Products

In A Bird Called Elaeus, poet and translator David Constantine presents a selection of poems from The Greek Anthology, a collection of around 4500 poems composed over more than 1500 years by around 300 authors.

The Greek Anthology is a marvellous salvage from the vast shipwreck of the Ancient World, a colossal continuity and variety from pre-classical times through Roman into Byzantine. For A Bird Called Elaeus – his small anthology of the vast original – David Constantine has gone particularly not just to the renowned love poems but also to poems that treat man’s dealings with the earth, his work and trades there, the creatures other than himself who inhabit it and the divinities whose care it is. Through his translations, Constantine brings already urgent poems closer to home and our drift towards the Sixth Extinction. For the Ancient World was not populated by humans harmless to Mother Earth, not at all: often they, like us, did the worst their means enabled them to do. Still there were laws. These things you must not do. Doing them nevertheless was understood as transgression of laws beyond the human laws. You offended Demeter at your peril. Understand that how we like, it’s the same now. And the peril is infinitely greater, threatens to be final, consuming the innocent with the guilty.

Longlisted for the Anglo-Hellenic League Runciman Award 2025

A Broken Man in Flower presents new versions of work by one of the most significant Greek poets of the last century, translated by one of the UK's most renowned contemporary poets.

The life of Yannis Ritsos was, to say the least, troubled. From an early age, he was dogged by the tuberculosis that killed his mother and brother. His father and sister suffered breakdowns and spent time in institutions. His poem Epitaphios (1936), a lament for a young man shot dead by the police during a tobacco workers’ strike, was publicly burned by the Metaxas regime and his books banned. Throughout his life he wa repeatedly persecuted, arrested and placed under house arrest by the oppressive Greek authorities.

The violence and tyranny of dictatorship is often fractured by the surreal. In the poems collected here, written by Ritsos while in prison and under house arrest, that fracture in perception is a wound. A Broken Man in Flower has an introduction by John Kittmer and includes the text of an illuminating and vivid letter sent by Ritsos to his publisher in 1969 while under house arrest on Samos describing his life – and the lives of Greeks – under the repressive rule of the Colonels.

Harsent's versions of Ritsos' poems express the revolutionary and experimental nature of his work while also remaining accurate translations from the Greek.

Serious, comic, brave, cowardly, engaged, disengaged, urgent, unurgent, chattering chiffchaff, talking horses, unpretentious, pretentious: Mark Waldron's expansive fifth collection encompasses it all.

There are a series of fairytale poems, and others which give unfettered voice to the character of Marcie, a character who has appeared in Mark Waldron's previous books. But behind the humour and playfulness, there is always something deeply unmeant, meant. Readers of Mark Waldron's previous collections will find all of his trademark wit and imagination here, as well as new poetic territory as Waldron continues to develop his distinctive voice. 

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.

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.

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.

The "disappearance" of the poet Rosemary Tonks in the 1970s was one of the literary world's most tantalising mysteries - the subject of a BBC feature in 2009 called The Poet Who Vanished. After publishing two extraordinary poetry collections - and six satirical novels - she turned her back on the literary world after a series of personal tragedies and medical crises which made her question the value of literature and embark on a restless, self-torturing spiritual quest. This involved totally renouncing poetry, and suppressing her own books. Interviewed earlier in 1967, she spoke of her direct literary forebears as Baudelaire and Rimbaud: 'They were both poets of the modern metropolis as we know it and no one has bothered to learn what there is to be learned from them...The main duty of the poet is to excite - to send the senses reeling.' 

Her poetry - published in Notes on Cafes and Bedrooms (1963) and Iliad of Broken Sentences (1967) - is exuberantly sensuous, a hymn to sixties hedonism set amid the bohemian nighttime world of a London reinvented through French poetic influences and sultry Oriental imagery. She was 'Bedouin of the London evening' in one poem: 'I have been young too long, and in a dressing-gown / My private modern life has gone to waste.' 

All her published poetry is now available here for the first time in over 40 years, along with a selection of her prose. This second edition has an expanded introduction and an additional prose piece.

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.

John Agard's ninth Bloodaxe collection, Border Zone, explores a far-reaching canvas of British/Caribbean transatlantic connections, sweeping across centuries and continents.

His border territory ranges from Love in a Sceptred Isle, a novella-like narrative poem of a romance between Barbados-born photographer, Victor, and Welsh librarian, Rhiannon, told with lyrical tenderness and thought-provoking wit, to Casanova the Philosopher, a sequence of sonnets in the voice of the legendary Venetian philosophically observing 18th-century English ways in a tongue-in-cheek memoir and travelogue. 

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. This is a diverse collection where the thought-provokingly mischievous, bawdy and elegaic rub shoulders alongside the sequence The Plants Are Staying Put – with the poet turning overnight lockdown gardener – as well as calypso poems, where the poet puts on his hat as ‘poetsonian’, a term he coined in the 80s in tribute to the inventive lyrics of the calypsonian.

Basil Bunting (1900-85) was one of the most important British poets of the 20th century. Acknowledged since the 1930s as a major figure in Modernist poetry, first by Pound and Zukofsky and later by younger writers, the Northumbrian master poet had to wait over 30 years before his genius was finally recognised in Britain – in 1966, with the publication of Briggflatts, which Cyril Connolly called ‘the finest long poem to have been published in England since T.S. Eliot’s Four Quartets’.

Bunting called Briggflatts his ‘autobiography’. It is a complex work, drawing on many elements of his life, experience and knowledge, and features the saint Cuthbert and the warrior king Eric Bloodaxe as two opposing aspects of the Northumbrian – and his – character. Its structural models include the sonata form (and Scarlatti’s music in particular) and the latticework of the Lindisfarne Gospels, while thematically it recalls Wordsworth’s Prelude.

Bunting wrote that ‘Poetry, like music, is to be heard.’ His own readings of his own work are essential listening for a full appreciation of his highly musical poetry. The Bloodaxe edition of Briggflatts includes a CD with an audio recording Bunting made of Briggflatts in 1967 and a DVD of Peter Bell’s 1982 film portrait of Bunting. As well as his own notes to the poem (and a posthumously published additional Note), the new edition includes his seminal essay on sound and meaning in poetry, ‘The Poet’s Point of View’ (1966), and other background material. All his poetry is available in Complete Poems (Bloodaxe Books, 2000).

A generous and intimate reflection on the natural and human world, grounded in the reedbeds, meadows and marshes of England's Norfolk Broads.

The poems of Matt Howard’s Broadlands are closely and thrillingly observed from real encounters, inviting us closer to the more-than-human world, its violence, fragility and wonder. Yet the human is always and all the more present; here too are poems of desire, love and grief. They are poems of the field, imaginings from the conservation of habitats restored and created, working with and for all their constituent species - for we now live in times where everywhere is in some part within the gift of the habitat of the human heart and mind. Redefining what a sense of place might mean, the lyric energy of Broadlands rises from a labour committed, ‘set on this floating ground’.

Broadlands is Matt Howard’s second collection, following his debut Gall (2018) from The Rialto, which won the inaugural Laurel Prize for Best First Collection andthe 2018 East Anglian Book Award for Poetry and was also shortlisted for the 2019 Seamus Heaney Centre First Collection Prize.

Winner of The Laurel Prize 2023 Best UK First Collection, Burning Season is a book about fire and survival, climate change and nature’s defiance. Yvonne Reddick’s understanding of climate change is uniquely personal: her father was a petroleum engineer, and many members of her family worked in the fossil fuel industry. The collection speaks of the paradox that her Dad’s gift to her was her love of nature and mountain landscapes. The book combines poems with nature diaries and lyric essays to trace an intriguing family history. This family story forms the bedrock of Burning Season. 

Burning Season includes a series of vivid, moving and heartfelt poems that explore her grief following her father’s death in a hiking accident. These are set against a wider backdrop of ecological loss and heartbreak. Here, too, are poems that celebrate nature’s vibrant resilience: planting oak saplings, spotting rare ptarmigan in the Highland winter, imagining life in an underwater city.

Poetry Book Society Recommendation.

He won the T.S. Eliot Prize for his 2009 collection The Water Table. 

Poetry Book Society Special Commendation.

Anne Stevenson's Collected Poems draws on sixteen previous collections to showcase the work of this major American and British poet.

Rooted in close observation of the world and acute psychological insight, her poems continually question how we see and think about the world. They are incisive as well as entertaining, marrying critical rigour with personal feeling, and a sharp wit with an original brand of serious humour. 

Her posthumously published Collected Poems is a remaking of Anne Stevenson’s earlier Poems 1955-2005 (Bloodaxe Books, 2005), expanded to include poems from her final three books, Stone Milk (2007), Astonishment (2012) and Completing the Circle (2020).

His early books span a transition from a preoccupation with land and myth to his later engagement with urban Britain and the politics of radical disaffection. The pivotal work marking this shift was his long poem Fox Running (1980), brought to recent attention when an archive recording of him reading it was broadcast by BBC Radio 4’s Poetry Please in 2016. His Collected Poems brings together poetry from four decades, including all the work from two earlier retrospectives, The Poet Reclining: Selected Poems 1962-1980 (1982) and Shed: Poems 1980-2001 (2002), together with the posthumously published You Again: last poems & other words (2004). 

The book is introduced with essays by Roger Garfitt and Jon Glover. Its publication coincided with his 80th birthday and with the 40th anniversary of the publication of Bloodaxe’s first title, Ken Smith’s Tristan Crazy (1978).