Search results for ""Bloodaxe Books""

Sarah Wardle was poet-in-residence with Tottenham Hotspur FC when many of these poems were written. Her Score! is a winning commentary on contemporary culture, shooting at the heart of consciousness, family, sport, the female voice and Darwinian science. Her second collection kicks off with her Spurs poems, tackling the common ground between goals of competition and community. Then X: A Poetry Political Broadcast presents poetry as a beacon of imagination, choice and responsibility: the still, small voice that guides us through life’s terrain. Score! is completed by Sheet Music, a medley of poems ranging from London to Stone Age man, Schrödinger's Cat to Nelson’s Column.

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Before and since his enforced exile, Yang Lian has been one of the most innovative and influential poets in China. Widely hailed in America and Europe as a highly individual voice in world literature, he has been translated into many languages. Yang Lian has written that Concentric Circles is ‘the most important piece since I came out from China’, and that it is emphatically not a political work, but instead a work focused on ‘deep reality’ and the nature of how humans understand that reality through the medium of language. The book, like the sections of which it is comprised, uses a kind of collage, where many small fragments, each complete in itself, are aligned together in a series of patterns to form a grander mosaic: from line to line, poem to poem, cycle to cycle, in ever-widening concentric structures. Yang Lian regards this English version as an integral part of the work as a whole – indeed, it could be said that the work is incomplete without its English parallel, and that as he reads it he is ‘struggling free from time and incorporated into the beautiful “concentric circles” of ancient and modern poetry, in China or elsewhere’.

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"Modern Women Poets" is the companion anthology to Deryn Rees-Jones's pioneering critical study, "Consorting with Angels: Essays on Modern Women Poets". While its selections illuminate and illustrate her essays, Deryn Rees-Jones's superb anthology works in its own right as the best possible introduction to a whole century of poetry by women. The anthology draws together the work of women poets from Britain, Ireland and America as one version of a history of women's poetic writing, while not isolating women's writing from its intersection with the work of male contemporaries. Tracing an arc from Charlotte Mew to Stevie Smith, from Sylvia Plath to the writing emerging from the Women's Movement, and to the more recent work of Medbh McGuckian, Jo Shapcott and Carol Ann Duffy, the anthology draws together the work of women poets from Britain, Ireland and America as one version of a history of women's poetic writing. It shows important connections between the work of women poets and shows how - throughout past 100 years - they have developed strategies for engaging with a male-dominated tradition. "Modern Women Poets" allows the reader to trace women's negotiations with one another's work, as well as to reflect more generally on the politics of women's engagement with history, nature, politics, motherhood, science, religion, the body, sexuality, identity, death, love, and poetry itself.

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Being Alive is the sequel to Neil Astley’s Staying Alive, which became Britain’s most popular poetry book because it gave readers hundreds of thoughtful and passionate poems about living in the modern world. Now he has assembled this equally lively companion anthology for all those readers who’ve wanted more poems that touch the heart, stir the mind and fire the spirit. Being Alive is about being human: about love and loss, fear and longing, hurt and wonder. Staying Alive didn’t just reach a broader readership, it introduced thousands of new readers to contemporary poetry, giving them an international gathering of poems of great personal force, poems with emotional power, intellectual edge and playful wit. It also brought many readers back to poetry, people who hadn’t read poetry for years because it hadn’t held their interest. Being Alive gives readers an even wider selection of vivid, brilliantly diverse contemporary poetry from around the world. Being Alive was followed by a companion anthology, Being Human (2011), and by a fourth volume, Staying Human: new poems for Staying Alive (2020). These anthologies have been welcomed not only by poets but by a wide range of well-known people respected for their work in fields other than poetry – all avid readers of poetry. They want to recommend these books above all other anthologies of contemporary poetry.

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Barry MacSweeney’s last book, The Book of Demons, recorded his fierce fight against alcoholism as well as the great love of those who helped save his life – though only for three more years. When he died in 2000, he had just assembled a retrospective of his work. Wolf Tongue is his own selection, with the addition of the two late books which many regard as his finest work, Pearl and The Book of Demons. Most of his poetry was out-of-print, and much had never been widely published. The title is his. The cover picture, he hunted down himself. Wolf Tongue is how he wanted to be known and remembered.

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Kapka Kassabova is a young Bulgarian émigré poet who writes in English but with a European imagination. In Someone else’s life, her first poetry collection to be published in the UK, she explores the emotional and spiritual territory of the traveller and the dispossessed, the spaces between memory and being, exploration and doubt, desire and loss.

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Imtiaz Dharker grew up a Muslim Calvinist in a Lahori household in Glasgow, was adopted by India and married into Wales. Her main themes are drawn from a life of transitions: childhood, exile, journeying, home, displacement, religious strife and terror, and latterly, grief. She is also an accomplished artist, and all her collections are illustrated with her drawings, which form an integral part of her books. In I Speak for the Devil, the woman’s body is a territory, a thing that is possessed, owned by herself or by another. Her sequence They’ll say, 'She must be from another country' traces a journey, starting with a striptease where the claims of nationality, religion and gender are cast off, to allow an exploration of new territories, the spaces between countries, cultures and religions. The title-sequence speaks for the devil in acknowledging that in many societies women are respected, or listened to, only when they are carrying someone else inside their bodies – a child; a devil. For some, to be "possessed" is to be set free.

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This epoch-marking anthology presents a map of poetry from Britain and Ireland which readers can follow. You will not get lost here as in other anthologies – with their vast lists of poets summoned up to serve a critic’s argument or to illustrate a journalistic overview. Instead, Edna Longley shows you the key poets of the century, and through interlinking commentary points up the connections between them as well as their relationship with the continuing poetic traditions of these islands. Edna Longley draws the poetic line of the century not through culture-defining groups but through the work of the most significant poets of our time. Because her guiding principle is aesthetic precision, the poems themselves answer to their circumstances. Readers will find this book exciting and risk-taking not because her selections are surprising but because of the intensity and critical rigour of her focus, and because the poems themselves are so good. This is a vital anthology because the selection is so pared down. Edna Longley has omitted showy, noisy, ephemeral writers who drown out their contemporaries but leave later or wiser readers unimpressed. Similarly there is no place here for the poet as entertainer, cultural spokesman, feminist mythmaker or political commentator. While anthologies survive, the idea of poetic tradition survives. An anthology as rich as Edna Longley’s houses intricate conversations between poets and between poems, between the living and the dead, between the present and the future. It is a book which will enrich the reader’s experience and understanding of modern poetry. The anthology covers the work of 70 poets: Thomas Hardy, W.B. Yeats, Edward Thomas, D.H. Lawrence, Siegfried Sassoon, Edwin Muir, T.S. Eliot, Ivor Gurney, Isaac Rosenberg, Hugh MacDiarmid, Wilfred Owen, Charles Hamilton Sorley, Robert Graves, Austin Clarke, Basil Bunting, Stevie Smith, Patrick Kavanagh, Norman Cameron, William Empson, W.H. Auden, Louis MacNeice, John Hewitt, Robert Garioch, Norman MacCaig, R.S. Thomas, Henry Reed, Dylan Thomas, Alun Lewis, W.S. Graham, Keith Douglas, Edwin Morgan, Philip Larkin, Ian Hamilton Finlay, John Montague, Thom Gunn, Ted Hughes, Geoffrey Hill, Sylvia Plath, Fleur Adcock, Tony Harrison, Seamus Heaney, Michael Longley, Derek Mahon, Douglas Dunn, Eiléan Ní Chuilleanáin, Paul Durcan, Tom Leonard, Carol Rumens, Selima Hill, Ciaran Carson, James Fenton, Medbh McGuckian, Paul Muldoon, Jo Shapcott, Ian Duhig, Carol Ann Duffy, Kathleen Jamie, Simon Armitage and Don Paterson.

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âThere are as many nuances and inflections for kisses as there are lips to kiss,â says American poet Tess Gallagher. And so with these playful, serious and sassy poems about kisses, a whole book devoted to the kiss.

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Monster is a bold and lyrical exploration of the Black female body as a site of oppression and resistance. At its heart is a study of the world of Sarah Baartman, aka the Hottentot Venus, a Khoikhoi woman from South Africa who was displayed in freak shows in 19th-century Europe.

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In Votive Mess Nia Davies asks how time and desire move us errantly. Her second collection follows her startling debut All fours, emerging from an immersion in performance and ritual. The poems trace a path through the peaks and troughs of performance, bouncing between enchantment and disenchantment.

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By turns wryly humorous, tender and heartbroken, Fantastic Voyage takes us on journeys into our hidden and ghostly selves, our insides and our other', exploring how the human body gives voice to unspeakable truths. The books's central long poem a meditation on water charts a deeply personal voyage through grief and loss.

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Brenda Shaughnessy is one of America's most audacious and thrilling poets. In Tanya she weaves a tapestry of literary heritage and intimate reflection as she pays tribute to women artists and mentors, and circles the mysteries of friendship, love, art, and loss. Tanya is her sixth collection, her first since Liquid Flesh: New & Selected Poems.

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Ghost River invites readers to stare down blue-mouthed crevasses, venture into old growth forests, and peer beneath the floorboards of ancestral homesteads. In this lyrical and intimate portrait of America’s Pacific Northwest, wilderness and home are interwoven. But this is not Arcadia. Deep time is punctured by strip malls and freeways, wildfires and dams. Questioning the influence of the past on the present, the central sequence reimagines this landscape from the perspective of the British explorer, George Vancouver, who charted its waterways on an expedition to locate the illusive Northwest Passage. In their passage between America and England and the terrain of early motherhood, these poems of loss and renewal explore what it is to be home. Born and raised in America’s Washington state, Kris Johnson moved to the UK in 2007. Ghost River is her first book-length collection.

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With each new collection, Philip Gross’ poems extend their conversation between the metaphysical and the acutely physical. His sequences in The Thirteenth Angel scan from moment to moment like flickering needles, registering stress patterns in the world around us – ebbs and flows of weather or events, in our own bodies, in the city streets before and after the pandemic, or on the autoroutes of Europe with their undertow of human flight. If there are angels, they are nothing otherworldly, but formed by angles of incidence between real immediate things, sudden moments of clarity that may disturb, calm or exhilarate. The Thirteenth Angel is Philip Gross’s 27th book of poetry, and his 12th from Bloodaxe, and was shortlisted for the T.S. Eliot Prize 2022.

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Aleš Šteger was born in 1973 in Ptuj, Slovenia – where he grew up – then part of the former Yugoslavia ruled by Tito, which gained its independence when he was 18. He published his first collection in 1995 at the age of 22, and was immediately recognised as a key voice in the new generation of post-Communist poets not only in Slovenia but throughout central Europe. Notable for its moral engagement, Šteger’s poetry is acutely precise in its observation and concentration as well as multi-layered and technically versatile, ingenious and inventive, adventurous and playful yet serious in intention. Above all, his poems are incessantly curious in their investigations which the reader is invited to share – and he loves to ambush the reader with the unexpected. His influences are mainly European, including the Serbian master poet Vasko Popa, as well as German and Spanish-language poets he has translated into Slovenian, such as Bachmann, Benn, Huchel, Neruda and Vallejo. He has added his own strand of writing to the distinctively European genre of prose poems in pieces which describe everyday objects in minute terms, only to explode in the imagination through what he perceives in them. He is also known for his prose books and experimental writing including his Written on Site pieces.

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In Shelling Peas with My Grandmother in the Gorgiolands Sarah Wimbush journeys through myth and memory with poetry rooted in Yorkshire. From fireside tales of Romany Gypsies and Travellers, through pit villages and the haunt of The Miners’ Strike, to the subliminal of the everyday – including poems about typists, pencil sharpeners and learning to drive in a Ford Capri. This highly accomplished debut collection explores what it means to belong, what it means to be on the margins. This is poetry written in praise of family and community and those qualities which make us human: love, language and, most of all, resilience. Sarah Wimbush is a Leeds poet who hails from Doncaster. She has published two pamphlets, Bloodlines (2020), winner of the Mslexia/PBS Poetry Pamphlet Competition 2019, which was also shortlisted in the Michael Marks Awards, and The Last Dinosaur in Doncaster (Smith|Doorstop, 2021), a winner of the Poetry Business Book and Pamphlet Competition in 2020. Shelling Peas with My Grandmother in the Gorgiolands is her first book-length collection.

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Federico García Lorca, Spain’s greatest modern poet and dramatist, was murdered by Fascist partisans in 1936, shortly after the outbreak of the Spanish Civil War. He was by then an immensely popular figure, celebrated throughout the Spanish-speaking world, and at the height of his creative powers. After his death, with his work suppressed, he became a potent symbol of the martyrdom of Spain. The manuscript of Lorca’s last poems, his tormented Sonnets of Dark Love, disappeared during the Civil War. For fifty years the poems lived only in the words of the poets who had heard Lorca read them, like Neruda and Aleixandre, who remembered them as ‘a pure and ardent monument to love in which the prime material is now the poet’s flesh, his heart, his soul wide open to his own destruction’. Lorca’s lost sonnets were re-discovered in Spain during the 1980s, and this was the first book to include English translations of these brooding poems. Merryn Williams’ edition draws on the full range of Lorca’s poetry, from the early poems and the gypsy ballads to the agitated Poet in New York sequence and the Arab-influenced gacelas and casidas which followed his American exile. It includes the Lament for Ignacio Sánchez Mejías, Lorca’s great elegy for his bullfighter friend, as well as the full text of his famous lecture on the duende, the daemon of Spanish music, song, dance, poetry and art. In these remarkable translations, Lorca’s elemental poems are reborn in English, with their stark images of blood and moon, of water and earth; of bulls, horses and fish; olives, sun and oranges; knives and snow; darkness and death.

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Louis de Paor is one of Ireland's leading Irish-language poets, and was a key figure in the Irish language poetry renaissance of the 1980s and 90s. His dual-language selection The Brindled Cat and the Nightingale’s Tongue was published in 2014, following his selected poems, Rogha Dánta (2012), voted one of the top ten collections in Irish since the turn of the millennium. This new dual-language selection is mainly drawn from two other collections, Cúpla Siamach an Ama/The Siamese Twins of Time and Grá fiar/Crooked Love, with translations made by Louis de Paor with Kevin Anderson and Biddy Jenkinson. It shows a paring back of language and a greater flexibility of form in his poetry, as well as a preoccupation with the passage of time and its implications for both familial and sexual love. His narrative skill and inventiveness come together in the sequence 'Lá dá raibh/One day', which follows a day in the life of an imaginary village in the west of Ireland where the living and the dead, the real and the unreal, collide. This was adapted for a dual-language radio feature with music by Dana Lyn broadcast on RTÉ Lyric FM and Raidió na Gaeltachta in 2021.

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Men Who Feed Pigeons brings together seven contrasting but complementary poem sequences by ‘this brilliant lyricist of human darkness’ (Fiona Sampson) relating to men and different kinds of women’s relationships with men. The Anaesthetist is about men at work; The Beautiful Man with the Unpronounceable Name is about someone else’s husband; Billy relates to friendship between a man and a woman; Biro is about living next door to a mysterious uncle; The Man in the Quilted Dressing-gown portrays a very particular old man; Ornamental Lakes as Seen from Trains is about a woman and a man she’s afraid of; while Shoebill is another sequence about a woman and a man, but quite different from the others. Like all of Selima Hill’s work, all seven sequences in this book chart ‘extreme experience with a dazzling excess’ (Deryn Rees-Jones), with startling humour and surprising combinations of homely and outlandish. Shortlisted for the 2021 Forward Prize for Best Collection.

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Fleur Adcock began writing the poems in this book when she was 82. The two chief settings are New Zealand, with its multi-coloured seas, and Britain, seen in various decades. There are foreign travels, flirtations, family memories, deaths and conversations with the dead. Katherine Mansfield, incognito, dodges an academic conference; there’s a lesson in water divining as well as a rather unusual Christmas party. We meet several varieties of small mammal, numerous birds, doomed or otherwise, and some sheep. The book ends with a sequence in memory of her friend, the poet Roy Fisher.

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The submerged land of Lyonesse was once part of Cornwall, according to myth and the oral tradition, standing for a lost paradise in Arthurian legend, but now an emblem of human frailty in the face of climate change. And there was indeed a Bronze Age inundation event which swept the entire west of Cornwall under the sea, with only the Scilly Isles and St Michael’s Mount left as remnants above sea-level. Lyonesse was also Thomas Hardy’s name for Cornwall where Penelope Shuttle has lived all her adult life, always fascinated by the stories and symbolic presence of Lyonesse. After seeing the Scilly Isles from a small plane at a low altitude – flying over the Wolf Lighthouse ­– and then visiting the recent Sunken Cities exhibition at the British Museum, imagination and memory played their part in joining the Lyonesse dots together for her, prompting what she calls ‘a spontaneous inundation of approaches to the theme, images, soundings of Lyonesse’. As she writes in a preface to this book: ‘The universality of loss, both of physical cities and of the human experience erased from the record, enhanced the resource of Lyonesse in my writing. Lyonesse is a place of paradox. It is real, had historical existence. It is also an imaginary region for exploring depths. It holds grief for many kinds of loss… The poems seek re-wilding of a city where human loss interconnects with mythic loss; myth is rooted in the real.’ The second part of this book – New Lamps for Old ­– is a collection of poems she needed to write in coming up for air from the watery depths of Lyonesse, to find ways to begin again, to find meaning in life after bereavement. The ‘old lamps’ of a former life have been extinguished, leaving darkness. Her challenge was to find ‘new lamps’ to illuminate and give meaning to life. Lyonesse is a fluid magical world. The poems of New Lamps for Old are concerned with earth, air and fire. Both collections share allegiance with the fifth element, the spirit.

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The living and the dead are working side by side in John Challis’s dramatic debut collection, The Resurrectionists. Whether in London’s veg and meat markets, far below the Dartford Crossing, or on the edge of the Western world, these poems journey into a buried and sometimes violent landscape to locate the traces of ourselves that remain. Amidst the political disquiet rising from the groundwater, or the unearthing of the class divide at the gravesides of plague victims, the veil between the living and the dead is at its thinnest when a child is born, and something close to hope for the future is resurrected.

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Annemarie Austin's vividly imaginative poems explore other worlds and other lives, drawing upon her own memories and experiences, as well as on art, travel, dream, myth, history and literature. The first poem in her new collection asks 'Shall we go on the shiny?', the last one ends 'being altogether gone this time'. In between there's the tightrope, 'The Walking Shot', the report on the pilgrimage in progress, the marquise going out at five o'clock. The eye moves left to right along with the poems' movement. Though there are stops from time to time, for problems of the unidentified, the location of waterholes, whether or not those birds are oystercatchers, for the interior of a pocket and Nijinsky jumping. Then on, maybe to the beach again. Shall We Go? is Annemarie Austin's eighth book of poetry, following her Bloodaxe retrospective, Very: New & Selected Poems (2008) and later collection Track (2014).

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Ana Blandiana is one of Romania’s foremost poets, a leading dissident before the fall of Communism. Over the years, her poetry became symbolic of an ethical consciousness that refuses to be silenced by a totalitarian governments. This new translation combines five of her collections, three of protest poems from the 1980s followed by her two collections of love poetry. The poems of Predator Star (1985) and The Architecture of Waves (1990) chronicle a convulsed history and pose the question of how to resist the terror of history. Clock without Hours (2014) marks a return to rhyme, as Blandiana attempts a courageous renovation of traditional verse forms. Her fiercely militant voice – that helped inaugurate the postmodern idiom in Romanian poetry in 1984 – has modulated over time into a new tone of forgiveness and renunciation, expressed in meditations on the fragility and vulnerability of being. She has also written two collections of love poems which rank among the most beautiful in contemporary Romanian poetry – October, November, December (1972) and Variations on a Given Theme (2018) – the second of these composed after the death of her husband, Romulus Rusan, in 2016. A prolific and expansive poet, Ana Blandiana constantly re-invents herself. Her work ultimately reflects on universal issues, on human existence itself in our 21st-century consumer society.

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A giant crane appears at the back windows of a residential street, its beam swinging freely, its red ‘eye’ seeming to overlook the lives on the other side of the glass. In her eighth collection of poems, Susan Wicks writes searchingly about our ordinary existence, its serendipities and unreliable sense-impressions, its delight in a new generation, its brief escapes – but this earthbound perspective is also part of an implicit dialogue. Under the crane new buildings spring up, seasons shift, perspective varies, until, its work completed, the giant machine is ready to be driven away. By the time it leaves, the landscape we knew will have changed and we too will have moved on.

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Magnum Mysterium is Irish American poet Julie O’Callaghan’s first collection since Tell Me This Is Normal: New & Selected Poems (2008). Her new poems have evolved from the early monologues – written in American demotic – to poems of heartache on the death of her husband, the poet Dennis O’Driscoll. But even in these harrowing poems she never loses her ear for the absurdities of modern life – including the grieving process where she can “see” her husband alive and doing what he loves ('Cyber You'): I need to see you living and breathing. I go to YouTube and there you are being you (the tiny you) with the tie I bought you for Christmas sitting on a chair on a stage in Santa Fe asking Seamus questions. Eternally. In Magnum Mysterium Julie O’Callaghan has continued writing poems which 'seem effortless and are immediately accessible and achieve great emotional weight by the lightest of means' (Michael Hartnett Award citation).

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Jane Clarke’s lyrically eloquent poems bear witness to the rhythms of birth and death, celebration and mourning, endurance and regrowth. An elegiac sequence, inspired by the loss of her father, moves gracefully through this second collection. Rooted in the everyday and backlit by mystery, here are poems to savour and return to, for the pleasure of finely honed lines that powerfully evoke the depth of our connections to people, place and nature. Jane Clarke’s first collection, The River, was published by Bloodaxe in 2015 to both critical and public acclaim.

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Tess Gallagher’s new poems are suspended between contradiction and beauty. Is, Is Not upends our notions of linear time, evokes the spirit and sanctity of place, and journeys toward discovering the full capacity of language. Gallagher’s poems reverberate with the inward clarity of a bell struck on a mountaintop and hover daringly at the threshold of what language can nearly deliver while offering alternative corollaries as gifts of its failures. Guided by humour, grace, and a deep inquiry into the natural world, every poem nudges us toward moments of awe. How else except by delight and velocity would we discover the miracle within the ordinary? Gallagher claims many Wests – the Northwest of America, the north-west of Ireland, and a West even further to the edge, beyond the physical. These landscapes are charged with invisible energies and inhabited by the people, living and dead, who shape Gallagher’s poems and life. Restorative in every sense, Is, Is Not is the kind of book that takes a lifetime to write – a book of the spirit made manifest by the poet’s unrelenting gaze and her intimate engagement with the mysteries that keep us reaching.

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Sometimes metaphysical, sometimes apparently confessional, sometimes challenging, often hilarious, Mark Waldron's poems take you by the arm and usher you in to a dark/light, funny/sad, silly/serious world which is exactly what the actual world looks like if you creep up on it and take it by surprise. As human beings living in society we’re supposed to keep what we really think hidden, but the poems of Sweet, like Rinky-Dink want to look at the absurdity behind our posturing, because in looking at it squarely in the face we might hope to have some freedom from it. Sweet, like Rinky-Dink is Mark Waldron’s fourth collection, following Meanwhile, Trees (2016), published by Bloodaxe, The Brand New Dark (2008) and The Itchy Sea (2011), both from Salt.

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Pretend You Don’t Know Me brings together in one volume the best of Finuala Dowling’s funny, poignant and idiosyncratic poetry from four earlier prize-winning collections, with a section devoted to new poems. It introduces this popular South African poet to a UK audience. Finuala Dowling’s debut collection, I flying, published in 2002, was an instant success in her native South Africa. Its accessibility, humanity and wit, as well as its beguilingly honest stories of home, parenthood, love, loss and desperation, won many new converts to poetry. The volume went into multiple printings, and won the Ingrid Jonker prize. Dowling’s subsequent collections, Doo-Wop Girls of the Universe and Notes from the Dementia Ward (winners of the SANLAM and Olive Schreiner prizes respectively), consolidated her reputation as an inventive sketcher of the domestic sublime. Her chapbook, Change is possible, sold out at the 2014 Aldeburgh Poetry Festival. Pretend You Don’t Know Me contains her iconic poem ‘To the doctor who treated the raped baby and who felt such despair’ as well as Dowling’s tragi-comic cycle of poems on the theme of her mother’s dementia, and the hugely popular poems ‘Butter’, ‘I am the Zebra’, ‘To adventurers, as far as I’m concerned’ and ‘The abuse of cauliflowers’. At the heart of the book are the funny and poignant connections we make with other people, and the lifelong effort to stay whole.

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Robyn Bolam's new collection, Hyem, explores what and who makes us feel at home. Both people, and creatures - from whales off Kaikoura in New Zealand, New Forest cicadas, fish in the Thames, wrens, robins and starlings, to a climbing fox - face challenges to find homes where they can thrive. Hyem lets you walk London streets with Dickens or share the last moments of a 17th-century helmsman, whose final home is Stockholm's Vasa museum. A wolves' valley becomes home to surfers and a high voltage laboratory turns into a creative home for a poet. Hyem (home in Geordie) is also about growing up on Tyneside, loving a place through changes and celebrating those who preserve its history and spirit. Hyem is Robyn Bolam's first book of poetry since her retrospective New Wings: Poems 1977-2007, which included work from two earlier collections, The Peepshow Girl (1989) and Raiding the Borders (1996).

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C.K. Williams (1936-2015) was the most challenging American poet of his generation, a shape-shifting poet of intense and searching originality who made lyric sense out of the often brutal realities of everyday life. His poems are startlingly intense anecdotes on love, death, secrets and wayward thought, examining the inner life in precise, daring language. Over the past half-century, he took upon himself the poet's task: to record with candour and ardour 'the burden of being alive'. In Falling Ill, his final volume of poems, he brought this task to its conclusion, bearing witness to a restless mind's encounter with the brute fact of the body's decay, the spirit's erasure. Written with unsparing lyricism and relentless discursive logic, these brave poems face unflinchingly 'the dreadful edge of a precipice' where a futureless future stares back at them. Urgent, unpunctuated, headlong, vertiginous, they race against time to trace the sinuous, startling twists and turns of consciousness. All is coming apart, taken away, except the brilliant art to describe it all as the end is coming. All along is the reassurance of love's close presence. Here are no easy resolutions, false consolations. Like unanswered prayers, they are poems of deep interrogation - a dialogue between the agonised 'I' in its harrowing here-and-nowness and the elusive 'you' of the beloved who flickers achingly just out of reach. C. K. William's Falling Ill will take its place among the enduring works of literature about death and departure.

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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). As in all her books, the luminous poems of her ninth collection Sleeping under the Juniper Tree are minimal but highly charged - with presences and hauntings, sensing the spirit incarnate in every part of the living world.

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The Delta is a densely populated place. Whole countries inhabit it, exercising their powers and authority, presenting their offers of complicity and compliance. Individuals move through the night and come upon themselves in its mirrors. Dreamers and fantasists repopulate its hidden corners: Rimbaud, Bruno Schultz, William Blake, Arthur Schnitzler and the physicist Dennis Gabor lay claim to their own visions of it. Animals gaze at their human companions who gaze back. They try to puzzle each other out, looking to climb into each other's eyes. They court each other, desire their own species, are captivated both by each other's and their own beauty. Life goes on its desultory way, finding itself between creeks and cracks. And occasionally the world does crack open. Planes crash, boats sink, weather changes, floodwaters rise, people vanish on journeys. Anxiety remains: disaster zones persist into old age and death, and into the life, death and resurrection of language itself. At the core of the book is The Yellow Room, a sequence of mirror poems contemplating the Jewishness of the poet's father. The room constricts and glows.The poem breaks up across the page at intervals then reassembles into its mirrors. Many of the poems are formal haiku sequences. They are new parts of a personal Delta. Others are in rhymed and broken stanzas. The Delta has to survive - if it survives at all - on its broken patterns. Poetry Book Society Choice.

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This powerful new collection combines Katie Donovan's unflinching insight into our human foibles with her exceptional descriptive gift. The years of her husband's throat cancer are charted in poems by turns tender, harsh and darkly humorous. Donovan gives voice to the carer's duty of being the one who watches, and contains, what is both a searing tragedy and a chainlink of domestic chores. Meanwhile the sulky electrician and the garrulous taxi driver are part of a cast of unlikely extras who provide a contextual chorus from the everyday world that inevitably carries on. Donovan grasps talismans of survival: birds foraging in the snow; her daughter's singing - which lights up the hospice in midwinter - and her son's success at soccer. The title-poem resists the classic definition of the grieving widow, instead capturing one of Donovan's enduring motifs - the moment when the mask slips and the true human response is released.

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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. An essential voice in modern American literature, he was United States Poet Laureate in 2010-11. Merwin composed the poems of Garden Time as he was losing his eyesight. When he could no longer see well enough to write, he dictated the poems to his wife, Paula. In this gorgeous, mindful and life-affirming book, he channels energy from animated sounds and memories to remind us that ‘the only hope is to be the daylight’. This late collection written in his late-80s finds him deeply immersed in reflection on the passage of time and the frailty and sustaining power of memory. Switching between past and present, he shows us a powerful and moving vision of the eternal, focusing on images of mornings, sunsets, shifting seasons, stars, birds and insects to capture the connectedness of time, space and the natural world. In a poem about Li Po, ‘now there is only the river / that was always on its own way’. In another poem he dreams that ‘the same river is still here / the house is the old house and I am here in the morning / in the sunlight and the same bird is singing’. He remembers when ‘dragonflies were as common as sunlight / hovering in their own days’ and recalls ‘a house that had been left to its own silence / for half a century’. In a poem of wonder entitled ‘Variations to the Accompaniment of a Cloud’, he writes: ‘I keep looking for what has always been mine / searching for it even as I / think of leaving it.’ Poetry Book Society Recommendation

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The Magnitude of My Sublime Existence is the account of a young woman's stay in the psychiatric ward of a large hospital. The only time she feels safe is when swimming; the only place, the sea, preferably underwater. Selima Hill's 17th book of poetry - her 14th from Bloodaxe - takes her back to the territory of her third book, The Accumulation of Small Acts of Kindness (1983), but this revisiting is quite different in style and mood. Over thirty years later, 'this brilliant lyricist of human darkness' (Fiona Sampson) is more able to chart and illuminate 'extreme experience with a dazzling excess' (Deryn Rees-Jones), with startling humour and surprising combinations of homely and outlandish. Shortlisted for the Roehampton Poetry Prize.

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The Verandah Poems was both a departure and a return for Jean ‘Binta’ Breeze, who left her village in Jamaica to become an internationally renowned Dub poet and storyteller. This is a book of coming home and coming to terms, of contemplation rather than contention – of mellow, musing, edgy poems drawn from the life and lives around her. It was Breeze's first new collection after Third World Girl: Selected Poems (2011), and was published on her 60th birthday. Foreword by Kei Miller. With photographs by Tehron Royes.

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Centres of Cataclysm celebrates the fifty-year history of Modern Poetry in Translation, one of the world’s most innovative and exciting poetry magazines. Founded in 1965 by Ted Hughes and Daniel Weissbort, MPT has constantly introduced courageous and revolutionary poets of the 20th and 21st century to English-speaking readers. Ted Hughes thought of MPT as an ‘airport for incoming translations’ - from the whole world, across frontiers of space and time. These are poems we cannot do without. The anthology is not arranged chronologically but, from a variety of perspectives, it addresses half a century of war, oppression, revolution, hope and survival. In so doing, it truthfully says and vigorously defends the human. In among the poems are illuminating letters, essays and notes on the poets, on the world in which they lived and on the enterprise of translating them.

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With its flighty parables and skewed morality tales, The Wilderness Party is an unforgettable record of turbulent times. These are poems of finely-wrought musicality, bristling energy and playful excess. From cream cakes on Shetland to Camberwick Green, from Lyuba the Siberian mammoth to the madness of Franz Xaver Messerschmidt, A.B. Jackson approaches personal and historical events with a mixture of wit and wonder. Included in the opening section of individual lyrics is 'Treasure Island', winner of the Edwin Morgan International Poetry Competition. The series 'Natural History' takes a spirited linguistic tour through Pliny the Elder in Elizabethan translation to uncover the myths, mysteries, and uncanny familiarities of animal behaviour. In the twenty-one short fictions of 'Apocrypha', high ideals cavort with low befuddlement as re-cast Biblical characters attempt to make sense of the modern world. The Wilderness Party is Jackson's long-awaited follow-up to his Forward Prize-winning first collection Fire Stations. Poetry Book Society Recommendation. .

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In 2013, Leanne O'Sullivan's husband Andrew suffered a severe infection in his brain. He spent just over three weeks in a coma, during which time his temperature soared to 42 degrees. When he finally woke it immediately became clear that his memory had been almost completely destroyed; he didn't even know his wife. More present and visual to him were the birds and wild animals that he believed he could see during his recovery: foxes, wildcats and herons - animals that seemed to be guiding him back. This became the starting point for poems that deal not simply with personal memory and recovery, but also the ways in which, collectively, even globally, we are trying (or not) to save entire species of plants and animals that we are now actually losing because of human activity. Nature has a voice that can speak back. This is a collection that celebrates the earth's intoxicating wildness as well as the richness and preciousness of human experience. Overall, we can rejoice in the fact that we're here, whatever the challenges. Winner of the inaugural Farmgate Café National Poetry Award 2019. Shortlisted for the Irish Times Poetry Now Award 2019 and for the Pigott Poetry Prize 2019 in association with Listowel Writers' Week.

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With the demise of the Soviet Union, Lithuania jumped from a neo-romantic modernism straight into the postmodern wasteland of unfettered capitalism. Pensions disappeared along with jobs. Everything underwent "reform". Everything was for sale. Poetry audiences went from stadium size to coffee house size. Giddy joy was followed by disillusion, anxiety, angst. Gintaras Grajauskas's poetry cannot be understood without this backdrop, for it was here that he cut his poetic teeth and became a major Lithuanian poet. He met the jarring changes around him with a wry smile, black humour, irony - all grounded in respect for the quotidian, the small, the insignificant. Reading his poems, one can laugh and grind one's teeth at the same time. We can see the influences of Polish poetry in the irony and search for meaning in a new cultural landscape. We can see the rejection of lyrical language for the prosaic, the pithy. Paradoxical, absurd, witty and observant, Grajauskas reflects a society that has seemingly lost interest in speaking for itself, for the whole. The individual is on his/her own. Life is tough, and to be alive today is to drift in uncertainty, but it is a human life that cannot sustain itself on cynicism and irony. We question, we search, and we laugh through the tears, reading his work, knowing ourselves better.

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Imtiaz Dharker was born in Pakistan, grew up a Muslim Calvinist in a Lahori household in Glasgow, was adopted by India and married into Wales. Her main themes are drawn from a life of transitions: childhood, exile, journeying, home, displacement, religious strife and terror, and latterly, grief. She is also an accomplished artist, and all her collections are illustrated with her drawings, which form an integral part of her books. Luck Is the Hook is her sixth book from Bloodaxe. In these poems, chance plays a part in finding or losing people and places that are loved: a change in the weather, a trick of language, a bomb that misses its mark, six pomegranate seeds eaten by mistake; all these events cast long shadows and raise questions about who is recording them, about believing, not believing, wanting to believe. A knot undone at Loch Lomond snags over Glasgow, a seal swims in the Clyde, a ghost stalks her quarry at a stepped well, an elephant and a cathedral come face to face on the frozen Thames, a return ticket is thrown into the tide of Humber, strangers wash in. Even in an uncertain world, love tangles with luck, flights show up on the radar and technology keeps track of desire. Imtiaz Dharker was awarded the Queen's Gold Medal for Poetry 2014 for Over the Moon and for her services to poetry.

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Virginia Astley has been a much admired songwriter and musician since the 1980s, known for her engaging lyrics as well as for her melodious style. Now her other two passions take centre stage in this book: poetry and the River Thames. She grew up by the river's upper reaches, knew the old lock-keepers and was familiar with all aspects of the Thames and its hinterland: both the natural world and the people whose lives are intimately connected with the river. In recent years, she has returned to the Thames, working for a summer as an assistant lock-keeper, and walking its length to record and respond to its landscapes, river life and river folk as a poet and photographer. Her pamphlet The Curative Harp won Ireland's Fool for Poetry chapbook competition in 2015 and was published by Southword. The English River is her first book-length poetry collection, showing many new sides to this multi-talented artist: as poet, nature writer, storyteller and photographer. The foreword is by Peter Townshend. `Virginia's story is about the river and the people who work on it, especially those who man the locks. She captures a view of the upper reaches of the River Thames that is entirely fresh. There are glimpsed moments of the claustrophobic beauty of the wooded parts that contrast with the open expanses of uplifting countryside where the river meanders through woodland and farmland. Focussing on the professionals who work on the river, and who manage the locks and the flood plains around them, Virginia suggests - as she works as a lock-keeper's assistant - that they become almost addicted to the peace and beauty of their place of work. She herself becomes enchanted, that is certain. She makes herself vulnerable in the most romantic way, working and writing and evoking everything she sees and feels as both a storyteller and poet, and as photographer.' - Pete Townshend, musician

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Amy Key's Isn't Forever is a spell book for feminine selfhood in a world where a sense of self is flimsy, elusive and unrequited. The poems in this book are obsessive in their desire to construct and breach the terms of their own intimacy. The poems have their own `narrative costume' but are vexed with it, not quite able to master the 'diligence of having a body'. This is a book where a tender and sabotaging shame of aloneness has taken root. Where wants cluster and are at war with each other. Where the heart is at once 'all lurgy' and an 'investment piece' to be saved for best. Where the sea is the only solace, but the sea is blase. The `ta-dah!' and candour of these poems is an exercise in Amy Key's imaginative protection and urge for personal extravaganza, an attempt to acknowledge but fight back the brutal inner voice. The obscure audience of the reader is never out of sight. Amy Key's first collection Luxe was published by Salt in 2013. Isn't Forever, her second book-length collection, is a Poetry Book Society Wildcard Choice.

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People we love die. And at the heart of the grief there's a sense of wonder: we can't believe it, where have they gone, what are they now, what does that make us? We end up wondering at life too. Death takes us to the edge of living; grief leads us to question the very limits and designs of life itself. Greta Stoddart's third collection Alive Alive O follows the human impulse to make sense of our mortality. Death is reconfigured not so much to console us but as a way of playing out different scenarios, trying for variants in metaphor and meaning, that we may better accept it. But for all their focus and attention on death these are not poems of despair. In their intensity and spirit our mortal life becomes a thing to behold, even in - or because of - the face of death.

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Louis de Paor is one of Ireland's leading Irish-language poets, and was a key figure in the Irish language literary renaissance of the 1970s and 80s. At that time he didn't want his poetry to be translated into English, believing it should be judged solely on his own original words and 'not critically assessed through the distorting prism of English' (Pat Cotter). But living in Australia for ten years gave him a different perspective, and he began publishing his work in bilingual editions. Since his return to Ireland in 1996, he has worked closely with poets Kevin Anderson, Biddy Jenkinson and Mary O'Donoghue on English translations of his poetry, with his co-translators fully engaging with the original poem in Irish, but never publishing bilingually 'until the poems have reached their first audience among Irish speakers'. This new bilingual selection of his poetry takes its title from Gerry Murphy's haiku 'Translation and its discontents', a reminder of the more destructive aspects of translation: Stark moonlit silence the brindled cat is chewing the nightingale's tongue. Here 'the translator appropriates material from another language to sustain the appetite of his own, devouring the original in the process. The danger of suffocation has led to some unease among Irish language poets.' Keenly aware of that ever-present danger and related anxieties, he and his trio of translators have eschewed the modern fashion for so-called "versions", producing English translations which are as close as possible to the original Irish poems without sacrificing their tone, energy, clarity and lightness of touch.

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