This version of the work, composed for Children's Voices, Piano and Percussion, was commissioned by the Young People's Chorus of New York City. Conductor's Score and Percussion Parts are available from the Publishers. Text: Peter Porter

T.S. Eliot considered George Herbert one of the liveliest and most profound of English poets with whose work he felt an instinctive accord. Describing The Temple as ... 'not simply a collection of poems but ... a record of the spiritual struggles of a man of intellectual power and emotional intensity who gave much toil to perfecting his verses ...' T.S. Eliot considered Herbert's religious verse above John Donne's and placed him firmly in the ranks of the great English poets. Peter Porter's new introduction gives a fresh perspective on the poetry of Herbert and on Eliot's study itself.

In this new selection from the poetry of Lawrence Durrell (the first for thirty years), Peter Porter has drawn on the full range of the published work, from A Private Country (1943) to Vega (1973), and has provided a long overdue revaluation of Durrell's poetic career. In his detailed and generous introduction, Porter makes the case for A Private Country as one of the most accomplished debut collections of the twentieth century, and traces Durrell's preoccupations and poetic personality within the wider scene. The selection of poems makes its own strong case for the continuing power and originality of this attractive, metropolitan and wholly individual body of work.

The original Faber Book of Modern Verse (1936), edited by Michael Roberts, was influential in forming the tastes of a generation and gave a concrete meaning to the phrase 'modern verse'. In order to keep the anthology a reasonably representative one containing poems written since 1936 there have been two revised editions - one by Anne ridler in 1951 and one by Donald Hall in 1965. The new edition, edited by Peter Porter, is intended to be the final one and it is published simultaneously with a reissue of Michael Roberts' original.In a short Introduction Peter Porter explains the principles which he has followed in making changes to the existing selection and in making his choice of poems which have appeared since the last edition.

Born in Hampshire in 1918, Martin Bell was the leading member of the 'lost generation' of English poets whose careers were interrupted by the War. He was a prominent member of The Group during the fifties, and a major influence on younger poets like Peter Redgrove and Peter Porter. His poetry reached a wide audience during the sixties through Penguin Modern Poets, and in 1967 he published his Collected Poems,1937-1966, his first and last book. Bell was also a champion and brilliant translator of French Surrealist poets. He died in poverty in Leeds in 1978. Like other 'provincial' working-class contemporaries, Bell wrote fantastical, highly erudite, biting, belligerent poetry. And yet - as Philip Hobsbaum said - he also wrote 'some of the most delicate love poems of our time' as well as 'one of the major war poems in the language'. A. Alvarez called him 'an emotional tightrope walker... He writes a rather bitter, tensely colloquial verse based, it seems, on a radical dislike for both himself and pretty much everything else.'

Following the terrific success of Max is Missing - winner of the Forward Prize for best poetry collection - Peter Porter has produced another book of great power and erudition. 'Afterburner' - the device that provides the extra thrust to a turbojet - is a thoroughly appropriate title for this fuel-injected late work. From his lengthening perspective and high vantage, no one is better placed than Porter to give these subtle meditations on art, life and the social mores - and few could manage them with such compassion and humour. Afterburner will further enhance his reputation as one of the finest poets writing in English today.

When Peter Porter died in 2010 his reputation as one of the greatest Australian poets had long been settled. Chorale at the Crossing gathers together the work Porter completed after the publication of his widely-praised final collection Better than God, and shows a remarkable and capacious mind - apparently furnished with half the contents of Western culture - still working at full tilt, despite the imminence of his own passing. Chorale at the Crossing contains love poems, comic excursions, and meditations on art, death, music and nature, all written with Porter's phenomenal technical facility and immense good humour. Chorale at the Crossing is the last word from one of our wisest and most compassionate poets - and is, quite simply, necessary reading.

This collection of Australian poet Peter Porter ranges from racy satires of 1960s London, scabrous versions of the poems of Martial, poems on Auschwitz and the Cold War, tender and self-critical elegies for his first wife, who committed suicide, and elegant mediations on art, love, death and sex.

Michelangelo was, apart from being a sculptor, architect, and painter of genius, a poet and letter-writer of remarkable accomplishment. George Bull, a distinguished translator of many Italian classics, has brought his skill and experience to bear on translating this new selection of Michelangelo's letters and poetry, as well as the Life, the biography written by Michelangelo's pupil Ascanio Condivi.
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Better Than God sees Porter working with a lyric engine tuned to perfection, and a mind that shows every sign of speeding up: Porter can make a song of what another writer might take an essay to cover. Whether working in the forms of epigram or narrative, or writing of memory, mortality, Renaissance intrigue or the surreal distortions of old age - Porter's faith in poetry as a road to the truth shines through. There are few other writers for whom contemporary events throw such long shadows or for whom the past is so present, and in Better Than God one has the sense of the poet attaining an increasingly commanding height. Porter remains one of the few poets we can open anywhere, and know that we will always be both enlightened and entertained.