 books in Danish since her first collection appeared in 1981, and her work has been translated into many languages. She received the 1999 Nordic Council Literature Prize – Scandinavia’s most prestigious literary award – for Queen’s Gate, which was published in David McDuff’s English translation by Bloodaxe in 2001. Also in 2001, she was appointed a Knight of the Order of Dannebrog, and in 2006 she received the Nordic Prize from the Swedish Academy. The Taste of Steel and The Smell of Snow are the first two collections in Pia Tafdrup’s new series of books focussing on the human senses. While taste and smell dominate, the poems are equally about the way of the world and the losses that people sustain during the course of their lives – the disappearance of friends and family members, but also the erosion of control of one’s own existence. The themes of ecology, war and conflict are never far away, and there is a constant recognition of the circular nature of life, the interplay of the generations. Pia Tafdrup’s previous series of themed collections was The Salamander Quartet (2002–2012). Written over ten years, its first two parts were The Whales in Paris and Tarkovsky’s Horses, translated by David McDuff and published by Bloodaxe in 2010 as Tarkovsky’s Horses and other poems. This was followed in 2015 by Salamander Sun and other poems, McDuff’s translation of The Migrant Bird’s Compass and Salamander Sun, the third and fourth parts of the quartet.

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Tony Hoagland's poems interrogate human nature and contemporary culture with an intimate and wild urgency, located somewhere between outrage, stand-up comedy, and grief. His new poems are no less observant of the human and the worldly, no less sceptical, and no less amusing, but they have drifted toward the greater depths of open emotion. Over six collections, Hoagland’s poetry has become bigger, more tender, and more encompassing. The poems in Priest Turned Therapist Treats Fear of God turn his clear-eyed vision toward the hidden spaces – and spaciousness – in the human predicament. Tony Hoagland's poems poke and provoke at the same time as they entertain and delight. He is American poetry's hilarious 'high priest of irony', a wisecracker and a risk-taker whose disarming humour, self-scathing and tenderness are all fuelled by an aggressive moral intelligence. He pushes the poem not just to its limits but over the edge. This UK edition of Priest Turned Therapist Treats Fear of God also includes additional poems from another recent US collection of his poetry, Recent Changes in the Vernacular (2017).

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Zoë Brigley’s third collection Hand & Skull draws on early memories of the Welsh landscape and the harshness of rural life as well as on her later immersion in the American landscape and her perception of a sense of hollowness in particular communities there. Other strands include the horror of violence, especially violence towards women, contrasted with poems which offer comfort by working as beatitudes or commentaries on life as it exists now, seeking a way of being that is more beautiful, often in relation to her children. There are also epistolary poems, letters to or from real, imagined and remembered women like the artist Georgia O’Keeffe, Thomas Hardy’s Tess, and Edna Pontellier from Kate Chopin’s The Awakening. Poetry Book Society Recommendation.

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An Anatomical Venus - which gives this book its title - was an eighteenth-century anatomical wax sculpture of an idealised woman, a heady mix of eroticism, death and biological verisimilitude. Venus could be opened up and pulled apart by all the men who studied her. She would give up her secrets the first time of asking. Helen Ivory’s new collection The Anatomical Venus examines how women have been portrayed as ‘other’; as witches; as hysterics with wandering wombs and as beautiful corpses cast in wax, or on mortuary slabs in TV box sets. A hanged woman addresses the author of the Malleus Maleficarum, a woman diagnosed with ‘Housewife Psychosis’ recounts her dreams to Freud, and a sex robot has the ear of her keeper. The Anatomical Venus imagines the lives of women sketched in asylum notes and pictures others shut inside cabinets of curiosity.

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For half a century of ever-broadening vision, award-winning poet Harry Clifton has addressed what the Irish Times calls ‘his large concerns and his angular relationship to Ireland, one that produces extraordinary verbal and emotional effects’. His latest book is a quest, through origin and migration, South America to the North of Ireland, Khao I Dang refugee camp to Glasnevin graveyard, for a lost maternal ground. Harry Clifton has published ten other books of poetry, most recently The Winter Sleep of Captain Lemass (2012), The Holding Centre: Selected Poems 1974-2004 (2014), Portobello Sonnets (2017) and Herod’s Dispensations (2019).

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Ruth Fainlight is one of Britain's most distinguished poets. Born in New York City, she has lived mostly in England since the age of 15, publishing her first collection, Cages, in 1966, and her retrospective, New & Collected Poems, in 2010. Her poems 'give us truly new visions of usual and mysterious events' (A.S. Byatt). Each is a balancing act between thought and feeling, revealing otherness within the everyday, often measuring subtle shifts in relationships between women and men. Her poems ‘give us truly new visions of usual and mysterious events’ (A.S. Byatt). Each is a balancing act between thought and feeling, revealing otherness within the everyday, often measuring subtle shifts in relationships between women and men. She has always drawn on a wide range of subject-matter, yet the arc of her attention has shifted in her later work, the meaning and effect of the passage of time becoming more central and fascinating as she ages. Written during her 80s, the poems of Somewhere Else Entirely are shadowed by the death of her husband Alan Sillitoe. The book also includes several short pieces of prose, memoirs of childhood years spent in the USA: firstly, those from zero to five years old, then a group about the ages between 10 and 15, during the Second World War, when their mother took her and her brother Harry back to their American birthplace.

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Negative of a Group Photograph brings together three decades of poems by the leading Iranian poet Azita Ghahreman. Born in Mashhad in 1962 and based in Sweden since 2006, Ghahreman is the author of five highly acclaimed collections. Her poems are lyrical and intimate, addressing themes of loss, exile and female desire, as well as the changing face of her country. Negative of a Group Photograph runs the gamut of Ghahreman’s experience: from her childhood in the Khorasan region of south-eastern Iran to her exile to Sweden, from Iran's book-burning years and the war in Iraq to her unexpected encounters with love. The poems in this illuminating collection are brought to life in English by the poet Maura Dooley, working in collaboration with Elhum Shakerifar. Farsi-English dual language edition co-published with the Poetry Translation Centre.

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Nick Drake’s fourth collection, Out of Range, explores the strange interconnections and confronting emergencies – the signs, wonders and alarms - of the early 21st century. Here are elegies for the Whitechapel Fatberg and incandescent lightbulbs; the life stories of plastic bottles and ice-core samples; portraits of those living on the margins of the city streets, and of Voyager 1 crossing the threshold of the solar system. The past echoes in poems about the ancient artists who recorded their presence in cave art, a Spanish missionary thrilled by an Aztec ball game, and a story of gay love from the Song dynasty. Here too are poems registering the shock and impact of ‘Generation Anthropocene’ on Earth’s climate and ecology. Above all, the poems seek to tune in to what is out of range; the dark matter of mystery, wonder and deep time at the edge of our senses, at the back of our heads, which poetry makes visible.

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The territory of Clare Shaw's third collection isn't one she chose herself, but one which chose her: the flooded valley and the ruined home. The 2015 floods in Britain left whole swathes of the country submerged, including her home town. Flood offers an eye-witness account of those events, from rainfall to rescue, but ripples out from there. Intimately interwoven with the breakdown of a relationship, flooding serves as a powerful metaphor for wider experiences of loss, destruction and recovery. Testifying equally to the forces that destroy us and save us, flood runs through the book in different forms - bereavement and trauma, the Savile scandal, life in an asylum. Yet ultimately, this is a story of one life as it is unravelled and rebuilt, written from the heart and from the North, in a language as dangerous and sustaining as water.

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These poems are luminous despatches from the charged, porous boundary between ‘animal’ and ‘human’. They pull apart and remake definitions and categorisations of wildness and civilisation, training their focus on the language we use to describe youth, social class, and the body. From iron horses to grizzly bears, from deep-water fish to scanderoons, Feral roams the limits of power, language, and love. Cinematic, playful, edgy, tender, startlingly imaginative and strange, Feral’s voices carve out a space in the borderlands. Kate Potts' Whichever Music was a Poetry Book Society Pamphlet Choice in 2008 and shortlisted for a Michael Marks Award. Her first book-length collection, Pure Hustle, was published by Bloodaxe in 2011. Feral is her second collection and a Poetry Book Society Recommendation.

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Assembly Lines asks what it means to be here and now, in post-industrial towns and cities of the heartlands that are forever on the periphery. From schools and workplaces and lives lived in 'a different town, just like this', these poems take a historical perspective on the present day from the ground upwards - whether the geological strata that underpins a 'dithering island' or the ever-moving turf under a racehorses' hooves. This is a new Midlands realism, precision-engineered, which seeks wonderment in unlikely places. By turns both fierce and tender, the poems in Jane Commane's first book-length collection re-assemble the landscape, offer up an alternative national curriculum and find ghosts and strange magic in the machinery of the everyday. Between disappearances and reformations, the natural and the man-made, the lines are drawn; you might try to leave your hometown, but it will never leave you.

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So Glad I'm Me was Roddy Lumsden's tenth collection, and sadly turned out to be the last book he published. In these haunting poems he returned to familiar themes in his work: the trials of oneness versus twoness, the seduction of small calamities, and vice versa. And the everyday mysteries, of running water, salt and sugar, roller-skates and back-up flats. So Glad I'm Me also contains many 'conflation poems' where he has knocked the square peg of one subject through the round hole of another, often music-related. There are poems here about many songs and musicians, ranging from cult artists like Alex Chilton and Robin Holcomb to big names like Elvis and Morrissey. As ever, he relishes unusual words (nestlecock, twofer, farnesol) and interesting, taut forms, alongside a new strand of mid-length, discursive pieces in the spirit of Chicagoan poets Albert Goldbarth and Marianne Boruch. So Glad I'm Me was shortlisted for both the T.S. Eliot Prize 2017 and the Saltire Society Scottish Poetry Book of the Year Award 2018.

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To be alive is to be inside the wave, always travelling until it breaks and is gone. These poems are concerned with the borderline between the living and the dead – the underworld and the human living world – and the exquisitely intense being of both. They possess a spare, eloquent lyricism as they explore the bliss and anguish of the voyage. Inside the Wave, Helen Dunmore’s tenth and final poetry book, was her first since The Malarkey (2012), whose title-poem won the National Poetry Competition. Her final poem, 'Hold out your arms', written shortly before her death and not included in the first printing of Inside the Wave, was added to all subsequent printings. Her posthumous retrospective, Counting Backwards: Poems 1975-2017 (2019), covers ten collections she published over four decades up to and including Inside the Wave. Costa Book of the Year 2017, winner of the 2017 Costa Poetry Award

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There are two acts of recovery in this book - one of a lost brother, and another of a lost self. Joanne Limburg commemorates both in her third collection, The Autistic Alice. In its title-sequence she uses Alice in Wonderland and Through the Looking-Glass to explore her own experiences as a girl and young woman. Growing up with undiagnosed Asperger's, she often identified with Alice, a logical and curious child adrift in an arbitrary world. Collaging lines and phrases drawn from the two Alice books, she creates a disturbingly effective language to express the nature, discomfort and alienation of autistic experiences. In her neurodiverse verse, a text can become a rabbit-hole to another world, or a mirror. The poems that make up the book's opening sequence, The Oxygen Man, originally published as a pamphlet, were written in response to the death of Limburg's younger brother, a brilliant chemist who took his own life in 2008. They follow her as she visits the mid-Western town where he lived, worked and died; range back over their shared childhood; and look ahead as she tries to work out what it means to be the one who stays behind.

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In The Insomnia Poems Grace Nichols explores those nocturnal hours when Sleep (the thief who nightly steals your brain) is hard to come by, and the politics of the day hard to shut out, never mind the lavender-scented pillow. Here memories of her own Guyana childhood mingle with the sleeping spectres of dreams and folk legends such as Sleeping Beauty. A lyrical interweaving of tones and textures invites the reader into the zones between sleep and no-sleep, between the solitude of the dark and the awakening of the light. The Insomnia Poems was Grace Nichols's first new collection since Picasso, I Want My Face Back (2009). Neither that collection nor this one is included in her Bloodaxe retrospective, I Have Crossed an Ocean (2010).

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The lively 'bears' in this playful and poignant collection will surprise you on every page. They are poems of love and death, life, loss and grief. The ephemera of popular culture is used to confront mortality, and you'll be transported from the British Library to the Alps to the International Space Station, along with a vibrant cast of Vikings, videogames and Angela Lansbury. From the ludicrous to the domestic, these profound, wry and very real bears affirm that hope may be found even in our darkest moments. Chrissy Williams has published several pamphlets, one of which was shortlisted for a Michael Marks Award. Bear is her first book-length collection.

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Even in peacetime, many women find themselves isolated in a wartime of their own when their loved ones are involved in conflicts overseas. As mothers or wives they live in a state of separation, from husbands, sons or daughters in permanent danger - or so they feel - as well as from an often alienating everyday world of people who have no idea of what anxieties and fears grip them every minute. They also find themselves switching back and forth between two time zones, between the present moment and what might have been happening several hours ago in the Middle East. Home Front presents the poetry of four such women, Bryony Doran and Isabel Palmer, both mothers of young British soldiers serving in Afghanistan; and two American poets, Jehanne Dubrow, wife of a serving US naval officer deployed to the Persian Gulf and other conflict zones, and Elyse Fenton, wife of a US army medic posted to Iraq. It brings together four full-length collections by these writers; those by the two British poets are debut collections first published in full in this book. The poems in Bryony Doran's Bulletproof tell a chronological story, from her son's unexpected decision to join the army through his tours in and returns from Afghanistan. Covering every emotion from fear to fury, yet lifted by humour and details of everyday domestic life, these are poems written to preserve a pacifist mother's sanity as each day plays itself out. They show her coping with The News, her fantasies, his short spells of home leave, and her realisation that both are imprisoned in a modern myth. The narrative in Isabel Palmer's Atmospherics begins with seeing her only son go to war in Afghanistan soon after his 21st birthday in 2011 and ends with his final, safe return in 2015. His role there was to lead foot patrols and to operate machines for detecting improvised explosive devices. While he was on tour, she wrote one poem every week reflecting on their experiences. The earlier poems appeared in Ground Signs (Flarestack Poets, 2014), a Poetry Book Society Pamphlet Choice. Driven by intellectual curiosity and emotional exploration, the poems in Jehanne Dubrow's Stateside (2010) are remarkable for their subtlety, sensual imagery and technical control. The speaker attempts to understand her own life through the long history of military wives left to wait and wonder, invoking Penelope's plight in Homer's Odyssey as a model but also as a source of mystery. Dubrow is fearless in her contemplation of the far-reaching effects of war but even more so in her excavation of a marriage under duress. At times quiet, at others cacophonous, the poems of Elyse Fenton's Clamor turn a lyric lens on the language we use to talk about war and atrocity, and the irreconcilable rifts - between lover and beloved, word and thing - such work unearths. Originally published in the US - but not in the UK - in 2010, Clamor was the first book of poetry to win Britain's Dylan Thomas Prize.

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The Nine of Diamonds: Surroial Mordantless is a book in nine parts constructed to play the Butcher - the Duke of Cumberland - in a Gaelic interpretation of the ghost gamble. Given the command on the back of a nine of diamonds - the Curse of Scotland - that the Highlanders should all be slaughtered, the persecution of Jacobite sympathisers after the Battle of Culloden under the Butcher was one of the worst atrocities carried out on British soil. Using a kaleidoscope, a deck of tarot cards and an 1895 Dictionary of Phrase and Fable, The Nine of Diamonds is influenced by French surrealism and opens with the Gaelic visionary practice of inducing visions behind a waterfall. Treating the Highlands as a Gaelic garden, the rebels on the run as herds of deer, and the preservation of Gaelic culture as a type of sugar-cured mummification, The Nine of Diamonds is set in a phantasmagoric landscape described in the Scots of Henryson and Dunbar but evoking Scots Gaelic concepts and motifs to mix Highland and Lowland experience with magical and occult terminology. With the deer as a central image, MacGillivray's poems draw from Nijinsky as gravity-defying faun, from Mallarme, Duchamp and Breton.Written in the run up to the 2014 Scottish referendum, The Nine of Diamonds operates as a powerful wish-text. In this strange vision populated by badly-wired and furious neon unicorns, escorticati preparing their own bodies, Second World War MacLeod fighter pilots with talismanic photographs of the clan's Fairy Flag in their uniform pockets, pole-dancing fauns, stained glass knights and rusty kaleidoscopes, the underlying message is clear: in playing the Butcher back, MacGillivray is still here.

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Jack Mapanje was imprisoned without trial or charge by Malawi's dictator Hastings Banda for nearly four years, chronicling his prison experiences with dogged wit in his previous books. In Greetings from Grandpa - his sixth collection - Mapanje is still effervescent, with his wry humour defiantly intact. Some treacherous African tyrants may have been deposed or died horrific deaths, leaving their snoops in exile washing cars to survive - but these are mere metaphors of another life. The narratives in Greetings from Grandpa are mellow and cheerful testimonies of the sojourn of the human spirit as it survives freedom under implausible circumstances, whether at home or in exile. Grandchildren are born, calming the nerves of exile; dear friends back home die of AIDS, unsettling gentle memories; China and Asia arrive in Africa and nobody raises a finger; greedy bureaucrats syphon billions from accountant general's coffers; but Africa marches on regardless, stubbornly celebrating life, sometimes in traditional symbols; sometimes by inventing delightful beef festivals.The collection also includes Mapanje's version of Kalikalanje, a well-known legend among the Yao speaking African peoples of Malawi, Mozambique and Tanzania, whose trickster hero comes into the world endowed with knowledge of past, present, future times and events. Kalikalanje is a lover of life, freedom, peace, truth, justice, and above all, fun. His enemies try to kill him only to bring destruction on themselves instead. This age-old tale has universal appeal - and is popular with children - but its symbolic, social-cultural-political nuance makes it especially relevant in today's world of persistent liars and impostors. Jack Mapanje's previous collection, Beasts of Nalunga, was shortlisted for the Forward Prize for Best Collection in 2007. His earlier work - including the prison poems - is available in The Last of the Sweet Bananas: New & Selected Poems (2004).

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Al-Saddiq Al-Raddi is one of the leading African poets writing in Arabic today. Famous in his native Sudan, the vivid imagery of his searing, lyric poems create the world afresh in their yearning for transcendence. In 2005 Saddiq’s poems were first translated into English by the Poetry Translation Centre for their first World Poets’ Tour. Since then he has received a rapturous reception from UK audiences. In 2010 a party was organised for him at London's Petrie Museum of Egyptian Archaeology which holds a significant collection of ancient Sudanese artefacts. As a result of the success of this event (and earlier visits to the Petrie in 2005 and 2006), he was able to work in the Petrie Museum as their poet in residence during the summer of 2012. This led to a new book of poems, He Tells Tales of Meroe: Poems for the Petrie Museum (Poetry Translation Centre/Petrie Museum, 2015), which was shortlisted for the Ted Hughes Award. Born in Omdurman Khartoum in 1969, Saddiq has published four volumes of poetry, including his Collected Poems in 2010. From 2006 he was the cultural editor of Al-Sudani newspaper until he was forced into exile in 2012. He was granted asylum in the UK and now lives in London. Arabic-English bilingual edition

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Love Songs of Carbon is Philip Gross's 18th book of poetry, and is a coming of age - inhabiting the ageing body with a confident, inventive curiosity. At the same time searching, tender, intellectually agile, unexpected and erotic, this is poetry at home with great shifts of perspective, from the outer edge of science to the sensations at our fingertips. These are love poems, both to the person and to the body itself, even as - especially as - it faces entropy and decay.

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Jinx: A ruinous charm, a quickdraw curse, a knight's move. Abigail Parry's first collection is concerned with spells, and ersatz spells: with semblance and sleight-of-hand. It takes its formal cues from moth-camouflage and stage magic, from the mirror-maze and the masquerade, and from high-stakes games of poker. Jinx asks about the equivocal nature of artifice, and the real mischief that underwrites the trick. The poems deal in forms of influence: in seduction and persuasion, infatuation and obsession. They want to talk about what we submit to, and what we are compelled by. Shortlisted for the Forward Prize for Best First Collection 2018.

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Human life and the passage and rhythms of time and the seasons come together in The Zebra Stood in the Night, the seventh collection by one of Ireland's leading poets. Grounded in the natural world, this is a book about about landscape, loss, belonging and transformation. As everything in nature grows and decays, so 'everyone is always inside the act of dying at the same time as being inside the act of living', Hardie writes in her essay 'Aftermath', a meditation on grief which precedes a sequence of poems on the death of her brother in India. This is Kerry Hardie's second collection since her Selected Poems (2011), following The Ash and the Oak and the Wild Cherry Tree (2012), and continues the arc of the latter, 'a dark and gorgeous hymn to human mortality' (Claire Askew), questioning, celebrating and challenging all aspects of human experience. A number of her poems are narratives or parables in which experience yields a spiritual lesson and consolation; others chart a coming to terms with death or illness and an acceptance of inevitability or flux. Human life quivers in consort with other lives in these seasons of the heart. Shortlisted for the Irish Times–Poetry Now Award.

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As this gloriously diverse, revelatory selection of translations from the Poetry Translation Centre's first decade proves, nothing has invigorated poetry in English more than translation. Here you will find 111 brilliant poems translated from 27 different languages (ranging from Arabic to Zapotec: all the original scripts are included) by 45 of the world's leading poets. Arranged on a journey from exile to ecstasy, these powerful poems have been co-translated by some of the UK's best-loved poets including Jo Shapcott, Sean O'Brien, Lavinia Greenlaw, W.N. Herbert, Mimi Khalvati and Nick Laird. Founded by Sarah Maguire, the Poetry Translation Centre aims to transform English verse through engaging with the rich poetic traditions of the UK's recent immigrant communities for whom poetry is of overwhelming importance. Reading these Somali, Afghan, Sudanese and Kurdish poets (26 countries are represented), you will understand why their scintillating and heartbreaking poems inspire such devotion.

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Ana Blandiana is one of Romania's foremost poets, a leading dissident before for the fall of Communism, and now her country's strongest candidate for the Nobel Prize. A prominent opponent of the Ceausescu regime, Blandiana became known for her daring, outspoken poems as well as for her courageous defence of ethical values. She was co-founder and President of the Civic Alliance from 1990, an independent non-political organisation that fought for freedom and democratic change, and more recently co-founded the Memorial for the Victims of Communism. Blandiana redefines her poetics in every new book of poetry she publishes. In My Native Land A4 she recreates a land of words, water, trees, cities with abandoned churches, fallen angels that cannot find their way back to heaven, and gods that learn to roller-skate to try to reach the young who remain oblivious of their existence. She projects visionary spaces within the confines of a page - the A4 sheet of her title - which emerge out of her imagination as anguished territories in which the lyrical 'I' is compelled to draw precise, clear boundaries out of a diffuse magma of words. The poems articulate a quest for love, beauty and truth and affirm an urgent need for existential authenticity as a requisite for the redemption of the self, chronicling the struggle between a constantly deteriorating body that is learning how to die and the spirit that strives to overcome its physical constraints. My Native Land A4 contains meditations on fundamental themes such as the fragility and vulnerability of being, the inexorable toll of time, the limitations of the human condition and the correspondence between life and death within the cosmic rhythms of the universe. The print edition of My Native Land A4 only includes the English translations. The e-book with audio is a bilingual Romanian-English edition with most of the poems read in Romanian by Ana Blandiana.

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The Sparkling Jewel of Naturism brings together three seemingly unrelated poem sequences by 'this brilliant lyricist of human darkness' (Fiona Sampson). The poems in each spark off unexpected connections and surprises, despite their contrasting concerns: jealousy in 'Doormat' (being the object of someone else's jealousy), little girls in 'Happiness Is Just a Waste of Time', and married women in 'Blowfly'. Like all of Selima Hill's work, all three sequences in The Sparkling Jewel of Naturism chart 'extreme experience with a dazzling excess' (Deryn Rees-Jones), with startling humour and surprising combinations of homely and outlandish.

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The poems of Beyond take the reader back to the optimism Sarah Wardle found as a youth when she left home and became involved in the world. They show her venturing forth again, embracing life to find that all was never lost, as she finally overcomes obstacles to hope and allegations of disability she had almost allowed herself to think were insurmountable and true. The book traces her rediscovery of agency, direction, energy and love, and charts her course once more into the future. It chronicles her journey out of a care system into which she should never have let herself get deeper and deeper locked, and will give hope to others who wish to finance and negotiate their way out of this trap to take responsibility for their own lives. As in her previous collections, Fields Away, Score! and A Knowable World, the setting of many of these poems is London, but in these pages she gains an appreciation and understanding of the variety this city witnesses and offers as never before. Beyond is an affirming book: even as the flesh begins to age, the heart grows in courage and enthusiasm, reinvigorated by the realisation of the fresh possibilities of effort and resilience, confidence and self-belief, commitment and conviction, mutual trust and shared affection, and the work to be done before we sleep.

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Maura Dooley's poetry is remarkable for embracing both lyricism and political consciousness, for its fusion of head and heart. These qualities have won her wide acclaim. Helen Dunmore (in Poetry Review) admired her 'sharp and forceful' intelligence. Adam Thorpe praised her ability 'to enact and find images for complex feelings...Her poems have both great delicacy and an undeniable toughness...she manages to combine detailed domesticity with lyrical beauty, most perfectly in the metaphor of memory ' (Literary Review). The Silvering is her first new collection since Life Under Water, which was shortlisted for the T.S. Eliot Prize in 2008. Looking in, looking out, looking through are the recurring perspectives offered by these poems. These are poems interested in shifting light and what it reveals, reflects or conceals and especially, perhaps, in what remains 'caught in the silvering'. Poetry Book Society Recommendation.

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Tony Harrison's v. was written during the Miners' Strike of 1984-85 when he visited his parents' grave in a Leeds cemetery and found it vandalised by obscene graffiti. In the book-length poem, he confronts the foul-mouthed skinhead thug responsible, who becomes a foil for his own anger and alienation. The political and media reaction to v. would make a book in itself. This is that book. As well as Tony Harrison's poem and Graham Sykes's photographs, this new edition of v. includes press articles, letters, reviews, a defence of the poem and film by director Richard Eyre, and a transcript of the phone calls logged by Channel Four on the night of the broadcast. Channel Four’s film of v. won the Royal Television Society’s Best Original Programme Award. The Star: 'A plan to televise a poem packed with obscenities caused outrage last night. ITV chiefs intend to screen a reading of Tony Harrison's verse v. which is full of four-letter words.' Daily Mail: A torrent of four-letter filth… the most explicitly sexual language yet beamed into the nation's living rooms… the crudest, most offensive word is used 17 times.' Gerald Howarth, MP: 'It is full of expletives and I can't see that it serves any artistic purpose whatsoever.' Mary Whitehouse: 'This work of singular nastiness.' Sir Harold Pinter: 'The criticism against the poem has been offensive, juvenile and, of course, philistine. It should certainly be broadcast.' Sir Richard Eyre: 'If I had the slightest influence over educational policy in this country, I'd see that v. was a set text in every school in the country, but of course if we lived in that sort of country, the poem wouldn't have needed to be written.'

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John Agard has been broadening the canvas of British poetry for the past 40 years with his mischievous, satirical fables. In "Clever Backbone", the Guyanese-born word magician plays havoc with biology and makes a monkey out of Darwinian evolution - on the occasion of the bicentenary of Charles Darwin's birth and the 150th anniversary of the publication of his "Origin of Species". His "Alternative Anthem: Selected Poems" (with DVD) is published at the same time.

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US Poet Laureate W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who transfigured and reinvigorated the vision of poetry for our time. Bloodaxe published his Selected Poems in 2007. At 82, Merwin produced ‘his best book in a decade – and one of the best outright’ (Publishers Weekly), and a collection which has won him his second Pulitzer Prize in the US and a Poetry Book Society Recommendation in the UK. The nuanced mysteries of light, darkness, presence, and memory are central themes in his latest collection. ‘I have only what I remember,’ Merwin admits, and his memories are focused and profound-the distinct qualities of autumn light, a conversation with a boyhood teacher, well-cultivated loves, and ‘our long evenings and astonishment’. In ‘Photographer’, Merwin presents the scene where armloads of antique glass negatives are saved from a dumpcart by ‘someone who understood’. In ‘Empty Lot’, Merwin evokes a child lying in bed at night, listening to the muffled dynamite blasts of coal mining near his home, and we can’t help but ask: How shall we mine our lives?

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Staying Alive, Being Alive and Being Human have introduced many thousands of new readers to contemporary poetry, and have helped poetry lovers to discover the little known riches of world poetry. Each anthology in the Staying Alive series has 500 poems to touch the heart, stir the mind and fire the spirit. These books have been enormously popular with readers, especially as gift books and bedside companions. The poems – by writers from many parts of the world – have emotional power, intellectual edge and playful wit. This pocketbook selection of 100 essential poems from the first three anthologies is a Staying Alive travel companion (also available as an e-book). As well as selecting favourite poems from what was originally a trilogy – readers’ and writers’ choices as well as his own favourites – editor Neil Astley provides background notes on the poets and poems. A fourth volume in the series, Staying Human: new poems for Staying Alive, was published in 2020. This format makes it even more suitable as a gift book for all those people you’re sure would love modern poetry if only they were familiar with these kinds of poems. These essential poems are all about being human, being alive and staying alive: about love and loss; fear and longing; hurt and wonder; war and death; grief and suffering; birth, growing up and family; time, ageing and mortality; memory, self and identity; faith, hope and belief; acceptance of inadequacy and making do…all of human life in a hundred highly individual, universal poems.

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In Canada, poems arrive out of the ether like the fabled, lantern-jawed Mountie coming to the rescue out of nowhere. Others are on their way back into the ether, transmissions from the brain of an uneasy redman. These are poems that make you feel the hairs on a pony's neck.Canada opens in the backwoods of autobiography and narrative, then reports crisply on calls of sex and desire. After crossing the frontier, a final movement blows innocence off the map for good and all.

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