A beloved teddy bear, stuffed with love, tells a deeply felt and tenderly observed story of growing up and the new sibling experience.Teddy and My are made for each other-literally in the case of Teddy, a bear lovingly stitched and stuffed by Grandma for her newborn granddaughter. From eating mushy vegetables to playing with blocks, Teddy is there every step of the way as the baby grows older. Even as the little girl goes to school and makes new friends, she can always count on Teddy for playtime, comfort, and friendship. As she leaves early childhood behind, My comes to rely on Teddy less and less. But Teddy still has an important role to play in My's life. In an act of welcome and tremendous love, My decides to give Teddy to her newborn baby brother, who needs Teddy just as much now as she once did.

'I write about love, I write about friendship,' remarked Thom Gunn: 'I find that they are absolutely intertwined.' These core values permeate his correspondence with friends, family, lovers, and fellow poets, and shed new light on 'one of the most singular and compelling poets in English during the past half-century' (Times Literary Supplement). These letters reveal the evolution of Gunn's work and illuminate the fascinating life that informed his poems: his struggle to come to terms with his mother's suicide; his changing relationship with his life partner, Mike Kitay; the LSD trips that led to his celebrated collection Moly (1971); and the deaths of friends from AIDS that inspired the powerful, unsparing elegies of The Man with Night Sweats (1992).

From amateur experiments in scrapbooks and stereographs to contemporary photobook collaborations between leading practitioners, poets and photographers have created an art form that continues to evolve and deserves critical exploration. Photopoetry 1845-2015: A Critical History represents the first account of this challenging and diverse body of work. Nott traces the development of photopoetic collaboration from its roots in 19th-century illustrative practices to the present day. Focusing on work from the UK and US, he examines how and why poets and photographers collaborate, and explores the currents of exchange and engagement between poems and photographs on the page. The book not only considers canonical figures, but brings to light forgotten practitioners whose work questioned and shaped the relationship between word and image. Photopoetry 1845-2015, a Critical History provides a new lens through which to explore poetry, photography, and the spaces between them.