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Aoife Mannix's latest full collection begins with a series of poems that chronicle her recovery from cancer and surgery. In the wake of physical and personal transformation, the seemingly reliable constant of the outside world is in turn transformed by the global pandemic

ARTICULATIONS FOR KEEPING THE LIGHT IN is an anthology of the work of the 2022 Barbican Young Poets (BYP) cohort. In a dazzling array of poetics and forms, ranging from prayer to the personal dynamics of light, these poems continue to extend the legacy of the decade-old BYP programme and showcase the potency and integrity of contemporary poetry.

Employing an inimitable combination of cutting wit, impressive feats of formal experimentation and bold illustration that pulls no pixels as it shades, The Towns We Leave Hate Us Most is a moving debut that defies categorisation. Lovingly produced as a collectible item, this is poetry you will want to carry with you as you leave.

Heritage of Secrets echoes Thomas Hardy's Far from the Madding Crowd in more than just the name of the American sailor, Troy, but it is unmistakeably of a new age of sexual politics in 1970s Ireland, in a small town that frowns on any deviation from long-established norms.

After close to a decade focused on teaching and fatherhood, Niall O'Sullivan returns with a book of new and selected poems, Werewolf of London, a collection of sweeping, insightful reflections delivered with a smile - a gem of fluid, funny, fierce verse.

Portrait of Colossus, Samatar Elmi's searingly forthright debut poetry pamphlet, brims with a mix of vulnerability and erudition. Pitched between the lilt of hooyo's admonitions and Ted Hughes' eye for the natural world, many of the poems reconcile disparate worlds, cultures and identities, firing them with the lyricism of Dawud's Psalms.

Bold and experimental both in style and content, the poems of 'tunth-sk' have a life of their own - the images feel like they've been glimpsed through a gap in a fence line, the language like an eavesdropped conversation.

A follow up to the debut, "You Were For The Poem" that reveals the poet's perceptive eye tempered by experience. It portrays misfortune, but recognises the need to celebrate after rain.

In Say, Sarala Estruch explores the limits of language in the face of overwhelming loss and attempts to forge a language with which to probe subjects that still remain largely taboo. In doing so, Say casts a slant light on the scars our ancestors carry, both those we inherit and those we choose to leave behind.

Twins Afya and Aftab, and their brother Khaled, emerge from isolation in a hidden valley and are thrust into a world of new discoveries. Our innocents are unprepared for trials that will redefine who they are and what they know to be true. In this stunning debut, Blessing Musariri recasts the realism of our world in an uncannily resonant new light.

Drawn from Agnes Agboton's two Spanish collections, Voice of the Two Shores was originally written in Gun, a language of Benin, the musicality of which is faithfully reproduced through the net of two translations. These are poems redolent of love - of the poet's beloved, and of the land where she was born, which is (re)born in her.

Set in 1792, amongst the merchant princes and cut-throat backstreets of Liverpool, in the Palace of Westminster in London and aboard the Blackamoor Jenny - a guineaman making its sixth "African voyage" Abolition gives us the voices of people caught up in the original sin of slavery and fighting to survive it, profit from it, ignore it, or end it.

Written originally in Me'phaa, Hubert Matiuwaa's First Rain is a selection of poems that emerged from responding to the death of a grandmother who declared in 2005: I will die in the days when the first rains come. The work mourns both the loss of a grandmother, the fading away of a culture and language that hold so much history and pride.

Defiant, humorous and insightful, 'Not Quite Right For Us' pierces through the hierarchical mechanics of class, race, gender. A celebration of outsiderness and an ode to otherness, 'Not Quite Right For Us' is a singular collection of stories, essays and poems by a dynamic mix of established and surging voices alike, edited by Sharmilla Beezmohun.

Grammar of Passage details a German family's quiet lives as they are pulled into the gathering maelstrom of the first half of the Twentieth Century. Monika Cassel's attention to detail in this debut, tempered with a deep empathy brings individual moments to vivid life, deftly demonstrates how poetry can excavate and reinvigorate history.

Staking a landmark for the UK's Latinx community, Katherine Lockton's debut pamphlet, Paper Doll, is a tract of the unseen made visible and given a striking, defiant vocabulary. There is no smooth ride to be had here. As the poet puts it in the poem The Paper Doll Chain, "she will defy me; time after time/ teaching me how to live when she does."

Call it love, lust or intimacy: behind every computer screen, behind every firewall, is a heart - the seed that needs nurturing. In Niki Aguirre's Terminal Romance that yearning is illustrated with poetic subtlety in 16 interlinked meta vignettes populated by cyber stalkers, foot fetishists, love-struck professors and reality-impaired pessimists.

The work in Chip's first full collection, A Class Act, reveals a poet very much engaged with the struggles of the working man. The poetry is characterised by an attitude of stern determination and a tender, underlying empathy that never forgets the human story behind every headline and statistic.

The question of belonging lies at the heart of Life in a Country Album: who gets to decide who belongs? "Now that we are guests in our bodies, how do we survive?" In its clarity, craft and chimeric language, this book is a love letter and admonition mailed by the same stamp. Nathalie remains an urgent and singular voice in contemporary poetry.

A largely allegorical exploration of the loneliness of the rootless, The Waiting radiates from metropolitan Ghana to encompass the world. The second book of Martin Egblewogbe, whose hilarious The Gonjon Pin lent its title to the 2014 Caine Prize anthology, it sparkles with local myth while paying homage to Kafka, often with hilarious outcomes.

Un Nuevo Sol: British LatinX Writers is the first major anthology of UK-based writers of Latin American heritage, a new vanguard in British literature. Their work carries a sly political edge, channelling the rich mythology and scope of Latin American literature, but carrying a uniquely British gene - a bit of banter, a flash of restrained cheek.

A Warning to the House That Holds Me builds on the milestones and mythology of Mexican painter Frida Kahlo to perform a deeply personal act of reclaiming power. Drawing on a long tradition of Somali storytelling, these poems achieve the complex balance of being as conversational as they are crafted.

'Deluge', as with Charlotte Ansell's previous books - 'you were for the poem' and 'After Rain' - displays an unerring emotional honesty. Confronting therapy, family, as well as social shifts like gentrification, Charlotte draws perspective from the community she lives in and distils it into the poems that make up this stunning collection.

The poems in A Quickening Star are brought into increasingly vivid focus line-by-line, each line like a frame in a well-crafted film opening sequence. This loaded narrative quality of Sue Morgan's work is particularly evident in the short but harrowing 'Forced Entry', which begins with "The click-tick/ of a cockroach on a dark ceiling" and escalates by the tenth line to "he knows/ a hundred ways to harm without marking". Whether tackling abuse, mental health or romance, Sue Morgan's poems transport you to a space where curtains are parting and a quiet music is creeping in. Born in Lancashire in 1958, Sue Morgan spent much of her childhood in South Africa, working abroad for many years as a teacher, before marrying and moving to Northern Ireland where she still lives. She counts as her mentors Ciaran Carson, Sinead Morrissey and Leontia Flynn who have all been influential in her development as a poet. Her submission Let Red Hibiscus Fall won the Venture Pamphlet Award in 2013 and she was runner up in the Seamus Heaney Award for New Writing in 2015.

A Suburb of Heaven is based on Stanley Spencer's work and the part-imagined life of Anna O, patient zero of psychoanalysis. Spencer's predilection for using Biblical scenes in a rural context carries a narrative impetus that Pnina Shinebourne builds on, and she deftly invents Anna O's history, complete with music notes and linguistic asides.

Peter Ebsworth is a poet in love with the stage. Enlisting heavyweights such as Sarah Kane and Samuel Beckett to Sticky Vicky, the veteran Benidorm erotic entertainer, as extras, his debut collection, Krapp's Last Tape, shows him to be a true connoisseur of high and low culture.

The Sideways for It is a tour de force of poetic invention. Crafted to read as the eye leads, the poems are experienced both as commentary and personal engagement. Ian's work draws us into 'the silence of space,' urges us to observe the bridge cupping its shadow 'like a lover,' and the 'delicate proboscis of the moth'.