This collection features one hundred poems selected by award-winning poet Jordi Larios. Keenly aware that we measure the world through words, he also knows that words become worn with use, and that poetry recalibrates their instrumentation, injecting them with fresh focus for graphing elusive terrains of inner and outer experience, prodding us to encounter and engage the world in a way that sustains and renews the self. Each Larios poem is a magnet, impacting us with the infixed force that its reading unleashes, subtle yet powerful in its imagery. A seagull, unfazed by the 'crisis of the sunset,' declares life on a greying backdrop ('Rough Weather'), and desolate landscapes can set the scene for unexpected solace ('Cold,' 'Historical Present'): pulling sunken memories to the surface and bringing poetic imagery into alignment with points of inwardness in search of outward counterparts. Along with the subtle power of imagery, Larios blends into his poems an uncanny marshalling of words, reassigning them to posts of optimal meaning and musicality. Technique underlies the poems, but the resulting art is greater than the sum of words, lifting language above 'the clattering of / too many words,' which, bereft of poetry, only render us alone ('Man Alone').

This long-awaited volume, a new selection of his later poems, spans ten major collections by one of America's most visionary and influential poets. Chosen by the author himself, the poems in "Notes from the Air" represent John Ashbery's best work from the past two decades, from the critically acclaimed "April Galleons" and "Flow Chart" to the 2005 National Book Award finalist "Where Shall I Wander."

While Ashbery has long been considered a powerful force in twentieth-century culture, "Notes from the Air" demonstrates clearly how important and relevant his writing continues to be, well into the twenty-first century. Many of the selections found here are regularly taught in university classrooms across the country, and critics and scholars vigorously debate his newest works as well as his classics. He has already published four major books since the turn of the new millennium, and, although 2007 marked his eightieth birthday, this legendary literary figure continues to write fresh, new, and vibrant poetry that remains as stimulating, provocative, and controversial as ever.

"Notes from the Air" reveals, for the first time in one volume, the remarkable evolution of Ashbery's poetry from the mid-1980s into the new century, and offers an irresistible sampling of some of the finest work by a poet the "New York Times" has called a "national treasure."

An Accordion Book doesn’t open, it unfolds. One side is filled with beautiful watercolour images of an animal: sometimes in motion, sometimes at rest. The other is filled with text – poems, descriptions, invocations – inspired by the same animal.Together they work as spells to summon the animal’s spirit. Jackie Morris has painted them using antique watercolours, some from boxes which hadn't been opened for over 150 years, woken from their slumber with a single drop of water.Fox and Otter are the first two Accordions in a series that will go on to include Hare,Owl,Hound and Cat among many others.

Haunting, distinctive, sophisticated and sensual, The Shape of a Forest moves evocatively from the historical to the contemporary: Genghis Kahn surveys his territory whilst Amelia Earhart disappears into myth. The Belvedere Apollo is dug up heralding the onset of The Renaissance as the Pendle witches are hung in Lancashire, and in tsunami-struck Japanese gardens and New York hotel rooms, lives are loosened like milk teeth. Shortlisted for the Dylan Thomas Award, the Roland Mathias Award and the Welsh Book of the Year Award, The Shape of a Forest is a powerful survey of life and of human experience that spans centuries and the continents.

The Guest Room, Diana Hendry's new collection of poems, continues her always perceptive explorations of family, childhood and finding oneself, encounters with people (whether neighbours or strangers) and animals (pets or otherwise). Added to this is her embracing of Seamus Heaney's notion of poetry paying attention to the world, here including climate change, coronavirus, political prisoners, Palestine and the health service, for example - never preachy, telling it slant.There's pleasure to be found throughout, in her craft and characteristic wry humour and in what U.A.Fanthorpe called her 'remarkable eye for the truth and an ability to see the otherness in the ordinary.'

With vibrant ribbons of color and joyous words, These Are My Big Girl Pants depicts the complexities and nuances of being a woman in this world. From award-winning artist Amber Vittoria comes These Are My Big Girl Pants, a collection of poetry and artwork that embraces womanhood and all of its inherent intricacies. Overarching themes of enlightenment, analysis, and independence speak to young adulthood, and adulthood in all of its many forms, as each poem and accompanying piece of art helps women face these emotional and physical changes. A celebration of femininity and the female body, These Are My Big Girl Pants leverages naive artistic approaches, like simple line and brush strokes, against deep and meaningful poetry and prose, creating a true exploration of individuality, female empowerment, and emotion.

With "School of the Arts," Mark Doty's darkly graceful seventh collection, the poet reinvents his own voice at midlife, finding his way through a troubled passage. At once witty and disconsolate -- formally inventive, acutely attentive, insistently alive -- this is a book of fierce vulnerability that explores the ways in which we are educated by the implacable powers of time and desire in a world that constantly renews itself.

As the seas rise, the fight intensifies to save the Pacific Ocean's Marshall Islands from being devoured by the waters around them. At the same time, activists are raising their poetic voices against decades of colonialism, environmental destruction, and social injustice. Marshallese poet and activist Kathy Jetn-il-Kijiner's writing highlights the traumas of colonialism, racism, forced migration, the legacy of American nuclear testing, and the impending threats of climate change. Bearing witness at the front lines of various activist movements inspires her work and has propelled her poetry onto international stages, where she has performed in front of audiences ranging from elementary school students to more than a hundred world leaders at the United Nations Climate Summit. The poet connects us to Marshallese daily life and tradition, likening her poetry to a basket and its essential materials. Her cultural roots and her family provides the thick fiber, the structure of the basket. Her diasporic upbringing is the material which wraps around the fiber, an essential layer to the structure of her experiences. And her passion for justice and change, the passion which brings her to the front lines of activist movements-is the stitching that binds these two experiences together. Iep Jaltok will make history as the first published book of poetry written by a Marshallese author, and it ushers in an important new voice for justice.

Winner of the John Pollard Foundation International Poetry Prize Winner of the Christopher Ewart-Biggs Memorial Prize The Sun is Open sifts through a boxed archive of public and private materials related to the life and death of the author's father, who was murdered by the IRA outside their Belfast home in 1984. Moving between child and adult voices, past and present, this startlingly innovative debut attempts to decode the fragments left behind and, with them, piece together a history and a life. 'Each page of The Sun Is Open is rich with exquisite and surprising language, pain, and wisdom.' - Maggie Nelson 'The Sun is Open employs a grammar in which everything is significant, from Wendy Houses, to the very hairs of your head, to the poetry of First Aid instructions, to slaters. This is meticulous and painstaking - sometimes pain-making work - making the words fit the columns, be they inches of newsprint or entries in an Account Book, negotiating or nudging the meanings into alternative senses. A series of ethical considerations and transactions, credits and debits that sometimes demand to be accounted for, or judged, or at least spoken of in the light of whatever the forensics might or might never unfold.' - Ciaran Carson Poetry book of the month - the Observer A TLS book of the year

HarperCollins is proud to present its incredible range of best-loved, essential classics. A green horse great and tall; A steed full stiff to guide, In broidered bridle all He worthily bestrides Dating from around 1400 and composed by an anonymous writer, Sir Gawain and the Green Knight was first translated and published almost 200 years ago. Its epic nature has not been dimmed by time: the classic story of a knight on a green steed challenging Sir Gawain to a monumental wager, it is a strange tale full of decapitations, seduction and magic. Soon to be brought to the big screen, Sir Gawain is one of the earliest great stories of English literature.

'A sensual feast of a novel, written with elegance, beauty, charm and skill in a voice that is both lyrical and unique. The Language of Food is an intriguing story with characters that leap off the page and live, but what sets it apart from it's contemporaries is Abbs' outstanding prose' Santa Montefiore Eliza Acton, despite having never before boiled an egg, became one of the world's most successful cookery writers, revolutionizing cooking and cookbooks around the world. Her story is fascinating, uplifting and truly inspiring. Told in alternate voices by the award-winning author of The Joyce Girl, and with recipes that leap to life from the page, The Language of Food by Annabel Abbs is the most thought-provoking and page-turning historical novel you'll read this year, exploring the enduring struggle for female freedom, the power of female friendship, the creativity and quiet joy of cooking and the poetry of food, all while bringing Eliza Action out of the archives and back into the public eye. 'I love Abbs's writing and the extraordinary, hidden stories she unearths. Eliza Acton is her best discovery yet' Clare Pooley 'A feast for the senses, rich with the flavours of Victorian England, I prepared every dish with Eliza and Ann and devoured every page. A literary - and culinary - triumph!' Hazel Gaynor 'Exhilarating to read - thoughtful, heart-warming and poignant, with a quiet intelligence and elegance that does its heroine proud' Bridget Collins 'A sumptuous banquet of a book that nourished me and satisfied me just as Eliza Acton's meals would have... I adored it' Polly Crosby 'An effervescent novel, bursting with delectable language and elegant details about cookbook writer, Eliza Acton. Don't miss this intimate glimpse into the early English kitchens and snapshot of food history' Sara Dahmen 'Wonderful... Abbs is such a good story teller. She catches period atmosphere and character so well' Vanessa Nicolson 'Two of my favourite topics in one elegantly written novel - women's lives and food history. I absolutely loved it' Polly Russell 'A story of courage, unlikely friendship and an exceptional character, told in vibrant and immersive prose' Caroline Scott 'Richly imagined and emotionally tender' Pen Vogler 'Characters that leap off the page, a fascinating story and so much atmosphere, you feel you're in the kitchen with Eliza - I loved it.' Frances Quinn 'I was inspired by Eliza's passion, her independence, her bravery and ambition. Like a cook's pantry, The Language of Food is full of wonderful ingredients, exciting possibilities and secrets. Full of warmth and as comforting as sitting by the kitchen range, I loved it' Jo Thomas 'A delightful read' Nina Pottell 'Clever, unsentimental, beautifully detailed and quietly riveting' Elizabeth Buchan, author of Two Women in Rome 'A wonderful read' John Torode England 1835. Eliza Acton is a poet who dreams of seeing her words in print. But when she takes her new manuscript to a publisher, she's told that 'poetry is not the business of a lady'. Instead, they want her to write a cookery book. That's what readers really want from women. England is awash with exciting new ingredients, from spices to exotic fruits. But no one knows how to use them Eliza leaves the offices appalled. But when her father is forced to flee the country for bankruptcy, she has no choice but to consider the proposal. Never having cooked before, she is determined to learn and to discover, if she can, the poetry in recipe writing. To assist her, she hires seventeen-year-old Ann Kirby, the impoverished daughter of a war-crippled father and a mother with dementia. Over the course of ten years, Eliza and Ann developed an unusual friendship - one that crossed social classes and divides - and, together, they broke the mould of traditional cookbooks and changed the course of cookery writing forever.

This bold, wide-ranging collection -- his sixth book of poems -- demonstrates the unmistakable lyricism, fierce observation, and force of feeling that have made Mark Doty's poems special to readers on both sides of the Atlantic.

The poems in Source deepen Doty's exploration of the paradox of selfhood. They offer a complex, boldly colored self-portrait; their muscular lines argue fiercely with the fact of limit; they pulse with the drama of perception and the quest to forge meaning.

WINNER OF THE INTERNATIONAL GRIFFIN PRIZE A NEW YORK TIMES BEST POETRY BOOK OF 2020 Music for the Dead and Resurrected captures the complexity of living in the shadows of imperial force, of the vulnerability of bodies, of seeing with more than the eyes. Valzhyna Mort's work is characterised by a memorial sensibility that honours those lost to the violences of nation states. In Music for the Dead and Resurrected the poet offers us a body of work which balances political import with serious play. There are few poets writing with such an intuitive sense of the balance between arcane and contemporary currents in poetry. Mort's lines are timeless, finely honed to last beyond a single lifetime.

Nobel laureate Czeslaw Milosz's most recent collection Second Space marks a new stage in one of the great poetic pilgrimages of our time. Few poets have inhabited the land of old age as long or energetically as Milosz, for whom this territory holds both openings and closings, affirmations as well as losses. "Not soon, as late as the approach of my ninetieth year, / I felt a door opening in me and I entered / the clarity of early morning," he writes in "Late Ripeness." Elsewhere he laments the loss of his voracious vision -- "My wondrously quick eyes, you saw many things, / Lands and cities, islands and oceans" -- only to discover a new light that defies the limits of physical sight: "Without eyes, my gaze is fixed on one bright point, / That grows large and takes me in."Second Space is typically capacious in the range of voices, forms, and subjects it embraces. It moves seamlessly from dramatic monologues to theological treatises, from philosophy and history to epigrams, elegies, and metaphysical meditations. It is unified by Milosz's ongoing quest to find the bond linking the things of this world with the order of a "second space," shaped not by necessity, but grace. Second Space invites us to accompany a self-proclaimed "apprentice" on this extraordinary quest. In "Treatise on Theology," Milosz calls himself "a one day's master." He is, of course, far more than this. Second Space reveals an artist peerless both in his capacity to confront the world's suffering and in his eagerness to embrace its joys: "Sun. And sky. And in the sky white clouds. / Only now everything cried to him: Eurydice! / How will I live without you, my consoling one! / But there was a fragrant scent of herbs, the low humming of bees, / And he fell asleep with his cheek on the sun-warmed earth."