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In poems that are precise, frank and finely tuned, award-winning Argentine poet Laura Wittner explores the specificities of parental and familial love, life after marriage, and the re-ignition of the self in middle age. The 'things' of life - bus journeys, potted plants, thunder at night, coffee-stained books, fleeting conversations and the rest - are made full through Wittner's ability to pinpoint in them the consequential, and even the metaphysical, manipulating language with a translator's delicate skill. There are funny, moving pen-portraits of Wittner's two children, suddenly grown, as well as bell-clear descriptions of the task of writing. For this is also a collection about language itself - as an interface, as a surface, and as vital communication. Translation of the Route is Laura Wittner's eleventh collection. The poems in this dual language Spanish-English edition, Wittner's first collection available in English translation, have been translated by the Mexican-Scottish bilingual poet and translator Juana Adcock, acclaimed author of Manca and Split.

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.

Featuring ten collages by the author, Helen Ivory's new poetry collection Constructing a Witch fixes on the monstering and the scapegoating of women and on the fear of ageing femininity.In this collection, the witch appears as the barren, child-eating hag; she is a lustful seductress luring men to a path of corruption; she is a powerful or cantankerous woman whose cursing must be silenced by force. These bewitching poems explore the witch archetype and the witch as human woman. They examine the nature of superstition and the necessity of magic and counter-magic to gain a fingerhold of agency, when life is chaotic and fragile. In the poems of Constructing a Witch Helen Ivory investigates witch tourism, the witch as outsider, cultural representations of the witch, female power and disempowerment, the menopause, and how the female body has been used and misunderstood for centuries. Constructing a Witch is a Poetry Book Society Recommendation.

Covering the most productive period of J.H. Prynne's career, this new volume collects all of the recent poetry of Britain's leading late Modernist poet. Prynne's austere yet playful poetry challenges our sense of the world, not by any direct address to the reader but by showing everything in a different light, enacting slips and changes of meaning through shifting language. Not since the late work of Ezra Pound and the Maximus series of Charles Olson have the possibilities of poetry been so fundamentally questioned and extended as they are in the life work of J.H. Prynne. When his Poems was first published in 1999, it was immediately acclaimed as a landmark in modern poetry. Four further collections were added to the second edition of Poems in 2005, followed by a further seven along with a group of uncollected poems to the third edition of Poems (2015).The decade since Poems (2015) has been the most productive period of Prynne's life, with over thirty limited editions published between 2017 and 2024. To have added these to a fourth edition of Poems would have more than doubled the size of that volume. Poems 2016-2024 is therefore a separate, supplementary edition of his later work, including, except for minor corrections, the mostly unchanged contents of 36 texts written since Poems (2015), from Each to Each (2017) to Alembic Forest (2024), as well as the corrected 2023 text of At Raucous Purposeful (2022). The 26 Impromptus comprising Memory Working, originally published by Face Press in three separate editions in 2020 and 2021, appear here as a complete sequence.

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.

The exciting and complex debut collection from Dzifa Benson, Monster is a bold and lyrical exploration of the Black female body as a site of oppression and resistance. At its heart is a study of the world of Sarah Baartman, aka the Hottentot Venus, a Khoikhoi woman from South Africa who was displayed in freak shows in 19th-century Europe. Baartman's voice is framed within the social, political and legal structures of the day, offering a unique perspective.Other poems draw clear parallels with Benson's own experience as a Black woman born in London but raised in Ghana who returned to the UK at the age of 18. The collection is a mix of vivid lyricism, sometimes laced with dark humour, using complex poetry, monologue and theatrical devices. The influence of Shakespeare sits comfortably with references to Ewe mythology and history in a collection of wide scope and depth. This is a highly accomplished first collection by a mature voice. As one of a small group of published Black women poets, Benson makes an important contribution to current British poetry with the publication of Monster.

Covering the most productive period of J.H. Prynne's career, this new volume collects all of the recent poetry of Britain's leading late Modernist poet. Prynne's austere yet playful poetry challenges our sense of the world, not by any direct address to the reader but by showing everything in a different light, enacting slips and changes of meaning through shifting language. Not since the late work of Ezra Pound and the Maximus series of Charles Olson have the possibilities of poetry been so fundamentally questioned and extended as they are in the life work of J.H. Prynne. When his Poems was first published in 1999, it was immediately acclaimed as a landmark in modern poetry. Four further collections were added to the second edition of Poems in 2005, followed by a further seven along with a group of uncollected poems to the third edition of Poems (2015). The decade since Poems (2015) has been the most productive period of Prynne's life, with over thirty limited editions published between 2017 and 2024. To have added these to a fourth edition of Poems would have more than doubled the size of that volume. Poems 2016-2024 is therefore a separate, supplementary edition of his later work, including, except for minor corrections, the mostly unchanged contents of 36 texts written since Poems (2015), from Each to Each (2017) to Alembic Forest (2024), as well as the corrected 2023 text of At Raucous Purposeful (2022). The 26 Impromptus comprising Memory Working, originally published by Face Press in three separate editions in 2020 and 2021, appear here as a complete sequence.

With its rich selection from each of Sarah Holland-Batt's books of poetry up to her Stella prize-winning collection The Jaguar (2022), this volume will introduce one of Australia's best-known and widely read poets to American readers for the first time.Marked by her distinctive lyric intensity, metaphorical dexterity and linguistic mastery, Holland-Batt's cosmopolitan poems engage with questions of loss and extinction, violence and erasure. From haunted post-colonial landscapes in Australia to brutal animal hierarchies in the cloud forests of Nicaragua to the devastations and transfigurations of her father's long illness, Holland-Batt fearlessly probes the body's animal endurance, appetites and metamorphoses, and our human place within the natural order of things. Her portrayal of a much loved father trying to cope with Parkinson's Disease has touched the hearts of many people who would never usually read a book of poetry.The Jaguar: Selected Poems brings together the finest work from her debut volume Aria (2008), with its minimalistic interrogations of the tyrannies of memory; the searching external and internal landscapes of The Hazards (2015); and the fierce, unflinching elegies of The Jaguar (2022), which challenge us to view ruthless witness as a form of love. As John Kinsella has said, 'Holland-Batt is one of the best poets writing not only in Australia but anywhere in the world in English. This is an art of necessity, of belief, and of artisan-like commitment.'

In this edgy homage to Estonia, the country of his refugee father's birth, T S Eliot Prizewinner Philip Gross continues to develop the subtle conversation between words and silence that is at the core of his poetry.At this collection's heart, the shapeshifting prose-poem monologues of this book's central sequence, Evi And The Devil, weave a haunted landscape out of folktale, dark humour, the routine atrocities of history and a vividly present sense of place. The island of Vaikus (one of several words for silence in Estonian) is Estonia condensed, refracted in the dark waters of a bog pool. The voice that speaks with such compelling otherness is a channelling of a culture and a disposition often drowned out in successive occupations by the empires of the day, but always alive, and whispering. The resulting book is both a bold departure and a drawing together of the whole range of a writing life.

Against a backdrop of vast geological time and recent fossil-fuel burning history, the poems of Katrina Porteous's latest collection address current issues of social and environmental change. 330 million years ago what is now the rocky shore close to Katrina Porteous's Northumberland home in the north of England was a tropical swamp inhabited by three-metre long predatory fish with huge tusk-like teeth. They belonged to a family of lobe-finned fishes which evolved to move on land as well as swim, and which are the ancestors of all four-limbed vertebrates, including humans. The fossil fish found in Northumberland is called the 'rhizodont'.Porteous's new collection begins with a lovingly-observed contemporary journey through these ancient landscapes, from the former coal-mining communities of the Durham coast, where the coal-bearing Carboniferous strata are overlain with younger rocks, to the Northumberland shores where the rhizodont's remains were found. Against a backdrop of vast geological time and recent fossil-fuel burning history, these poems address current issues of social and environmental change. They are followed by two sequences about aspects of the latest technological revolution - autonomous systems and AI, and the remote-sensing techniques used to explore the most inaccessible reaches of our planet, Antarctica, to measure Earth's changing climate. The poems unfold from England's North-East coast into global questions of evolution, survival and extinction - in communities and languages, and throughout the natural world, where hope resides in Life's astonishing powers of reinvention. Rhizodont is Katrina Porteous's fourth poetry collection from Bloodaxe, and extends territory explored in her three previous books. It combines scientific themes from Edge (2019) with the ecological localism of Two Countries (2014) and The Lost Music (1996), both of which were concerned with the landscapes and communities of North-East England.

The Island in the Sound, the third collection by Scottish poet Niall Campbell, creates an archipelago of memories, lyrics, observations and folktales that place the small islands of his birthplace into conversation with moments from literature and history.In this collection, mirroring the islands' precarious future, we uncover strange links to Rome falling, Lindisfarne, and the temporary heaven found in Alamut, North Iran. The waters that churn around the islands in the poems bring strange things to their shores: saints, remnants of various types of havens, crab-boxes, and figures from the working-class lives of Uist. It is a poetry collection attuned to the growing sense that something is changing around us and there never will be a going back. These islands in the sound are what's left: shaped, crafted, riven by the strange tuneful sea they sprang from.Niall Campbell's first collection, Moontide (2014), won both the £20,000 Edwin Morgan Poetry Award and the Saltire First Book of the Year Award as well as being shortlisted for three other major prizes. First Nights: poems, a selection from Moontide with additional new poems, was published by Princeton University Press in the US in 2016. His second collection, Noctuary (2019), was shortlisted for the Forward Prize for Best Collection. Born and raised on South Uist in the Outer Hebrides, he now lives in Fife. He is editor of the leading UK poetry journal Poetry London.

Votive Mess is a book of small rebellions against systems of exhaustion and alienation, tracing Welsh poet Nia Davies' efforts to a lost mother tongue, y iaith Gymraeg, and embracing lingual brambles and shabby theatre to assemble fragments gleaned from the rubble of Babel. In these poems, there are love letters drowsy and excessive as well as uncanny happenings on stage and in the woods. Votive Mess is composed out of a tangle of sex, leaf, stumbles on stage, damage, blackberries and dyslexia. There is a discharge of Awen, otherwise known as poesis. The navel of the dream is inside out.Nia Davies' second collection follows her startling debut All fours, emerging from an immersion in performance and ritual. The poems trace a path through the peaks and troughs of performance, bouncing between enchantment and disenchantment. These works are studies in the altered states of travel, masks, comedy, learning and love. Nia Davies' first full-length collection, All fours (Bloodaxe Books, 2017), was shortlisted for the Roland Mathias Poetry Award 2018 (Wales Book of the Year Awards) and longlisted for the 2019 Michael Murphy Memorial Prize.

French Love Poems is about the kinds of love that puzzle, delight and afflct us throughout our lives, from going on walks with an attractive cousin before Sunday dinner (Nerval) to indulging a granddaughter (Hugo). On the way there's the ¿rst yes from lips we love (Verlaine), a sky full of stars re¿ected fatally in Cleopatra's eyes (Heredia), Iying awake waiting for your lover (Valéry), and the defeated toys of dead children (Gautier). The selection covers ¿ve centuries, from Ronsard to Valéry. Other poets represented include Baudelaire, Mallarmé, Rimbaud, La Fontaine, Laforgue and Leconte de Lisle. The 35 poems, chosen by Alistair Elliot, are printed opposite his own highly skilful verse translations. There are also helpful notes on French verse technique and on points of obscurity. Poetry Book Society Recommended Translation.'Elliot is both a passionate and accurate translator and his Ronsard and Victor Hugo are as luminous as his versions of Verlaine and Mallarmé... his natural lyricism and acute sense of form make his French translations a scintillating collection.' - Elizabeth Jennings'An attractively varied collection, translated with diligence and ingenuity.' - Edwin Morgan

Drawing on powerful and universal themes, The Penny Dropping traces the journey of a relationship from first meeting to eventual break-up. Distance and maturity give retrospective access to moments of revelation which went fatally unacknowledged or unheeded at the time and which now return with an insistence impossible to ignore. But if the penny drops years too late, these poems are their own implicit argument for the value of revisiting our pasts if only in order to acquire a fuller, more complete presence in the now.Hovering over the collection is Eliot's final question in The Waste Land: 'Shall I at least set my lands in order?' And as Helen Farish applies herself to the task, her unflinching yet compassionate voice has never been more in evidence. From the elation of the opening 'Things We Loved' to the acceptance and humour of 'Of All My Losses', much is at stake on every page.

In this tender and wryly humorous poetry collection, a child travels down her own oesophagus, a woman joins a search party to look for herself, one grief-stricken soul descends into a watery underworld whilst another experiences love as demonic possession.... In Fantastic Voyage, Amanda Dalton takes us on journeys into our hidden and ghostly selves, our insides and our 'other', exploring the myriad ways in which the human body gives voice to unspeakable truths. These poems put us in and alongside bodies that are ill, out of control and inhabited - our dark innards as harbingers of secrets and fears, the gut as fortune-teller and home to ghosts. Taking inspiration from sources as disparate as human anatomy and classic 1960s science fiction, this collection charts a deeply personal voyage through grief and loss.

Beautifully illustrated in Imtiaz Dharker's distinctive style, Shadow Reader is a radiant criss-cross of encounters, messages and earthy Punjabi proverbs, shot through with the dark thread of an unwelcome prophecy. Imtiaz Dharker's new collection pays attention to wilful erasures, exclusions and also to places of sanctuary. This is poetry as music, as momentum, as the texture and taste of languages, joyously sensuous and rich in images. While it acknowledges the everyday and its shadows, it is also an irreverent, playful celebration of life.Dharker's main themes, drawn from a life of transitions, are explored with new depth: childhood, exile, journeying, home, displacement, religious strife and terror, and latterly, grief. An accomplished visual artist, the collection includes many of her drawings, which form an integral part of the work.

Through moving and incisive poetry, Crystal traces the arc of one woman's experience after the discovery that her partner is addicted to crystal meth. In a highly original poetic act of reclamation, it plunders the drug itself and makes of it an overarching conceit to articulate the devastating impact of living with a loved one who is utterly changed. Deeply felt, tirelessly inventive, this collection gives voice to addiction's explosive effect within a family. At the same time it speaks universally and with urgency of the power of poetry to take one through the darkest of times.

By turns lyrical and sardonic, this new collection from Katie Donovan is characteristically watery - candid and uncompromising in its refusal to inhabit the safer reaches of the shore. Whether writing about her hybrid car, the death of whales from ingesting plastic waste, abortion now being legal in Ireland, or the increase in demand for sex dolls, Donovan's idiosyncratic range of tone and subject continues to enthral and engage the reader thirty years after her debut collection, Watermelon Man, arrived with its 'distinguished and open language' and 'bold statements of identity' (Eavan Boland).In this collection themes of loss, widowhood and ageing co-exist with observations of the poet's wild garden and its inhabitants, including a mangy fox she helps to survive. In some of these new poems the comforting delusion of rescue is highlighted as a flawed but human necessity, as in the case of Ishi, the last of his tribe 'saved to be / a living exhibit in a museum'. Other poems give voice to the remorse that is the haunting of a failed rescue.In 2017 Katie Donovan was awarded twenty-first O'Shaughnessy Award for Poetry 'for the intensity and conviction of her poetry, in recognition of the great range of both her craft and her subject matter, and in appreciation of her dedication to the witness and the vocation of the writer'.

I Think We're Alone Now is a bold and far-ranging second collection from a fresh and original new voice in British poetry.This was supposed to be a book about intimacy: what it might look like in solitude, in partnership, and in terms of collective responsibility. Instead, the poems are preoccupied with pop music, etymology, surveillance equipment and cervical examination, church architecture and beetles. Just about anything, in fact, except what intimacy is or looks like.So this is a book that runs on failure, and also a book about failures: of language to do what we want, of connection to be meaningful or mutual, and of the analytic approach to say anything useful about what we are to one another. Here are abrupt estrangements and errors of translation, frustrations and ellipses, failed investigations. And beetles.Abigail Parry's first collection, Jinx (Bloodaxe Books, 2018), was shortlisted for the Forward Prize for Best First Collection 2018 and the Seamus Heaney Centre First Collection Poetry Prize 2019. I Think We're Alone Now was shortlisted for the 2023 T.S. Eliot Prize.

This first ever anthology of Sri Lankan and diasporic poetry features over a hundred poets writing in English, or translated from Tamil and Sinhala. It brings to light a long-neglected national literature, and reshapes our understanding of migrational poetics and the poetics of atrocity. In this anthology, poets long out of print appear beside exciting new talents; works written in the country converse with poetry from the UK, the US, Canada and Australia. Poems in traditional and in open forms, concrete poems, spoken word poems, and experimental post-lyric hybrids of poetry and prose, appear with an introduction explaining Sri Lanka's history.Sri Lanka has thrilled the foreign imagination as a land of infinite possibility. Portuguese, Dutch and British colonisers envisioned an island of gems and pearls, a stopping-point on the Silk Road; tourists today are sold a vision of golden beaches and swaying palm trees, delicious food and smiling locals. This favours the south of the island over the north rebuilt piecemeal after the end of the civil war in 2009, and erases a history of war crimes, illicit assassination of activists and journalists, subjugation of minorities, and a legacy of governmental corruption that has now led the country into economic and social crisis. Through its broad range of poets, Out of Sri Lanka redresses this imbalance.

Mapping the Future offers new work by all 30 writers supported by The Complete Works project, including Warsan Shire, Raymond Antrobus, Mona Arshi, Roger Robinson, Inua Ellams, Malika Booker, Sarah Howe, Will Harris, Kayo Chingonyi, Jay Bernard, Yomi Sode and Karen McCarthy Woolf. In 2008 the level of poets of color published by major presses in the UK was less than 1%. By 2020 it was over 20%. The Complete Works Poetry - an initiative spearheaded by Booker Prize winner Bernardine Evaristo - played a significant role in this change. Supporting 30 poets over a twelve-year period, The Complete Works produced an unprecedented number of prizewinners, including the Forward Prizes, T.S. Eliot Prize, Ted Hughes Award, Somerset Maugham Award, Dylan Thomas Prize, Rathbones Folio Prize and Sunday Times Young Writer of the Year Award. TCW Fellows have also gone on to judge every major poetry award, and to take on significant roles in academia and translation, publishing over 40 collections. The Complete Works has become the most successful collective ever formed in British poetry. Mapping the Future is not just a magnificent anthology of some of the best UK poets, it is also an exploration on how poetry in Britain has become much more inclusive over the past 15 years: what has been won, and what is still being fought for. As well as poetry, the anthology also includes fierce essays re-drawing the map of British poetry by 10 of the 30 poets, touching on the most significant topics of our time.This anthology offers a timely insight into British poetry and how the voice of the 'other' continues to take centre-stage in pivotal times. Mapping the Future is edited by poet Karen McCarthy Woolf, editor of the second two Ten anthologies in The Complete Works series, with Dr Nathalie Teitler, director of The Complete Works, with a foreword by Bernardine Evaristo.

Please Do Not Touch This Exhibit explores disability, storytelling, and the process of mythologising trauma. Jen Campbell writes of Victorian circus and folklore, deep seas and dark forests, discussing her own relationship with hospitals -- both as a disabled person, and as an adult reflecting on childhood while going through IVF. Please, Do Not Touch This Exhibit is Jen Campbell's second collection and a Poetry Book Society Recommendation. Her first book-length collection, The Girl Aquarium (Bloodaxe Books, 2019), was shortlisted for the poetry category of the Books Are My Bag Readers Awards 2019 and was a semifinalist for the Goodreads Choice Awards 2019 (Best Poetry category).

For half a century of ever-broadening vision, award-winning poet Harry Clifton has addressed what the Irish Times calls 'his large concerns and his angular relationship to Ireland, one that produces extraordinary verbal and emotional effects'. His latest book is a quest, through origin and migration, South America to the North of Ireland, Khao I Dang refugee camp to Glasnevin graveyard, for a lost maternal ground. Harry Clifton has published ten other books of poetry, most recently The Winter Sleep of Captain Lemass (2012), The Holding Centre: Selected Poems 1974-2004 (2014), Portobello Sonnets (2017) and Herod's Dispensations (2019).

Jane Clarke's third collection is far-reaching and yet precisely rooted in time and place. In luminous language her poems explore how people, landscape and culture shape us. Voices of the past and present reverberate with courage and resilience in the face of poverty, prejudice, war and exile and the everyday losses of living. Across six sequences these intimate poems of unembellished imagery accrue power and resonance in what is essentially a book of love poems to our beautiful, fragile world. A Change in the Air follows Jane Clarke's widely praised previous collections The River (2015) and When the Tree Falls (2019). A Change in the Air was longlisted for The Laurel Prize 2023 and shortlisted for the Forward Prize for Best Collection 2023. It is shortlisted the T.S. Eliot Prize 2023.

Five Fifty-Five is a book of quizzical poems concerned with time and mortality which ask fundamental questions about our lives, such as Where have you gone? and Who were you anyway? In her first new collection since The Silvering (2016), Maura Dooley tries to find out through conversations with, among others, Louisa M. Alcott, Hokusai, Jane Austen, Buzz Aldrin, Anne Tyler and the Great Uncle and Grandfather she never knew. There are poems, too, about the difficulties and responsibilities of translation, both from the written word and in interpreting what is left unspoken in different kinds of absence; empty streams, bare trees, the loss of friends. Yet these are poems that find and try to offer consolation.

The Hopeful Hat is a posthumous collection from a poet whose work is informed by her keen eye for social injustice and, equally, by the breadth of her compassion.Poignantly, these late poems are also Satyamurti's nuanced poetic response to having her voice box removed following a diagnosis of laryngeal cancer. Clear-eyed in the face of her own mortality, she produced a series of courageous poems that are, as Carol Ann Duffy said of her work, 'laced with the hard stuff'. They are also graced with Satyamurti's unique and subtle wit. Carole Satyamurti was preparing these poems for publication at the time of her death, and left the manuscript in an advanced state of readiness. The sequencing of the poems, and the sections they are grouped in, had already been decided by her.

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.

Ghost River invites readers to stare down blue-mouthed crevasses, venture into old growth forests, and peer beneath the floorboards of ancestral homesteads. In this lyrical and intimate portrait of America's Pacific Northwest, wilderness and home are interwoven. But this is not Arcadia. Deep time is punctured by strip malls and freeways, wildfires and dams. Questioning the influence of the past on the present, the central sequence reimagines this landscape from the perspective of the British explorer, George Vancouver, who charted its waterways on an expedition to locate the illusive Northwest Passage. In their passage between America and England and the terrain of early motherhood, these poems of loss and renewal explore what it is to be home. Born and raised in America's Washington state, Kris Johnson moved to the UK in 2007. Ghost River is her first book-length 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.