First Rain in Paradise is a book about falling. Gwyneth Lewis's highly inventive poems trace an interior landscape carved out by the trauma of childhood emotional abuse through subsequent chronic ill health and towards a hard-won resurrection.

These accounts of living in and emerging from the dark wrestle with the angel of language. Suffering does not preclude humour and may, in fact, require it, in poems written from the shadows but committed to the light. This work refuses to keep pain a secret. Shame is a lurking presence.

Gwyneth Lewis has won wide acclaim for her versatile and varied writing across genres, most notably in her award-winning poetry in both English and Welsh. This book shows a deepening of her technical, imaginative and intellectual resources which are challenged and exercised to the full. The poems map uneasy terrains with realism and - most importantly - with joy.

'The bracing latest collection from Welsh poet Lewis traces an arc from the trauma of maternal abuse...through aftershocks of chronic illness, self-harm, and shame...to recovery (I am found). Her lines both stun and revive, moving between Plathian imagery... and disarming candor (Underneath, I'm a bit of a sweetie). The collection radiates hard-won self-possession... Readers will enjoy discovering this writer of extraordinary gifts.' - Publishers Weekly, starred review of First Rain in Paradise

Ana Blandiana is one of Romania's foremost poets, a leading dissident before the fall of Communism, and now one of her country's strongest candidates for the Nobel Prize. A prominent opponent of the Ceaușescu regime, Blandiana became known for her daring, outspoken poems as well as for her courageous defence of ethical values. Over the years, her works have become the symbol of a moral consciousness that refuses to be silenced by a totalitarian government.

The Shadow of Words covers Blandiana's early collections published from 1964 to 1981, as well as including uncollected poems from that period which only appeared in anthologies. It follows My Native Land A4 (2014), The Sun of Hereafter - Ebb of the Senses (2017) and Five Books (2021) in completing Bloodaxe's presentation of Blandiana's collected poems to date in English translation. She published these poems during the brief period of political thaw of Romania's communist regime, when aestheticism took on a more subversive role, reaffirming the autonomy of the poetic word and freeing it from the stultifying demands of propagandist proletarian art.

In her early poems, Blandiana's voice articulates a pure and vibrant spiritual language of unmistakable ethical clarity, calling for moral regeneration in the face of indifference. Their ethical idealism and steadfastness override the many masks of degradation. These youthful books announce from the outset the sense of responsibility and faith in the survival of the collective soul that has always characterised Blandiana's poetry.

This is a book about the irreducible core of what it is to be human in a world that changes constantly yet repeats and repeats.

Kerry Hardie's poetry - as the poet Claire Askew has noted - is 'a dark and gorgeous hymn to mortality', using images that speak to a place in us that does not depend on fashion or technology but braves that over-used word 'archetypal'. It is mostly specific to a particular Irish landscape the author knows very well yet sometimes ventures beyond, always with the awareness that fear is our constant companion, but also joy. Its title holds an echo of Beckett: 'I must go on, I can't go on, I'll go on', and holds something of this despair, while holding to the irrational conviction of 'being enclosed by light'.

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

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. S

taying 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.

With its rich selection from each of Sarah Holland-Batt's books of poetry up to her Stella prize-winning collection The Jaguar (2022), this volume will introduce one of Australia's best-known and widely read poets to American readers for the first time.

Marked by her distinctive lyric intensity, metaphorical dexterity and linguistic mastery, Holland-Batt's cosmopolitan poems engage with questions of loss and extinction, violence and erasure. From haunted post-colonial landscapes in Australia to brutal animal hierarchies in the cloud forests of Nicaragua to the devastations and transfigurations of her father's long illness, Holland-Batt fearlessly probes the body's animal endurance, appetites and metamorphoses, and our human place within the natural order of things. Her portrayal of a much loved father trying to cope with Parkinson's
Disease has touched the hearts of many people who would never usually
read a book of poetry.

The Jaguar: Selected Poems brings together the finest work from her debut volume Aria (2008), with its minimalistic interrogations of the tyrannies of memory; the searching external and internal landscapes of The Hazards (2015); and the fierce, unflinching elegies of The Jaguar (2022), which challenge us to view ruthless witness as a form of love. As John Kinsella has said, 'Holland-Batt is one of the best poets writing not only in Australia but anywhere in the world in English. This is an art of necessity, of belief, and of artisan-like commitment.'

Kenji Miyazawa (1896-1933) is now widely viewed as Japan's greatest poet of the 20th century. Little known in his lifetime, he died at 37 from tuberculosis, but has since become a much loved children's author whose magical tales have been translated into many languages, adapted for the stage and turned into films and animations. Recognition for his poetry came much later. Strong in the Rain - the title-poem of this selection - is now arguably the most memorised and quoted modern poem in Japan. Both intensely lyrical and permeated with a sophisticated scientific understanding of the universe, Kenji Miyazawa's poems testify to his deep love of humanity and nature. From a young age, he was fascinated by plants, insects, and especially minerals, which he collected. At school, his interest in nature deepened, and he began poring through books on philosophy and Buddhism, which were to strongly influence his later writing. Miyazawa drew on nature in a way that no modern Japanese author had before him. Where other writers tended to use it as a springboard for their own meditations, he saw himself not just as nature's faithful chronicler and recorder but as its medium: light, wind and rain are processed through him before being recreated on the page. His mode of active engagement with nature set him apart from virtually all other Japanese poets, and led to his work being largely ignored by the Bundan (the literary establishment) and misunderstood for half a century. But in the 1990s, he received unprecedented attention in the Japanese media. The compassion, empathy and closeness to nature expressed in Kenji Miyazawa's poems and tales appealed strongly to a new generation of readers.

The exciting and complex debut collection from Dzifa Benson, 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. Baartman's voice is framed within the social, political and legal structures of the day, offering a unique perspective.

Other poems draw clear parallels with Benson's own experience as a Black woman born in London but raised in Ghana who returned to the UK at the age of 18. The collection is a mix of vivid lyricism, sometimes laced with dark humour, using complex poetry, monologue and theatrical devices. The influence of Shakespeare sits comfortably with references to Ewe mythology and history in a collection of wide scope and depth. This is a highly accomplished first collection by a mature voice. As one of a small group of published Black women poets, Benson makes an important contribution to current British poetry with the publication of Monster.

In Earth House, Matthew Hollis evokes the landscape, language and ecology of the isles of Britain and Ireland to explore how our most intimate moments have resonance in the wider cycle of life. Beginning in the slate waters of the north, the book revolves around the cardinal points and the ancient elements: through the wide skies of the east and the terrain of a southern city, to the embers of places lost to us, to which we can no longer return.

What emerges is a moving meditation on time and the transformative phases of nature that calls many forces into its presence - the wisdoms of Anglo-Saxon verse, the metamorphoses of Norse and Celtic myth, the stoicism of classical thought and the far east - unforgettably phrased by a writer who, in the words of the TLS, 'makes the language of his poetry an event in itself'. Subtly attuned to the rhythms of the turning world, these poems open with the passing of an old life and culminate in the birth of a new one. They bravely work the seam between the present and the past, between destruction and renewal, humanity and our environment, and make Earth House a timeless exploration of our timed encounter with the remarkable lives of our planet.

Earth House is Matthew Hollis's long awaited follow up to Ground Water (2004), shortlisted for the Guardian First Book Award, the Forward Prize for Best First Collection and the Whitbread Poetry Award. He is the author of Now All Roads Lead to France: The Last Years of Edward Thomas and The Waste Land: A Biography of a Poem, recipients of the Costa Award for Biography and Sunday Times Biography of the Year.

A new dual-language edition of poems from Spain's greatest modern poet and dramatist.

Federico García Lorca 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 Merryn Williams's original 1992 edition of his Selected Poems was the first to include English translations of these brooding poems. This new dual-language Spanish-English edition of her iconic translation 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.

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

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.

Featuring ten collage illustrations by the author, Helen Ivory's new poetry collection Constructing a Witch fixes on the monstering and the scapegoating of women and on the fear of ageing femininity.

In this collection, the witch appears as the barren, child-eating hag; she is a lustful seductress luring men to a path of corruption; she is a powerful or cantankerous woman whose cursing must be silenced by force. These bewitching poems explore the witch archetype and the witch as human woman. They examine the nature of superstition and the necessity of magic and counter-magic to gain a fingerhold of agency, when life is chaotic and fragile. In the poems of Constructing a Witch Helen Ivory investigates witch tourism, the witch as outsider, cultural representations of the witch, female power and disempowerment, the menopause, and how the female body has been used and misunderstood for centuries. Constructing a Witch is a Poetry Book Society Recommendation.

Votive Mess is a book of small rebellions against systems of exhaustion and alienation, tracing Welsh poet Nia Davies' efforts to a lost mother tongue, y iaith Gymraeg, and embracing lingual brambles and shabby theatre to assemble fragments gleaned from the rubble of Babel. In these poems, there are love letters drowsy and excessive as well as uncanny happenings on stage and in the woods. Votive Mess is composed out of a tangle of sex, leaf, stumbles on stage, damage, blackberries and dyslexia. There is a discharge of Awen, otherwise known as poesis. The navel of the dream is inside out.

Nia Davies' 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. These works are studies in the altered states of travel, masks, comedy, learning and love. Nia Davies' first full-length collection, All fours (Bloodaxe Books, 2017), was shortlisted for the Roland Mathias Poetry Award 2018 (Wales Book of the Year Awards) and longlisted for the 2019 Michael Murphy Memorial Prize.

Please Do Not Touch This Exhibit explores disability, storytelling, and the process of mythologising trauma. Jen Campbell writes of Victorian circus and folklore, deep seas and dark forests, discussing her own relationship with hospitals -- both as a disabled person, and as an adult reflecting on childhood while going through IVF.

Please, Do Not Touch This Exhibit is Jen Campbell's second collection. Her first book-length collection, The Girl Aquarium (Bloodaxe Books, 2019), was shortlisted for the poetry category of the Books Are My Bag Readers Awards 2019 and was a semifinalist for the Goodreads Choice Awards 2019 (Best Poetry category).

Inspired by a remark of Seamus Heaney, Lifesaving Poems began life as notebook, then a blog. How many poems, Heaney wondered, was it possible to recall responding to, over a lifetime? Was it ten, he asked, twenty, fifty, a hundred, or more? Lifesaving Poems is a way of trying to answer that question. Giving himself the constraint of choosing no more than one poem per poet, Anthony began copying poems out, one at a time, as it were for safekeeping. He asked himself: was the poem one he could recall being moved by the moment he first read it? And: could he live without it? Then he posted each poem on his blog and said why he liked it. Word spread and soon his blog had thousands of followers, everyone reading and responding to the poems he talked about - and sharing his posts. Now Lifesaving Poems has turned into an anthology, not one designed to be a perfect list of 'the great and the good', but a gathering of poems he happens to feel passionate about, according to his tastes. As Billy Collins says: 'Good poems are poems that I like'. Anthony's popular personal commentaries are included with the poems. There are Lifesaving Poems by John Ashbery, Elizabeth Bishop, Raymond Carver, Carol Ann Duffy, Thom Gunn, Seamus Heaney, Marie Howe, Jaan Kaplinski, Brendan Kennelly, Jane Kenyon, Galway Kinnell, Philip Levine, Norman MacCaig, Ian McMillan, Derek Mahon, Sharon Olds, Mary Oliver, Sylvia Plath, Adrienne Rich, Jo Shapcott, Tomas Transtromer, Wislawa Szymborska, and many, many others.

Jean 'Binta' Breeze was a popular Jamaican Dub poet and storyteller whose performances wee so powerful she was called a 'one-woman festival'. Her poems are Caribbean songs of innocence and experience, of love and conflict. They use personal stories and historical narratives to explore social injustice and the psychological dimensions of black women's experience. Striking evocations of childhood in the hills of Jamaica give way to explorations of the perils and delights of growth and change - through sex, emigration, motherhood and age.
Introduced by renowned critic Colin MacCabe, the book brings together new poems with poetry and reggae chants from four previous collections: Riddym Ravings, Spring Cleaning, On the Edge of an Island and The Arrival of Brighteye. Many of the poems were included in two performances by Jean 'Binta' Breeze filmed by Pamela Robertson-Pearce at Leicester's Y Theatre available by scanning QR codes printed in the book, along with an interview with Jane Dowson.

Shortlisted for the T.S. Eliot Prize 2024

Against a backdrop of vast geological time and recent fossil-fuel burning history, the poems of Katrina Porteous's latest collection address current issues of social and environmental change.

330 million years ago what is now the rocky shore close to Katrina
Porteous's Northumberland home in the north of England was a tropical swamp inhabited by
three-metre long predatory fish with huge tusk-like teeth. They belonged
to a family of lobe-finned fishes which evolved to move on land as well
as swim, and which are the ancestors of all four-limbed vertebrates,
including humans. The fossil fish found in Northumberland is called the
'rhizodont'.

Porteous's new collection begins with a lovingly-observed contemporary
journey through these ancient landscapes, from the former coal-mining
communities of the Durham coast, where the coal-bearing Carboniferous
strata are overlain with younger rocks, to the Northumberland shores
where the rhizodont's remains were found. Against a backdrop of vast
geological time and recent fossil-fuel burning history, these poems
address current issues of social and environmental change. They are
followed by two sequences about aspects of the latest technological
revolution - autonomous systems and AI, and the remote-sensing
techniques used to explore the most inaccessible reaches of our planet,
Antarctica, to measure Earth's changing climate.

The poems unfold from England's North-East coast into global questions
of evolution, survival and extinction - in communities and languages,
and throughout the natural world, where hope resides in Life's
astonishing powers of reinvention.

Rhizodont is Katrina Porteous's fourth poetry collection from
Bloodaxe, and extends territory explored in her three previous books. It
combines scientific themes from Edge (2019) with the ecological localism of Two Countries (2014) and The Lost Music (1996), both of which were concerned with the landscapes and communities of North-East England.

In poems that are precise, frank and finely tuned, award-winning Argentine poet Laura Wittner explores the specificities of parental and familial love, life after marriage, and the re-ignition of the self in middle age.

The 'things' of life - bus journeys, potted plants, thunder at night, coffee-stained books, fleeting conversations and the rest - are made full through Wittner's ability to pinpoint in them the consequential, and even the metaphysical, manipulating language with a translator's delicate skill. There are funny, moving pen-portraits of Wittner's two children, suddenly grown, as well as bell-clear descriptions of the task of writing. For this is also a collection about language itself - as an interface, as a surface, and as vital communication.

Translation of the Route is Laura Wittner's eleventh collection. The poems in this dual language Spanish-English edition, Wittner's first collection available in English translation, have been translated by the Mexican-Scottish bilingual poet and translator Juana Adcock, acclaimed author of Manca and Split.

Covering the most productive period of J.H. Prynne's career, this new volume collects all of the recent poetry of Britain's leading late Modernist poet. Prynne's 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, followed by a further seven along with a group of uncollected poems to the third edition of Poems (2015).

The decade since Poems (2015) has been the most productive period of Prynne's life, with over thirty limited editions published between 2017 and 2024. To have added these to a fourth edition of Poems would have more than doubled the size of that volume. Poems 2016-2024 is therefore a separate, supplementary edition of his later work, including, except for minor corrections, the mostly unchanged contents of 36 texts written since Poems (2015), from Each to Each (2017) to Alembic Forest (2024), as well as the corrected 2023 text of At Raucous Purposeful (2022). The 26 Impromptus comprising Memory Working, originally published by Face Press in three separate editions in 2020 and 2021, appear here as a complete sequence.