No catches, no fine print just unadulterated book loving, with your favourite books saved to your own digital bookshelf.
New members get entered into our monthly draw to win £100 to spend in your local bookshop Plus lots lots more…Find out more
See below for a selection of the latest books from Poetry by individual poets category. Presented with a red border are the Poetry by individual poets books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Poetry by individual poets books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
This collection of poems by Jes s Papoleto Mel ndez reads as a poetic autobiography of a hopeless romantic. Borracho invites us to find the essence of a man's character laid bare in the foibles of his desire and passionate pursuit of love. Spanning the poet's fifty-year career, this volume of fifty love poems takes us on a journey through the poet's winding paths of love and life. Beginning with poems dedicated to his mother and father, the cascading style of Mel ndez's verse strings together a series of vignettes within a flowing narrative of the poet's life in love. They offer lyrical glimpses into the struggle to find love and into a life lived in deep connection, and they lead us to bittersweet moments in the company of an aging man. The poems spring from times of exhilarating joy, sinking darkness, and painful absence, taking us on a journey through love's highs and lows. This bilingual edition, with Spanish translations by Carolina Fung Feng, invites us to fall in and out of the winding complexities of love. Anyone who has navigated love and loss will find some affinity with these poems and a sense of companionship with the poet.
A dual language (Spanish/English) collection, introducing the major contemporary Colombian poet to English-language readers.
A book of Italian sonnets exploring the long-term effects of early childhood displacement and loss by multi-prize-winning poet Mimi Khalvati.
A combination of poetry and prose, Salvage At Twilight presents, dissects and judges the worlds of butchers, criminals, fishermen, lawyers, businessmen, politicians, academics and lovers lying uneasily in the memory of an old man walking to his Cambridge college set.
Her final collection as Poet Laureate, a frank, disarming and deeply moving exploration of loss and remembrance in their many forms. Presented in a beautiful, foiled package, this will be the poetry book of the year.
The River Where You Forgot My Name travels between early 1800s Virginia and Missouri and present-day western Montana, a place where bats sail the river of dark. In their crosscutting, the poems in this collection reflect on American progress; technology, exploration, and environment; and the ever-changing landscape at the intersection of wilderness and civilization. Three of the book's five sections follow poet Corrie Williamson's experiences while living for five years in western Montana. The remaining sections are persona poems written in the voice of Julia Hancock Clark, wife of William Clark, who she married soon after he returned from his western expedition with Meriwether Lewis. Julia lived with Clark in the then-frontier town of St. Louis until her early death in 1820. She offers a foil for the poet's first-person Montana narrative and enriches the historical perspective of the poetry, providing a female voice to counterbalance the often male-centered discovery and frontier narrative. The collection shines with all-too human moments of levity, tragedy, and beauty such as when Clark names a river Judith after his future wife, not knowing that everyone calls her Julia, or when the poet on a hike to Goldbug Hot Springs imagines a mercury-poisoned Lewis waking with the dawn between his teeth. Williamson turns a curious and critical eye on the motives and impact of expansionism, unpacking some of the darker ramifications of American hunger for land and resources. These poems combine breathtaking natural beauty with backbreaking human labor, all in the search for something that approaches grace.
The speaker in this collection seeks an understanding of the darkness of suicide and mortal illness in the light of Christian faith. Poet Leslie Williams captures this light in tender and piercing poems that traverse a grieving world where healing is always possible but never assured: my God can do this, but my God / might not. Through restless questioning, the speaker finds a balm for suffering in the divine beauty and mystery of the natural world. Seven prose poems woven into the collection deal with different aspects of a young girl's life-threatening illness. Five additional poems wrestle with the grief of suicide and the emptiness afflicting those left behind. Other poems in the collection reflect on how to approach daily life while coping with heartbreak and express wonder about our responsibilities in a variety of roles: as parents, as neighbors, as an imagined anchoress, as children of God. The language remains beautiful and precise throughout, whether the speaker lies in a gully cracked / with stars or tells herself, It's a handmade raft I live on. The speaker entreats, as in Psalm 27, teach me how to live. Dwelling attentively in the abundance and mystery of creation, the book aims to offer a comfort and peace that might even the dark.
The Shape of Regret is a new poetry collection with a long shelf life, something that will be whispered about-gossiped about-by creative readers and writers for years to come. Herbert Woodward Martin is an acclaimed professor and influential American poet who has been known to inspire and encourage. To create his poems, Martin draws from his own life, experiences, and passions. Many of the poems speak directly or indirectly to poets who have shaped or interested Martin, including Hart Crane, William Carlos Williams, Lucille Clifton, Jackson Mac Low, and Robert Frost. He also gives further voice and testimony to the African American experience both in the present and the past. An early reader of the collection said that Martin continues to contribute to the canon. As an African American poet, he incorporates voices, a range of perspectives, and a unique approach to conveying and incorporating culture into literary language. Some strong poems in the collection include A Time for Bees, Keeping Faith with Silence, A Deadly Game, and he never said a mumbling word. Martin has been clear that his intention with this collection is to gather as many interesting ideas as possible in one place. His aim is, and has always been, to witness a thriving poetry community-one in which poets of all backgrounds can learn from each other and continue to grow together. The Shape of Regret is a wonderful place to either start or revive one's love of poetry.
Eleanor Brown's first collection, Maiden Speech, published by Bloodaxe in 1996, included her much anthologised girlfriend's revenge poem `Bitcherel' along with a widely praised sequence of fifty love and end-of-love sonnets written during her 20s. Her second collection, White Ink Stains, appearing three decades later, draws on the lives of women of all ages. Taking her title from the idea that when a woman writes about her experience as a woman, `she writes in white ink' (Helene Cixous), Eleanor Brown wanted to inscribe, among other things, the unseen labour of endowing infants with their mother tongue, their birthright of speech and language skills - the babbling, cooing, phonic repetition, echolalia, chanting of nonsense-words, singing of lullabies, nursery rhymes, counting rhymes, clapping songs, and telling of bedtime stories that is often the invisible and unrecorded work of women with pre-school-age children. A number of these poems were written in response to interviews made for the Reading Sheffield oral history project. Eleanor Brown spent over a year listening to recordings before starting to write these poems, some of which stay very faithful to the speaker's own words, while others travel further into an imaginative or active, poetic listening; these are the poems she heard not in what was said, but in pauses, intonations, emphasis, whispers, asides, digressions and deflections.
Scientists and engineers are the great explorers of our age. Inspired by the work of leading research scientists, by CERN's Large Hadron Collider, space telescopes which allow us to see our Sun in wavelengths far beyond human vision, and by the Cassini mission's astonishing photos of Saturn's moons, poet Katrina Porteous translates to the non-scientist contemporary questions about the nature of physical reality and our understanding of it. Edge contains three poem sequences, Field, Sun and the title sequence, which extend Porteous' previous work on nature, place and time beyond the human scale. They take the reader from the micro quantum worlds underlying the whole universe, to the macro workings of our local star, the potential for primitive life elsewhere in the solar system on moons such as Enceladus, and finally to the development of complex consciousness on our own planet. As scientific inquiry reveals the beauty and poetry of the universe, Edge celebrates the almost-miraculous local circumstances which enable us to begin to understand it. All three pieces were commissioned for performance in Life Science Centre Planetarium, Newcastle between 2013 and 2016, with computer music by Peter Zinovieff. Sun was part of NUSTEM's Imagining the Sun project for schools and the wider public (Northumbria University 2016). The title sequence, Edge, was broadcast as a Poetry Please Special on BBC Radio 4. Edge is Katrina Porteous's third poetry book from Bloodaxe, her first to draw upon her long involvement in scientific projects, following two earlier collections, The Lost Music (1996) and Two Countries (2014), concerned with the landscapes and communities of North-East England.