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Lamento is a love story that questions the possibility of reconciling the magic of infatuation with everyday life. The story begins with a fire – an image which permeates the novel. The narrator, a writer, meets a theatre artist; their love feels ecstatic and utopian, completely untouched by the outside world.But with the birth of a child, the weight of the everyday turns their passion destructive. The woman fights for every minute she can to write, while the man abandons family life to focus on his art. Their private drama is further confronted by the jagged realities of colonialism and injustice, forcing them to see themselves as part of a violent history they cannot escape. As love turns to hate, we follow their restless search to understand the enigma of love.In a startling act of reverse auto-fiction, Madame Nielsen – a legendary figure of the Danish avant-garde – inhabits the voice of the woman she once loved to interrogate the man she once was. The result is an unsparing reconciliation of gender and memory, a lament that strips away self-pity to expose the narcissistic cost of creative obsession, and a meditation on how gender alters our experience of the world.

Longlisted: RSL Ondaatje Prize 2025The Seers follows the first weeks of a homeless Eritrean refugee in London. Set around a foster home in Kilburn and in the squares of Bloomsbury, where its protagonist Hannah sleeps, the novel grapples with how agency is given to the sexual lives of refugees, presenting gender-fluid, trans and androgynous African immigrants, and insisting that the erotic and intimate side of life is as much a part of someone’s story as ‘land and nations’ are.Hannah arrives in London with her mother’s diary, containing a disturbing sexual story taking place in Keren, Eritrea, where the Allies defeated the Italians in the Second World War. In a gripping, continuous paragraph, The Seers moves between the present day and the past to explore intergenerational histories, colonial trauma, and the realities of the UK asylum system and its impact on young refugees.

Fair: The Life-Art of Translation, is a satirical, refreshing and brilliantly playful book about learning the art of translation, being a bookworker in the publishing industry, growing up, family, and class.Loosely set in an imagined book fair/art fair/fun fair, in which every stall or ride imitates a real-world scenario or dilemma which must be observed and negotiated, the book moves between personal memories and larger questions about the role of the literary translator in publishing, about fairness and hard work, about the ways we define success, and what it means – and whether it is possible – to make a living as an artist.Fair is also interested in questions of upbringing, background, support, how different people function in the workplace, and the ways in which people are excluded or made invisible in different cultural and creative industries. It connects literary translation to its siblings in other creative arts to show how creative and subjective a practice it is while upholding the ethics and politics at play when we translate someone else’s work.Blurring the lines between memoir, autofiction, satire and polemic, Fair is a singularly inventive and illuminating book by one of the UK’s most original and admired writers and translators.

In Diary of an Ending, internationally renowned photographer Lina Scheynius expands her artistic vision to prose, offering an unflinching and intimate exploration of heartbreak and self-recovery.Blurring the boundaries between diary and essay, Diary of an Ending explores the break-up of a relationship, combining extracts from Scheynius’s diary – written in Swedish and translated by Saskia Vogel – with reflective essays written in English five years on, exploring ideas about art and photography, sex and passion, the act of diary-making, destructive relationships, motherhood and home.Interspersed with black-and-white photographs, and written with the same unashamed and unfiltered honesty that defines Scheynius’s photography, Diary of an Ending is an intimate hybrid of memoir and autofiction, a meditation on the passage of time and the transformative power of creativity.

Hell of Solitude presents a varied and eclectic selection of writings by Ryūnosuke Akutagawa, one of the most important and beloved Japanese writers of the twentieth century. Bringing together fiction, poetry, and philosophical prose – much of it appearing in English for the first time here – this collection showcases the range and intensity of Akutagawa’s imagination. Moving from the whimsical and fantastical to the grave and introspective, the pieces reveal a writer of extraordinary clarity and psychological depth. Interwoven throughout are poems from a prolific body of verse, examples of which are sparse in English, alongside ‘Art and Other Things’, a fragmentary essay in which Akutagawa expounds his aesthetic views while drawing on examples from world literature and art. Translated with sensitivity and precision by Ryan Choi, Hell of Solitude offers a vital reintroduction to a writer whose lucidity, irony, and existential unease continue to resonate across cultures and generations.With a foreword by Polly Barton

Everything is mine and is taken from me. That’s what it means to be a girl.Highly acclaimed in Denmark, Girlbeast is a fearless, unsettling, and poetic reimagining of the Lolita narrative, where power shifts unpredictably, and desire and coercion become indistinguishable. In a world that fetishises girlhood, it asks whether a girl be blamed for internalising the roles imposed upon her? Can she wield her youth as power in a system designed to render her powerless?With sharp, fast-paced prose and an addictive plot, Cecilie Lind crafts a daring examination of female agency, sexuality, and the complexities of consent. The novel evokes the idea of the girl as animal – a creature conditioned to be both docile pet and wild beast, torn between submission and rebellion, innocence and desire.Brave, provocative, and unflinching, Girlbeast is a gripping, vital novel for our times.

'Kate Zambreno’s Appendix Project and Book of Mutter are meditations on grief, motherhood, and memory alongside and through Roland Barthes’s Camera Lucida and Mourning Diary. These are also books about reading and seeing. To enter them is to be in the company of a writer with a tremendous capacity and gift for questioning, thinking, and feeling. These are extraordinary works.' – Christina SharpeInspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Kate Zambreno’s Appendix Project collects eleven talks and essays written in the course of the year following the publication of Book of Mutter, Zambreno’s book on her mother that took her over a decade to write. These surprising and moving performances, underscored by the sleeplessness of the first year of her child’s life, contain Zambreno’s most original and dazzling thinking and writing to date. In *Appendix Project *Zambreno thinks through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.

'Kate Zambreno’s Appendix Project and Book of Mutter are meditations on grief, motherhood, and memory alongside and through Roland Barthes’s Camera Lucida and Mourning Diary. These are also books about reading and seeing. To enter them is to be in the company of a writer with a tremendous capacity and gift for questioning, thinking, and feeling. These are extraordinary works.' – Christina SharpeBook of Mutter is a tender and disquieting meditation on the ability of writing, photography, and memory to embrace shadows while in the throes—and dead calm—of grief. Neither memoir, essay, nor poetry, it is an uncategorisable text that draws upon a repertoire of genres to write into and against silence. Zambreno weaves a complex web of associations, relics, and references, elevating the prosaic scrapbook into a strange and intimate postmortem/postmodern theatre.

Mensah’s work challenges dominant modes of masculinity, and disrupts the elitism of poetry through its accessible, honest, raw and intimate language and rhythms. Free from the constraints of convention, Mensah writes in his own, unique voice, layered with rhythm and surreal imagery, unified by its fearless commitment to emotional honesty and its openness about the power and cost of creativity.Safe Metamorphosis explores the transformations experienced in everyday life and the unspoken traumas caused by the uprooting of self as we are thrusted from one identity-building state to another. The trauma of leaving school, ‘growing up’, the demise of a romantic relationship, the loss of faith in a purpose: common, formative experiences too often dismissed. The poems in this striking and original collection explore metamorphoses at different points of our journey into adulthood, addressing the ways in which the associated upheaval of change and lost identity alters our sense of self and relationships with others.For Mensah, poetry and hip hop are a stimulus for philosophical reflection and introspection, and the poems in Safe Metamorphosis welcome us into the imaginative and highly observant mind of an artist committed to the healing and unifying power of communication.

The 2nd issue of Prototype’s annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between.With contributions by Astrid Alben, Caroline Bergvall, Linda Black, Lochlan Bloom, Iain Britton, Sam Buchan-Watts, Hisham Bustani, Theodoros Chiotis, Cathleen Allyn Conway, Emily Critchley, Claire Crowther, Susannah Dickey, Tim Dooley, Olivia Douglass, Michael Egan, Gareth Evans, Aisha Farr, Miruna Fulgeanu, Mark Goodwin, Philip Hancock, Oli Hazzard, Hoagy Houghton, Dominic Jaeckle, Aaron Kent, Caleb Klaces, Lotte L.S., Ali Lewis, Jazmine Linklater, Rupert Loydell, Alex MacDonald, Helen Marten, Mira Mattar, Otis Mensah, Lucy Mercer, Vanessa Onwuemezi, Sinae Park, Molly Ellen Pearson, Meryl Pugh, Elizabeth Reeder, Leonie Rushforth, Lavinia Singer, Maria Sledmere, Maria Stadnicka, Maia Tabet, Amanda Thomson, Donya Todd, David & Lizzy Turner, Sarah Tweed, Anne Vegter, Ahren Warner and Oliver Zarandi.

Drinking to excess is living when you’re young. But what happens if living becomes rape… assault… death?!!Lisbon: that city at the mouth of the Tagus, that city that whispers, licks and seduces its visitors, that city that haunts those seeking refuge or its pleasures. Who would wish to escape?It is the start of the millennium and two ‘lads’ from South-East London are trapped in Lisbon among people and experiences set to push them to the limits. Attempting to lie low after a fateful night back home, the friends find themselves navigating an unfamiliar and unnerving new reality. A crime novel inspired by a real-life incident, and distinguished by its sensitivity to subtleties of language and dialogue, Along the River Run is a story of guilt and retribution played out amid the streets, sounds and sights of this bewitching city. Just as the undercurrents of Lisbon’s Tagus are ever present, so the literary undercurrents of the capital as written by Pessoa, Saramago or Sa-Carneiro are there to enrich and pervade the evolving narrative. The novel follows the author’s much-praised earlier book on Lisbon, a cultural exploration in a ‘Cities of the Imagination’ series, setting up authoritative background research for this haunting story of psychological destruction.

microbursts is a collection of hybrid, lyric essays about the places between life and death; memoir and poetry; making and letting go. Originally written by Reeder as an intense text-based collection of lyric and experimental essays responding to the illnesses and deaths of her parents, it confronts the raw emotions of crisis, grief and creativity. Through collaboration with Thomson, the project expanded to consider how design and visual intervention might alter the nature and impact of the text.The outcome is a book which explores the subjects of illness, crisis, creativity, caring, death and grief, alongside the aesthetic and formal concerns of cross-genre writing, including how image, formatting and text work together to create tension, understanding and pace, expanding the possibilities of the essay and the artist’s book.Formally audacious, linguistically fluid, sensitive and intricate in its visual presentation, microbursts uses the potential and elasticity of the essay form to explore intensely personal, yet universal, experiences and considers the ways in which we can express and communicate these through spatial and linguistic form. Crucially, it achieves these things effortlessly, with its accessible, poetic language and engaging narrative of family, love, care, grief, dying, death and creativity.

Lorem Ipsum, the debut novel from poet Oli Hazzard, consists of a single, 50,000-word sentence. An epistolary fiction addressed to an unidentified email recipient, the novel is modelled after the Japanese prose genre of the zuihitsu, which means ‘following the brush’.This playful, disruptive and digressive novel is written out of and towards a moment of crisis in the ordinary, in which the experience of attention has changed entirely.Lorem Ipsum is also an intimate, singular exploration of being a parent and a child, of dreams, work, fantasies, reading, happiness, secrets, memory, protest, repetition, intergenerational conflict, and the forms of community which appear or disappear based on how we conceive of 'shared time'. It is a book about the foundations upon which we build our lives, and what happens when they are shaken.

Sam Buchan-Watts’ debut collection considers the capacity contemporary lyric poetry has to reflect social change. The many ethical dilemmas these poems enact listen in to the noise which society makes to distract itself – from carceral space to questions of asylum, masculinity and the boundaries of aesthetic play.Described by the Guardian as a ‘sceptical, serious, versatile writer’, Buchan-Watts variously inhabits poetic form, exposing the interplay of sound, sense and desire. Returning repeatedly to the figure of a vulnerable boy approaching the thicket of adolescence, these are poems that are listening in when they’re not supposed to, distracted when they should be listening in, and finding secret listeners behind the arras. In this disquieting terrain we must hold ourselves to account for what we hear and what we make of what we hear.

Intertitles is an anthology of work situated at the intersection of writing and the visual arts. The anthology aims to explore their confluence and is conceived in response to a twofold observation: the increased presence of written, spoken and performed language in the work of visual artists and the simultaneous increase in visibility and circulation of the work and voices of writers in the visual arts arena.Bringing together a substantial and significant collection of work, the anthology recognises that both writers and artists are attracted to the possibilities of language as a material. Through essays, performance texts, scores, poetry and more, Intertitles plots a course through contemporary writing practices and lends perspective to the question of why this might be of particular interest at this moment in time.In art as in poetry, meaning is made in the very conditions of the encounter itself. The knowledge produced is not instructive or strictly informational but subjective and relational. Artists build the worlds that viewers may inhabit temporarily in the moment of their becoming. The physicality of these temporary utopias, however, is frequently realised in the contested spaces of our museums and galleries. This anthology asks if poetry, and the world it is capable of building outside of these normative structures, is poised to be the most constitutive form of all. Putting poetry into the social milieu, as a shared goal of artists and writers, might be understood as a gesture towards a truly radical reimagining.

and I was writing myself out of a hole I thought that actually was writing myself into a hole I think and Other Poems came as I was writing to a joyful bigger and bigger andbigger inflating when a TN or Star is dying it gets bigger in bigger and that’s how you know it’s nearly expired it comes colossal how much writing was found to be on the right sizesize of what passes through me when my send my voice out what comes back what happens to other people’s voices inside me what kind of sieve I amfrom ‘explanatory notes with no fingers’Away From Me is the highly-anticipated second collection from poet and novelist Caleb Klaces.‘The world,’ wrote Georges Perec, ‘is big.’ The poems here rediscover the familiar intimacies of love, disgust, vulnerability, nurture and nostalgia in the vast spaces, technologies and voices that extend vertiginously beyond the individual self.In Klaces’s imagined landscapes, language is purposefully sieved, processed and contaminated by forces outside the writer's control, creating a work with its own glitchy music and sharp beauty: ‘a joyful bigger’.

The 3rd issue of Prototype’s annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between.With contributions from Rachael Allen, Campbell Andersen, Edwina Attlee, Rowland Bagnall, Tom Betteridge, Sam Buchan-Watts, Pavel Büchler, Paul Buck, Theodoros Chiotis, Natalie Crick, Raluca de Soleil, Roisin Dunnett, Maia Elsner, Yuri Felsen trans. Bryan Karetnyk, SJ Fowler, Ella Frears, Sam Fuller, James Gaywood, Chris Gutkind, J L Hall, Ziddy Ibn Sharam, Daniel Kramb, Dal Kular, Eric Langley, Neha Maqsood, Helen Marten, Lila Matsumoto, Otis Mensah, Calliope Michail, Lauren de Sá Naylor, Astra Papachristodoulou, James Conor Patterson, Oliver Sedano-Jones, Marcus Slease, Maria Sledmere, Andrew Spragg, Nick Thurston, Olly Todd, Nadia de Vries, Stephen Watts, Karen Whiteson, Frances Whorrall-Campbell, Alice Willitts, Frannie Wise and Antosh Wojcik.

WINNER OF AN ENGLISH PEN TRANSLATES AWARDIsland mountain glacier by acclaimed poet Anne Vegter is tumultuous, humorous, erotic, enigmatic and vulgar in equal measure. Written in an elastic, playful style that levels the playing field of what kinds of images carry poetic weight, the poems inhabit an incongruous space between everyday distractions and intimate, at times uncomfortable or disturbing questions.Vegter became the first female Poet Laureate of the Netherlands in 2013. This collection, which also features drawings by the author, was awarded the prestigious Awater Poetry Prize in 2011; published with her long-term translator Astrid Alben, Island mountain glacier is Vegter’s first full collection in English.‘With her turbulent style and extraordinary themes, Anne Vegter is one of the most prominent poets in present-day Dutch literature.’– Dutch Foundation for Literature, Contemporary Dutch Poets series ‘Tumultuous work, in which the chaos can scarcely be tamed and much is possible that would not work in more concentrated poetry. Vegter’s later books make it evident that the poetic principle of free and idiosyncratic use of language forms the basis of everything she writes.’– T. van Deel in Trouw ‘Vegter does not write easy poetry. This does not mean that her work is inaccessible (on the contrary) but it lacks the tendency to hide anything whatsoever. Her most recent collection, Eiland berg gletsjer (Island Mountain Glacier; 2011), does not shield the reader. Friendship, marriage and sex, deterioration and loss – not in themselves exceptional subjects – are picked apart by Vegter in such a confrontational manner that the reader is left gasping for breath.’ – Piet Gerbrandy, Poetry International Rotterdam ‘[Vegter] shows herself to be a courageous and vulnerable poet: courageous because she chooses to write poems that are not merely neat, tidy and decorative, and vulnerable because the directness of her language can be dismissed as banal.’ – Jan Baeke, Poetry International Rotterdam ‘Vegter writes daring, personal poetry that sometimes teases language to the limit. One time her poems may consist of complex chess configurations, whereas at other times the poet can be trite, incoherent or even vulgar. It all contributes to the stimulating, grating feeling that someone is getting too close to you.’– Ron Rijghard in NRC Handelsblad

Leonie Rushforth’s first book reveals a poetics on high alert, where the ‘tireless human sonar’ scans a compromised world for calamity and grace. In her vision of precarity and connectedness, attention might prove the opposite of surveillance: a tender, sober act of keeping faith with the ethical force of exact expression. Her poems are provisional landscapes, like river deltas, where with language both sidelong and luminous she suggests a way of seeing and measuring distances – temporal, spatial, political – that opens a route not only to individual survival but to humane dialogue and the hope of community.

Emblem is the debut collection from Lucy Mercer, winner of the inaugural White Review Poet's Prize. This is a book of ecological poetics, interested in exploring the changing symbols of the natural world in literature. Emblem revitalises this forgotten hybrid form in the present as a frame to contemplate the obscurities of motherhood, faith and the interior. In ghostly conversation with the sixteenth-century emblematist Andrea Alciato – a witness to a lonely time – the poems are carried forward by a non-linear dream logic of metaphor and similitude, speaking pictures who remain silent and a focus on an adjacent imaginal world. As well as reusing images from Alciato's emblem book, the poems fixate on alternating relations between text and image that blur into relations between mind and body, child and mother, red and green, past and present, public and private, the living and the dead.

Appearing for the first time in English, Deceit is the debut novel by Yuri Felsen, a leading modernist writer of the interwar Russian diaspora. Known by his contemporaries as ‘the Russian Proust’, Felsen died in the gas chambers at Auschwitz, his life and legacy destroyed by the Nazis.Written in the form of diary, Deceit is a psychological self-portrait of an unnamed narrator, a neurasthenic and aspiring author, whose often-thwarted pursuits of his love interest and muse provide the grounds for his beautifully wrought extemporizations on love, art and human nature. Modulating between the paroxysms of his tormented romance and his quest for an aesthetic mode befitting of the novel he intends to write, Deceit is a remarkable work of introspective depth and psychoanalytic inquiry.Like voyeurs, party to his most intimate thoughts, we accompany the diarist as he goes about Paris, making enraptured preparations for the materialisation of his fantasy, observing not only his eagerness, dreaminess and poetic inclinations, but also his compulsive desire to analyse his surroundings and self. Yet amid these ravishing flights of scrutiny we discern hints of his monomaniacal tendencies, which blind him from the true nature of his circumstances. Thus begins an exquisite game arranged by the author, wherein it falls to the reader to second-guess the essence of what really lies behind his narrative.

The fourth instalment of Prototype’s annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between.Including contributions by ajw, Sascha Akhtar, Chiara Ambrosio, Charlie Baylis, Jack Barker-Clark, Natalie Linh Bolderston, Jo Burns, Nancy Campbell, J. R. Carpenter, Joe Carrick-Varty, Robert Casselton Clark, Rory Cook, Emily Cooper, Kate Crowcroft, Eve Esfandiari-Denney, Alisha Dietzman, Edward Doegar, Nathan Dragon, Laura Elliott, Alan Fielden, Clare Fisher, Livia Franchini, Jay Gao, Honor Gareth Gavin, Emily Hasler, Grace Henes, Martha Kapos, Annie Katchinska, Victoria Manifold, Samra Mayanja, Jessa Mockridge, Helen Palmer, Yannis Ritsos (trans. Paul Merchant), Rochelle Roberts, Kimberly Reyes, fred spoliar, Scott Thurston, Hao Guang Tse, Ralf Webb, Sam Weselowski, Chrissy Williams and Xuela Zhang.

Our Last Year is a book about change; through the internal narration of its two characters, the novel follows the disintegration and renewal of a marriage, in synthesis with a much wider natural reality. It tells a story of damage and destruction, both painful and restorative, and necessary. The trajectory of the novel – of becoming part of the evolutionary process, awake to it, enlivened by it, compassionate towards it – is dramatised through two minds, asking readers to reconsider their relationship with themselves, with others, and with the planet itself.‘A lucid and refreshingly uplifting masterpiece about a fraught period in the life of a married couple, Our Last Year surprised and moved and entranced me, calming and healing me with its wisdom and perspectives.’ – Tao Lin

‘The foreigner is within me, hence we’re all foreigners. If we’re all foreigners, there are no foreigners.’ – Julia KristevaStrangers Within is an anthology exploring the idea of documentary as encounter through essays, stories, interviews and other creative responses by filmmakers, artists, and writers. The texts engage with the risks of encounter, unsettling assumptions about the distinctions between host and guest; stranger and friend; self and other; documentarian and protagonist. Opening up a series of questions about the mystery of another person, whose difference and unknowability is already a part of one’s self, the anthology offers a multidisciplinary approach to understanding the convergences between encounter, hospitality and autobiography.With contributions by Khalik Allah, Ruth Beckermann, Jon Bang Carlsen, Adam Christensen, Annie Ernaux, Gareth Evans, Jane Fawcett, Xiaolu Guo, Umama Hamido, Therese Henningsen, Marc Isaacs, Mary Jiménez Freeman-Morris, Juliette Joffé, Andrew and Eden Kötting, David MacDougall, Trinh T. Minh-ha, Toni Morrison, Bruno de Wachter and Andrea Luka Zimmerman.

Journeys Across Breath collects poems from the extraordinary career of one of the UK’s most significant poets, Stephen Watts. Gathering all of Watts’ published works between 1975 and 2005 – as well as a number of unpublished pieces appearing here for the very first time – this collection is an astonishing journey through the life and eyes of a remarkable writer of people and place.This long-awaited volume presents the breadth of Watts’ writing, from early prose poems, through long narrative sequences, fragmentary episodes, and later poetic meditations – all in Watts’ unmistakable voice. A writer of both the intensely personal and deeply-felt universal, Watts’ poetry charts familial histories, friendships, and encounters, set in both remote, rural landscapes across Europe and the changing, urban environs of East London.

Published here for the very first time, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman’s only piece of narrative fiction. Written in 1971, it is a surreal, fabular, lyrical work – a literary fairytale acid-trip road movie hybrid – the energies and details of which influenced much of his later work across media.The richly poetic story, a cinematic prose quest, tracks the journey of a blind young King and his valet, disguised as beggars, who set out in no particular direction and with no particular purpose. Departing from Fargo, across the frontier of Movietown, along the Superhighway and picnicking on the Lawns of Paradise, they encounter vivid characters like Pierrot, Borgia Ginz and Topaz, an Emperor who ‘smiles with the art of mirrors’, as well as a Sphinx with ‘Silence is Golden’ written in her eyes.The story serves as a foundational text, laying out many of the themes, images and styling of Jarman’s work in painting, film and design whilst also being haunted by the then emerging ecological crisis in its juxtaposition of the beauty of nature with the reckless consumption of modernity.This edition features facsimile images of the story’s handwritten drafts from Jarman’s archive, a link to an exclusive audio recording of Jarman himself reading the story in full, and is comprehensively informed by a vivid foreword from Philip Hoare, a deeply researched afterword by Jarman scholar Declan Wiffen, and a warm memoir by the artist Michael Ginsborg, a close friend of Jarman’s throughout the period of the story’s writing.

In a time when looking into the past has become a socially unacceptable and illegal act in the Nation, a group of scholars are offered an attractive residency to allow them to pursue their projects. When the residency transpires to be a devastating trick, these Researchers go on the run, and soon discover that their projects all relate to one major event: the Isletese Disaster – the decline and subsequent devastation fifty years earlier of a long-forgotten roaming archipelago called The Islets.One figure emerges as central to all of their work: Hester Heller, a reformed cult musiker turned student recruited from the Institute for Transmission as an agent of the state and tasked with gathering reconnaissance on the Disaster by using her old band Vehicle as a cover. Heller is the key to the Researchers collective story, which they try to piece together while evading their pursuers.Compiled from the Researchers’ disparate documentation, recollections, and even their imaginations, Vehicle is a timely and daring exploration of xenophobia, exploitation, the writing of histories and legacies, and the politics of translation.

Artifice is an exploration of the art of making. Its poems celebrate the artistry of craftsmanship: how works relate to beauty, and how they might inspire or ensnare. They consider issues of artificiality and authenticity, ‘the man-made’ and ‘the natural’. They warn of artfulness, in the sense of cunning or deception. And they wonder at the mystery of art and language, that which resolutely remains unknown or ineffable. For Artifice is as much riddle as revelation, stirring delight and discomfort as it delves into the nature of aesthetics and the creative process. How are works made and how do they make us, in turn? What worlds can be built from words? This book dwells in possibility, presenting an ambiguous space for contemplation, connection and, ideally, hope – for ‘to marvel is the beginning of knowledge’ (E. H. Gombrich).

A History is an elegiac 10-poem sequence, written about and in memory of Jill Robinson, a vital and continual presence in the poet’s life for almost seven decades, until her death from cancer in 2018. Burt’s eye is acute, unsentimental, and self-critical, unflinching in its depiction of illness, and unrequited love. His language has a Yeatsian severity, charged by vulnerability and an acute and expansive historical awareness.Published to coincide with his personal-political memoir Every Wrong Direction (Carcanet), A History is a major work from a writer whose life story and poetic sensibility takes us to places not often captured in poetry.