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"With this fine collection Gardner's work achieves what one poem describes as 'beauty itself / taut against the half-life rendering.' Human experience is the shadow cast by these poems, and not the other way around." (G. C. Waldrep)

"This is a masterpiece. The love poetry is especially beautiful. The entire sequence is in a way a love poem [and] is a fine discourse on language, especially poetic language, and on simple speech aspiring to truth while aware that this is an ideal forever double-crossed by the duplicity of words in the human moth. (Irving Weinman)

These essays concern the uncertain nature of twentieth century poetry. Dealing with major figures from the past and poets in more contemporary modernist and post-modernist lineages, they examine how these poets articulate, virtually in the same breath, both affirmation and doubt concerning poetry, history and knowledge.

One of five chapbooks published by Shearsman in the summer of 2012, Layers of Un marks another stage in the development of Mark Goodwin's radical landscape poetry.

No Names Have Been Changed, Siriol Troup's third collection, offers strong, strange visions. Her poems, assured and varied in technique, are equally at home in ancient cities or on today's derelict coasts. She is a shrewd observer of times and trends: the Afghan coat, the incense-burner...

One of five chapbooks published by Shearsman in the summer of 2012, The Wire is a collection of new work by the author of Lion (2010), consisting of the long title sequence and a some shorter poems.

One of five chapbooks published by Shearsman in the summer of 2012, this volume marks the first publication by Kit Fryatt.

One of five chapbooks in a new series from Shearsman Books, this volume features the first publication by a young Somerset-based poet, whose work focuses on her home village and its history.

The poems in this book grow out of an extended encounter with the ancient Chinese book of divination, the I Ching or Book of Changes, which is a collection of sixty-four hexagrams comprised of various combinations of broken (yin) and whole (yang) lines.

The story of poetry since 1960 is largely of people rebelling against what was there in the 1950s. But another story is about poets who didn't revolt against that, but went on with it - developing it organically.

"The first interview here with Allen Fisher dates from 1973. I took the decision to collect old interviews rather than make an all-new book. I am fascinated by the idea of a very long base line, records of one person's views over 30 years, change as part of the object recorded." (Andrew Duncan)

The poems of Snow look both to the Far East for their ostensible subject matter and back to the UK. Snow is a collection in its own right; its choice and arrangement of poems suggests a terrain richer and more complex than those of individual poems and collections, and one within which they may be rewardingly re-encountered.

Due North is a poem in twelve chapters concerned with human movement northwards or out in the quest for work, subsistence, settlement and gratification, and in danger of getting trapped in various enclosures, including thought-traps.

Kabbalist hymns, a Futurist dragon, Wagnerian vaudeville, Virgil in India, and Pinocchio, in love and at a loss, among the philosophers, are among the mirrors and reflections found in Snake Train, a gathering of the poetic sequences and longer poems (plus one piece of prose) that Edwin Frank has published over the past thirty years.

A Vanished Hand: My Autograph Album is a postscript to Anthony Rudolf's memoir of childhood, The Arithmetic of Memory. The autograph album was presumed lost for thirty years until it emerged, energies intact, beneath a pile of books in the author's loft. Describing the circumstances of each autograph, he is led down unexpected trails.

These essays cover the range of Oppen's poetry and the ways it has been read at all stages of his career, from his overtly Objectivist roots through his abandonment of poetry for political activism in the thirties to his renewed poetic output after the 1950s.

More than 250 quatrains of love and loss, the texts to those inimitable flamenco performances - these are the songs that are wailed by those keening male voices, as the red-and-black-clad women dancers stamp, pirouette and fire castanet rhythms at machine-gun pace.

The Voice Thrower is from a batch of long poems begun in the 90s, arising in my "anti poetry" phase. The title should speak for itself, except it doesn't, which is the whole point of being a voice thrower. The poem had a twin, The Submissive Bastards, initially sharing the trope of a red sky at dusk, but TVT's sky turned into a horizon at sea, specifically from Portland looking west across Lyme Bay (Portlanders call it West Bay anyway). While The Voice Thrower's bastard twin became more controlled, TVT grew ever wilder until, while trying to round it off, I began to suspect the poem was an unconscious attempt to engage with the memory of my mother (Hannah Lawton), yet I resisted making this the focus and let the poem mutate again, the original trope of the red horizon (my mother had red hair) spreading rhizome-like through the various scenarios. The irony though was that the more it tried to resist biography the more autobiographical it became. -Tim Allen

Naked Clay is an intimate response to the paintings of Lucian Freud - "the great amplifier of twentieth century figurative art"' as the critic Sebastian Smee has written. The poems are as urgent as the paintings, and taken together they constitute an essay on the ambiguous gifts from a painter of such mortal, material presences.

This Selected provides an overview of Trevor Joyce's multifaceted poetic career and covers some 45 years of work. The books appears simultaneously with the first major scholarly volume devoted to his work.

Thomas Gray was one of the most significant of 18th-century English poets and famous then, and ever since, for his Elegy Written in a Country Churchyard. The rest of his work has faded from view, with the exception of a couple of standard anthology pieces, and this book offers all of his work that was written in, or translated into, English.

This companion volume to On Performance Writing, with implicated readings, brings together most of the essays on the reading and writing of poetry by the poet and teacher, John Hall. The first part addresses current issues for poetry, considered both formally and contextually; the second part develops these through readings of specific poems.

Hegemonick is a 'free history' of the war against children, something unearthed; it is a delusional narrative, an ode to oblivion; a hymn to the goddess, the once and future porn queen; a therapeutic journal, partially rewritten; a decoy (but not a plan).

The Explosion of Binary Stars explores themes of loss in the author's own life and in the lives of her patients. The themes are universal: divorce, breast cancer, war, addiction, PTSD, aging, depression and, most importantly in this book, the death of a sibling.