Search results for ""Poetry Book Society""

Why Brownlee Left, a Poetry Book Society Choice and winner of the Geoffrey Faber Memorial Prize, confirmed Paul Muldoon's reputation as the most inventive voice of his generation when it was first published in 1980. The key figure in the poet's third collection is the enigmatic Brownlee; strong-willed and wayward, past shaky, future hazy, present whereabouts uncertain. There are many new departures here, but Why Brownlee Left also explores with increasing authority themes already apparent in New Weather (1973) and Mules (1977). It culminates in a retelling of 'Immram Mael Duin', a strange voyage of self-discovery by the poet's legendary ancestor.

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Poetry Book Society Special Commendation Aptly described by Gavin Ewart as 'a writer of great intelligence and vitality who can command a very powerful wry political comment', E.A. Markham was a leading light in British Caribbean writing. He was a poet, novelist and short story writer, essayist and anthologist. He completed this selection of poems from his previous books, together with an opening section of nearly fifty new poems, shortly before his death in Paris at Easter, 2008.

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Pauline Stainer is a poet ‘working at the margins of the sacred’, conveying sensations ‘with an economy of means that is breathtaking… her poems are not merely artefacts, they have an organic life of their own’ (John Burnside). The Lady & the Hare brings together poetry of rare luminosity from Pauline Stainer’s five previous books, together with new poems, all inhabiting an imaginative borderland inspired by her ‘visceral Muse’. Poetry Book Society Recommendation.

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Karen Solie won the Canadian Griffin Prize with only her third collection, Pigeon, in 2010, and has quickly established herself as one of the most distinctive and unsettling voices in Canadian poetry, a 'sublime singer of existential bewilderment'. Her poems are X-rays of our delusions and mistaken perceptions, explorations of violence, bad luck, fate, creeping catastrophe, love, desire, and the eros of danger, constantly exposing the fragility of the basis of trust on which modern humanity relies. They are double-edged, tense and tender, an edgy blend of irony and guts, of snarl and praise, of sharp intelligence and quizzical ambiguity. Poetry Book Society Recommendation.

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Please Do Not Touch This Exhibit explores disability, storytelling, and the process of mythologising trauma. Jen Campbell writes of Victorian circus and folklore, deep seas and dark forests, discussing her own relationship with hospitals — both as a disabled person, and as an adult reflecting on childhood while going through IVF. Please, Do Not Touch This Exhibit is Jen Campbell's second collection, and a Poetry Book Society Recommendation. Her first book-length collection, The Girl Aquarium (Bloodaxe Books, 2019), was shortlisted for the poetry category of the Books Are My Bag Readers Awards 2019 and was a semifinalist for the Goodreads Choice Awards 2019 (Best Poetry category).

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Fleur Adcock's title refers to the transparent, glittering wings of some of the species - bees, mosquitoes, dragonflies - celebrated or lamented in a sequence of poems on encounters with arthropods, from the stick insects and crayfish of her native New Zealand to the clothes' moths that infest her London house. There is an elegy for the once abundant caterpillars of her English childhood, while other sections of the book include elegies for human beings and poems based on family wills from the 16th to the 20th centuries, as well as birthday greetings for old friends and for a new great-grandson. Poetry Book Society Recommendation.

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Poetry Book Society Spring 2020 Special Commendation. A handful of writers defines the canon of postcolonial anglophone poetry in India. Srinivas Rayaprol has generally been omitted from the list, but his recently published correspondence with William Carlos Williams and publisher James Laughlin reveals an accomplished, complex and enigmatic figure torn between opposing forces. His Brahmin Indian background and his profession as a civil engineer in a newly independent country were at odds with his Western education, literary vocation and demonic impulses. Such contradictions are expressed in his intense poetry, here restored to print, providing insights into Anglo-Indian and American writing, and a unique contribution to international literary modernism.

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A Poetry Book Society recommendation; A book of the year - the Poetry School; The Triumph of Cancer blurs the borders of science and poetry, working with forensic attention to capture the `inscape' of the living world. In this powerful new collection, presented as a museum of artefacts, Chris McCabe returns to the site of personal trauma to confront disease head-on. Elegies for his father, poets and celebrities mingle with still-life portraits of organic and synthetic subjects. These poems move with lyric grace and surgical precision against a backdrop of terror and cancerous global politics, showing McCabe at the height of his powers: dextrous, darklycomic and a true original.

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POETRY BOOK SOCIETY CHOICEThe Thing in the Gap-Stone Stile, Alice Oswald's first collection of poems, announced the arrival of a distinctive new voice. Shortlisted for the T. S. Eliot Prize, the book introduced readers to her meditative, intensely musical style, and her breath-taking gift for visionary writing.'The poetry of Alice Oswald arrives like a zephyr . . . a fresh and exciting first collection.' Kathleen Jamie, Times Literary Supplement'an inspired debut of lightly-worn wisdom and verbal panache.' John Fuller'Alice Oswald throws the windows of the imagination open; she places a fingertip on the pulse of tradition, and proves it is still very much alive.' The Times

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A POETRY BOOK SOCIETY RECOMMENDATIONMinsk, Lavinia Greenlaw's third collection, was shortlisted for the 2003 Whitbread Poetry Prize, the T. S. Eliot Prize and the Forward Prize for Best Collection. From London Zoo to an Essex village and the Arctic Circle, Greenlaw explores questions of place - the childhood landscapes we leave behind, those we travel towards, and those like 'Minsk' which we believe to be missing from our lives. Greenlaw's restless, inquisitive tone builds to make Minsk a hypnotic collection from one of the leading poets of her generation.

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Poetry Book Society Recommendation. Dan Chiasson has been hailed in America as 'one of the most gifted young poets of his generation' (Frank Bidart). His latest collection, "Where's the Moon, There's the Moon", takes its title from an improvised children's game. It is a book about staged loss and staged recovery and how, in our games as in our poems, made-up losses depict real ones. At the book's centre is the title-poem, a long exploration of being a father in light of having lost one. His previous book from Bloodaxe, "Natural History and Other Poems" (2006), brought together poems from his first two US collections, "The Afterlife of Objects" (2002) and "Natural History" (2005).

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SHORTLISTED FOR THE TS ELIOT PRIZE FOR POETRY 2020 WINNER OF THE SCOTTISH BOOK AWARDS' POETRY BOOK OF THE YEAR A POETRY BOOK SOCIETY RECOMMENDATION SHORTLISTED FOR THE JOHN POLLARD FOUNDATION INTERNATIONAL POETRY PRIZE "Whip-smart, sonically gorgeous" - Rae Armantrout, author of the Pulitzer Prize winning Versed When Louis Pasteur observed the process of fermentation, he noted that, while most organisms perished from lack of oxygen, some were able to thrive as 'life without air'. In this capricious, dreamlike collection, characters and scenes traverse states of airlessness, from suffocating relationships and institutions, to toxic environments and ecstatic asphyxiations. Both compassionate and ecologically nuanced, this innovative collection bridges poetry and prose to interrogate the conditions necessary for survival.

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*SHORTLISTED FOR THE 2022 FORWARD PRIZE FOR BEST FIRST COLLECTION* *A Poetry Book Society Special Commendation* Seaweed and sunburn. The death of a fridge. A 'pie-faced' St George upstaged by the horse. The English Summer confronts the illusions and paradoxes of history in poems that reimagine medieval anchorites and 18th-century follies, zombies and the Megabus. This is a landscape populated by overcrowded urban bedsits and burnt-out country piles, where ghosts of the past are sensed beneath dual carriageways and old gods emerge from rotting bindweed. Visceral and analytic at turns, Hopkins' startling collection probes at the undergrowth of English culture; a white-hot debut by a poet of singular vision.

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In this sparkling debut, Matthew Hollis immerses us in the undercurrents of our lives. Love and loss are buoyed by a house full of milk, an orchard underwater, the laws of walking on water. Rainwater, floodwater, flux – the liquid landscapes which shift relentlessly in Ground Water – threaten and comfort by turns. Matthew Hollis's poems are brimming with courage in adversity as well as the promise of renewal, culminating in a powerful sequence about a father's struggle with terminal illness. Ground Water is a startling first collection from a remarkable new poet. Shortlisted for the Guardian First Book Award (the first time for a poetry book), Whitbread Poetry Award and Forward Prize for Best First Collection. Poetry Book Society Recommendation.

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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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Joan Margarit (1938-2021) was one of Spain’s major modern writers. He worked as an architect and first published his work in Spanish, but for the past four decades became known for his mastery of the Catalan language. The melancholy and candour of his poetry show his affinity with Thomas Hardy, whose work he translated. In poems evoking the Spanish Civil War and its aftermath, the harshness of life in Barcelona under Franco, and grief at the death of a beloved handicapped daughter, Margarit reminds us that it is not death we have to understand but life. His poetry confronts the worst that life can throw at us, yet what lingers in the mind is its warmth and humanity. Poetry Book Society Recommended Translation.

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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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The Poetry Book Society Autumn 2018 Recommended Translation. Asked to name the great Latin love poets, today’s reader is likely to offer Catullus, Ovid, Virgil, Horace. Propertius, a successor of the first and influential peer to the others, has not been blessed by posterity. Yet at their best his poems match any of the period. They are poems of love, of desire, of insecurity and obsession: of struggle, too, as they resist the Augustan Empire’s attempts to turn its love poets into propagandists. The result is a highly refined irony, a subtlety of tone and humour that is unique. Patrick Worsnip’s translations bring out Propertius’ playfulness and his psychological acuity, reinstating his poems at the heart of Latin literature’s golden age.

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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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A Poetry Book Society Autumn 2020 Recommendation The Long Beds explores the cell-like containment of the small hours when the body has no estate but its bed, while - waking or dreaming - the mind sets out on its travels, often in the realms of an old life, cherished items or relinquished connections. Central to the poems' imagery is the presence of a bedstead that has survived a bombing raid, protecting only what was bundled underneath it. In painterly language Kate Miller also trains her eye and ear outwards on grand, impersonal scenes: London at dawn, riverbanks and docks, the corridors of a great hospital: to uncover fogged experience and restore colour to memory. Her poems prod us awake at first light and release us into the morning.

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POETRY BOOK SOCIETY CHOICEA cast of Indic-heritage poets' meets to perform poems and discuss the future of poetry. indiom engages eclectic, often Rabelaisian styles on subjects as various as the Indian poet Nissim Ezekiel, Shakespearean comedy, Under Milk Wood, The Simpsons and Newcastle United.Daljit Nagra's mock epic scrutinises the legacies of Empire and issues such as power and status, casteism and colourism, mimicry and mockery. What is Britishness now? How can humour help us survive hardship? The result is a capacious talkie'/poem/play of resistance and redress whose ludic structures defy boundaries: a story of intertextual and misplaced identities, gods and miracles, celluloid tragedy and blushing romantic desire amid an awkwardly rolling cricket ball and rioting poodles.

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This is John Birtwhistle's first collection of poems since 'Our Worst Suspicions' (1985), a Poetry Book Society Recommendation. In the meantime much of his writing has gone into libretti, including 'The Plumber's Gift', performed by English National Opera. He has not, however, been neglecting poetry - as can be seen from the energetic variety of form and tone displayed here. Birtwhistle accepts from modernism the duties of visual clarity, concision, and originality of phrase; but he unites this with a romantic commitment to feeling and to organic form. His subject matter is wide-ranging as ever, but shows a new intensity about the the life cycle.

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French Love Poems is about the kinds of love that puzzle, delight and af?ict us throughout our lives, from going on walks with an attractive cousin before Sunday dinner (Nerval) to indulging a granddaughter (Hugo). On the way there’s the ?rst yes from lips we love (Verlaine), a sky full of stars re?ected fatally in Cleopatra’s eyes (Heredia), Iying awake waiting for your lover (Valéry), and the defeated toys of dead children (Gautier). The selection covers ?ve centuries, from Ronsard to Valéry. Other poets represented include Baudelaire, Mallarmé, Rimbaud, La Fontaine, Laforgue and Leconte de Lisle. The 35 poems, chosen by Alistair Elliot, are printed opposite his own highly skilful verse translations. There are also helpful notes on French verse technique and on points of obscurity. Poetry Book Society Recommended Translation.

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A 2019 Poetry Book Society Winter Wild Card. A Sunday Times Book of the Year 2019. Ever since her first Carcanet book, In White Ink (1991), Mimi Khalvati has been drawn to the sonnet form. In Afterwardness its pull became irresistible. She has created in this unprogrammatic series, mixing memory, history, daily life, all her intersecting geographies and cultures, a self-portrait in all her moods, anxieties and delights. The sonnet form is stretched in all sorts of fruitful directions. Just as she adapted the ghazal form to English use, here she puts the Petrarchan sonnet to striking, unfamiliar use, widening the possibilities of the form. The poems are rich with Khalvati's personal history, her Iranian origins, her long years in Great Britain. The poems play between cultures, ancestral and acquired.

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Tua Forsstrom is a visionary Finland-Swedish poet who has become Finland's most celebrated contemporary poet. Her breakthrough came when she was still only 30 with her sixth collection, "Snow Leopard", which brought her international recognition, with its English translation by David McDuff winning a Poetry Book Society Translation Award. "I Studied Once At A Wonderful Faculty" is a trilogy comprising "Snow Leopard" (1987), "The Parks" (1992), and "After Spending a Night Among Horses" (1997), coupled with a new cycle of poems, "Minerals." 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. 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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Clare Pollard's fourth collection is steeped in folktale and ballads, and looks at the stories we tell about ourselves. From the Pendle witch-trials in 17th-century Lancashire to the gangs of modern-day east London, "Changeling" takes on our myths and monsters. These are poems of place that journey from Zennor to Whitby, Broadstairs to Brick Lane. Whether relocating the traditional ballad 'The Twa Corbies' to war-torn Iraq, introducing us to the bearded lady Miss Lupin, or giving us a glimpse of the 'beast of Bolton', "Changeling" is a collection about our relationship with the Other: fear and trust, force and freedom. Poetry Book Society Recommendation.

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Jane Draycott's translation of Pearl reissued as a Carcanet Classic. A Poetry Book Society Recommended Translation. In a dream landscape radiant with jewels, a father sees his lost daughter on the far bank of a river: `my pearl, my girl’. One of the great treasures of the British Library, the fourteenth-century poem Pearl is a work of poetic brilliance; its account of loss and consolation has retained its force across six centuries. Jane Draycott in her new translation remakes the imaginative intensity of the original. This is, Bernard O’Donoghue says in his introduction, `an event of great significance and excitement’, an encounter between medieval tradition and an acclaimed modern poet.

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A Poetry Book Society Autumn 2019 Wild Card Selection At the heart of In Her Feminine Sign, Dunya Mikhail’s luminous new collection of poems, is the Arabic suffix taamarbuta, `the tied circle’ – a circle with two dots above it that indicates a feminine word, or sign. This tied circle transforms into the moon, a stone that binds friendship, birdsong over ruins, and a hymn to Nisaba, the goddess of writing. With a deceptive simplicity and disquieting humour reminiscent of Wisława Szymborska, and a lyricism wholly her own, Mikhail slips between her childhood in Baghdad and her present life in Detroit, between Ground Zero and a mass grave, tracing new circles of light.

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Kathleen Jamie is one of Britain's leading poets. Her work is intelligent and subtle, her language inventive and refreshing. Mr and Mrs Scotland Are Dead is a selection from her early collections, from times of change and travel. It reveals the generous range of her concerns, from life in the wilder parts of Pakistan and Tibet to the 'difficult questions' of identity posed in her much celebrated collection, The Queen of Sheba, which was shortlisted for both the T.S. Eliot and Forward Prizes. Mr and Mrs Scotland Are Dead is a seminal volume in modern Scottish poetry. Shortlisted for the Griffin Poetry Prize, it was a Poetry Book Society Special Commendation. It includes most of her poems from Black Spiders (1982), A Flame in Your Heart (1986), The Way We Live (1987), The Autonomous Region (1993) and The Queen of Sheba (1994).

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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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* A Poetry Book Society Recommendation 2016*'When we climb aloneen cordée feminine,we are magicians of the Alps –we make the routes we followdisappear'The poems of Helen Mort's second collection offer an unforgettable perspective on the heights we scale and the distances we run, the routes we follow and the paths we make for ourselves.Here are odes to the women who dared to break new ground – from Miss Jemima Morrell, a young Victorian woman from Yorkshire who hiked the Swiss Peaks in her skirts and petticoats, to the modern British mountaineer Alison Hargreaves, who died descending from the summit of K2.Distinctive and courageous, these are poems of passion and precipices, of edges and extremes. No Map Could Show Them confirms Helen Mort’s position as one of the finest young poets at work today.

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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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Shortlisted for the 2022 Jhalak Prize The Poetry Book Society Winter Choice 2021 Vahni Capildeo's Like a Tree, Walking is a fresh departure, even for this famously innovative poet. Taking its title from a story of sight miraculously regained, this book draws on Capildeo's interest in ecopoetics and silence. Many pieces originate in specific places, from nocturnes and lullabies in hilly Port of Spain to 'stillness exercises' recording microenvironments - emotional and aural - around English trees. These journeys offer a configuration of the political that makes a space for new kinds of address, declaration and relation. Capildeo takes guidance from vernacular traditions of sensitivity ranging from Thomas A Clark and Iain Crichton Smith to the participants in a Leeds libraries project on the Windrush. Like a Tree, Walking is finally a book defined by how it writes love.

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POETRY BOOK SOCIETY CHOICE Kingdomland is the debut poetry collection of Rachael Allen - a writer of rare vision and flair. The world she creates is suffused with surreal images and uncanny incidents. Unexplained violences and strange metamorphoses take shape in the 'glowering dusk'. And yet, all too clearly, we recognise life here on earth, its everyday griefs, dysfunctions and injustices. Where distinctions between murder and bloodletting, corruption and consumption are blurred. Where a pet tarantula or mimic octopus might find itself beside glands and processed meats. Landscapes shift and identities dissolve: 'the red bricks of the day' exist 'in a woman's chest', a human presence is 'embedded in the walls'. All appears changed, but familiar.Intercut with oblique verse fragments and a series of linked sequences, Allen blends elements of fiction and ekphrasis to create a haunting and unforgettable debut.

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Poet, novelist, and philosopher Lars Gustafsson (1936-2016) was one of Europe's leading literary figures. Much of his writing is concerned with the search for moral consciousness and the relationship between personal experience and self-awareness, imbued with a philosophically founded scepticism toward language. His poetry is renowned for relating the metaphysical to the mundane with a particular clarity and precision, illuminating the potency of ordinary objects and everyday events as he addresses critical issues that have concerned great thinkers over the centuries. His first book of poetry to be published in Britain has an introduction by Per Wåstberg. Poetry Book Society Recommended Translation, shortlisted for the Bernard Shaw Prize 2018 (for translation from Swedish).

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This book-length poem is set at the time of the partition of India and Pakistan in 1947 when thousands of people were killed in civil unrest and millions displaced, with families later split between the two countries. Inspired by family history, Moniza Alvi weaves a deeply personal story of fortitude and courage, as well as of tragic loss, in this powerful work in 20 parts. At the Time of Partition was Moniza Alvi's first new poetry book after her T.S. Eliot Prize-shortlisted collection Europa, published in 2008 at the same time as Split World: Poems 1990-2005. It was also a Poetry Book Society Choice and shortlisted for the T.S. Eliot Prize.

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Richard Murphy (1927-2018) was one of Ireland’s most distinguished poets, known particularly for poems drawing on the people and history of the west of Ireland with classical rigour and 'unvarnished' clarity. He emerged in the 1950s with John Montague and Thomas Kinsella as one of the three major poets in the new Irish poetic renaissance. The Pleasure Ground expands the scope of his much acclaimed Collected Poems of 2000 to include a selection of new poems along with an appendix featuring illuminating commentary on the historical and personal background of some of his most notable work, including 'The Cleggan Disaster', 'The God Who Eats Corn', The Battle of Aughrim, and the poems of High Island. Poetry Book Society Special Commendation.

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This collection travels many paths and by-ways, beside some of which lie burning cars, or a young man speechless on a forest floor, or girls lost far from home. And there is a lighthouse...Travellers pass along these ways, in the darkness, in transit, hoping for safe passage through unknown territory. All are imagined with what Sean O'Brien describes as Draycott's 'quizzical, exultant, exact music'. The Night Tree is Jane Draycott's second book of poems, following Prince Rupert's Drop, a Poetry Book Society Recommendation short listed for the Forward Prize in 1999, and two smaller collections, Tideway (Two Rivers Press, 2002, illustrated by Peter Hay) and No Theatre (Smith/Doorstop) short listed for the Forward Prize for Best First Collection 1997.

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Albania's Luljeta Lleshanaku grew up in negative space, living under family house arrest during the years of Enver Hoxha's autocratic communist rule. Her recent poems are a response to what was missing then, not only in her life but for her whole generation, evoking absences, emptiness - what was unseen, unspoken or undone - through the concept of negative space. The space around objects, not the objects themselves, becomes the real, most significant part of an image, bringing balance to the whole of a composition, so enabling Lleshanaku to look back at the reality of her Albanian past and give voice to those who could not speak for themselves.Many of the poems are tied to no specific place or time. Histories intertwine and stories are re-framed, as in her long poem 'Homo Antarcticus', which traces the fate of an inspirational explorer who could adapt to months of near-starvation in sub-zero Antarctica but not to later life back in civilisation, one of a number of poems in the book relating to society's pressure on the individual. Sorrow and death, love and desire, imprisonment and disappointment are all themes that echo deeply in Lleshanaku's hauntingly beautiful poems. Negative Space draws on two recent collections published in Albania, Almost Yesterday (2012) and Homo Antarcticus (2015), and follows Haywire: New & Selected Poems, her first UK selection published by Bloodaxe in 2011, a Poetry Book Society Recommended Translation which was shortlisted for the Corneliu M. Popescu Prize in 2013. Negative Space is also a Poetry Book Society Recommended Translation, and was shortlisted for the International Griffin Poetry Prize 2019.

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A Poetry Book Society Spring 2019 Special Commendation. Chosen as a TLS Book of the Year 2019. This generous volume collects new work by one of the most elegant and pertinent poets working in English. Hacker writes pantoums, sonnets, canzones, ghazals and tanka; she is witty, angry, traditional, experimental. Her poetry is in open dialogue with its sources, which include W. H. Auden, Hayden Carruth, Adrienne Rich, and latterly a host of contemporary French, Francophone and Arab poets. Hacker's engagement with Arabic, almost a second language in Paris, where she lives, has led to her exchanges and engagement with Arabic-speaking immigrants and refugees in France, whose own stories and memories deepen and broaden her already polyglot oeuvre. Her poetry has been celebrated for its fusion of precise form and demotic language; with this, her latest volume, Hacker ranges further, answering Whitman's call for `an internationality of languages'.

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Winner of The Forward Prize for Best Collection 2021 Luke Kennard recasts Shakespeare's 154 sonnets as a series of anarchic prose poems set in the same joyless house party. A physicist explains dark matter in the kitchen. A crying man is consoled by a Sigmund Freud action figure. An out-of-hours doctor sells phials of dark red liquid from a briefcase. Someone takes out a guitar. Wry, insolent and self-eviscerating, Notes on the Sonnets riddles the Bard with the anxieties of the modern age, bringing Kennard's affectionate critique to subjects as various as love, marriage, God, metaphysics and a sad horse. 'Luke Kennard has the uncanny genius of being able to stick a knife in your heart with such originality and verve that you start thinking "aren't knives fascinating... and hearts, my god!" whilst everything slowly goes black.' - Caroline Bird A Poetry Book Society Recommendation

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'I was blown away by Layli Long Soldier's WHEREAS.' Maggie Nelson, author of The ArgonautsWHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations.A POETRY BOOK SOCIETY SPECIAL COMMENDATION.'In what is clearly a golden age for American poetry, Layli Long Soldier has to be out in front – one of the best collections of the century.' Andrew McMillan

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The medieval Mappa Mundi showed the real world hedged about with wonders. Philip Gross's new poems are as vividly observed and sometimes fabulous as the traveler's tales of antiquity. Like those creatures in the margins of old maps they are hybrids of real longings, truth and lies. Each is a journey, open-ended and surprising, giving glimpses of the Middle East, the Pacific North-West, or a Europe of lost spas. These poems explore the spaces that can open between buildings in a city street, in the shifting lights of love aging, or in the gaps between words. Heady and sobering, unsettling, celebratory, they come home with findings from the real world of the senses, heart, and mind. A Poetry Book Society Recommendation.

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Winner Seamus Heaney Centre Prize for PoetryShortlisted for The Felix Dennis Prize for Best First Collection Forward Poetry Prizes 2009Poetry Bank Choice and Poetry Book Society Recommendation. In 2006 ‘The Send-Off’, an elegy for a lost child, was broadcast on Woman’s Hour on BBC Radio 4 and the issues it raised – ante-natal testing, grief, guilt, the family, women’s lives – raged on for weeks in blogs and notice boards. But no one wondered what the poem was about. It was crystal clear. The poems in Sian Hughes debut collection, The Missing are direct and emotional. They do not hide behind imagery. They deal head on with the heart of shame, with parenting, illness, loss, regret and falling in love with the wrong people.

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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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POETRY BOOK SOCIETY CHOICE''To describe Paul Muldoon''s influence on contemporary poetry is like trying to assess the influence of The Beatles on post-war music: it''s to be seen and heard in the work of almost every British and Irish poet since the 1970''s.'' Irish PostSince his debut, New Weather (1973), Paul Muldoon has created some of the most original and memorable poetry of the past half-century. Joy in Service on Rue Tagore sees him writing with the same verve and distinction that have consistently won him the the highest accolades.Here, from artichokes to zinc, he navigates an alphabet of image and history, through barleymen and Irish slavers to the last running wolf in Ulster. The search involves the accumulated bric-a-brac of a life, and a reckoning along the way of gains against loss. In the poet''s skilful hands, ancient maps are unfurled and brought into focus the aggregation of Imperial Rome and the dis

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WINNER OF THE COSTA POETRY AWARDPOETRY BOOK SOCIETY RECOMMENDATIONFlèche (the French word for 'arrow') is an offensive technique commonly used in fencing, a sport of Mary Jean Chan's young adult years, when they competed locally and internationally for their home city, Hong Kong. This cross-linguistic pun presents the queer, non-white body as both vulnerable ('flesh') and weaponised ('flèche'), and evokes the difficulties of reconciling one's need for safety alongside the desire to shed one's protective armour in order to fully embrace the world.Central to the collection is the figure of the poet's mother, whose fragmented memories of political turmoil in twentieth-century China are sensitively threaded through the book in an eight-part poetic sequence, combined with recollections from Chan's childhood. As complex themes of multilingualism, queerness, psychoanalysis and cultural history emerge, so too does a richly imagined personal, maternal and national biography. The result is a series of poems that feel urgent and true, dazzling and devastating by turns.

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The Poetry Book Society Recommended Translation for Summer 2018. The Austrian poet and novelist Evelyn Schlag, whose 2004 Selected Poems received the coveted Schlegel Tieck Prize, returns with All under One Roof. Once more, Karen Leeder’s brilliant translations render a selection of Schlag’s most recent poems into English. The book draws on two substantial German-language collections, Sprache von einem anderen Holz (2008) and verlangsamte raserei (2014). There is also a new essay by the author in which she discusses the sources, politics and strategies of her writing. Love remains a central theme for Schlag, but an associative inward journey with new diction, and new orthography, is underway. Rüdiger Görner in Die Presse responded to the vibrancy of what he called the `Sprachpulsate’ (pulses of language): `Evelyn Schlag’s poems have a kind of discreet presence; once spoken they have claimed their permanent place in the lyric cosmos.’ Leeder’s selection traces a uniquely Austrian imagination at the heart of contemporary European poetry.

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