Search results for ""Bloodaxe Books""

In this innovative series of public lectures at Newcastle University, leading contemporary poets speak about the craft and practice of poetry to audiences drawn from both the city and the university. The lectures are then published in book form by Bloodaxe, giving readers everywhere the opportunity to learn what the poets themselves think about their own subject. Anne Stevenson argues that change is time's one permanent condition, that it continually transforms the present into the past at the very moment it opens the future to further change. She also argues that without an understanding of how poetry has re-invented itself through its history, today's present innovations are likely to remain rootless and unnourished. Drawing on lines from her own poem, 'The Fiction Makers' - 'They thought they were living now/ But they were living then' - Stevenson traces the theories, fashions and beliefs of modern poets in America and Britain since the 1930s (the span, in fact, of her own lifetime). Giving special attention to the voices of T.S.Eliot, Ezra Pound, Robert Frost, Elizabeth Bishop and Wallace Stevens, she shows how, after World War II, populist movements in the United States rose up against a university-based establishment, introducing a barbarian energy into the art while at the same time destroying its solid base in traditional rhythm and form. Each lecture features poets she considers to be among the most effective of their kind, ranging from W.B. Yeats, Robert Lowell and Richard Wilbur, to Frank O'Hara, John Ashbery and Denise Levertov. In her final lecture, she quotes extensively from friends and contemporaries recently deceased: G.F. Dutton, Frances Horovitz, William Martin, and finishing with a tribute to the voice and ear of Seamus Heaney. To the three texts of her 2016 Newcastle/Bloodaxe Lectures Stevenson has conjoined additional essays originally given as talks in the Chapel of St Chad's College in the University of Durham. These have mainly to do with rhythms and sounds rather than with subject-matter, arguing that, until very recently, it was a defining virtue of poetry not to be about anything that could better or more clearly be said in prose.Finally Stevenson, having had a number of second thoughts about Bitter Fame, her biography of Sylvia Plath (1989), includes a talk on this American poet's astonishing gift and tragic life, first given at Ledbury Poetry Festival in 2013.

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The mischievous and often dark world of Wayne Holloway-Smith's first collection Alarum exists in the space between the peculiar thought and its dismissal. It is a place in which commonsense is unfixed, where the imagination disrupts notions of stability. 'A single crow falling from the mind' of the poet is something awkward left at our feet, and the 'air itself' is the voice of skewered unease. The complexities of life are jolted awake throughout this fearlessly inventive debut, as loss arrives played by Joseph Gordon-Levitt in a movie, the risk of romance is understood as the filling in a sandwich, and anxieties are found hunkered in bushes, blooming behind the wallpaper, and in the bursting of balloons.

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Slakki is Old Norse for a shallow depression among hills: 'Not much of a valley. A Slack,' writes Roy Fisher, with typical self effacement. But appearances are deceptive where this Slakki is concerned. Opening with new poems written during his 80s - since his Costa-shortlisted collection Standard Midland (2010) - the book's second section is a gathering of uncollected poems mainly written during the 1960s, though occasionally foreshadowed later in the previous decade, while the third part contains poems, similarly uncollected, written in the 1950s. 'I describe the poems in sections two and three of this book as neglected,' Roy Fisher writes in an afterword. 'I must emphasise that these poems have not been passed over or slighted by publishers, editors or reviewers: indeed my work always seems to me to have had as much attention as it deserved or was likely to get. The neglect has been entirely mine.' Fisher's Collected Poems 1968 from Fulcrum was a carefully constructed volume whose cut down selection was carried over into later retrospectives: 'The cut material was left to lie more or less unexamined again until now.That turn of events furnishes the majority of the neglected items in the present volume. There's an element of what could better be called habitual negligence that also has a bearing.' Peter Robinson produced and ordered the texts of Slakki in response to instructions and advice from Roy Fisher. Derek Slade contributed substantially to composing the notes on sources and earlier appearances of the works gathered here.

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The dog of memory, an animal more often unbiddable and capricious than it is comforting and predictable, roams the landscapes of its choice: not only place, Helen Farish’s native Cumberland and further afield – mornings in Sicily, night skies in Athens – and people, but also the landscape of literature itself which is explored through re-readings of ten authors encountered during her school days. Farish’s doggèd and deeply moving meditation on memory ranges far and wide, but is also weighed against a love of the present whose ‘poise is the pause of a church bell suspended / rim-up after its stroke.’ The weather of snow, which often evokes as well as muffling the past, is replaced by ‘liquefying high-sky heat.’ Rendered in poetry of dexterity and poise, this authoritative third collection takes the reader on a thrilling journey which is lyric, dramatic, enquiring. Writer of the Year Finalist, Cumbria Life Culture Awards 2017 Shortlisted for the Lakeland Book of the Year 2017

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When R.S. Thomas died in 2000, two seminal studies of modern art were found on his bookshelves - Herbert Read's Art Now (1933) and Surrealism (1936), edited by Read and containing essays by key figures in the Surrealist movement. Some three dozen previously unknown poems handwritten by Thomas were then discovered between the pages of the two books, poems written in response to a selection of the many reproductions of modern art in the Read volumes, including works by Henry Moore, Edvard Munch, George Grosz, Salvador Dali, Rene Magritte and Graham Sutherland - many of whom were Thomas's near contemporaries. These poems are published here for the first time - alongside the works of modern art that inspired them. Thomas's readings of these often unsettling images demonstrate a willingness to confront, unencumbered by illusions, a world in which old certainties have been undermined. Personal identity has become a source of anguish, and relations between the sexes a source of disquiet and suspicion.Thomas's vivid engagements with the works of art produce a series of dramatic encounters haunted by the recurring presence of conflict and by the struggle of the artist who, in a frequently menacing world, is 'too brave to dream'. At times we are offered an unflinching vision of 'a landscape God / looked at once and from which / later he withdrew his gaze'.

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These poems may sometimes pretend they're joking but they never really are. And what is it they're not joking about? Death for one thing, and the fact that we don't actually know who we are, and the fact that we don't truly know who our loved ones are, or what art is, or anything else for that matter. Sometimes it feels as though someone has run off with meaning. It's no longer to be found where we could once expect to find it, perhaps in religion or in nature or in art, and these poems set off in search of it. Their aim is to see if there's a way of looking and a way of using language that can bring some meaning back to the world, because without it, we're lost. Meanwhile, Trees is Mark Waldron's third collection, following The Brand New Dark (2008) and The Itchy Sea (2011), both published by Salt.

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In her second collection, printer's daughter Heidi Williamson mines the rich language and history of printing to consider themes of belonging, parenthood, love, and how we communicate, and fail to communicate, with each other. Individual, familial, and cultural inheritance is explored - through subjects ranging from Gutenberg to Gill, Kindles, Twitter, ultrasounds, the death of Diana, 3D printing, climate change, childlessness, genes, and what is downloadable. By turns sensual, playful, and stark, The Print Museum collects exhibits and fragments from this fading industrial art and displays them alongside pieces driven by the same forces of longing, loss, transformation and delight. Winner of the Poetry Category and Book by the Cover award, East Anglian Book Awards, 2016.

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Chan is a mercurial name, representing the travellers and shape-shifters of the poems in this collection. It is one of the many nicknames of Hannah Lowe's Chinese-Jamaican father, borrowed from the Polish emigre card magician Chan Canasta. It is also a name from China, where her grandfather's story begins. Alongside these figures, there's Joe Harriott, the Jamaican alto saxophonist, shaking up 1960s London; a cast of other long-lost family; and a ship full of dreamers sailing from Kingston to Liverpool in 1947 on the SS Ormonde. Hannah Lowe's second collection follows her widely acclaimed debut, Chick, which took readers on a journey round her father, a gambler who disappeared at night to play cards or dice in London's old East End to support his family. Published by Bloodaxe in 2013, Chick was shortlisted for the Forward Prize for Best First Collection, the Fenton Aldeburgh First Collection Prize and the Seamus Heaney Centre Prize for Poetry, and selected for the Poetry Book Society's Next Generation Poets 2014 promotion.

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Taking inspiration from sources including historical and medical texts, curator's notes and the Complete Kama Sutra, Shazea Quraishi's poems explore love and loss through a range of voices: an Iraqi mother holds her fragile son; under the guise of ardour, a courtesan searches a client for signs of the woman she loves; a wife is unsettled by her husband's new family - The Art of Scratching is her first book-length collection, and includes The Courtesans Reply, a sequence written in response to the Caturbhani, four plays written around 300 BC on the life of courtesans in India.

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Adelia Prado was "discovered" she was nearly 40 by Brazil's foremost modern poet, Carlos Drummond de Andrade, who was astonished to read her 'phenomenal' poems, launching her literary career with his announcement that St Francis was dictating verses to a housewife in the provincial backwater of Minas Gerais. Psychiatrists in droves made the pilgrimage to Divinopolis to delve into the psyche of this devout Catholic who wrote startlingly pungent poems of and from the body; they were politely served coffee and sent back to the city. After publishing her first collection, Baggage, in 1976, she went on to become one of Brazil's best-loved poets, awarded the Griffin Lifetime Achievement Award in 2014. Adelia Prado's poetry combines passion and intelligence, wit and instinct. Her poems are about human concerns, especially those of women, about living in one's body and out of it, about the physical but also the spiritual and the imaginative life; about living in two worlds simultaneously: the spiritual and the material. She also writes about ordinary matters, insisting that the human experience is both mystical and carnal. For her these are not contradictory: 'It's the soul that's erotic,' she writes. 'Sometimes other poets and critics analyse my writing, and they've said how, even though the text is made of colloquial and everyday language, the work goes to transcendental issues. I don't know, I don't explain things; I simply do what I do. I only know how to write about concrete, immediate and commonplace things. But these commonplace things show me their metaphysical nature. I can only see the metaphysical, the divine, through the concrete and the human.'

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Jane Hirshfield is a visionary, profoundly original American writer whose poems ask nothing less than what it is to be human. Both sensual meditations and passionate investigations, they reveal complex truths in language luminous and precise. Rooted in the living world, her poems celebrate and elucidate a hard-won affirmation of our human fate. Born of a rigorous questioning of heart, spirit and mind, they have become indispensable to many American readers in navigating their own lives. Bloodaxe published her retrospective Each Happiness Ringed by Lions: Selected Poems in 2005, followed by After in 2006, a Poetry Book Society Choice which was short-listed for the T.S. Eliot Prize, and then Come, Thief in 2011. Jane Hirshfield's latest collection, The Beauty, opens with a series of poems exploring both the profundities and the quirks of our shared human existence. She draws intimate meaning from multiple realms: science, culture, language itself, and above all the luminous materials and minutely particular emotions of daily life. In their robust negotiation with fate and justice, these clear and moving poems open a new and steepened understanding of our lives' full measure of losses, knowledge, and loves.

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For the past 50 years, Mircea Dinescu has been one of Romanian poetry's most provocative and obstinately singular poets. After starting out as a writer of highly musical poetry that he spun round in his fingers with the aplomb of a magician who refuted reality, he ended up stuck in free verse, impelled mainly because of the surrealism of a world in which the label and the content of any box seldom matched. After his first gratuitous exercises when he was 22 and striving to commit himself to love poetry, he was surprised to discover that he had created a poetry of sly political allusion. He was like that communist worker employed in a factory producing bicycle parts who, stealing a tiny wheel one day, a few nuts and bolts on another, a gear, then taking home a chain and a length of pipe, until finally realising to his amazement that however he assembled these parts, instead of a bicycle the result was a Russian machine gun. The dictator at whom Dinescu shot his metaphors was eventually shot with real bullets by his own henchmen. Unlike Dinescu, those men were able to see the difference between a bicycle and a machine gun: later on, disguising themselves as anti-communists, they pedalled their bicycles into the brave new consumer society. A quarter of a century and more since the fall of communism, Mircea Dinescu still hesitates to think of himself as witness, judge or defendant. Like an agile monkey, he jumps into and out of the handbook of literature, just as into and out of the handbook of history, where he is mentioned on page 16, in the chapter entitled Revolutions. In 1989, Dinescu was liberated from house arrest by a large crowd in Bucharest who carried him triumphantly to the national television building. There he announced to his country and the world, with actor Ion Caramitru, that the dictator had fled. The country changed almost overnight from communist to capitalist, but Dinescu carried on doing what he'd always done: writing necessary poems that challenge all systems.

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I May Be Stupid But I'm Not That Stupid brings together six contrasting but complementary poem sequences by ‘this brilliant lyricist of human darkness’ (Fiona Sampson) relating to family, fear, foreboding and felicity. Elective Mute is about autism and happiness; My Mother and Me on the Eve of the Chess Championships, about a mother who prefers lettuces to life; Fishtank (Poetry Book Society Pamphlet Choice), about a brother who is somebody else; Lambchop, about a creepy old man; The Boxer Klitschko, on finding refuge with swimming, dogs and a jovial uncle; and Helpless with Laughter, on what the parts of the body have to say about themselves. Like all of Selima Hill’s work, all six sequences in the book chart ‘extreme experience with a dazzling excess’ (Deryn Rees-Jones), with startling humour and surprising combinations of homely and outlandish..

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Doris Kareva is one of Estonia's leading poets, admired especially for poems that balance precision and control with passion and bravado. Her achievement, according to Estonian Literature, is in writing poems which are both `plentiful and fragile like a crystal...balancing on the line between the human soul and the universe, between sound and silence'. Days of Grace spans over forty years of her poetic output, showing how the sustained depth and clarity of her poetry lies in her ability to create ambiguity and suggest harmony at the same time, with a multiplicity of meanings generating the opposite of clarity: a form of hinting which at its most illuminating becomes utterly oracle-like. Such is the metaphysical sensitivity of her poetry that its moral charge is sensed almost physically. She has also been called `a priestess of love' who is fearless as well as discreet in her portrayal of love that is so `pure and elevating like mountain air' that she seems to be writing from another time or dimension.

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J.H. Prynne is Britain's leading late Modernist poet. His austere yet playful poetry challenges our sense of the world, not by any direct address to the reader but by showing everything in a different light, enacting slips and changes of meaning through shifting language. Not since the late work of Ezra Pound and the Maximus series of Charles Olson have the possibilities of poetry been so fundamentally questioned and extended as they are in the life work of J.H. Prynne. When his Poems was first published in 1999, it was immediately acclaimed as a landmark in modern poetry. Four further collections were added to the second edition of Poems in 2005. This expanded third edition of Poems (2015) includes the complete texts of his later work: Refuse Collection (2004), To Pollen (2006), STREAK~~~WILLING~~~ENTOURAGE~~~ARTESIAN (2009), Sub Songs (2010), Kazoo Dreamboats; or, On What There Is (2011), and Al-Dente (2014), all previously available only in limited editions.

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Miriam Gamble's second collection takes its title from unlicensed broadcasting. Here, the marginalia of prophecy coexist with and counter voices of authority, voices that are at once eerie and depressingly recognisable. An artist steals back paintings, leaving the money in their wake, and scores a cameo on Crimewatch; a figure from medieval memento mori art finds himself up against a consumer deaf to the language of symbolism; animal anti-heroes spit in the face of well-meaning, or not so well-meaning, human interest. Throughout, biological impulses are sparked then thwarted by entropic systems - creatures and humans alike find themselves steered rather than steering, engulfed by repeating patterns which nullify the efforts of the individual life. Pirate Music questions the narratives, including those forged by art itself, by which we shape the world to suit our own devices and steel ourselves against 'what we cannot name or see'.

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Archipelago is a bilingual selection of poems by the leading Italian poet Antonella Anedda drawn from five collections she has published in Italy. Her poetry has a searing, disruptive quality, an honesty that is hard won. Her words have the air of breaking the silence reluctantly, and they keep the silence with them. This stringent, ferrous element sets her at odds with the eloquence and lyricism characteristic of the Italian poetic tradition, and may owe something to an alternative nationality, a different landscape. Though born in Rome, she comes from a Sardinian family and has passed a great deal of her life between the capital and a small island, La Maddalena, off the coast of Sardinia, and the languages she was brought up hearing were Logudorese, Catalan from Alghero, and Corsican French mixed with the dialect of La Maddalena - and of late she has found herself also writing a number of poems in Logudorese. While her poems have a geographical sweep, there is also an insistence on domestic detail - balconies, crockery, sewing, cooking: elements often considered too humble to warrant poetic attention. But even here they are often set against a backdrop of war and insecurity, and a poem in these surroundings, such as her 'Kitchen', is as likely to be the site of a haunting. Her first book, Winter Residences, already posited an elsewhere, that of St Petersburg, and an elective affinity with another culture. With time, and with the emergence of her next four books of poetry, this sense of apartness has increased, as has the force and particularity of her language - and has made her, along with Valerio Magrelli, one of the most valued and original poets of her generation.

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W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who has 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. The Moon Before Morning is a love letter composed in a stunning rush of memory. Answering the call set forth in The Shadow of Sirius (2009), which won him his second Pulitzer Prize, Merwin extends the emotional and intellectual reach of that collection with passionate reverence for the natural world, bittersweet reflection on time’s irrevocable ravages, and equanimity informed by a lifetime of writing and practised contemplation. Merwin’s studied precision in form and language filters crisp, beautiful images through ethereal memory, forging an intense bond between the writer and a quickly transforming world. ‘When we forget,’ Merwin writes, others will remember: no action or spirit on Earth is without its infinite reverberations. Poetry Book Society Recommendation.

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'David Scott belongs firmly to the long tradition of parson-poets that goes back at least as far as George Herbert... For all their reticence, there is a compassion in these poems and a sense of propriety' - Norman Nicholson. Springing from ordinary events, or a picture, or an aspect of the priestly life, David Scott's beautifully restrained poems work up the detail into a moment of significance. They are rooted in an English culture which is found not only in locality, but also in understatement, and the sideways look. But his poetry has wider reverberations, exploring spirituality and ways of praying as well as momentary glimpses of meaning caught in everyday life. David Scott won the National Poetry Competition in 1978, and this new retrospective draws on all the books he has published since then, from A Quiet Gathering (1984) and Playing for England (1989) to Selected Poems (1998) and Piecing Together (2005), with the addition of a whole collection of new poems.

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Aoife Lyall’s debut collection Mother, Nature explores the tragic and tender experiences of pregnancy and early motherhood, from ante-natal complications and the devastating pain of miscarriage to the overwhelming joy of healthy delivery and normal infancy. Born and raised in Dublin, Aoife Lyall now lives in the Scottish Highlands. Shortlisted for the Hennessy New Writing Awards in 2016 and 2018, her work has appeared in many literary magazines.

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Hannah Lowe taught for a decade in an inner-city London sixth form. At the heart of this book of compassionate and energetic sonnets are fictionalised portraits of ‘The Kids’, the students she nurtured. But the poems go further, meeting her own child self as she comes of age in the riotous 80s and 90s, later bearing witness to her small son learning to negotiate contemporary London. Across these deeply felt poems, Lowe interrogates the acts of teaching and learning with empathy and humour. Social class, gender and race – and their fundamental intersection with education – are investigated with an ever critical and introspective eye. These boisterous and musical poems explore the universal experience of what it is to be taught, to learn and to teach. The Kids – a Poetry Book Society Choice – won the 2021 Costa Poetry Award and went on to be named Costa Book of the Year, and was also shortlisted for the 2021 T.S. Eliot Prize.

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Being appointed Dundee Makar (or City Laureate) implied that Bill Herbert might settle into middle age. He rented a ?at overlooking Broughty Ferry harbour to write about his home town in both its native tongues. Then within six months his much-loved father died, and that civic idyll was thrown into crisis. Personal and political roles collided as referenda for Scottish independence and EU membership, then the US elections, signalled that the post-war liberal value system was very much in crisis. This is his Dundonian Book of the Dead, in which he explores both his own grief and the encroachment of a new intolerance. His town’s de?ning modern disaster – the loss in 1959 of the lifeboat Mona with all hands – becomes a symbol for a world turned upside down. But while patriarchy ?ounders in a storm of its own undoing, his absurd alter ego, William McGonagall, brings his unique tragedian’s eye to bear on both the city’s and our society’s efforts to right itself. The comic and the tragic become catastrophe’s ?otsam and jetsam, and the image of the overturned boat is re?ected in the very structure of this book, with a keel-hauling of Dundee Doldrums for its climax – poems which resist any stasis of the imagination. The crew of this latter-day Ship of Fools include Captain Beefheart, the cannibal clan of the Den?ends, and a lion, while the passenger list features the surrealist Leonora Carrington, various Jesuses, and the ghastly Imperator Trumpo. Its voyages to alternative futures and pasts echo those of Herbert’s merchantman father, while, in a manner that matches Bill Senior’s later trade of precision engineer, it ?ts together a dynamic range of forms with an intense focus on the metamorphic and redemptive energies of language.

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The poems in The Farewell Glacier grew out of a journey to the High Arctic. In late 2010 Nick Drake sailed around Svalbad, an archipelago of islands 500 miles north of Norway, with people from Cape Farewell, the arts climate change organisation. It was the end of the Arctic summer. The sun took eight hours to set. When the sky briefly darkened, the Great Bear turned about their heads as it had for Pythias the Greek, the first European known to have explored this far north. Sailing as close as possible to the vast glaciers that dominate the islands, they saw polar bear prints on pieces of pack ice the size of trucks. And they tried to understand the effects of climate change on the ecosystem of this most crucial and magnificent part of the world. Nick Drake's new collection gathers together voices from across the Arctic past - explorers, whalers, mapmakers, scientists, financiers, the famous and the forgotten - as well as attempting to give voice to the confronting mysteries of the high Arctic: the animal spirits, the shape-shifters and the powers of ice and tundra. It looks into the future, to the year 2100, when this glorious winter Eden will have vanished forever. Many of the poems from The Farewell Glacier are included in ground-breaking High Arctic exhibition, installed at the National Maritime Museum in Greenwich from July 2011 to January 2012, which received substantial national publicity, including a feature on BBC Radio 4's Front Row and national press reviews.

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This new, comprehensive selection of one of America’s foremost modern poets draws on two dozen collections published over six decades. Edited by Paul A. Lacey, it replaces her earlier Bloodaxe Selected Poems (1986), and includes selections from both her earlier work and from the six later collections published by Bloodaxe in Britain, from Oblique Prayers to the posthumously published Sands of the Well and This Great Unknowing. Preface by Robert Creeley.

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Sensual, salacious and above all scandalous, the erotic verse of the Roman poet Catullus has delighted - and shocked - readers for centuries. Charting the lives and loves of a group of smart young men about Rome during the late Republic, Catullus' urbane poetry is renowned for its emotional range and psychological insight, not to mention its often startling obscenity. Josephine Balmer's new translation of the complete shorter poems highlights both the intense lyricism and scabrous wit of the original, bringing Catullus' vivid cast of characters back to life for a new audience.

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Peter Reading was one of Britain’s most original and controversial poets: angry, uncompromising, gruesomely ironic, hilarious and heartbreaking – as funny as he was disconcerting. Over four decades he became our most skilful and technically inventive poet, mixing the matter and speech of the gutter with highly sophisticated metrical and syllabic patterns to produce scathing and grotesque accounts of lives blighted by greed, meanness, ignorance, phony media flimflam, political ineptness and cultural impoverishment. Each of his collections is self-contained, as carefully constructed and plotted as a novel, interweaving voices and narrative strands which can now be seen to link the 24 books which make up his Collected Poems. This was published in three volumes from Bloodaxe: Poems 1970-1984 (1995), Poems 1985-1996 (1996) and Poems 1997-2003 (2003). He subsequently produced two later collections, -273.15 (2005) and Vendange Tardive (2010). He died in 2011. The collections included (in full) in Volume 3 of his Collected Poems are: Work in Regress (1997), Ob. (1999), Marfan (2000), [untitled] (2001), Faunal (2002), Civil (2002) and d (2003).

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Staying Alive is an international anthology of 500 life-affirming poems fired by belief in the human and the spiritual at a time when much in the world feels unreal, inhuman and hollow. These are poems of great personal force connecting our aspirations with our humanity, helping us stay alive to the world and stay true to ourselves. Many people turn to poetry only at unreal times, whether for consolation in loss or affirmation in love, or when facing other extremes and anxieties. Staying Alive includes many of the great modern love poems and elegies, but it also shows the power of poetry in celebrating the ordinary miracle, taking you on a journey around many of the different aspects of everyday life explored in poems. A strong poem is not just for crisis. Such a poem is there for all times, helping us face or embrace daily change and disruption. It will also speak to us when nothing seems to be happening, when the poem's importance is in helping us stay alive to the world and stay true to ourselves. Staying Alive has reached a wider readership than any other anthology of contemporary poetry. It is a landmark in the history of literary publishing. The first in a series, Staying Alive was followed by a sequel, Being Alive (2004), 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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Too Black Too Strong is Benjamin Zephaniah's third collection from Bloodaxe. It addresses the struggles of black Britain more forcefully than all his previous books. With poems like 'Chant of a Homesick Nigga' and 'Kill Them Before Ramadan', he shows that he's a poet who won't stay silent, who doesn't pull any punches, writing out of a sense of urgency and a commitment to social justice. He opens this hard-hitting and blackly funny book of poems with an outspoken comment on where he's coming from, setting his poetry against the political landscape of Britain. The book includes poems written while working with Michael Mansfield QC and other Tooks barristers on the Stephen Lawrence case.

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'He was indeed the nearest anybody ever got to Charlie Chaplin in print...the sentences skid and dance and hop on one leg or take a custard pie right on the chin or duck and weave and leave you gasping behind. But he is more for the wry smile than the belly laugh'. This was how Sid Chaplin described Jack Common, author of two of the best working-class novels of the 20th century, and 'the best prose writer to come from the North-East of England'. "Kiddar's Luck", his first novel, was a commercial flop when it first appeared. It has since been called a 'neglected masterpiece', remarkable for its 'linguistic mastery and insights into the lives of working people, free of illusions and false heroics' (Richard Kelly in "The Independent"). Common's semi-autobiographical novel tells the story of a boy, Willie Kiddar, his first 14 years, from conception on a Sunday afternoon to leaving school during the First World War.

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Hot on the heels of her previous collection Men Who Feed Pigeons, Selima Hill's Women in Comfortable Shoes is her 21st book of poetry, presenting eleven contrasting but well-fitting sequences of short poems relating to women: Fishface: A disobedient young girl is sent to a Catholic convent school to give her mother a break. My Friend Weasel: The 50s. A girls' boarding school where the girls are somehow managing to make new friends. Susan and Me: On friendship. Two close friends, one of whom, Susan, is heading for a nervous breakdown. Dolly: Dolly is a duck. The other 29 women are, in their various ways, human. My Mother with a Beetle in Her Hair: A daughter's passion for swimming – despite of her mother hating every minute. Fridge: Lorries, geese and fridges speak of death, grief and absence. My Spanish Swimsuit: A daughter fears her rabbit-trapping father.. The Chauffeur: A pair of bad-tempered sisters, a parrot and a cat. Girls without Hamsters: An older woman's obsession with a spider-legged young man. Reduced to a Quivering Jelly: Vera is old, and getting older, but she doesn't seem to care. Dressed and Sobbing: A woman is surprised to find herself getting older and lazier. The book is a Poetry Book Society Recommendation.

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This second, expanded edition of Josephine Balmer's classic translation of the Greek poet Sappho has new, recently-discovered fragments, including the Brothers Poem, the Kypris Song and the Cologne Fragment. In a new essay on these additions she discusses the issues raised in the translating – and in some cases retranslating – of these fragmentary and ever-shifting texts. Poems & Fragments is now the only complete, readily-available translation in English of Sappho's surviving work. Sappho was one of the greatest poets in classical literature. Her lyric poetry is among the finest ever written, and although little of her work has survived and little is known about her, she is regarded not just as one of the greatest women poets, but often as the greatest woman poet in world literature. She lived on the island of Lesbos around 600 BC, and even in her lifetime, her work was widely known and admired in the Greek world. Plato called her 'the tenth muse', and she was a major influence on other poets, from Horace and Catullus to more recent lyric poets. Yet in later centuries, speculation about her sexuality has tended to diminish her poetic reputation. One medieval pope considered her so subversive that her poems were burned. Some of her poems were written for the women she loved, but her circle of women friends and admirers was not unlike Socrates' circle of followers. She may have been a lesbian in the modern sense, or she may not, but to call her a lesbian poet is an over-simplification. What remains is her poetry, or the fragments which have survived of it, and her intense, sensuous, highly accomplished love poems are among the finest in any language. First published in 1984 and revised in 1992, Josephine Balmer's edition brings together all the extant poems and fragments of Sappho. In a comprehensive introduction, she discusses Sappho's poetry, its historical background and critical reputation, as well as aspects of contemporary Greek society, sexuality and women.

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When he was awarded an honorary degree in civil law at Newcastle University in 1967, Dr Martin Luther King gave an electrifying extemporaneous address, speaking without notes, in which he said: 'There are three urgent and indeed great problems that we face today...That is the problem of racism, the problem of poverty and the problem of war.' As part of a fifty year anniversary and celebration, this anthology gathers poets from both sides of the Atlantic to address the challenges set out by Dr King. It's a shock to think how little has changed, and that Martin Luther King could well be speaking right here, right now. In the spirit of Dr King and his work as a humanitarian and activist, this anthology brings together poems that offer powerful testimonies to the urgent issues Dr King defines and represents the polyphony of voices that speak in resistance to our continuing problems of racism, poverty and war. Featuring poems by Claudia Rankine, Grace Nichols, Yusef Komunyakaa, Moniza Alvi, Rita Dove, Daljit Nagra, Imtiaz Dharker, Fred D'Aguiar, Oliver de la Paz, Rowan Ricardo Phillips, John Agard, Patricia Smith, Jericho Brown, Toi Derricotte, Vahni Capildeo, Carl Phillips, Sarah Howe, Elizabeth Alexander, Ishion Hutchinson, Linton Kwesi Johnson, Marilyn Nelson, Mimi Khalvati, Nikki Giovanni, Robert Pinsky, Bernardine Evaristo, Vidyan Ravinthiran, Major Jackson, Tim Seibles, Choman Hardi, Benjamin Zephaniah, Shazea Quraishi, E. Ethelbert Miller, Sandeep Parmar, Malika Booker, Roger Robinson, Rigoberto Gonzalez, Rae Paris, Kendel Hippolyte, Amali Rodrigo, Zaffar Kunial, Rishi Dastidar, Raymond Antrobus, Mai Der Vang, Martin Espada, Inua Ellams, Arundhathi Subramaniam, Gregory Pardlo, Edward Doegar, Degna Stone, MacDonald Dixon, Ada Limon, Philip Metres, Nick Makoha, Nathalie Handal, Lauren K Alleyne, Kevin Bowen, Bashabi Fraser, Satchid Anandan. Co-publication with Newcastle University.

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As well as being Germany's most important poet, Hans Magnus Enzensberger is a provocative cultural essayist and one of Europe's leading political thinkers. No British poet can match him in his range of interests and his moral passion. Enzensberger is a cultured, learned, widely knowledgeable man, but his poems wear their knowledge, learning and culture very lightly. Perfectly at ease in a variety of poetic forms, he presents us again and again with things that matter. This is intelligent and pointed poetry in the tradition of Brecht, humanely political and generously engaged. The poems have the ease and the lightness of real mastery. They are moral in their insistence that human life can be lived well or badly, that it is up to us to choose well and to act wisely. Enzensberger is now writing with an increasing awareness of mortality, yet addresses social and political dangers and evils with undiminished urgency. This is a dual language edition expanding Enzensberger's earlier Bloodaxe Selected Poems with work from his later collections Kiosk, Lighter Than Air and A History of Clouds. The translations are by Enzensberger himself and by Michael Hamburger, David Constantine and Esther Kinsky.

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Brian Turner's first book of poems, Here, Bullet, was a harrowing, first-hand account of the Iraq War by a soldier-poet. In Phantom Noise he pumps up the volume as he faces and tries to deal with the traumatic aftermath of war. Flashbacks explode the daily hell of Baghdad into the streets and malls of peaceful California, at the same time sending Turner's imagination reeling back to Iraq. If he thought he had written all he could of his Iraq experiences in "Here, Bullet", he was mistaken, for what he saw and felt there affected him so profoundly that more poems had to be written, years later, from a place of apparent safety. Brian Turner writes a powerful poetry of witness, exceptional for its beauty, honesty and skill. Like Keith Douglas's poems from the North African desert in the Second World War, Turner's testament from the war in Iraq offers unflinchingly accurate description but no moral judgement, leaving the reader to draw any conclusions. Repetitive media reports show little of people's daily experience of the war and occupation. In "Phantom Noise", as in "Here, Bullet", we see and feel the devastatingly surreal reality of everyday life and death for soldiers and civilians through the eyes of an eloquent writer who served in the US Army for seven years, with a year's tour of duty in Iraq as an infantry team leader. Shortlisted for the T.S. Eliot Prize.

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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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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, and was Spain’s most widely acclaimed contemporary poet. The melancholy and candour of his poetry show his affinity with Thomas Hardy, whose work he translated. In the much praised Tugs in the Fog: Selected Poems (Bloodaxe Books, 2006), Joan Margarit evoked 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, reminding us that it is not death we have to understand but life. Now in the more recent work translated in Strangely Happy, he builds an architecture of the human spirit out of the unpromising materials of self-doubt, despair and death. In writing stripped of all inessentials, and in the company of his dead, Joan Margarit confronts old age and his own death in poems that go on moving us with their harsh, poignant music. His poetry confronts the worst that life can throw at us, yet what lingers in the mind is its warmth and humanity.

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The Heavy Bear Who Goes With Me is the ultimate reader’s companion to poetry: a selection of 100 classic poems from ?ve centuries with lively “companion” commentaries to go with and illuminate each poem. The heavy bear can be many things which go with the bearer: another self or alter ego, the burden of poetry or art, what weighs us down and makes us do what we don’t really want to do as well as what pulls us back to our selves, the animal side which makes us bearable or human. The editors’ selection ranges from Wyatt, Ralegh and Shakespeare in the 16th century, to Donne, Milton and Marvell in the 17th, to Swift, Pope and Johnson in the 18th. It embraces the Romantic visions of Blake, Wordsworth, Coleridge, Shelley and Keats, as well as the later, darker outlook of Browning, Tennyson and Hardy, and seeks enlightenment in the shadowlands of Emily Dickinson, Wilde and Yeats. As well as journeying with the reader through some of the greatest poems in the English language, The Heavy Bear encounters many modern poets, not least Delmore Schwartz, whose sense of con?ict between self and society gave birth to this anthology’s title-poem, ‘The Heavy Bear Who Goes With Me’. Others include some of the major figures in Irish poetry Brendan Kennelly knew personally as well as wrote about, including Patrick Kavanagh, Seamus Heaney, Michael Longley, Derek Mahon and Eavan Boland. The poems keep each other company in this highly original compilation, questioning each other in a continuing thematic, imagistic debate which the editors seek to explore in their responses, trying at all times to de?ne their sense and vision of poetry as disturbing, questioning, enlightening companionship for the reader. Both editors are renowned communicators of poetry: Brendan Kennelly (1936-2021) as one of Ireland’s best-loved poets, as Professor of Modern Literature at Trinity College Dublin, and as a popular cultural commentator on Irish television; Neil Astley as founder and editor of Bloodaxe Books and editor of the Staying Alive anthology series.

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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 over the past four decades became known for his mastery of the Catalan language, and was Spain’s most widely acclaimed contemporary poet. The melancholy and candour of his poetry show his affinity with Thomas Hardy, whose work he translated. He was awarded both the 2019 Cervantes Prize, the Spanish-speaking world's highest literary honour, and the Reina Sofía Prize for Ibero-American Poetry 2019, the most important poetry award for Spain, Portugal and Latin America. In the much praised Tugs in the Fog: Selected Poems (Bloodaxe Books, 2006), Joan Margarit evoked 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, reminding us that it is not death we have to understand but life. Five of his later collections were translated by Anna Crowe and published by Bloodaxe in two compilations, Strangely Happy (2011) and Love Is a Place (2016). Wild Creature brings together the poems of his final two collections, Un hivern fascinant (An amazing winter, 2017) and Animal de bosc (Wild creature, 2020). The two books that make up this final collection in English show us a poet writing at the end of his life, and facing up to his approaching death with courage, humility and even humour. Confronting loss is one of Margarit’s enduring themes, and many of these poems do just that but – continuing the theme of his previous collection, Love Is a Place – there are even more that celebrate love and everyday domesticity, and he reminds us that love needs to be worked at. These are poems that arise naturally out of an examined life, and although he does not spare himself or the folly of our times, there is great tenderness in the way he reaches out to embrace life, love, and the pain of the past. A solitary, Margarit pays tribute to other writers and artists of that ilk, to the rural poverty of his childhood, and to the wild creature deep in each one of us whom we ignore at our peril.

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Brendan Kennelly was one of Ireland’s most popular and prolific poets. Over five decades he wrote thousands of poems published in over 30 books of poetry, including three previous editions of Selected Poems. Published on his 75th birthday, this new selection presents just over a hundred of Kennelly’s most essential poems, with a QR code giving readers access to an online album of readings by Brendan Kennelly of many poems from the book. The e-book with audio edition incorporates the same recordings. The Essential Brendan Kennelly has been edited by two lifelong admirers of his work. Like Kennelly, Terence Brown studied at Trinity College, Dublin, where he taught until 2009; he is now Fellow Emeritus of the college. Michael Longley, who also studied at Trinity College, went on to become one of Ireland’s leading poets and was Ireland Professor of Poetry in 2007-10. Terence Brown & Michael Longley write (from their foreword): 'Brendan Kennelly is a poet of rare gifts, who at all stages of his career has written distinctive, memorable and powerful poems. We hope that this selection will allow readers to appreciate anew, or for the first time, a body of work that ranges from tender lyricism to the bleakest despair at the human condition, from bawdily comic narrative to the pleasingly epigrammatic squib, from mythic consciousness to social satire… Yet each literary mode – the lyrical and its obverse, a reductively satiric assault on "the poetic" – shares what has seemed the basis of all of Kennelly’s poetry: a quest for authenticity of emotion undertaken with high moral intent. In each, as Beckett said of the painter Jack Yeats, the poet "stakes his being".’ The audio selection draws on four classic recordings made by Brendan Kennelly in Dublin in 1982, 1998, 1999 and 2002 of 32 individual poems as well as four extracts from his book-length poem The Man Made of Rain. ‘Ten years ago Terence Brown and I edited for Bloodaxe Books a selection of his poems, The Essential Brendan Kennelly: a labour of love. We delighted in bringing into sharper focus the lyric grace of his genius, its rage and its rapture. To our relief Brendan gave our choices the thumbs-up. It remains for me one of the best things I’ve ever done. I loved and revered the man and his words.’ – Michael Longley, The Irish Times, paying tribute to Brendan Kennelly

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Thirty poets from around the world read to you in person. This is a new concept in publishing: your own personal poetry festival brought into your home. Each poet reads to you for about ten minutes - up to half a dozen poems chosen from across the range of their work. "In Person" is a collaboration between Bloodaxe Books and award-winning film-maker Pamela Robertson-Pearce. Her style of filming combines directness and simplicity, sensitivity and warmth - the perfect combination for these intimate readings. It is as if the poet were sitting in the room with you, reading just to you, and sometimes saying a few things about the poems. Apart from one recording taken from a live public performance, all the films present informal, one-to-one readings. They enhance your appreciation of the poetry. You hear how the poems sound; you see how the poets read and present their work. T.S. Eliot once described poetry as 'one person talking to another', while W.H. Auden believed it was essential to hear poetry read aloud, for 'no poem, which when mastered, is not better heard than read is good poetry'. "In Person" presents the oral art of poetry in that spirit. There are four hours of readings on two DVDs pouched inside the back cover, and all the poems are printed in this book. "In Person" celebrates 30 years of poetry from a pioneering press. Founded in 1978, Bloodaxe has published nearly a thousand titles by three hundred writers. Until now you wouldn't be able to see or hear readings by many of Bloodaxe's international range of poets. "In Person" makes that possible for the first time, presenting readings by 30 essential voices from Britain, Ireland, America, Spain, Hungary, Palestine, Pakistan, China, New Zealand and the Caribbean. Four out of the 30 short films present the poets' work bilingually. Menna Elfyn's reading alternates between her Welsh poems and their English translations. Joan Margarit reads in Catalan in tandem with his translator Anna Crowe reading her English translations. Palestinian poet Taha Muhammad Ali reads in Arabic and then re-inhabits each poem as it is read in English by his translator Peter Cole. Yang Lian introduces his work in English, and reads the poems in Chinese. This anthology presents all their poems in both languages in a parallel-text format, enabling you to follow either language as the poems are read on the film. All the other readings are in English only, and in many varieties of English which will add greatly to your enjoyment and appreciation of the poetry: not just poems read in Scottish, Welsh and Irish English by Jackie Kay, W.N. Herbert, Gwyneth Lewis, Brendan Kennelly and Micheal O'Siadhail, but also George Szirtes' Hungarian-inflected English, Benjamin Zephaniah's melding of Jamaican and Birmingham, and the Caribbean lilt of John Agard and James Berry. The musical range of American voices is just as diverse, ranging from urban Detroit (Philip Levine) to the Ozark Mountains (C.D. Wright). There's also a 'bonus track': a short film of Bloodaxe's first poet, Ken Smith, made by Ivor Bowen just before Ken's untimely death.

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After Cézanne is a sequence of fifty-six poems exploring the life and work of the post-impressionist painter Paul Cézanne. Reimagining his friendships with Zola and Pissarro, his impact on Matisse and Picasso, as well as his posthumous reputation, Maitreyabandhu celebrates Cézanne’s apples and card players in poems at once tender, urgent and amused. The book includes 26 colour reproductions, a preface by Christopher Lloyd (Surveyor of the Queen’s Pictures, 1988-2005) and extensive textual notes. After Cézanne is Maitreyabandhu’s third collection.

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John Agard has been broadening the canvas of British poetry for the past 40 years with his mischievous, satirical fables which overturn all our expectations. In this new symphonic collection, Travel Light Travel Dark, Agard casts his unique spin on the intermingling strands of British history, and leads us into metaphysical and political waters. Cross-cultural connections are played out in a variety of voices and cadences. Prospero and Caliban have a cricket match encounter, recounted in calypso-inspired rhythms, and in the long poem, Water Music of a Different Kind, the incantatory orchestration of the Atlantic's middle passage becomes a moving counterpoint to Handel's Water Music. Travel Light Travel Dark brings a mythic dimension to the contemporary and opens with a meditation on the enigma of colour. Water often appears as a metaphoric riff within the fabric of the collection, as sugar cane tells its own story in 'Sugar Cane's Saga' and water speaks for itself in a witty debate with wine, inspired by the satirical tradition of the goliards, wandering clerics of the Middle Ages.

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Brendan Kennelly's Guff is both mouthpiece and mouthed off, Devil's advocate and self critic, everyman and every writer consumed by self-doubt and self-questioning. The book of Guff is about words writing the man. Words drive him into the cave of himself where he questions everything including words that seem to constitute answers and answers that question both questions and answers. Do poets write poems or do poems write poets? And consider the shape of that question-mark, like a snake twisting in its sleep: so twisting, or twisted snakes, lie beside Guff as he tries to sleep in his cave, led now by the words that the snake hisses in his old head. All through his book-length poem Guff hears both the hissing of the words he believes he loves as well as the hissing mysteries of love. Guff is prey to the ruthless continuity of one word leading to another, until these words relax and settle down into what he thinks, or hopes, is "meaning". Like Kennelly's Cromwell, The Book of Judas and Poetry My Arse, Guff is a knockabout Swiftian satire, a mischievous meditation on the human condition. It's also a powerfully expressive hymn to life with all its flaws, a snaking poem with the movement of a river in its different moods from cold anger to summer warmth for minds and bodies, which asks who or what is a genuinely noble person? Dublin is the backdrop to Guff's jabbering quest, a city where haunted men walk the streets talking to themselves, at times with passion, at times with an air of secrecy or self-accusation, at times as if seeking a friend prepared to listen. Guff is a brother to these strange wanderers. In the poem he becomes at one or at odds with them.

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A greatest hits, best of golden oldies compilation (with some new stuff) from 'Comedy's poet laureate' (Independent). Poet, comic, singer, songwriter and glasses-wearer, John Hegley has captivated and devastated audiences all over the country, in theatres and festivals, at gigs at the Edinburgh Festival, and with numerous appearances on radio and television. This new compilation shows the breadth of his appeal, with seriously funny, cleverly comic poems on everything from love, family, France, art and the sea to dogs, dads, gods, taxidermy, carrots, spectacles and - of course - potatoes.

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The Essential Haiku brings together Robert Hass's beautifully fresh translations of the three great masters of the Japanese haiku tradition: Matsuo Basho (1644-94), the ascetic and seeker, and the haiku poet most familiar to English readers; Yosa Buson (1716-83), the artist, a painter renowned for his visually expressive poetry; and Kobayashi Issa (1763-1827), the humanist, whose haiku are known for their poignant or ironic wit. Each haiku master's section of the book is prefaced with an eloquent and informative introduction by Robert Hass, followed by a selection of over 100 poems and then by other poetry or prose by the poet, including journals and nature writing. Opening with Hass's superb introductory essay on haiku, the book concludes with a section devoted to Basho's writings and conversations on poetry. The seventeen-syllable haiku form is rooted in a Japanese tradition of close observation of nature, of making poetry from subtle suggestion. Each haiku is a meditation, a centring, a crystalline moment of realisation. Reading them has a way of bringing about calm and peace within the reader. The symbolism of the seasons and the Japanese habit of mind blend together in these poems to create an alchemy of reflection that is unsurpassed in literature. Infused by its great practitioners with the spirit of Zen Buddhism, the haiku served as an example of the power of direct observation to the first generation of American modernist poets like Ezra Pound and William Carlos Williams as well as an example of spontaneity and Zen alertness to the new poets of post-war America and Britain. Universal in its appeal, Robert Hass's The Essential Haiku is the definitive introduction to haiku and its greatest poets, and has been a bestseller in America for twenty years. 'I know that for years I didn't see how deeply personal these poems were or, to say it another way, how much they have the flavour - Basho might have said "the scent" - of particular human life, because I had been told and wanted to believe that haiku were never subjective. I think it was D.H. Lawrence who said the soul can get to heaven in one leap but that, if it does, it leaves a demon in its place. Better to sink down through the level of these poems - their attention to the year, their ideas about it, the particular human consciousness the poems reflect, Basho's profound loneliness and sense of suffering, Buson's evenness of temper, his love for the materials of art and for the colour and shape of things, Issa's pathos and comedy and anger' - Robert Hass.

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This selection presents for the first time the thirty year trajectory of an acclaimed Irish poet who has lived and worked between the secular and the religious, Eros and history, Ireland and elsewhere, be it west Africa after civil war, south-east Asia after the Khmer Rouge or Europe at the collapse of the Berlin Wall, and whose extraordinary body of work has re-defined what it means to be Irish in the twenty-first century. Harry Clifton has published six other books of poetry, most recently The Winter Sleep of Captain Lemass (2012) from Bloodaxe, and Secular Eden: Paris Notebooks 1994-2004 (2007), winner of the Irish Times / Poetry Now Award, from Wake Forest University Press in the US. His other books include On the Spine of Italy (1999), his prose study of an Abruzzese mountain community, and Berkeley's Telephone (2007), a collection of short fiction.

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Hannah Lowe's first book of poems takes you on a journey round her father, a Chinese-black Jamaican migrant who disappeared at night to play cards or dice in London's old East End to support his family, an unstable and dangerous existence that took its toll on his physical and mental health. 'Chick' was his gambling nickname. A shadowy figure in her childhood, Chick was only half known to her until she entered the night world of the old man as a young woman. The name is the key to poems concerned with Chick's death, the secret history of his life in London, and her perceptions of him as a father. With London as their backdrop, Hannah Lowe's deeply personal narrative poems are often filmic in effect and brimming with sensory detail in their evocations of childhood and coming-of-age, love and loss of love, grief and regret. Winner of the 2015 Michael Murphy Memorial Prize. Shortlisted for the Forward Prize for Best First Collection, the Fenton Aldeburgh First Collection Prize, and the Seamus Heaney Centre Prize for Poetry 2014

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