A. J. Liebling, born in Manhattan in 1904, joined the staff of the New Yorker in 1935 and contributed innumerable articles to the magazine throughout his lifetime, on subjects ranging from food to boxing and France to horse racing. As a war correspondent during the Second World War, he reported from France, England and Algeria, and participated in the Normandy landings. In later life he married the writer Jean Stafford, his third wife. He died in 1963.

A. J. Liebling

A. J. Rosen is an author of YA fantasy and is known as @agatharoza on Wattpad.

A. J. Rosen

A. K. Davidson

A. O. Scott has been a film critic at the New York Times since 2000. His writing has appeared in many other publications, including the New York Review of Books, Slate, the New Yorker and the Nation. A finalist for the Pulitzer Prize in criticism in 2010, Scott is currently Distinguished Professor of Film Criticism at Wesleyan University. He lives with his family in Brooklyn, New York. 
 
@aoscott

A. O. Scott

A.S. Byatt (1936-2023) was a novelist, short-story writer and critic of international renown. Her novels include Possession (winner of the Booker Prize 1990), the Frederica Quartet and The Children’s Book, which was shortlisted for the Booker Prize and won the James Tait Black Memorial Prize for Fiction. She was appointed CBE in 1990 and DBE in 1999, and was awarded the Erasmus Prize 2016 for her ‘inspiring contribution to life writing’ and the Pak Kyongni Prize 2017. In 2018 she received the Hans Christian Andersen Literature Award.

A. S. Byatt

A. T. Williams won the George Orwell Prize for Political Writing in 2013 for his book A Very British Killing: The Death of Baha Mousa. He lives in Warwickshire.

A. T. Williams

A. W. Chase

Dubbed ‘The new queen of spy fiction’ by the Guardian newspaper, and ‘the real thing’ by the Washington Post, A.C. 'Ava' Glass is the CWA Dagger-shortlisted author of Alias Emma (The Chase), The Traitor and The Trap. The Traitor was a 2023 Richard and Judy Bookclub pick. Alias Emma was a Barnes and Noble book of the month. A former crime reporter and communications consultant, for five years Ava worked closely with spies. Her time in that world fascinated her, and the people she met back then inspire every book she writes.

A.C. Glass

A.E. Housman

Arthur Edward Waite was the designer and co-creator of the now famous Rider Waite Tarot deck. 
 
An American-born British poet and scholarly mystic, his strong interest in all esoteric matters - divination, magic, Kabbalism, alchemy and Freemasony - led to him penning a number of books. These include the Key to the Tarot, The Book of Ceremonial Magic and A New Encyclopedia of Freemasony.

A.E. Waite

A.E. Warren is the author of the Tomorrow's Ancestors series, which consists of Subject Twenty-One, The Hidden Base, The Fourth Species and The Final Rising. 
 
After spending eight years working as a lawyer, she began to write in the evenings and early mornings as a form of escapism from life in a very small cubicle with lots of files. She self-published her first novels in her spare time, which were picked up by Del Rey UK which is the science fiction/fantasy imprint of Penguin Random House. 
 
 She is an avid reader, occasional gamer and fair-weather runner. She lives in the UK with her husband, daughter and hopefully, one day, a wise border terrier named Austen.

A.E. Warren

A.G.D. Maran

A.J. Ayer

A.J. Cronin

A K Benedict writes crime and speculative fiction in a room filled with clowns, mannequins and Doctor Who figures. Her first novel, The Beauty of Murder, was nominated for an eDunnit award and is in development for a major 8-part TV series by Company Pictures. Her second, Jonathan Dark or The Evidence of Ghosts, came out in February 2016. She's written Torchwood audio dramas for Big Finish and her short stories have featured in anthologies including Great British Horror and Best British Short Stories. She lives in St Leonards-on-Sea with her dog, Dame Margaret Rutherford.

A.K.Benedict

A. L. Kennedy has twice been selected as one of Granta’s Best of Young British Novelists and has won a host of other awards – including the Costa Book of the Year for her novel Day. She lives in Essex.

A.L. Kennedy

A.M. Ellis is a speculative fiction author and lover of everything steeped in myth and mystery. Her stories often lean into diverse voices, not only in her identity as a Black woman, but in exploring neurodivergence and mental health. A proud introvert and nostalgic gamer, she lives in Maryland, USA, with her husband and three children. Angelica is also the author of Hunt A Killer, a PERFECT SCORE novel, under the pen name A.M. Ellis, which she wrote as an IP for Scholastic in the US.

A.M. Ellis

A.N. Wilson was born in 1950 and educated at Rugby and New College, Oxford. A Fellow of the Royal Society of Literature, he holds a prominent position in the world of literature and journalism. He is an award-winning biographer and a celebrated novelist, winning prizes for much of his work. He lives in North London.

A.N. Wilson

A.T. Emerald

A.W. Priest

A.B.C. Merriman-Labor was a barrister, writer and munitions worker born in Freetown, Sierra Leone in 1877. His published works include A Series of Lectures on the Negro Race and The Story of the African Slave in a Nutshell. He also edited two editions of the Handbook of Sierra Leone. He arrived in the UK in 1904 to study law. In 1907, he organised a centenary commemoration of the abolition of the slave trade in Westminster Abbey. He later embarked on an 'entertainment-lecture' tour called Life and Scenes in Britain, travelling across thousands of miles of West, South West and Central Africa, which he expanded on to create Britons Through Negro Spectacles.

ABC Merriman-Labor

AJ Cronin

AJ Molloy

Aabria Iyengar is an American actress and author.

Aabria Iyengar

Aaliya Jaleel is a freelance illustrator, designer, and visual development artist, currently majoring in Animation at the University of Texas at Dallas. She is also the illustrator of Under My Hijab and Muslim Girls Rise. You can visit her online at www.aaliyamj.com.

Aaliya Jaleel

Aaron Allston

After more than fifteen years of experience as a clinical psychotherapist, Dr Aaron Balick has taken the amazing insights from psychology and psychotherapy out of the consultation room and made them accessible to the wider world. 
 
He has been an ‘agony uncle’ for many years for both CBBC and BBC Radio 1, as well as on television, including BBC Worldwide, BBC 3 and BBC Learning.

Aaron Balick

Aaron Carroll

Aaron Dignan is the founder of The Ready--a global organizational transformation and coaching practice--that helps companies large and small adopt new forms of self-organization and dynamic teaming. Clients include Johnson &amp; Johnson, Microsoft, Lloyds Bank, Citibank, Boeing, Mailchimp, Airbnb, Dropbox, and charity: water. 
 
He is also the founder of Murmur--a SaaS startup that helps teams scale culture through the magic of working agreements. The Murmur platform will allow every team on the planet to define and share their ways of working. 
 
Dignan is the author of Brave New Work (2019) and Game Frame (2011), co-host of the Brave New Work podcast, and a friend to misfit toys.

Aaron Dignan

Aaron Edwards is a senior lecturer in defence and international affairs at the Royal Military Academy, Sandhurst, specialising in terrorism and counter-insurgency. He is the author and editor of several books, including Defending the Realm: The Politics of Britain’s Small Wars Since 1945, and has lectured all over the world on aspects of national and international security. He is a Fellow of the Royal Historical Society.

Aaron Edwards

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J. O. Morgan

**SHORTLISTED FOR THE TS ELIOT PRIZE 2020** 
 
From the winner of the Costa Poetry Award 
 
A lone martian returns to Earth. He leaves behind him a hardened survivalist culture, its muddled myths and songs, its continued abuse of the environment that sustains it. During this journey back to the now-broken and long-abandoned mother planet, the martian begins to consider his own uncertain origins, and his own future. 
 
Cut off from his people, the martian's story is that of the individual: his duty at odds with his desire; the race of which he's still a part playing always on his mind, as well as the race that once was. This is the story of what life becomes when stripped of all that makes it worth living - of what humans become when they lose their humanity. 
 
The Martian's Regress is a brilliant, provocative, often darkly comic work that explores what a fragile environment eventually makes of those who persist in tampering with it.

The Martian's Regress

Vicki Feaver

The title of Vicki Feaver’s remarkable new collection derives from Blake’s illustration of a child standing with one foot on a ladder to the moon, crying ‘I want! I want!’ In the title poem it represents her childhood ambition to be a poet; in another, she rejects pressure towards achievement and longs to return to the sensual world of the earth. 
 
This startlingly honest book follows the ladder of a life for seventy-five years, in poems that show how much is connected. Unlocking the voice of a silenced, powerless girl, Feaver writes about an apparently stable childhood which, to her, was painfully insecure: tormented with parental expectations and sibling jealousy, torn between mother and grandmother. The eleven-year-old who wanted to become a poet becomes the woman ‘buried under ice with words burning inside’, who becomes the old woman still ‘searching for words’ – fearful now of memory loss and a failing body. 
 
I Want! I Want! is the work of a poet looking for a pattern in her life before it’s too late. Urgent, accessible and deeply moving, this is poetry of witness and survival: a vivid testament to the triumph of a poet’s spirit.

I Want! I Want!

Sharon Olds

*SHORTLISTED FOR THE 2019 T. S. ELIOT PRIZE* 
 
Following her recent Odes, the Pulitzer Prize-winning poet gives us a new collection of poems that sing of a woman’s intimate life and political conscience. The atom bomb, Breaking Bad, the cervix, Trayvon Martin, her mother’s return from the dead: the peerless Sharon Olds once again takes up subject matter that is both difficult and ordinary, elusive and everywhere. 
 
 Each aria is shaped by its unique melody and moral logic, as Olds stands centre stage to account for her own late romance and chance wisdom, and faces the tragic life of our nation and our planet. ‘I cannot say I did not ask / to be born,’ begins one aria, which considers how, with what actions, with what thirst, we each ask for a turn, and receive our portion on earth. Olds delivers these pieces with all the passion, anguish, and solo force that make a great performance, in the process enlarging the soul of her readers. 
 
 ‘Olds is a supreme poet of the body; I’ll be reading her till I die’ Fiona Benson

Arias

Alice Oswald

**WINNER OF THE LONDON HELLENIC PRIZE 2019** 
 
'Alice Oswald is at the height of her powers in...this electrifying new work' Observer 
 
 This is a book-length poem - a collage of water-stories, taken mostly from the Odyssey - about a minor character, abandoned on a stony island. It is not a translation, though, but a close inspection of the sea that surrounds him. There are several voices in the poem but no proper names, although its presiding spirit is Proteus, the shape-shifting sea-god. We recognise other mythical characters - Helios, Icarus, Alcyone, Philoctetes, Calypso, Clytemnestra, Orpheus, Poseidon, Hermes - who drift in and out of the poem, surfacing briefly before disappearing. 
 
Reading Nobody is like watching the ocean: a destabilising experience that becomes mesmeric, almost hallucinatory, as we slip our earthly moorings and follow the circling shoal of sea voices into a mesh of sound and light and water - fluid, abstract, and moving with the wash of waves. As with all of Alice Oswald's work, this is poetry that is made for the human voice, but this poem takes on the qualities of another element: dense, muscular and liquid. 
 
one person has the character of dust 
 
another has an arrow for a soul 
 
but their sto ries all end 
 
somewhere 
 
in the sea 
 
 'An invigorating book-length poem' Sara Wheeler

Nobody

Adam Thorpe

These remarkable poems are despatches from the edges of experience: from the remote coast of northern Iceland where tree-trunks and dead whales lie beached, to the furthest outposts of the Roman empire in the title poem – ‘From the very limit of the world,/Flavius sends you greetings, my lord.’ The collection is concerned with borders and brinks – the liminal spaces where distinctions blur between outer and inner, known and unknown, between what is familiar and what is other. This is the terrain of the displaced and deracinated but also the shimmering space where all is volatile, mutable, in flux – and it is also, of course, the thin, transparent veil between waking and sleep, between life and death. 
 
Shadowed by mortality, lit by lyrical grace, Words from the Wall includes poems about the killing fields of Agincourt, Flanders, Vietnam and a memorial poem to the victims of the 2015 Bataclan attack where the dead are ‘stations of flame’, and it begins and ends at the boundaries of the Roman territory, at the edge of life: ‘The girls I laughed with once/in the baths’ atrium/are withered and wattle-necked./I love them still…’

Words From the Wall

Fiona Benson

**WINNER OF THE FORWARD PRIZE FOR BEST COLLECTION 2019** 
**WINNER OF THE ROEHAMPTON PRIZE FOR BEST POETRY COLLECTION 2019** 
 
Violence hangs over this book like an electric storm. Beginning with a poem about the teenage dawning of sexuality, Vertigo &amp; Ghost pitches quickly into a long sequence of graphic, stunning pieces about Zeus as a serial rapist, for whom woman are prey and sex is weaponised. These are frank, brilliant, devastating poems of vulnerability and rage, and as Zeus is confronted with aggressions both personal and historical, his house comes crumbling down. A disturbing contemporary world is exposed, in which violent acts against women continue to be perpetrated on a daily – hourly – basis. 
 
The book shifts, in its second half, to an intimate and lyrical document of depression and family life. It sounds out the complex and ambivalent terrain of early motherhood – its anxieties and claustrophobias as well as its gifts of tenderness and love – reclaiming the sanctuary of domestic private life, and the right to raise children in peace and safety. 
 
Vertigo &amp; Ghost is an important, necessary book, hugely impressive in its range and risk, and dramatic in its currency: a collection that speaks out with clarity, grace and bravery against the abuse of power. 
 
**SHORTLISTED FOR THE 2020 RATHBONES FOLIO PRIZE** 
**SHORTLISTED FOR THE 2019 T. S. ELIOT PRIZE** 
 
 ‘Misogynistic violence, ancient myth and modern rage confront each other in moving and dynamic verse’ Financial Times

Vertigo & Ghost

Ann Wroe

**LONGLISTED FOR THE RATHBONES FOLIO PRIZE 2019** 
**SHORTLISTED FOR THE CATHOLIC HERALD BOOK AWARDS 2019** 
 
A life of St Francis in verse 
 
Throughout her career Ann Wroe has constantly confounded expectations, following her own unique path. Now, in Francis, she turns to verse to tell the life of St Francis of Assisi. This is a sequence only Ann Wroe could write, combining a troubadour's musicality with full grasp of the moment, and a luminous sense of Francis as both myth and man, across history and culture, in nature and community. It is a remarkable and immensely beautiful book. 
 
St Francis was one of the most compelling spirits the world has seen. He was also a poet, a musician and a dancer. His world was coloured by troubadour lays, brightened by birdsong, ordered by the bells and chants of the Church and transfigured by the angel-lyres he heard about him. For Ann Wroe, this seems a good reason to write his life in songs. It is also an excuse to record, in songs, the many ways his presence and his music still linger round us. They surprise us in chance encounters in city streets; they waylay us amid the humdrum banalities of working life; they persist in the beauties of nature. Great spirits never leave us. They echo on and on.

Francis

A Life in Songs

Jean Sprackland

Jean Sprackland is celebrated for her tactile, transformative poetry which makes the miraculous seem familiar and the domestic other-worldly. Her new collection is tuned to new and deeper frequencies. ‘Green noise’ is the mid-frequency component of white noise – what some have called the background noise of the world – and these poems listen for what is audible, and available to be known and understood, and what is not. Each poem is an attempt at location – in time, in place, in language. Some enquire into the natural world and our human place in it, by investigating hidden worlds within worlds: oak-apples, aphid-farms, firewood teeming with small life. Others go in search of fragments of a mythic and often brutal past: the lost haunts of childhood, abandoned villages, scraps of shared history which are only ever partially remembered. A physical relic or a mark on the landscape seems briefly to offer a portal, where a sounding is taken from present to past and back again. 
 
Deeply engaged with the flux of the world, these poems are alert, precise and vividly memorable – listening to the ‘machine of spring/with all your levers thrown to max’, ‘hearing the long bones of the trees stretch and crack’.

Green Noise

Robert Crawford

One of Scotland’s most celebrated poets, Robert Crawford has long been a passionate and articulate ambassador for his country and its culture, its people and its landscape. The Scottish Ambassador fuses individual and communal voices in poems that resonate far beyond their points of origin. Engaging with Zoroastrian, Chinese and Greek as well as with Scottish antecedents, Crawford’s poems have an arresting range and a lyrical energy. He negotiates with intensity and wit between a deep sense of human universals and a heartfelt fidelity to individual places. Ranging from Jerusalem to Iona, New York City to Shetland, this is a collection of international range that continually zeroes in on the particular – and the particularly Scottish. At the book’s centre is a series of intimate, funny, eloquent portraits of cities which are at once remarkable public poems and outpourings of love.

The Scottish Ambassador

Andrew McMillan

**WINNER OF THE POLARI PRIZE 2019** 
 
‘Vivid, accessible and honest, sometimes uncomfortably so’ Alan Bennett, London Review of Books 
 
In these intimate, sometimes painfully frank poems, Andrew McMillan takes us back to childhood and early adolescence to explore the different ways we grow into our sexual selves and our adult identities. Examining our teenage rites of passage: those dilemmas and traumas that shape us – eating disorders, masturbation, loss of virginity – the poet examines how we use bodies, both our own and other people’s, to chart our progress towards selfhood. 
 
McMillan’s award-winning debut collection, physical, was praised for a poetry that was tight and powerful, raw and tender, and playtime expands that narrative frame and widens the gaze. Alongside poems in praise of the naivety of youth, there are those that explore the troubling intersections of violence, masculinity, class and sexuality, always taking the reader with them towards a better understanding of our own physicality. ‘isn’t this what human kind was made for’, McMillan asks in one poem, ‘telling stories learning where the skin/is most in need of touch’. These humane and vital poems are confessions, both in the spiritual and personal sense; they tell us stories that some of us, perhaps, have never found the courage to read before.

playtime

**WINNER OF THE COSTA POETRY AWARD 2018** 
**SHORTLISTED FOR THE 2018 FORWARD PRIZE FOR BEST COLLECTION** 
 
A war-poem both historic and frighteningly topical, Assurances begins in the 1950s during a period of vigilance and dread in the middle of the Cold War: the long stand-off between nuclear powers, where the only defence was the threat of mutually assured destruction. 
 
Using a mix of versed and unversed passages, Morgan places moments of calm reflection alongside the tensions inherent in guarding against such a permanent threat. A work of variations and possibilities, we hear the thoughts of those involved who are trying to understand and justify their roles. We examine the lives of civilians who are not aware of the impending danger, as well as those who are. We listen to the whirring minds of machines; to the voice of the bomb itself. We spy on enemy agents: always there, always somewhere close at hand. 
 
Assurances is an intimate, dramatic work for many voices: lyrical, anxious, fragmentary and terrifying; a poem about the nuclear stalemate, the deterrent that is still in place today: how it works and how it might fail, and what will vanish if it does.

Assurances

Sean Borodale

Like his two previous books, Asylum was written live on-site; in this case deep within the caves, mines, quarries, geological and archaeological horizons of the Mendip Hills in Somerset. The poems stage modes of exile in the darkness of earth, enacting solidarity with those others who have made their journey into the underworld – Dante, Orpheus, blinded Oedipus, Euripides. These are semi-dramatic voicings, staged across the thirty-mile theatre of the Mendip subterranean: each an act of recovery, of rescue. Traversing the broken, collapsed, eroded stones, looking for voices that express the damaged and the damned, Asylum pays homage to the darkness of the human cave: its memories and ancient histories, and to its more contemporary signals – internationally owned quarries, abandoned coal mines, decommissioned Cold War bunkers. 
 
As with Bee Journal and Human Work, these poems take on the nature of the experience recorded. Written blind, as it were, the diction here becomes mineral, deeply tactile – hard and granular, alert to sound in its own blackness. Descending underground with the poet is to enter a theatre of heightened senses, and these extraordinary poems feel both unearthed and unearthly.

Asylum

Michael Symmons Roberts

Shortlisted for the 2017 T. S. Eliot Prize 
Longlisted for the 2019 Portico Prize 
PBS Autumn Recommendation 
 
Mancunia is both a real and an unreal city. In part, it is rooted in Manchester, but it is an imagined city too, a fallen utopia viewed from formal tracks, as from the train in the background of De Chirico’s paintings. In these poems we encounter a Victorian diorama, a bar where a merchant mariner has a story he must tell, a chimeric creature – Miss Molasses – emerging from the old docks. There are poems in honour of Mancunia’s bureaucrats: the Master of the Lighting of Small Objects, the Superintendent of Public Spectacles, the Co-ordinator of Misreadings. Metaphysical and lyrical, the poems in Michael Symmons Roberts’ seventh collection are concerned with why and how we ascribe value, where it resides and how it survives. Mancunia is – like More’s Utopia – both a no-place and an attempt at the good-place. It is occupied, liberated, abandoned and rebuilt. Capacious, disturbing and shape-shifting, these are poems for our changing times.

Mancunia

Michael Longley

A Guardian / Herald Scotland Book of the Year 
 
Winner of the 2017 PEN Pinter prize 
Shortlisted for the 2017 Forward Prize 
 
 
A remote townland in County Mayo, Carrigskeewaun has been for nearly fifty years Michael Longley’s home-from-home, his soul-landscape. Its lakes and mountains, wild animals and flowers, its moody seas and skies have for decades lit up his poetry. Now they overflow into Angel Hill, his exuberant new collection. In addition, Longley has been exploring Lochalsh in the Western Highlands where his daughter the painter Sarah Longley now lives with her family. She has opened up for him her own soul-landscape with its peculiar shapes and intense colours. In Angel Hill the imaginations of poet and painter intermingle and two exacting wildernesses productively overlap. Love poems and elegies and heart-rending reflections on the Great War and the Northern Irish Troubles add further weight to Michael Longley’s outstanding eleventh collection. Angel Hill will undoubtedly delight this great poet’s many admirers.

Angel Hill

Ocean Vuong

Winner of the 2017 T. S. Eliot Prize 
 
‘Reading Vuong is like watching a fish move: he manages the varied currents of English with muscled intuition.’ New Yorker 
 
An extraordinary debut from a young Vietnamese American, Night Sky with Exit Wounds is a book of poetry unlike any other. 
 
Steeped in war and cultural upheaval and wielding a fresh new language, Vuong writes about the most profound subjects – love and loss, conflict, grief, memory and desire – and attends to them all with lines that feel newly-minted, graceful in their cadences, passionate and hungry in their tender, close attention: ‘…the chief of police/facedown in a pool of Coca-Cola./A palm-sized photo of his father soaking/beside his left ear.’ This is an unusual, important book: both gentle and visceral, vulnerable and assured, and its blend of humanity and power make it one of the best first collections of poetry to come out of America in years. 
 
‘These are poems of exquisite beauty, unashamed of romance, and undaunted by looking directly into the horrors of war, the silences of history. One of the most important debut collections for a generation.’ Andrew McMillan 
 
 Winner of the 2017 Felix Dennis Prize for Best First Collection 
A Guardian / Daily Telegraph Book of the Year 
PBS Summer Recommendation

Night Sky with Exit Wounds

John Burnside

From our earliest childhood experiences, we learn to see the world as contested space: a battleground between received ideas, entrenched conventions and myriad Authorised Versions on the one hand, and new discoveries, terrible dangers, and everyday miracles on the other. As we grow, that world expands further, to include new species, lost continents, the realm of the dead and the lives of others: cosmonauts swim in distant space, unseen creatures pass through a garden at dusk; we are surrounded by delectable mysteries. 
 
The question of this contested, liminal world sits at the centre of Still Life with Feeding Snake, whose poems live at the edge of loss, or on the cusp of epiphany, always seeking that brief instant of grace when we see what is before us, and not just what we expected to find. In ‘Approaching Sixty’, the poet watches as a woman unclasps her hair: ‘so the nape of her neck/is visible, slender and pale/for moments, before the spill/of light and russet/falls down to her waist’. This, like each poem in the book, becomes an essay in still life and a memento mori, illuminating transient experience with a profound clarity and a charged, sensual beauty.

Still Life with Feeding Snake

James Sheard

Shortlisted for the 2017 T. S. Eliot Prize 
PBS Autumn Recommendation 
 
The poems in James Sheard’s remarkable third book are about love and leaving, of how the rift of departure brings on a kind of haunting – of the people involved and the places where they lived – an emotional trace of departed lives and loves. This is what these poems are: the scars of separation, the spoors of desire. Sheard writes powerfully about loss, about how the vestiges of significance, of sensual heat, are retained by structures – in ghost towns, war-zones, deserted villages or resorts – but also by the human body and memory: ‘for love exists, and then is ruined, and then persists.’ 
 
These are poems about permanence and fragility, of being uncertain whether the house you live in is a shell, or if you have become a shell by living there – whether emptiness means loss and abandonment or a clean start and a new beginning. But these are also poems full of the ache of desire, the tart, lingering smell of sex: poems shaped by longing. 
 
James Sheard is one of Britain’s most assured and precise lyric poets, and his third collection brings all his considerable strengths to poems as accurate and strange as thermal images.

The Abandoned Settlements

‘Interspersed with acts of breathtaking linguistic daring.’ 
Charlotte Mendelson, Observer Book of the Year 
 
Opening with a powerful and tender ‘Ode to the Hymen’, Sharon Olds uses this age-old poetic form to address many aspects of herself, in a collection that is centred around the female body and female pleasures, and touches along the way on parts of her own story which will be familiar from earlier works, each episode and memory now burnished by the wisdom and grace of looking back. In such poems as ‘Ode to My Sister’, ‘Ode of Broken Loyalty’, ‘Ode to My Whiteness’, ‘Blow Job Ode’, ‘Ode to the Last 38 Trees in New York City Visible from This Window’, Olds treats us to an intimate self-examination that, like all her work, is universal and by turns searing and charming in its honesty. From the early bodily joys and sorrows of her girlhood to the recent deaths of those dearest to her – the ‘Sheffield Mountain Ode’ for Galway Kinnell is one of the most stunning pieces here – Olds shapes her world in language that is startlingly fresh, profound in its conclusions, and life-giving for the reader.

Odes

Winner of the 2017 Griffin Prize 
Winner of the 2016 Costa Poetry Award 
Shortlisted for the 2016 T. S. Eliot Award 
Shortlisted for the 2016 Forward Prize 
 
A Daily Telegraph / Guardian / Herald / New Statesman / Sunday Times / Times Literary Supplement Book of the Year 
 
Alice Oswald’s poems are always vivid and distinct, alert and deeply, physically, engaged in the natural world. Mutability – a sense that all matter is unstable in the face of mortality – is at the heart of this new collection and each poem is involved in that drama: the held tension that is embodied life, and life’s losing struggle with the gravity of nature. 
 
Working as before with an ear to the oral tradition, these poems attend to the organic shapes and sounds and momentum of the language as it’s spoken as well as how it’s thought: fresh, fluid and propulsive, but also fragmentary, repetitive. These are poems that are written to be read aloud. 
 
Orpheus and Tithonus appear at the beginning and end of this book, alive in an English landscape, stuck in the clockwork of their own speech, and the Hours – goddesses of the seasons and the natural apportioning of Time – are the presiding figures. The persistent conditions are flux and falling, and the lines are in constant motion: approaching, from daring new angles, our experience of being human, and coalescing into poems of simple, stunning beauty.

Falling Awake

At first, these extraordinary poems may unsettle and disturb, but the next reading could be one of rapture and astonishment; it all hinges on your point of view. Like the optical illusion of the maiden and the crone, you can only see one image at a time; the brain deciding which is the figure and which the background. It is a book that acts out its own subjects – dualities, ambiguities, boundaries – through physical dislocation, through patterns of interference. 
 
This is a collage of many voices: eager or dispassionate, unreliable or matter-of-fact – depending, as with everything else, on your angle of entry. Some of the voices fear involvement; some are afraid of doing nothing; some, perhaps, have already gone too far. Like the image on the cover, these pieces shimmer and buzz in their own instability. Is this punishment or reward? What is the yellow smoke? Will there be bodies floating under the plastic pool-cover? Are we, like the hotel manager, seeing visions? 
 
Volatile, troubling, but endlessly interesting, these poems show J. O. Morgan working and compressing language into a precarious, frictional state. As a result, Interference Pattern is a unique reading experience: vivid, challenging and completely original.

Interference Pattern

Neil Rollinson

Shortlisted for the 2015 Costa Poetry Prize 
 
Like Neil Rollinson’s earlier books, Talking Dead is a refreshment of the senses: lifting the lid on the human condition in a heartfelt celebration of the act of being, whether in moments of love or mortality, sex or feasting. 
 
In the central sequence of the book – a meditation on the space between life and death – the dead speak of their final earthly moments with a liberating sense of fascination, and a luminous awe. Elsewhere we enjoy al fresco sex, astronomy via many pints in the Cat and Fiddle, and the deliverance of an Indian monsoon after weeks of thirst and drought. In ‘Christmas in Andalucia’ two lovers Skype each other achingly across hundreds of miles – ‘I am full of loss and longing,’ the poet says, ‘the heart is hewn from elm and oak and mistletoe.’ 
 
As provocative, sensual and subversive as ever, these poems seek and find the numinous in the everyday: some element of ritual or wonder that transforms experience. Although the spectre of darkness is never far away, it is the spirit of pleasure that endures, and we discover to our delight, as D. H. Lawrence did, that the Dionysian finally prevails over the Apollonian.

Talking Dead

*Winner of the 2015 Guardian First Book Award* 
 
Raw and urgent, these poems are hymns to the male body – to male friendship and male love – muscular, sometimes shocking, but always deeply moving. 
 
We are witness here to an almost religious celebration of the flesh: a flesh vital with the vulnerability of love and loss, to desire and its departure. In an extraordinary blend of McMillan’s own colloquial Yorkshire rhythms with a sinewy, Metaphysical music and Thom Gunn’s torque and speed – ‘your kiss was deep enough to stand in’ – the poems in this first collection confront what it is to be a man and interrogate the very idea of masculinity. This is poetry where every instance of human connection, from the casual encounter to the intimate relationship, becomes redeemable and revelatory. 
 
Dispensing with conventional punctuation, the poet is attentive and alert to the quality of breathing, giving the work an extraordinary sense of being vividly poised and present – drawing lines that are deft, lyrical and perfectly pitched from a world of urban dereliction. An elegant stylist and unfashionably honest poet, McMillan’s eye and ear are tuned, exactly, to both the mechanics of the body and the miracles of the heart. 
 
Winner of the 2015 Fenton Aldeburgh First Collection Prize 
Shortlisted for the 2015 Costa Poetry Prize 
Shortlisted for the 2015 Forward Prize for Best First Collection

Physical

Mark Doty

Mark Doty’s poetry has long been celebrated for its risk and candour, an ability to find transcendent beauty even in the mundane and grievous, an unflinching eye that – as Philip Levine says – ‘looks away from nothing’. In the poems of Deep Lane the stakes are higher: there is more to lose than ever before, and there is more for us to gain. ‘Pure appetite,’ he writes ironically early in the collection, ‘I wouldn’t know anything about that.’ And the following poem answers: 
 
Down there the little star-nosed engine of desire 
at work all night, secretive: in the morning 
 
a new line running across the wet grass, near the surface, 
 
like a vein. Don’t you wish the road of excess 
led to the palace of wisdom, wouldn’t that be nice? 
 
Deep Lane is a book of descents: into the earth beneath the garden, into the dark substrata of a life. But these poems seek repair, finally, through the possibilities that sustain the speaker above ground: gardens and animals; the pleasure of seeing; the world tuned by the word. Time and again, an image of immolation and sacrifice is undercut by the fierce fortitude of nature: nature that is not just a solace but a potent antidote and cure. Ranging from agony to rapture, from great depths to hard-won heights, these are poems of grace and nobility.

Deep Lane

Human Work was written while cooking. It is the narrative of a voice in domesticity, at the alchemical heart of home – the hearth, or Hestia – where the kitchen is a stage for acts of eating and uttering; for the ebb and flow to the human mouth. The poems were written ‘live’ among pots and pans, beside chopping boards, between plates, bowls, knives, forks, spoons, and servings. Their time is the hybrid time of writing and cooking – where the dimensions of two activities hinge together. The poems occupy a shared space; the work is one work. They live together and cross-talk, like figures in a room, invoking an old story, perhaps one of our very first: how we make food to eat and share, how we draw and transform others’ bodies into being our own flesh and life. Implicit in ingredients are the stories of matter itself: without food there can be no other stories. 
 
Like the poems of Bee Journal these poems started life in notebooks, in situ. Their pages seem marked with the very process of their making: jam, grease, wine stains, crumbs of flour and spice, flecks of meat, fish, fruit, vegetable. Like Bee Journal, this is a book about communal purpose, a record of risk and response – a poetry of the moment, both immemorial and thrillingly modern.

Human Work

A Poet's Cookbook

Winner of the 2015 Griffin Poetry Prize 
Shortlisted for the 2014 T.S. Eliot Prize 
 
 
In The Stairwell, his tenth collection, Michael Longley’s themes and forms reach a new intensity. The second part of the book is a powerful sequence of elegies for his twin brother, Peter, and the dominant mood elsewhere is elegiac. The title poem begins: ‘I have been thinking about the music for my funeral …’ The two parts are also linked by Homer. Longley is well-known for his Homeric versions, and the Iliad is a presiding presence – both in poems about the Great War and in the range of imagery that gives his twin’s death a mythic dimension. Yet funeral music can be life-affirming. Longley has built this collection on intricate doublings, not only when he explores the tensions of twinship. The psychologically suggestive word ‘stairwell’ is itself an ambiguous compound. These poems encompass birth as well as death, childhood and age, nature and art, the animal and human worlds, tenderness and violence, battlefield and ‘homeland’. The Stairwell is a richly textured, immensely moving work. Michael Longley has the rare ability to fuse emotional depth with complicated artistry: to make them, somehow, the same thing.

The Stairwell

To make a testament is to attempt to pass on what matters most. In his seventh full-length collection of poems Robert Crawford writes of love, loss, belief, and commitment. Whether in intimate erotic lyrics or in a sustained engagement with the politics of Scottish independence he writes with passion, wit, and assurance about struggles to pass on values and treasures. The book opens with a sequence of love poems, and closes with ‘Testament’, a startlingly fresh gathering of deftly rhymed paraphrases based on the New Testament. Whether making versions of Cavafy or elegising fellow poet Mick Imlah, or writing how a father hands on a piece of marble to his son, Robert Crawford shows in Testament how poetry can communicate from generation to generation aspects of what makes us most vulnerably and engagingly human.

Testament

Winner of the 2015 Geoffrey Faber Memorial Prize 
Winner of the 2015 Seamus Heaney Centre for Poetry Prize for First Full Collection 
Shortlisted for the 2015 T. S. Eliot Prize 
Shortlisted for the 2014 Forward Prize for Best First Collection 
 
In this remarkable, intensely moving, first collection, Fiona Benson shows her fascination with human experience. The poems move on archaeological fast-forward from submerged Devonian forests and a Paleolithic cave-bear skull to the site of decommissioned submarines at HMNB Devonport, where the sea is ‘still a torpedo-path, / an Armageddon road’. She explores the shared human continuum of bodily longing – from the Prehistoric maker of a wooden fertility fetish, to a modern-day couple wading through summer pollen – and the timeless cycles of conception, birth and child-rearing. 
 
A central sequence of dramatic monologues addressed to Van Gogh allows for a focussed exploration of depression, violence, passion and creativity. In these poems, as in all the poems in this impressive debut, we feel keenly the sense of life lived at the edge of threat – catastrophe, even – but also on the cusp of beauty and happiness. Other poems about the bewildering loss of miscarriage are hard to read and impossible to forget, moving with grace and authority through great grief to arrive at a hard-won destination of selfless, unqualified love. 
 
‘I remember again / the corridor / of the labour ward // and that woman / sitting weeping / with her man // having given birth / to a death – / small grey face, // no breath, / something you cannot help / but love – // habibi, akushla, /I go home alone / but carry you, // courie you, / little slipped thing, / to the ends of the earth.’

Bright Travellers

Shortlisted for the 2014 T.S. Eliot Prize and the Forward Prize for Best Collection 
 
‘There are lines in All One Breath for instance, that brand themselves into your brain with the fire of painful recognition. And yet it is also part of his genius to be ever alert to beauty, too.’ - Sebastian Barry, a New Statesman Book of the Year 
 
In this absorbing, brilliant new collection – his first since Black Cat Bone – John Burnside examines our shared experience of this mortal world: how we are ‘all one breath’ and – with that breath – how we must strive towards the harmony of choir. Recognising that our attitudes to other creatures – human and non-human – cause too much damage and hurt, that ‘we’ve been going at this for years: / a steady delete / of anything that tells us what we are’, these poems celebrate the fleeting, charged moments where, through measured and gracious encounters with other lives, we find our true selves, and bring some brief, insubstantial goodness and beauty into being. 
 
He presents the world in a series of still lifes, in tableaux vivants and tableaux morts, in laboratory tests, anatomy lessons, in a Spiegelkabinett where the reflections in the mirrors, distorted as they seem, reveal buried truths. All the images are in some sense self-portraits: all are, in some way, elegies. 
 
One of the finest and most celebrated lyric poets at work today, John Burnside is a master of the moment – when the frames of our film seem to slow and stop and a life slips through the gap in between – and each poem here is a perfect, uncanny hymn to humanity, set down ‘to tell the lives of others’.

All One Breath

In her first collection since the Costa-winning Tilt, Jean Sprackland looks back at endings and beginnings: the end of a life, or of a marriage; old homes lived in and left, new homes discovered. There are poems that speak of the paralysis and bewilderment of knowing something is over, and of the strangely significant, almost votive nature of the things that are left behind: the biscuit tin ‘of old keys, decommissioned and sleeping’, the empty room fading ‘to a tinnitus of dust and dead wasps’. 
 
This is a book of transitions – domestic and emotional – and it explores how the experience of change is painful, disorientating, even catastrophic, but also profoundly necessary and revelatory. Change brings with it the hope that love can be recovered out of the ruins; change, in fact, is a creative, healing force that shows us we have been living among ruins – that even in the face of grief and loss there are ‘spectral futures / we must stride the ditch to reach’. 
 
Full of exact, vivid, clear-eyed observation of a world of failure and flux, Sleeping Keys also illuminates a future world beyond. For every object left emptied of significance, bereft, Jean Sprackland shows us another that is charged and radiant with possibility – the possibility of miracles.

Sleeping Keys

Anne Carson

In a stunningly original mix of poetry, drama, and narrative, Anne Carson brings the red-winged Geryon from Autobiography of Red, now called ‘G’, into manhood, and through the complex labyrinths of the modern age. We join him as he travels with his friend and lover ‘Sad’ (short for Sad But Great), a war veteran, and with Ida, an artist, across a geography that ranges from plains of glacial ice to idyllic green pastures; from a psychiatric clinic to the sombre house where G’s mother must face her death. Haunted by Proust, juxtaposing the hunger for flight with the longing for family and home, this deeply powerful picaresque verse invites readers on an extraordinary journey of intellect, imagination, and soul.

Red Doc>

A Private Thriller

A series of children's modern classic novels by renowned 20th century children's writers. All the titles in this series have the A Puffin Book logo, contemporary-style covers, and child-friendly endnotes.

A Puffin Book

A Ripley Novel

A Slice of the Moon

A Victorian Mystery

A Walk in...

A Women’s Murder Club Thriller

A chef Paul Delamare Mystery

Aberrations

Across the Universe

Actiphons

Adelia Aguilar

Adrian Mole

Adventures in Time

Aftermath

Against War

Age of X

Agent 21

Agent Z

Detective Aidan Waits is a troubled junior detective haunted by his past. Facing an uncertain future, and disconnected from his history, DC Waits and his partner, Detective Inspector Peter 'Sutty' Sutcliffe work on Manchester's streets to uncover the city's worst criminals among the grime of the underworld.

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