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No Hiding Place is the début collection from a highly original young Scottish poet whose influences range from detective stories and fairy-tales - with their battles between good and evil - to the films of Marilyn Monroe and Kay Kendall. Tracey Herd's title-poem takes the style of a 1950s film noir, with echoes of Raymond Chandler, pointing up the harsh sense pervading many of her poems that there is no hiding place from death, God and the Day of Judgement. Shortlisted for the Forward Prize for Best First Collection.

Katrina Porteous has lived in the Northumberland village of Beadnell for the past thirty years, formerly home to a centuries-old fishing community. Half the poems in The Lost Music celebrate her love of the place and its people. Her first collection also includes some of her own drawings featuring both fishing and industry in decline as well the wildlife of North-East England.All her poems are strongly physical in character, written to be read aloud. They take as their starting-point the tensions between time and eternity, change and stillness. In language which is both passionate and controlled, they express the endless struggle to discover new forms of order.The fishing poems develop these themes within a microcosm of the wider world. In a dialogue between her own voice and the fishermen's dialect, Katrina Porteous traces the identity of the community in its common memory and working practices, finding with the passing of the old ways of life a loss of spiritual direction. The poems suggest the way forward is neither to cling to the past nor to abandon it, but to change and remember.

Blood Wedding by Federico Garcia Lorca is a classic of Spanish literature, the tragedy of a woman loved by two men. Lorca has a searing realization of the power of desire. Brendan Kennelly rises to the challenge of how to convey this in an English translation, in language at once soaring and accurate, wild and precise. His version of Blood Wedding reveals the mysterious, intricate, passionate, and truly astonishing nature of Lorca's masterpiece.

This anthology captures the excitement of one of the most challenging developments in recent French writing, the new metaphysical poetry which has become an influential strand in recent French literature. It is an ontological poetry concerned with the very being of things and with the nature of poetic language. French-English bilingual edition.

The Objectivists were a group of left-wing, mainly Jewish American poets who formed a brief alliance in the 1930s when they felt poetry needed a new identity. The poets featured in this anthology are the core poets Louis Zukofsky, George Oppen, Charles Reznikoff and Carl Rakosi along with Lorine Niedecker, Kenneth Rexroth and Muriel Rukeyser.

Philippe Jaccottet's poetry is meditative, immediate and sensuous, rooted in the Drome region of south-east France, which gives it a rich sense of place. This book brings together his reflections on landscape in the prose pieces of Beauregard (1980) and in the poems of Under Clouded Skies (1983), two thematically linked collections.

William Martin's poetry is inspired by the social, cultural, and religious life of Northumbria, past and present, from myth, from Anglo-Saxon literature and art, children's games, ballads and street songs, and the history and struggles of pit communities, with a wider concern for a society losing its common ground, its rituals and rites of passage.

This selection of Brendan Kennelly's critical writing is as illuminating in what it says about his own ideas and methods as it is about the writers whose work he discusses. The book contains his essays on the major Irish writers of the 20th century.

Yves Bonnefoy (1923-2016) was a central figure in post-war French culture, with a lifelong fascination with the problems of translation. Language, for him, was a visceral, intensely material element in our existence, and yet the abstract quality of words distorts the immediate, material quality of our contact with the world. This concern with what separates words from an essential truth hidden in objects involved him in wide-ranging philosophical and theological investigations of the spiritual and the sacred. But for all his intellectual drive and rigour, Bonnefoy's poetry is essentially of the concrete and the tangible, and addresses itself to our most familiar and intimate experiences of objects and of each other. In his first book of poetry, published in France in 1953, Bonnefoy reflects on the value and mechanism of language in a series of short variations on the life and death of a much loved woman, Douve. Douve, though, is the French word for a moat, that uncrossable body which separates us from safety and from danger. With this undercurrent at work we read the poems as if they are about the divide between us and death as much as they are about the divide between us and the untouchable reality of text. This is dangerous writing, fulfilling Derrida's "fatal necessity" by making us substitute the textual sign for reality. In his introduction, Timothy Mathews shows how Bonnefoy's poetics are enmeshed with his philosophical, religious and critical thought.

This collection encompasses a striking variety of subjects. Sail reflects on detail in the natural world, both in micro- and macrocosms, looking, for example, at flowers, birds, the sea, and the earth seen from space; he explores the intricacies and balances of love and family relationships; he finds new resonances in the paintings of David Bomberg, Howard Hodgkin, and Paul Klee, and affinities in his translations of Mallarme, Rilke, and Trakl. His imaginative scope extends into a sequence of prose poems responding powerfully to Gabriel Faur's nine Preludes for piano.

First collection by one of Ireland's most distinctive new lyrical voices, winner of the Listowel Writers' Week Poetry Collection Prize. Her poems are rooted in rural life but universal in their appeal. The River was shortlisted for the RSL Ondaatje Prize 2016.

Expanded dual language edition of Germany's most important poet, adding work from his later collections Kiosk, Lighter Than Air and A History of Clouds to his earlier Bloodaxe Selected Poems. The translations are by Enzensberger himself and by Michael Hamburger, David Constantine and Esther Kinsky.

First book-length collection by Pakistan-born, London-based poet featured in Bloodaxe's Ten: new poets from Spread the Word anthology in 2010.

J.H. Prynne is Britain's leading late Modernist poet. When his Poems was first published in 1999, it was acclaimed as a landmark in modern poetry. It was superseded by the 2005 expanded second edition including four later collections only previously available in limited editions, and that in turn by the 2015 third edition including another six.

Third collection by leading poet previously published by Anvil Press. Her debut At Home in the Dark (2001) won Geoffrey Faber Memorial Prize and Salvation Jane (2008) was shortlisted for the Costa Poetry Award.

Two sequences of of poems on forgiveness combined in a collection which was shortlisted for the T.S. Eliot Prize. Hill is one of Britain's leading poets and previously won the Whitbread Poetry Award.

Geis was the third collection by one of Ireland's most acclaimed younger poets, winner of the Irish Times Poetry Now Award 2016. It was also a Poetry Book Society Recommendation and was shortlisted for the 2016 Pigott Poetry Prize in association with Listowel Writers' Week.

Menna Elfyn is the best-known, most travelled and most translated of all Welsh-language poets. This bilingual edition of her later poetry includes work from "Cell Angel" (1996) and "Blind Man's Kiss/Cusan Dyn Dall" (2001), as well as the first English translations of "Perffaith Nam" (2005) and a selection of new poems.

Tishani Doshi is an award-winning poet, writer and dancer of Welsh-Gujarati descent. This was her first new book of poems since Countries of the Body, winner of the Forward Prize for Best First Collection in 2006, and was followed by her third collection, Girls Are Coming Out of the Woods, in 2018.

Second book from Farish, whose debut collection, Intimates (Cape, 2005), was shortlisted for the T.S. Eliot Prize and won the Forward Prize for Best First Collection. This is a thematic collection of poems exploring the lives and love of Chopin and French novelist George Sand.

The Malarkey was Helen Dunmore's first poetry book after Glad of These Times (2007) and Out of the Blue: Poems 1975-2001 (2001), and was followed by her tenth and final collection, Inside the Wave. It brings together poems of great lyricism, feeling and artistry. Its title poem won the National Poetry Competition in 2010.

Anthology of London's Poetry Parnassus festival featuring poets from over 200 countries taking part in the 2012 London Olympics, with an introduction by the festival's curator Simon Armitage.

This retrospective covers all of David Constantine's collections from A Brightness to Cast Shadows (1980) to Something for the Ghosts (2002) plus new poems. Poetry Book Society Recommendation.

Expanded edition of Roy Fisher's definitive retrospective edition to which the Costa-shortlisted "Standard Midland" (2010) has been added.

Gig Ryan is one of Australia's leading poets. Her edgy, excoriating poetry takes the pulse of urban Australia, but her territory is as much the human rat-race and the hell of contemporary life as the particular lives she seizes upon with icy, ironic precision. This is her first book of poetry to be published in the UK.