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This new translation of three collections from one of Denmark’s leading poets completes the remarkable Senses Quintet in English. 

Pia Tafdrup has published over 20 books in Danish since her first collection appeared in 1981, including widely admired sequences of themed collections. The latest of these is a series of five books focussing on the human senses, her Senses Quintet (2014-2022), which the critic Carsten Palmer Schale has called ‘a cathedral of the soul’ and ‘the best collection of poems written in Scandinavia in the past 20 years’.

Bloodaxe published David McDuff’s translation of the first two collections in the quintet, The Taste of Steel and The Smell of Snow, in one volume in 2021. This edition brings together his translations of the third, fourth and fifth parts, The Sight of Light, The Sound of Clouds and The Touch of Skin.

All parts of life are mediated through the five senses in the five books, including the way of the world and the losses that people sustain during the course of their lives – the disappearance of friends and family members, but also the erosion of control of one’s own existence. The themes of ecology, war and conflict are never far away, and there is a constant recognition of the circular nature of life, the interplay of the generations.

The poems in Menna Elfyn's new collection offer a voice to those whose liberty or dignity have been undermined, seeking religious, linguistic and cultural tolerance for all, and not shying away from the effects of (in)humanity on our environment, histories and lives.

In Welsh, ‘parch’ (the ‘ch’ is guttural) simply means respect. But it is also the common word for a chapel minister (a ‘reverend’). Menna Elfyn’s collection explores the many ways in which respect can be expressed, as well as how our world can so often feel parched of simple kindnesses.

Glimpses of parch in action reveal the best of who we are. Humour found in difficult times, solace in shared grief or steadfast defiance in the face of oppression. Following many years of campaigning, Menna Elfyn is moving towards her own sense of resolution as the Welsh language is now accepted and respected as an official language in Wales. In this hybrid poetry collection – the first of its kind from Bloodaxe – she has translated or written many of the original poems in English, now describing herself as a ‘proud bilingual’.

Menna Elfyn shares Herta Müller’s belief that ‘holding one’s own language up to the eyes of another leads to a solid relationship, a relaxed kind of love’. This distils the essence of Parch: respect as refuge; the triumph of compassion over conflict.

With a cover by renowned comic book artist Lisa Sterle, the poems in Jessica Traynor’s New Arcana explore grief, bad boyfriends and the power of female friendship through readings of the Tarot and Tim Burton movies. 

Moving from teenage friendship and destructive relationships towards a tangling with the realities of family life, domesticity, and desire, this highly inventive collection builds into a heartbroken letter to a dear friend (personified in the poems as ‘lydia deetz’) who died by suicide. Interwoven with numbered poems from a newly imagined Major Arcana, New Arcana celebrates both the holding on, and the letting go. 

Among other awards, Jessica Traynor has received Hennessy New Writer of the Year and the Lawrence O'Shaughnessy Award for Poetry 2023. New Arcana is her fourth collection, following Liffey Swim (2014) and The Quick (2019) from Dedalus and Pit Lullabies (2022) from Bloodaxe.

Clare Pollard thumbs her nose at Dr Johnson’s all-male Lives of the Poets in chronicling her own life and theirs in her Lives of the Female Poets. 

These portraits and self portraits offer glimpses into the poet’s own everyday life – from nit-combing and laundry to pollen counts and cocktails, watching school plays to shopping on Rye Lane – all whilst in conversation with female poets through the ages. Playing with forms from the version to the glosa, these are poems that remix, adapt and channel figures from Enheduanna, the first recorded poet, through to Wanda Coleman. Probing the idea of the ‘Poetess’ over time, there are also poems about writers’ lives – sonnets for Anne Locke, who wrote the first English sonnet sequence; a sestina for Elizabeth Bishop; a series of prose poems about Emily Brontë; and a look at the tragic life of L.E.L. 

Whether imagining a ‘three-martini afternoon’ at the Ritz with Sylvia Plath and Anne Sexton, or exploring the ways women writers have been erased from the canon in the book’s long, closing poem, Clare Pollard’s playful sixth collection celebrates and commemorates all those female poets who have come before.

The poems in this collection emerged from journeys of great personal significance, and out of a migrant sensibility tied to three different countries: Sri Lanka, the UK and the USA. Sensuous, droll, yearning, they consider otherwise forgotten (ignored, repressed, erased) events. 

In 2017, Vidyan Ravinthiran travelled to the north of Sri Lanka where his parents grew up – it finally felt safe – visiting war-torn Tamil areas overwritten by a tourist focus on the sun-spoiled South. In 2020, he, his wife and their one-year-old moved from Britain to the United States, months before the pandemic hit and the travel ban separated them for almost two years from family overseas. 

Avidya is a political and a spiritual collection, whose multiple poetic forms, open and closed, are shaped by myth and philosophy, and by Sri Lankan as well as global crises. It is also a book about the forms of both strength and fear that parents pass on to their children.

Mythic and familial beasts roam the swamps and moors of Pascale Petit’s Beast, a collection that ranges from the Camargue of Provence, the limestone Causses and gorges of the Languedoc, Indian tiger forests, the Amazon rainforest, to her home by Bodmin Moor in Cornwall. 

Some of these remote places are vestiges of earth’s pristine habitats, while other wildernesses are encaged in cellars of Paris, along with the world’s last species. Their essence is evoked in lithe and luxurious lines sometimes compressed as a trapped animal. An estranged father reappears as a hunter, while Maman is an orb spider or a grand piano; both are predators. And there are earthly beasts – wild horses and bulls, lammergeiers, bee-eaters and catfish, remnants of a vanishing natural world. 

Beast asks if survival is possible in an abusive family and on an abused home planet, with trials such as climate change, childhood trauma and war. These poems face difficult challenges and insist that making art is an act of love and hope, and there are joyful lyrics celebrating the ineffable beauty of endangered species.

Denise Levertov described Gillian Allnutt’s poems as ‘at once hard and delicate, like wrought iron’. They are both serious and light in touch, deeply humane and spiritually profound, showing the spirit surviving amongst the tatters of Christianity in a modern wilderness.

The lode in Gillian Allnutt’s title picks up on two of the many meanings of the word. A lode can be a course, a way, a journey; also a road, a lane. Her collection traces a journey through time, the time of her own life and of our lives, since the Second World War. Lode also means guidance, here the guidance afforded by the continuity and relative stability – economic, cultural, spiritual – of Britain’s postwar years, the setting of the first part of the book. That sense of stability ended with Covid, which found Gillian Allnutt isolated in the former coal-mining village of Esh Winning in Co. Durham, England, her home for the past 30 years, the landscape of much of the middle section of the book. 

The poems in the book’s third part, Earth-hoard, are raids on the new Unknowable, drawing on the habitual resources of the old known world, informed by spiritual traditions, especially Christianity; by English literature; and by the old habit of writing about a natural world now threatened as never before.

William Martin (1925-2010) was a poet of extraordinary vision and musicality. Thoroughly grounded in his native North-East England, its pit communities and industry, his song-like poems nevertheless traverse a vast geographical and historical landscape ranging from deep Celtic and Anglo-Saxon sources to the thought and myths of India, via a passionate political engagement that never limits song to mere rhetoric. He also drew on children’s games, ballads and street songs in poems showing both political anger and a wider concern for a society losing its common ground, its rituals and rites of passage.

This groundbreaking anthology brings together one hundred deaf, disabled and neurodivergent poets from across the international arena, from emerging voices to world-renowned authors, and offers an urgent redress, unpicking many misapprehensions and misrepresentations. 

The word versus means one thing pitched against another. To be versus versus, therefore, is a paradox, but paradox can be helpful – it can open a space for deeper thought. This anthology aims to be such a space. Here, the reader will encounter poems of love and pain, self-care and companionship; poems which challenge cultural, medical and political agendas and policies. There are war poems, poems as acts of witness and solidarity, poems which address the impacts of the climate emergency. There are humorous poems, nature poems, and much more. The selection also draws together poetry in a wide variety of styles and forms, and from different traditions, such as haiku, renga, sonnet, villanelle, prose poem, performance poem, and sign language. Building on the work of decades of disability justice advocacy, Versus Versus offers a poetry of assertiveness and immense vitality.

The anthology draws upon a wide range of voices from across the globe, including many indigenous poets and poets of color. Writer based in the US include: Agha Shahid Ali, Kay Ulanday Barrett, John Lee Clarke, Meg Day, Kwame Dawes, Anita Endrezze, Megan Fernandes, torrin a. greathouse, Ona Gritz, Stephanie Heit, Linda Hogan, Cynthia Huntington, Rachael Johnson, Cyrée Jarelle Johnson, I.S. Jones, Ilya Kaminsky, Jane Kenyon, Petra Kuppers, Stephen Kuusisto, Adrienne Leddy, Ada Limón, Airea D. Matthews, Lateef McLeod, Erica Mena, Leroy F. Moore Jr., Naomi Ortiz, Saleem Hue Penny, Lucia Perillo, Leah Lakshmi Piepzna-Samarasinha, and heidi andrea restrepo rhodes.

This anthology was prepared with the help of an Advocacy and Advisory Panel: grateful thanks to Karthika Naïr, Chisom Okafor and Daniel Sluman. Many thanks to the Royal Society of Literature and to the judges of the 2023 Literature Matters Awards for selecting this anthology as one of the winning entries.

Cover image description: The book's cover features a square-shaped artwork by Polish artist, Julian Stanczak, entitled 'Concurrent Colors'. The painting creates an optical illusion of vertical moving curved lines in red and blue, giving the impression of moving waves or sand dunes. At the edges of the painting the lines thin out so that they resemble a comb effect. The painting has a darker blue framing band around it, filling the extent of the cover. The title of the anthology 'VERSUS VERSUS' is in a large red font at the top of the cover, and the subtitle, '100 POEMS BY DEAF, DISABLED & NEURODIVERGENT POETS', is in a large blue font underneath the square painting. The editor's name, Rachael Boast, is in a smaller red font beneath the subtitle.

Praised by Joan Armatrading for 'his charm, his poetry, his revolutionary ways, his caring for people, his inclusiveness', Benjamin Zephaniah (1958-2023) was a poet who wouldn't stay silent, who didn't pull any punches, who wrote out of a sense of urgency and a commitment to social justice. 

Benjamin was a writer and performer of extraordinary range: an oral poet, novelist, playwright, children’s writer, reggae artist, actor, television personality and political activist. Born and raised in Birmingham, England, he was sent to an approved school for being uncontrollable, rebellious and ‘a born failure’, ending up in jail for burglary and affray. After prison he turned from crime to music and poetry. He was later nominated for Oxford Professor of Poetry, and voted Britain’s third favourite poet of all time (after T.S. Eliot and John Donne) in a BBC poll. 

Known for his performance poetry with a political edge for adults as well as his poetry with attitude for children, he had his own rap/reggae band. He was the first person to record with the Wailers after the death of Bob Marley, in a musical tribute to Nelson Mandela, which Mandela heard while in prison on Robben Island. 

Dis Poetry brings together all the poems from Benjamin’s three Bloodaxe collections, City Psalms (1992), Propa Propaganda (1996) and Too Black, Too Strong (2001), as well as some from The Dread Affair (1985), along with previously unpublished work and lyrics from various recordings. The book includes a QR code giving access to Pamela Robertson-Pearce's feature film To Do Wid Me originally released as a DVD-book in 2015 – enabling you to see and hear Benjamin performing in full over 20 of the poems in Dis Poetry on your phone while reading the book.

In Pretenders, her third book of poetry, Kate Potts asks: what is it like, as a daily, lived experience, to feel like a fraud or a fake? And what can ‘the imposter phenomenon’ – a sense that our true abilities and achievements, and other core aspects of our identities, are unreal, undeserved or mistakenly bestowed – tell us about who we are and how we relate to one another?

Through lively and vivid poetic monologues drawn from original interview material, and through original poetry, Pretenders begins to consider individual feelings and experiences of fraudulence, pretence and persona in a wider social and historical context. The varied, hesitant, questing voices build to create a bold and innovative chorus.

Pretenders shines a light on our value systems and hierarchies, unsettling notions of ‘realness’, self-assurance, and the self.

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.

Arundhathi Subramaniam’s poems map a wobbling world, trying to find its axis in a season of change. Fabrics tear, lands splinter, stances harden, loved ones die, names dissolve. But wandering through these pages are some extraordinary women – women who vault nimbly over borders, walk naked, walk aslant, and sometimes upside down.

Leaping from the past into a global present, these exuberant voices offer tips on how to retain one’s spine through life’s giddiest rollercoaster rides. Blurring the divide between the mundane and the magical, the historical and the imaginary, they point to a new world that might lie within the folds of the old. A world that requires a new set of skills: how to find the right nicknames, how to ‘gatecrash into the present’, how to ‘go skinny-dipping in the self’. These are songs of bewilderment, insight and startling freedom.

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

Conceived while collaborating with a Dutch artist on a project in Death Valley, California, Charlotte Van den Broeck's The Inside of a Stone explores desert landscapes and womanhood – and the emotional resonance between the two – while reconceptualising their metaphorical relationship. With close observation and striking images she engages with the arid, eroded landscape. In other poems she considers sexual violence while watching a pair of mating turtles, imagines an alternative emotional life for Ilsebill, the fisherman’s wife from the Grimm fairytale, and explores medieval poet Hildegard of Bingen’s magical healing.

After first making her mark as a compelling performer, Belgian poet Charlotte Van den Broeck was acclaimed as one of Europe’s most innovative and original new voices in poetry. Her first two collections, Chameleon and Nachtroer, were published together in David Colmer’s English translation by Bloodaxe in 2020. The Inside of a Stone marks a departure from the themes of those earlier books, which often return to childhood and youth in urban and European landscapes.

My Secret Life is the first book in English translation of the poetry of Krisztina Tóth, one of the leading Hungarian poets of the generation who began publishing in the late 1980s. The recipient of many awards, Krisztina Tóth is also renowned for her fiction which has been translated into many languages including English. The poems in My Secret Life were selected by her from three of her nine published collections, with the addition of some new or previously uncollected poems. 

Tóth is, and has been for several years, a major figure in Hungarian writing and, being a major figure with an important public voice, she has also been, and is now, subject to unrelenting attacks by the government-funded, government-supporting, gutter press. She has been self-exiled in England but is moving to Switzerland shortly. Originally attacked for suggesting that a couple of standard pieces of literature might be removed from the school syllabus and replaced by writing by living women authors, her life has become the subject of the sort of storm of defamation already practised on others perceived to be threatening the values of the government.

A Tower Built Downwards is the latest instalment of poetry from one of the most innovative and influential poets from China. Before and since his enforced exile from 1989, Yang Lian has been widely hailed in America and Europe as a highly individual voice in world literature, he has been translated into many languages. 

The different sections – short poems, sequences, and one long poem – form a single comprehensive statement of Yang’s recent explorations. It is rooted in his living experience of the historical retrogression of Hong Kong, the disaster of Covid-19, the global spiritual crisis, as well as his personal sadness at events such as his father’s death. 

Yang Lian's work was criticised in China in 1983 and formally banned in 1989 when he organised memorial services for the dead of Tiananmen while in New Zealand. This edition of A Tower Built Downwards contains the full, unabridged collection, including poems that were removed for its publication in China.

But the private world is threatened by a public one. Written in the American Rust Belt, in an era of climate change and upheaval, Insistence takes stock of the parent's responsibility to her child, the poet's responsibility to the reader, and the vulnerability of the person in the face of global crisis. In a long poem, Darcy revisits Inger Christensen's 1981 Alphabet, a work which expresses the heart-sickening persistence and proliferation of beauty after Hiroshima. In Darcy's 'Alphabet', the spiralling form takes over, insisting on hope. But this is a doubtful sort of hope: hope for life on earth, not necessarily human life. Stink bugs work their way across America, cockroaches waltz, and quixotically-named mushrooms rise from the earth in this flirtatious but volatile collection. 

Described by David Wheatley as 'boldly overhauling the received categories of the Irish poem' with 'cunning and humour', Ailbhe Darcy's poems interrogate cosmopolitanism as much as they do rootedness, love as much as grief. Ailbhe Darcy's first collection, Imaginary Menagerie, was published by Bloodaxe in 2011.

War of the Beasts and the Animals includes her recent long poems of conflict ‘Spolia’ and ‘War of the Beasts and Animals’, written during the Donbas conflict, as well as a third long poem ‘The Body Returns’, commissioned by Hay International Festival in 2018 to commemorate the Centenary of the First World War. In all three long poems Stepanova’s assured and experimental use of form, her modernist appropriation of poetic texts from around the world and her constant consideration of the way that culture, memory and contemporary life are interwoven make her work both pleasurable and deeply necessary. This collection also includes two sequences of poems from her 2015 collection Kireevsky: sequences of ‘weird’ ballads and songs, subtly changed folk and popular songs and poems which combine historical lyricism and a contemporary understanding of the effects of conflict and trauma. 

Stepanova uses the ready forms of ballads and songs, but alters them, so they almost appear to be refracted in moonlit water. The forms seem recognisable, but the words are oddly fragmented and suggestive, they weave together well-known refrains of songs, apparently familiar images, subtle half-nods to films and music.

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.

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).

Gunasekera takes up Muriel Rukeyser’s famous line: ‘What would happen if one woman told the truth about her life? The world would split open.’ Her book’s central sequence, Nine [Miscarried] Methods, considers the challenge of asserting a woman’s equal status within a patriarchal objectified culture. Approaching the polemic or the existential with a gentle touch, this is poetry as lyric essay, mysterious and shapeshifting as sunlight on water. Formally, the poems explore the instability of the lyric ‘I’ and the addressed ‘You’. Often there is no static vantage point; instead, the ‘I’ and ‘You’ are verbs in a state of becoming. Their very unfixity reflects dynamic systems in the natural world where elements are constantly interacting and altering their natures. 

Many of Ó Ríordáin’s poems came out of his struggle with the isolation, guilt and loneliness of life in mid-century Catholic Ireland experienced in Cork, the native locale also of the poet Greg Delanty, translator of Apathy Is Out. Ó Ríordáin’s poems have been translated by many poets, but until now no single writer has translated the majority of the poems. This collection gives a much more unified sense of Ó Ríordáin’s work, catching the poetry’s verve, playfulness and range and also ‘the music you still hear in Munster,/even in places where it has gone under’. It includes the dark, sorrowful poems Ó Ríordáin has usually represented with in anthologies but also poems of exuberance and celebration, notably ‘Tulyar’, one of the funniest satirical critiques of the Irish Church’s attitude to sex which matches any similar attack by Patrick Kavanagh or Austin Clarke. Seán Ó Ríordáin renewed poetry in Irish by writing out of the modernist sense of alienation, fragmentation and identity, but he also saw beyond Modernism’s confines to the connective matrix of our world.

E.A. Markham’s iconic anthology "Hinterland" opened up new territory for many readers, with its substantial selections by 14 key poets with photos, interviews, essays by the poets themselves. It became a set text for the Open University and at many universities and colleges in Britain and the Caribbean. Since Markham compiled his selection over 30 years ago, the work of the poets he documents has become even more important, historically significant and highly influential. The poets featured – in depth – are Derek Walcott, Martin Carter, Louise Bennett, Kamau Brathwaite, Dennis Scott, James Berry, Mervyn Morris, E.A. Markham, Olive Senior, Grace Nichols, Lorna Goodison, Fred D’Aguiar, Michael Smith and Linton Kwesi Johnson.

‘The product largely of offshore islands – Jamaica, Trinidad, Britain, etc (Guyana being the exception) – West Indian poetry in English has often been located on the fringes of the central experience. Its popularity is widely associated with local colour, linguistic and tonal innovation, thought to be lacking in the English “mainstream”. This collection shows that the most vital and challenging poetry of the British Caribbean heritage is both local in its urgency and informed by a hinterland of experience deeper than the geography of the islands’ politics.’ – E.A. Markham, writing in 1989

Marjorie Lotfi’s award-winning debut collection is a book of two halves, each a meditation on the idea of home, both the places we start and end up in our lives. 

Spanning a childhood in Iran dislocated by revolution, through years as a young woman in America, to her current home in Scotland, these poems ask what it means to come from somewhere else, what we carry with us when we leave, and how we land in a new place and finally come to rest. 

Winner of the James Berry Poetry Prize 2021

Winner of the Felix Dennis Prize for Best First Collection 2024 (Forward Prizes)

Winner of the Forward Prize for Best First Collection 2024

Poetry Book Society Special Commendation

Selima Hill was awarded the The King's Gold Medal for Poetry 2022 on the basis of her body of work, with special recognition for her retrospective Gloria: Selected Poems.

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.

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.

The word ‘fool’ derives from the Latin follis, one of whose meanings is ‘empty-headed person’. Such mindlessness is not quite imaginable, but perhaps it is possible that by unknowing a thing we can start to see it differently. There’s a lot the fool doesn’t know – otherwise they wouldn’t be a fool – but can anyone be trusted to know anything?

A low-level hum of discordance runs through these poems: between inner and outer worlds, between the sceptical and the wondering mind. Ideas of belief and truth play out in various ways, often through lone figures, fools maybe, thinking aloud, continually distracted by the necessary performance of being. 

Already an established and respected name in the world of poetry and drama, Fool is Greta Stoddart’s fourth collection. Her third collection Alive Alive O was published by Bloodaxe in 2015.  In 2023, Greta Stoddart won a Cholmondeley Award, a prize which recognises a poet's body of work.