LONGLISTED FOR THE 2021 RATHBONES FOLIO PRIZE. In Strangers, Rebecca Tamas explores where the human and nonhuman meet, and why this delicate connection just might be the most important relationship of our times. From 'On Watermelon' to 'On Grief', Tamas's essays are exhilarating to read in their radical and original exploration of the links between the environmental, the political, the folkloric and the historical. From thinking stones, to fairgrounds, from colliding planets to transformative cockroaches, Tamas's lyrical perspective takes the reader on a journey between body, land and spirit-exploring a new ecological vision for our fractured, fragile world.

Seven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature's status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

In a celebration of women's voices throughout history, this collection brings together powerful and diverse writing from around the world. From the Greek poet Sappho to Emily Bronte, the selection of lyrical work and written correspondence brims with illuminating contemplations on life, the nature of humanity, and one's place in society. This is the latest anthology in a series of beautiful gift books of inspirational verse.

"WITCH is sexy, frightening and cerebral. Rebecca Tamas is the real deal." KATHERINE ANGEL; WITCH is a strange, visceral and darkly witty debut by a startling new voice in British poetry. Rebecca Tamas reckons with blood and earth, mysticism and the devil, witch trials and the suffragettes, gender and sexuality. At turns lyrical, philosophical and obscene, WITCH evokes the intimate, sensual power of nature and merges it with the revolutionary potential of women's voices. These are poems as spells - spells against suppression, silence and obedience; hexes that cling to your body like sweat, full of a messy, violent joy, `a small, bright, filthy song'. Feminist, ecological and occult, WITCH grabs history and shakes it, demanding: `Wake me up when it really gets started'.

The poems in the first half of The Ophelia Letters explore the interaction between self and place in ways both strange and loaded with magic: journeying to the Arctic with Werner Herzog, stopping off in Scottish islands and English wildernesses, revealing an electric language of the road that is both expansive and complex. In long title poem Tamas pours this fractured, cut-throat lyricism into the figure of Shakespeare's Ophelia, attempting to retrieve a silenced female voice from darkness, to let the light in.