This Is How You Disappear is Jeremy Reed's most autobiographical book to date, and one in which he celebrates the dead and missing friends who were the formative and enduring influences on his life as a poet. Using the elegy to imaginatively recreate the often extraordinary individual characteristics of his subjects, Reed's personal book of the dead is one that burns with his customary dynamic for dazzling imagery, glows with compassion for the suffering, and sparkles with a visual retrieval of detail so acute it hurts. With the title taken from the first line of a Scott Walker song, 'Rawhide', This Is How You Disappear is elegiac poetry at its most brilliant.

In "Voodoo Excess," Jeremy Reed charts in poetry and prose the astonishing career of the Rolling Stones from the band s early days in 1962 to the 50th anniversary tour in 2012 and its extension in 2013. With great originality he examines why the Stones have been a musical and cultural phenomenon, and everything public and mythical, anecdotal and apocryphal about the larger-than-life individual band members, shaping the raw material into memorable lyric poetry. This new volume is introduced by Mick Taylor, the musician who left the band only to rejoin it, to great acclaim, for their recent anniversary tour."

Sooner or Later Frank finds Jeremy Reed optimising his London quarter of Soho and the West End, its outlaws, opportune strangers and rogue mavericks condensed into poems coloured by an imagery that pushes pioneering edges towards final frontiers. Right on the big city moment, and with an eye for arresting acute visual detail, Reed makes the capital into personal affairs. His characteristic love of glamour, rock music, seasonal step-changes, and a Ballardian preoccupation with the visionary render this new PBS Recommendation, in John Ashbery's words on Reed's recent work, 'a dazzling tour de force.'

Jeremy Reed's new collection centres on the legendary figure of the jazz singer Billie Holiday (1915-59), 'Lady Day', whose talent propelled her from poverty in Baltimore to fame as a vocalist in Harlem nightclubs and international celebrity through her recordings with Benny Goodman and Duke Ellington. But her life was scarred by personal tragedy and by the drug addiction that led to her premature death. From this dramatic material Reed creates a highly charged series of poems and prose pieces, some spoken by Billie herself, some by the poet as narrator, which brilliantly illuminate the singer's world and the heady atmosphere of the jazz age.

Jeremy Reed is one of Britain's most outstanding and famously controversial poets, his originality of imagery and cutting edge subject matter distinguishing him from most of his contemporaries. His recent books include the poetry collections Piccadilly Bongo, Sooner Or Later Frank, Voodoo Excess and Red Light Blues, as well as a biography of Lou Reed Waiting For The Man and The Dilly: A Secret History of Piccadilly Rent Boys. He wrote the libretto for Marc Almond's 2015 album Against Nature, and performs regularly in London and Europe, both solo, and as one half of The Ginger Light, a unique duo combining performed spoken word with electronics.

In Waiting For The Man, Jeremy Reed focuses on Lou Reed as rock's principal literary avatar, paying special attention to his controversial lyrics and prototypical garage sound. Lou Reed influenced generations of copyists that took note of his outlaw status, ambiguous sexual orientation characterised by his seventies relationship with the transvestite Rachel, his implacable mystique, cool and defiant attitude as the narrator of subcultures. Finally the book examines the transcendent, if reluctant calm, that Reed arrived at in later life. Taking in the sweep of Reed's career from Velvet Underground to the variants of forty years of resistant solo pioneering, Waiting For The Man accesses the man and his music, with the extraordinary perception and attention to detail.

Growing up in Jersey in the seventies, before I left to do American Studies at Essex University, wasn't easy as an anomalous poet living in a largely pedestrian, materialistic society. My escape came by way of finding part--time employment with John Berger, part of the Berger Paints family, who patented Prussian Blue, the first modern synthetic pigment. John Berger, a wealthy, reclusive aesthete and compulsive bibliophile and antiques hoarder, kept his mother mummified in the living room of his property Tivoli, and my unusual introduction to his eccentric, serendipitous lifestyle forms the basis of this sequence. If arson had torched a property of his, left as a ruin in Waterworks Valley, then the shell of the house and the adjoining fields were used by a group of friends of mine to do LSD, and to set up large speakers in the ruin through which to play psychedelic music and the seminal rock albums of the period. We called the place Psychedelic Meadow as it was regularly coloured and shaped by acid. Paula Stratton's LSD documentation of her experience of the drug became a seminal influence on my poetry. When she committed suicide in the late seventies at a squat in Chester Gate, Regent's Park a big light went out in me, and my poem `Elegy for Paula Stratton' can be found in the collection This Is how You Disappear, my book of elegies for dead friends. Nobody I know has ever come more beautiful. (Jeremy Reed)

Isthmus was Jeremy Reed’s first collection, produced in a finely-printed edition by Asa Benveniste’s Trigram Press in 1980. Overwrought, perhaps even over-written, it shows the author struggling with a gamut of new influences — some of them provided by Benveniste – and trying to find his way in a brane new world of poetry. The book has an American theme, and shows much American influence, albeit undigested in places, but Reed’s individuality brings it all together.

Asa Benveniste (1925-1990) who founded the legendary Trigram Press in London in 1965, ostensibly to publish Anglo-American cutting-edge poetry, was not only a self-taught, one-off maverick genius as a printer, typographer and book-designer, but also a superbly innovative language poet, whose own poetry tended to be obscured by his merits as a publisher. Throughout its duration, 1965-1978, the Trigram list epitomised ultimate hipster cool, as a leading independent. Jeremy Reed's deeply personal tribute to Benveniste as his enduring poetic avatar, and the encourager and publisher of his early poetry informs a book that is both an appraising memoir and a significant evaluation of Trigram Press. The book also includes a reprint of Benveniste's collection, Edge (1975).

The first book of Jeremy Reed's uncompromising, explicitly autobiographical expose of his life as a leading London poet from the 1980s to the present day, a major long poem written in the shop, while managing Red Snapper Books in the period 2007-2008, takes in an acutely personalised retrieval of the Piccadilly Circus ethos in the eighties, including meetings with the artist Francis Bacon, bohemian Soho, an index of personal obsessions including rock music and fashion, a defiant colour block of personal friends, patrons, pick-ups and demi-monde outlaws, all generously characterised for their individual importance and contribution to the poet's life, and a direct full-on involvement with unstoppable big-city momentum in the capital, intensely lived on a day to day basis. The book is a highly courageous and cutting edge poet's autobiography, explicit and detailed in a way few poets would dare celebrate quite literally the uncensored resources of a highly individual and sustained personal creativity.

Companion volume to Jeremy Reed's 2009 collection, Bona Drag.

"Bona Drag", a rich, brilliantly inventive collection of poems covering every detail of the poet's obsessive life, from the colour of Posh Spice's heels, to London street encounters, underworld friends, urban survival tactics, neuroscientific concepts and extraterrestrials, more than confirms J.G. Ballard's assessment of Reed, as 'the most gifted poet working today, an extraordinary talent'.

Sex, jazz, glam icons, green crochet bikinis, Gossard wonderbras, white nights and blueblack seas - the usual colourful, sensual Jeremy Reed imagery in this brand new collection. Jeremy Reed's many poetry books include Saints and Psychotics (1979), By the Fisheries (1984), Nero (1985), Selected Poems (1987), Dicing for Pearls (1990), Nineties (1990) and Kicks (1995). Reed's books on poets include studies of Rimbaud (Delirium: An Interpretation of Rimbaud), Rilke, Hopkins, Madness: The Price of Poetry and Angels, Divas and Blacklisted Heroes (1999). Reed has translated Novalis's Hymns of the Night and Montale. His novels include The Lipstick Boys (1984), Blue Rock (1987), Isidore (about Lautreamont), When the Whip Comes Down (on the Marquis de Sade), and Chasing Black Rainbows (1994, a fictionalized account of Antonin Artaud). His biographies include Lou Reed, Brian Jones: The Last Decadent (1999), Scott Walker: Another Tear Falls (2001) and Marc Almond (1999). Other books include: St. Billie (2001), Sister Midnight (1997), Heartbreak Hotel (2002), The Purple Room (2000), Dorian (1997), Inhabiting Shadows (1990), Diamond Nebula (1994), Black Sugar (1992), Escaped Image (1988) and Red Hot Lipstick (1996), The Pleasure Chateau Omnibus (2000), Pop Stars (1994), Trucks in Camera: Bedford (1996). Reed has won an Eric Gregory Award, the Somerset Maugham Award, and the National Poetry Competition.