Aurora Leigh (1856) is an epic poem by English Romantic poet Elizabeth Barrett Browning. Described by Browning as “a novel in verse,” Aurora Leigh is primarily the story of its titular heroine, an intelligent woman and ambitious poet whose talent is matched only by her skill for self-doubt. Although it is narrated in the first person, the poem also concerns itself with the character Marian Erle, a woman rescued from a life on the streets by Aurora’s cousin Romney, who loves both women in complex and varying ways. Recognized as one of the most important poems of the nineteenth century, Aurora Leigh is notable for its use of the epic form—traditionally masculine, and concerned with subjects such as war, history, and the gods—in order to tell a story centered on talented and uniquely independent women.

Born in Florence to a Tuscan mother and English father, and encouraged from a young age to study the classics and learn Latin and Greek, Aurora Leigh develops not only the desire to become a famous poet, but the talent and intelligence to achieve her dream. What she has in ambition and skill, however, she lacks in confidence, and, after moving to England as a teenager, Aurora struggles to make a name for herself in the competitive literary environment of London. While in England, she meets her cousin Romney Leigh, a dedicated and idealistic social worker who dreams of using his inheritance and family estate—Leigh Hall—to alleviate the suffering of the lower classes. Aurora Leigh is a dramatic tale of romance involving Marian Erle, Lady Waldemar—a beautiful aristocrat—and Aurora herself. As each of these women navigates their relationship with Romney, and as Romney tries and fails to bring meaningful aid to the poor, Aurora finds that her art means nothing if she cannot learn to love herself as much as she loves others.

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Winner of the 2023 Kathryn A. Morton Prize in Poetry, selected by Ilya Kaminsky.

Written with tremendous urgency and ferocious candor, the prose poems of Book of Potions captures a woman caught in the middle of life: no longer young, not yet old, trapped between generations, locked in stereotyped roles and stultifying social norms, confined by other people’s expectations and their projections of what a woman should be.

By turns enraged, funny, frustrated, astute and joyful, these short hybrid pieces (potion = poem + fiction) combine the lyric compression of poetry with the narrative expansiveness of prose. Readers will meander, spellbound, through a wildly imaginative dream world of fairy-tale landscapes, allegorical insights, social satire, thought experiments and vivid surreal imagery, scenes of otherworldly strangeness and haunting beauty. These potions are elixirs in language, some healing, some poisonous, all magical.

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.

Erasing Frankenstein showcases a creative exchange between federally incarcerated women and members of the prison-education think tank Walls to Bridges Collective at the Grand Valley Institution for Women (GVI) in Kitchener, Ontario, and graduate and undergraduate students from the University of New Brunswick (UNB) in Fredericton, New Brunswick. Working collaboratively by long-distance mail, the artists and contributors made the first-ever poetic adaptation of Frankenstein, turning it into a book-length erasure poem. An erasure poem is an example of "found art," a poem created by piggybacking on an existing text; the words that are not part of the poem are erased or blacked out, and what is left is the poem. This book presents the original erasure poem alongside reflections from participants on the experience.

A brand new collection from award-winning poet Marianne Chan. 

A coming-of-age narrative, Leaving Biddle City details one Filipina American speaker’s experience of growing up amid a white, Midwestern suburbia mythologized as “Biddle City.” Through prose poems, pantoums, ballads, flattened haikus, and thematic autobiographies, Chan maps a territory of intergenerational conflict, racial alienation, and memory and forgetfulness. What’s achieved is a work of play and meticulous beauty, a collection that reframes how we may understand ourselves, our histories, and the places where we are from.