Andrea Gibson's dynamic and timely new book, Pole Dancing to Gospel Hymns is a energetic collection of stirring and introspective poetry. Hauntingly vivid, the poems voyage through a soldier's lingering psychological wounds, to the curious questions of school children on the meaning of "hate," to a lover's witty and vibrant description of longing. Gibson's poems deconstruct the current political climate through stunning imagery and careful crafting. With the same velocity, the poignant and vacillating love poems are equally capable of sweeping the air out of the room. Pole Dancing to Gospel Hymns has a bold and unforgettable internal voice and is rich with the kind of questioning that inspires action.

Sarah Uheida's poetry collection Not This Tender is a profound exploration of memory, navigating the landscape of the war-torn North Africa she was forced to flee as a child.

It is a mythical yet deeply personal examination of longing and belonging, estrangement, loss and the influence of family and language, presented through immersive portraits and the lens of a fractured landscape. Here, poetry is wielded as both refuge and rupture in an excavation of the past – not to preserve it, but to make sense of the future.

Through its vivid, evocative imagery, the collection offers a powerful journey through the restless search for home, and the fragile yet unrelenting hope of return.

In this powerful second poetry collection, award-winning South African poet Jeannie Wallace McKeown maps the landscape of loss with unflinching honesty and lyrical grace.

Set against the backdrop of the Covid-19 pandemic, these poems navigate the intimate terrain of grief following the death of her parents, transforming everyday moments—from morning tea to grocery shopping—into profound meditations on love and survival. With clear-eyed precision and without descending into sentimentality, McKeown reminds us that in our shared vulnerability lies our deepest connection to life itself.

These are poems that demand to be felt, understood, and returned to again and again.

André le Roux se tweede digbundel verskyn 47 jaar ná sy debuut, Struisbaai-blues, wat kort ná publikasie in 1977 verbied is. Nou skryf hy met selfs skerper eerlikheid oor die liefde, begeerte, verlange en vreugde. Meer nog: oor die afslyt van die liggaam en die insig wat leefervaring bring. Hy tree in gesprek met mededigters soos Krog, Breytenbach, Bukowski, Van Wyk Louw, Cohen, cummings en Neruda, en steek kers op by die Oosterse meesters.

Le Roux se verse spreek van universele menslikheid en deernis, met bytende humor en selfspot. Hy verken ’n landskap van verval en vervreemding – nie sonder verset nie.

In Prins word die kompleksiteit van manlikheid ontleed; die oomblikke van teerheid word gevier en die vernietigende word gekritiseer. Alhoewel die bundel handel oor stories en karakters uit ’n bepaalde gemeenskap en agtergrond, skryf Pedro doelbewus weg van vooropgestelde idees oor coloured-laities. Hier, weerspieël dit die liminale, plofbare ruimte waarin die verteller homself bevind as digter en as coloured man.

Jaco Barnard-Naudé se digdebuut betrek ’n wye verskeidenheid temas: queer identiteit, die trauma van kinderjare, en die verhouding tussen ouers en seun. Deurgaans vloei die digterlike geheue soos ’n leitmotiv deur die verse. Die bundel getuig van ’n soepel en gespierde taalaanvoeling, en tree dikwels in gesprek met ander digters, filosowe en musici. ’n Diep-gelade emosionele bewussyn vibreer regdeur die bundel – getuienis van ’n uitsonderlike nuwe digter-denker ter plaatse.

Over the course of two decades and six books, Peter Markus has been making fiction out of a lexicon shaped by the words brother and fish and mud. In an essay on Markus's work, Brian Evenson writes, ""If it's not clear by now, Markus's use of English is quite unique. It is instead a sort of ritual speech, an almost religious invocation in which words themselves, through repetition, acquire a magic or power that revives the simpler, blunter world of childhood."" Now, in his debut book of poems, When Our Fathers Return to Us as Birds, Markus tunes his eye and ear toward a new world, a world where father is the new brother, a world where the father's slow dying and eventual death leads Markus, the son, to take a walk outside to ""meet my shadow in the deepening shade."" In this collection, a son is simultaneously caring for his father, losing his father, and finding his dead father in the trees and the water and the sky. He finds solace in the birds and in the river that runs between his house and his parents' house, with its view of the shut-down steel mill on the river's other side, now in the process of being torn down. The book is steadily punctuated by this recurring sentence that the son wakes up to each day: My father is dying in a house across the river. The rhythmic and recursive nature to these poems places the reader right alongside the son as he navigates his journey of mourning. These are poems written in conversation with the poems of Jack Gilbert, Linda Gregg, Jim Harrison, Jane Kenyon, Raymond Carver, Theodore Roethke too-poets whose poems at times taught Markus how to speak. ""In a dark time . . .,"" we often hear it said, ""there are no words."" But the truth is, there are always words. Sometimes our words are all we have to hold onto, to help us see through the darkened woods and muddy waters, times when the ear begins to listen, the eye begins to see, and the mouth, the body, and the heart, in chorus, begin to speak. Fans of Markus's work and all of those who are caring for dying parents or grieving their loss will find comfort, kinship, and appreciation in this honest and beautiful collection.

HarperCollins is proud to present its new range of best-loved, essential classics. 'Alas that mortals Should blame the gods! From us, they say, All evils come. Yet they themselves It is who through defiant deeds Bring sorrow on them-far more sorrow Than fate would have them bear.' Attributed to the blind Greek poet, Homer, The Odyssey is an epic tale about cunning and strength of mind. It takes its starting point ten years after the fall of the city of Troy and follows its Greek warrior hero Odysseus as he tries to journey to his home of Ithaca in northwest Greece after the Greek victory over the Trojans. On his travels, Odysseus comes across surreal islands and foreign lands where he is in turn challenged and supported by those that he meets on his travels as he attempts to find his way back home in order to vanquish those who threaten his estate. In turn, his son Telemachus has to grow up quickly as he attempts to find his father and protect his mother from her suitors. Dealing with the universal themes of temptation and courage, the epic journey that Odysseus undertakes is as meaningful today as it was almost 3,000 years ago when the story was composed.

From the depression, nausea and constant burping of the first trimester, to the sciatica, sleeplessness and anxiety of the last; the elation and terror of early motherhood right through to the end of breastfeeding and her child's first day at nursery - these poems describe one woman's journey to becoming a mother. This initiation is one of the most common human experiences, but also shockingly unique and insular. Poems Burping on the Tube, Candy Crush Guy and Super-mum and Me, tell humorous stories about Grace's alien new reality, shining light on aspects of pregnancy and motherhood far from the glossy, shimmering images on social media. Mostly written in lockdown, I Have No Idea What I'm Doing also highlights what life at home was like for new mothers. Grace has always struggled with anxiety and depression and this collection addresses mental health and how it is affected by hormonal fluctuations. Much like life and motherhood, most of the poetic structures are unpredictable and their rhythm bumpy and non-conformist. These poems dive deep into raw human experience and the sheer ferocity of motherhood. With beautiful monoprint illustrations from animator and artist Allegra Pilkington, this book is both a gift and collector's item.