'Borel was the sun,' said Theophile Gautier, 'who could resist him?' Indeed, who? A lycanthrope, necrophile, absurd revolutionary, Paris dandy with a scented beard, flamboyant sufferer: a man with no grave and no memorial. His once celebrated red mouth opened briefly 'like an exotic flower' to complain of injustice and bourgeois vulgarity; of his frustration in love and reputation; of poverty and blighted fate. Then he withered in the minor officialdom of Algeria, where he died because he would not wear a hat, leaving a haunted house and a doubtful name. 'And now,' says his only biographer Dame Enid Starkie, 'he is quite forgotten.' Rhapsodies 1831 includes all the poems Borel wrote when he was twenty and twenty-one. The poems, he said, are 'the slag from my crucible': 'the poetry that boils in my heart has slung its dross'. It is a fabulous, fiery, black-clouded dross: captains and cutlasses, castles, maidens, daggers, danger; calls to arms, imagined loves, plaints and howls of injustice. 'Never did a publication create a greater scandal,' Borel said, 'because it was a book written heart and soul, with no thought of anything else, and stuffed with gall and suffering'. It was not reviewed. Now it is back.

The Extasie is a compelling book of love poems with its lyrical roots deep in the sixteenth and seventeenth centuries and the rural traditions of the nineteenth. Among New Zealand poet John Gallas's spirit guides are John Clare and, in particular, Wyatt and Donne, writers from our poetry's wittiest and most ecstatic age. But the book's heart is set firmly in the twenty-first century. Its two parts follow the seasons of a revelatory love through different weathers and forms. The poems follow the sequence of their composition, so we register the intimacies, forced separations, complexities and climaxes as on a lyrical fever chart. Things are never still or static, everywhere is growth and wonder - birds, tides, skies, trees, sheep, planets and flowers: a celebration of the natural world, and a seeing together. The eye of the poet is always turned to the world: how the world is seen and felt is a sufficient record of the partners' intimacy. Gallas's language is marked by vigorous verbs, arresting inversions, a world of process and mutation, of transformation about one constant belief. It is hard to find poetry so at ease and at home with the particular detail of rural England, of a Lincolnshire and Norfolk imbued with their own histories and a new-made sense of place.

In The Little Sublime Comedy John Gallas reanimates one of the great works of world literature for the twenty-first century. Relocated from medieval Italy to modern-day New Zealand, Dante's Divine Comedy is given a new lease of life in Gallas's darkly funny, surreal adaptation. Discovered snoozing on a mountainside above Lake Rotoiti, Mr Gallas - our millennial Dante - is taken under the wing by his Horatian guide, one Samuel Beckett. Over the course of 147 `songs' we accompany the pair on their journey through the Bad Place, the Better Place and the Good Place, and witness the horrors and delights that befall the dead. On our way we encounter a skiing Pohutukawa Tree, a Golden Kiwi, Lineout the dog, a Vegetable Ewe, souls falling off things, Philosophy, and lots of bright, coloured lights. Divine order is replaced by modern Physics, by Klein bottles, super-speeds and black holes. Gallas's Comedy is a metaphysical plunge through torment and triumph, as subtly satirical as it is unsubtly silly.