Poetry

The Room Between Us (Shortlisted, TS Eliot Prize)

London-born poet Denise Saul writes from the heart about her experience of being her mother’s carer in this tender debut collection of prose and free verse poetry.

One of the first pages provides a definition of the word ‘stroke’, which seems significant, acting as a bridge between the first two poems. Significant too in its placement in the collection – directly after the titular poem: ‘The Room Between Us’. This poem gives us an insight into Saul’s feeling finding her mother lying alone having fallen, with the lights out, behind a door at home:

Slide (Shortlisted, TS Eliot Prize)

Mark Pajak’s debut collection, Slide, is a brutal, captivating account of how survival and death manifest in contemporary life. The hidden pains, fear and connections held so tenuously in the everyday are laid bare, spoken into plain view with striking language that cuts to the heart of the blurred lines between people and the natural world. This collection combines a variety of minimalistic forms and styles, bringing tales of loss, urbanisation, and adolescence in a series of 38 poems split across five sections.

flinch & air

An engaging addition to her growing portfolio of pamphlet publications, Laura Jane Lee’s flinch & air is a distinctive and deft exploration of Asian female identity. Matrilineal relationships, resilience, and political tension interweave seamlessly throughout the collection, creating interconnectedness between gender, identity, and society at large. Tenderness and violence co-exist in stunning lyricism and observations, profoundly paradoxical, prompting uncomfortable questions about what it means to assert womanhood in a politically broken world.

Some Integrity (SHORTLISTED FOR THE FELIX DENNIS PRIZE FOR FIRST COLLECTION)

In the poem prefacing Some Integrity, Padraig Regan’s first full collection, ’50 ml of India Ink’, commissioned by Belfast School of Art, shows how integral art is to nature and to language. The collection addresses how forms change, and how lived experiences are transmuted revealing their true value and essence:
Opaque, & black as gravity,
the ink […]
[…] performs its tiny fractal
creep through the paper’s
knitted capillaries[.]

Pilgrim Bell (SHORTLISTED, FORWARD PRIZE FOR BEST COLLECTION)

Pilgrim Bell is the anticipated second collection of poems from Forward Prize nominated Kaveh Akbar, a widely published contemporary voice in poetry. Akbar’s craft is measured and precise, but his confidence shows most in the intellectual space left around the form of aphorisms: ‘Whatever you aren’t, which is what makes you’. Much is being mused in this work which speaks to lived experiences of the poet’s immigrant identity, born in Iran, raised as a Muslim in an intolerant America, and his personal pursuit of sobriety. Each aspect alone could provide sufficient depth to delve into, but are instead wrapped together in a quest for religious reverie. 

The Illustrated Woman (SHORTLISTED, FORWARD PRIZE FOR BEST COLLECTION)

I picked up this title initially because I still blanche whenever my daughter shows me her new tattoos; but I also heard Helen Mort’s very interesting exchange with Lou Hopper about ‘getting inked’ on Radio 4’s One to One in February last year. Mort is, of course, an award-winning poet that is based in Sheffield and whose interests take in an astonishing range–mountain climbing, trail running, northern cites, conflict and motherhood—all handled with a sure and delicate lyricism, and a poet’s ear for the cadence and fall of the line. So The Illustrated Woman promised much.

Cain Named the Animal (Shortlisted, Forward Prize for Best Collection)

There are cracks running visibly through the poems in Cain Named the Animal. From reading reviews of American poet Shane McCrae’s earlier collections, National Book Award Finalist In the Language of My Captor and T S Eliot prize shortlisted Sometimes I Never Suffered,         cracks persist             throughout them too       as well as        no              punctuation           with space instead                  serving as a kind of                 punc-                           tuation     coupled with    stumbling repetitions               stumbling and the odd / line break             depicted odd          as you would write it in an essay or review.                    it is      an arresting device        and one that             initially to me, initially was       a         distraction                    seeming to get i              n the way    of me               hearing the poems                               in my head.

Sonnets for Albert (Shortlisted, Forward Prize for Best Collection)

The sonnet is a design classic; it retains its formal appeal, with contemporary giants such as Don Paterson and Imtiaz Dharker regularly inspired by its elegance and infinite variety. Trinidadian poet Anthony Joseph has used the form to explore his relationship with his father and with himself across a sequence of more than 50 poems.

Amnion (SHORTLISTED FOR THE FELIX DENNIX PRIZE FOR FIRST COLLECTION)

Stephanie Sy-Quia (Granta Poetry, 2021); pbk; £10.99 Amnion is the membrane which protects an embryo during pregnancy. Amnion by Stephanie Sy-Quia thrums with potential energy. Although shortlisted for the Forward Poetry Award, it is fluid in form, moving between poetry, essay and autofiction. Biography serves as a throughline, as Sy-Quia traces back her lineage, across Read More

Bless the Daughter Raised By a Voice In Her Head (Shortlisted for the Felix Dennix Prize for First Collection)

Somali-British poet, Warsan Shire draws us into the complexities of the transition from girl to woman, immigrant to citizen, in this, her much awaited and first full collection. With an array of accolades which include her much circulated and highly influential poem ‘Home’, and her work with Beyoncè Knowles-Carter on the Album Lemonade, this much awaited collection is written with sensitivity and without pretence.