Pavilion Poetry – serie

A soul’s journey through the night, a missing woman: time and narrative bend and interlock across a play of poetic forms and voices to make one story of love and loss. In And She Was Corbett combines the fictional spell-making of Haruki Murakami, with the filmic neo-noir of Atom Egoyan (Exotica) and David Lynch (Lost Highway, Mulholland Drive), to push the boundaries of poetic genre, asking us to renegotiate the way we encounter and reconfigure ourselves through trauma, in desire, or as we seek to reassemble ourselves and our past.November, 3am, and two young lovers are about to meet on the Heathrow Express.A side street in an unknown city: Felix Morning wakes with no memory. In his pocket is a membership card for a nightclub, The Bunker. With the help of the beautiful Flick, he must recover what he has lost.Deep into a dangerous love affair, Esther and Iain believe the other can replace what they each have lost – a heart, a gift – but is Esther’s price too high for Iain to pay, and can their love survive?Who is Esther, where has she come from, and what has she got to do with the woman in the labyrinth? Does Flick belong to the past or to the future? What is memory, and what remains of us without it?And She Was demands our attention, its startling and dazzling writing asking us to be carried away as we read, but returning us by its end to a place both resolved and transformed.

In her third full-length collection 'Blood Child', Eleanor Rees hones and extends her startling use of language and imagery to enact the many aspects of change – fleeting, elusive or moored in a negotiation of the material world as she roams through the landscapes of self and city. The idea of generation is explored in all its possibilities, the ‘child’ and the ‘girl’ are recurrent motifs, immanent and on the threshold of a magical or imaginative transformation. Landscapes are crossed, swum, burrowed under or flown above; skins and edges are sheared or lost, new coverings found and remade. Rees’s poems ask how new routes can be forged across shifting terrain and she offers the emergent space of the imagination as the only answer.

Winner of the 2015 Forward Prize for Best First Collection Mona Arshi’s debut collection, 'Small Hands', introduces a brilliant and compelling new voice. At the centre of the book is the slow detonation of grief after her brother’s death but her work focuses on the whole variety of human experience: pleasure, hardship, tradition, energised by language which is in turn both tender and risky. Often startling as well as lyrical, Arshi’s poems resist fixity; there is a gentle poignancy at work here which haunt many of the poems. This is humane poetry. Arshi’s is a daring, moving and original voice.

Shortlisted for the 2016 Forward Prize for Best First Collection and the 2016 T S Eliot Prize for Best Collection. Drawing from neuroscience on the idea of 'internal gain', an internal volume control which helps us amplify and focus on quiet sounds in times of threat, danger or intense concentration, Ruby Robinson's brilliant debut introduces a poet whose work is governed by a scrupulous attention to the detail of the contemporary world. Moving and original, her poems invite us to listen carefully, and use ideas of hearing and listening to explore the legacies of trauma. The book celebrates the separateness and connectedness of human experience in relationships, and our capacity to harm and love.

In her first full-length collection, Sarah Westcott immerses the human self in the natural world, giving voice to a remarkable range of flora and fauna so often silenced or unheard. Here, the voiceless speaks, laments and sings - from the fresh voice of a spring wood to a colony of bats or a grove of ancient sequioa trees. Unafraid of using scientific language and teamed with a clear eye, Westcott’s poems are drawn directly from the natural world, questioning ideas of the porosity of boundaries between the human and non-human and teeming with detail. A series of lyrical charms inspired by Anglo-Saxon texts draw on the specificity of the botanical and its spoken heritage, suggesting a relevance that resonates today. Westcott’s poems are alive to the beautiful in the commonplace and offer up a precise honouring of the wild, while retaining a deeply-felt sense of connection with a planet in peril.

Set against the charms and vicissitudes of growing up in a family of musicians, Jodie Hollander’s beautifully-structured and compelling debut follows the story of a daughter’s maturing relationship with her mother. Interspersed with versions of Rimbaud, and always alert to the surreal comedy of the human condition, these powerful and immediate poems chart with huge passion, musicality and insight a complex journey towards familial understanding and reconciliation.

Shortlisted for the Forward Prize for Best Collection 2017A Finalist for the National Book Critics Circle Award for Poetry 2017Claudia Rankine described the poems in Alsadir’s first book as 'lawless,' ‘provocative, and 'heartbreaking' as they 'converse from the inside out… come alive in the back and forth of a mind attempting to understand what it means to be in relation to.’ Fourth Person Singular continues to blow open the relationship between self and world in a working through of lyric shame, bending poetic form through fragment, lyric essay, aphorisms mined from the unconscious, and pop-up associations, to explore the complexities, congruities, disturbances - as well as the beauty - involved in self-representation in language. As unexpected as it is bold, Alsadir's ambitious tour de force demands we pay new attention to the current conversation about the nature of lyric – and human relationships – in the 21st century.

Walking, getting lost, and finding that home is half way between refuge and a place to look out from at the unsettling and unsettled world, are the dominant themes in Sarah Corbett’s fifth collection. Written from an intimate knowledge of the countryside of the Calder Valley, many of these poems respond to a landscape as beautiful as it is disquieting, troubled by a warming climate and by violence and loss both public and private. A central sequence – part found poem, part assemblage – draws on the Grasmere Journals of Dorothy Wordsworth, poems that question the nature of the visionary, the in-between worlds that this poet claims as her territory; here nature is held up as a mirror where we might see ourselves and our actions reflected. Over all haunts the presence-in-absence of Sylvia Plath, whose burial place the author can see from her bedroom window. Throughout, interior lights – a train on a dark morning, a sudden snowfall, moonlight and starlight, sun on lake water, the love between a parent and child – attempt to balance the darkness.

Poetry Book Society Recommendation, Summer 2018. Is nowhere a place we canget closer to? In her compelling second collection, Alice Miller tackles thecircularity of thought, the company of the dead, and the lure of alternative futures.These poems rip into pockets of histories, trying to change facts and voices,searching for the word’s version of music’s home key. They dare you to visit,through a series of cities, the futures we never let happen.

Emily Hasler’s debut collection moves between the local and the distant, the urban and the rural, and past and present. This is a poetry of emotional density underpinned with a lightness of touch. Hasler’s poems are structural but organic, detailed but lively, thoughtful but playful. There is a rare combination of exactitude and wonder which leads the reader in and keeps them there. Often taking their cue from the work of visual artists, these poems probe at the ways we understand and reconstruct our environment. Examining places, objects, buildings, landscapes, rivers and bridges, these poems ask how our world is made, and how it makes us.

Poetry Book Society Summer Choice, Recommended Translation 2019. In The Cancer Journals Audre Lorde wrote, ‘I do not wish my anger and pain and fear about cancer to fossilise into yet another silence, not to rob me of whatever strength can lie at the core of this experience, openly acknowledged and examined.’ Founded on this same principle, The Following Scan Will Last Five Minutes was written in the three months following Dutch writer Lieke Marsman’s cancer diagnosis.A series of short poems anchored by an essay that speaks directly to Lorde’s journal entries and personal reflections on cancer, Marsman considers, among other things, the state of contemporary Dutch politics and – via Susan Sontag’s Illness as Metaphor – the rhetoric surrounding her disease.A work of poetry, social criticism and autobiography, The Following Scan is an honest and dryly comic account of a period in the author’s life that elides pretension in search of autonomy and self-knowledge.Beautifully translated by the poet Sophie Collins, the book also includes a translator’s note in the form of a letter to her author and friend.

Following on from her Forward prize-winning collection, Small Hands, Mona Arshi's new book continues in its lyrical and exact exploration of the aftershocks of grief. These extraordinary poems, which see Arshi continuing with her experiments with form, relocate experiences in both past and future feeling, in both the intimacies of ordinariness and the collective experience of myth. Moving and discomfiting, these poems tune, in their acute emotional awareness of individual pain, to the dangers and unsettling violences of the contemporary world. Nevertheless, at the centre of this book is an overarching commitment to hope, in whatever form it takes, to the earth's tiny creatures, and its 'churning, broken song'.

Shortlisted for Costa Poetry Award 2020Shortlisted for Forward Prize for Best First Collection 2020Shortlisted for John Pollard Foundation International Poetry Prize 2021Poetry Book of the Month - The Telegraph May 2020Included in Books of the Year 2020 - The TLS November 2020Juana of Castile (commonly referred to as Juana la Loca – Joanna the Mad) was a sixteenth-century Queen of Spain, daughter of the instigators of the Inquisition. Conspired against, betrayed, imprisoned and usurped by her father, husband and son in turn, she lived much of her life confined at Tordesillas, and left almost nothing by way of a written record.The poems in Citadel are written by a composite ‘I’ – part Reformation-era monarch, part twenty-first century poet – brought together by a rupture in time as the result of ambiguous, traumatic events in the lives of two women separated by almost five hundred years. Across the distance between central Spain and the northwest coast of England these powerful, unsettling poems echo and double back, threading together the remembered places of childhood, the touchstones of pain, and the dreamscapes of an anxious, interior world. Symbolic objects – the cord, the telephone, eggs, a flashing blue light – make obsessive return, communication becoming increasingly difficult as the storm moves in over the sea. Citadel is a daring and luminous debut.

Shortlisted for the Seamus Heaney First Collection Poetry Prize 2021Linda Anderson's much anticipated first collection travels across time and space, employing a range of voices, including historical ones. At the heart of the collection, though, is always the moment of encounter, the moment when things appear strange, before they settle into a pattern or become known. This is as true of the explorer Charles Kingsley, awed by the Caribbean landscape, as it is of the poet herself, confronted with moments of vision or almost vision, either in her own travels, or in the ordinariness of a domestic life. Nothing is quite secure in this collection: memory destabilizes with its resurrections; seeing has many angles and cannot be taken for granted; borders fluctuate and crossings abound. And although not afraid to draw on ideas from many sources, these poems often explore how thinking masks a fragility, the knowledge of our mortal selves. What are the fragments that make a poem, the book asks? How are they held within a form? And how do we negotiate the multiple memories, ideas, sights, meetings, and losses which constitute us and our complex selves.

Winner of the T. S. Eliot Prize 2020.Poetry Book Society Choice, Summer 2020.Bhanu Kapil’s extraordinary and original work has been published in the US over the last two decades. During that time Kapil has established herself as one of our most important and ethical writers. Her books often defy categorisation as she fearlessly engages with colonialism and its ongoing and devastating aftermath, creating what she calls in Ban en Banlieue (2015) a ‘Literature that is not made from literature’. Always at the centre of her books and performances are the experiences of the body, and, whether she is exploring racism, violence, the experiences of diaspora communities in India, England or America, what emerges is a heart-stopping, life-affirming way of telling the near impossible-to-be-told. How To Wash A Heart, Kapil's first full-length collection published in the UK, depicts the complex relations that emerge between an immigrant guest and a citizen host. Drawn from a first performance at the ICA in London in 2019, and using poetry as a mode of interrogation that is both rigorous, compassionate, surreal, comic, painful and tender, by turn, Kapil begins to ask difficult and urgent questions about the limits of inclusion, hospitality and care.

Shortlisted for the Forward Prize for Best First Collection 2021Shortlisted for the John Pollard Foundation International Poetry Prize 2022PBS Special Commendation Summer 2021Alice Hiller’s debut performs an act of witness and restitution. Working with her childhood and adolescent medical notes, bird of winter creates a redemptive language to speak the darkness of being sexually abused by a family member. Through the excavated histories of Pompeii and Herculaneum, these poems additionally document the grooming that prepares a child for sexual abuse, and the vulnerability which remains afterwards. Calling up the landscapes and relationships which sustained her, as well as the injury she experienced, Hiller reflects the nature and impact of a crime to which millions around the world are subjected – and asks how we may find our ways towards healing.

Longlisted for the Laurel Prize 2022.Shortlisted for the Ledbury Hellens Poetry Prize for Second Collections 2023.‘Have you looked / have you looked deeply?’ ask these poems, rooted in the human body and its movement through an interconnected living world. Bloom, Sarah Westcott’s second collection, approaches the cultural and physical spaces where human and non-human lives co-exist. These poems are attuned to a tender, bleeding world in which ‘all flesh is grass’ and language is matter. These are poems of resistance: attentive to non-human life, ‘eternal and plaintive … counter-balanced, strange.’ Here are field flowers, walled gardens and lost species, the particularities of ‘undistinguished things … seeds, waterbuts, palpable concerns’. Exploring sacrifice and loss, these poems push at the boundaries where girlhood and flower might bleed. These poems are a hymn to being alive in the twenty-first century - the frailties and vigour of life in all its dazzling form, its ‘looped breath, perpetual singing’.

Shortlisted for the T.S. Eliot Prize 2022. Third Prize winner of the Laurel Prize 2022.What is still wild in us – and is it recoverable? The poems in Wilder, Jemma Borg’s second collection, are acts of excavation into the deeper and more elusive aspects of our mental and physical lives. Whether revisiting Dante’s forest of the suicides, experiencing the saturation of new motherhood or engaging in a boundary-dissolving encounter with a psychedelic cactus, these meticulous and sensuous poems demonstrate a restless intelligence, seeking out what we are losing and inviting us to ‘break ourselves each against the beauty of the other’. They call on us to remember ourselves as the animals we are, in connection with the complex web of life in what Mary Midgley called an ‘extended sympathy’, and to consider wildness as a process of becoming, reforming and growth. We do not live in a time when we can afford denial. Instead, by being willing to enter despair, might we find what Gary Snyder described as ‘the real world to which we belong’ and recover the means to save what we are destroying?

*Shortlisted for the Jhalak Prize 2023**Anita Pati’s debut collection, *Hiding to Nothing, explores the destabilising effects of violence, particularly empire’s aftermath, on a psyche. Threaded with internal dialogue, this multi-layered work witnesses how unbelonging can unsettle perceptions of the brown female body within an unwelcoming, even hostile, environment.From ‘exotic’ dodos punished for not being doves to Greenface, on whom blonde girls birth natterjack toads, marginal presences tell their stories. Hiding to Nothing suggests that complex and damaging legacies in all their forms can create shockwaves that reverberate over a lifetime, stopping lives from reaching their full potential. And the trauma experienced through centuries of colonial history continues to be embodied and enacted.These perceptions of body-image and self-worth are picked up in the central documentary sequence, Bloodfruit, which is based on interviews with women. Bloodfruit gives voice to the less heard narratives of infertility and difficult trajectories towards becoming, or not becoming, a ‘mother’. Here, the often-fraught notions of womanhood and motherhood are also shown to feed into ideas on who is able to mother.Pati uses an original, lyrical approach towards the ambiguities and ambivalences that cloud our decisions. Ultimately, ambient aggressions towards our own and other bodies can only be made good by breaking the cycle. Pati unravels compacted pain but those looking for easy answers or redemption will find no compromise here.

Longlisted for the Jhalak Prize 2023Shortlisted for the T.S. Eliot Prize 2022 A PBS Recommendation Summer 2022In her debut collection, Denise Saul explores family and identity as she tells the story of a mother’s illness and subsequent aphasia, and a daughter's ongoing role as carer. At the heart of their relationship is an awareness of the inadequacies of language to name painful experiences as together they start to know the world afresh. Deeply affecting, the book finds a space for both the extraordinary and the ordinary, balancing all that is between. Such betweenness creates a space to explore wider dynamics of power, and the epiphanies and aftershocks of ongoing loss.

Longlisted for the Laurel Prize 2022What Fire is about how to continue as catastrophe crawls in, when the climate crisis has its grip on us all, the internet has been shut down, and the buildings are burning up. What happens when the philosophers never arrive? What songs are still worth singing? In her third collection, Alice Miller takes a fierce, unflinching look at the world we live in, at what we have made, and whether it is possible to change.

Feeling All the Kills is a dazzling new collection that breaks the poet’s silence on what it means to experience and live in the wake of a violent assault and rape. Calcutt weaves stunning musicality with raw, unhindered storytelling, as the poems both collectively, and in their individual power, explore the distinctly connected, yet fractured selves of ‘sexual being’, ‘mother’ and ‘abused person’. Through the poems’ breathtaking and vital vocabulary Calcutt brings the physical, emotional, and sexual nuances of life to the foreground, with strength, subtlety and beauty, and courageously harnesses a sense of ownership over such a lasting trauma. At the heart of this collection is a personal desire to navigate a way back to a sensual, whole-feeling self, to shamelessly ‘feel all’ -- with authenticity and power.

Second Prize Winner of the Laurel Prize 2024Shortlisted for the 2024 T. S. Eliot PrizePoetry Book Society Recommendation Summer 2024Featuring the poem 'Is that all?' (Highly Commended in The Forward Prizes for Poetry)Migrating across voices and blurring the divide between bird and human, self and other, Hannah Copley’s Lapwing explores restlessness, love, and ecological and personal grief in a vivid and incantatory sequence of poems.A lyrical biography of a bird and a fragmented study of a flawed and mutable creature bearing its name, Copley’s second collection takes inspiration from John Gower’s brid falseste of alle and its many literary guises. At the heart of the book are the shifting figures of Lapwing and Peet, two creatures whose overlapping narratives echo the double note of the bird’s cry. In Lapwing, known by countless names, migratory, and slowly disappearing beneath addiction, Copley examines a life in a slow tumble, as we are transported into a world shaped by real and imagined predators. Running alongside Lapwing is the searching voice of Peet, a daughter left to understand her father’s vanishing while trying to make a life in a habitat no longer fit for survival.Bold, exacting, and deeply personal, Copley’s poems call out from empty nests, drained wetlands, and ploughed fields to create a soundscape of endangerment and wonder. *Lapwing *asks that we consider how, like the bird itself, we must all dissemble to survive.

Shortlisted for the Saltire Society Poetry Book of the Year 2024Longlisted for The Laurel Prize 2024Janette Ayachi’s second collection moves away from the personal and delves into the universal with poems often taking flight from the page to parachute into performance. Her hypnotic voice lifts from a keen observing stance to one that probes the chemical reactions in nature, and especially in the body. Fire is seen as an element; as something environmental, a natural disaster. But Ayachi also plays with fire as a fuel in relationships; a heat felt and subject to synergy within the cells and flesh, a cardiac pulse, a love that comes quickly and burns slowly, constantly rekindling hope for change, peace and renewal. There is a mystic undertow that exposes the materials, the lore of bones and anatomy, pilgrimages and prayers, superstitions and super galaxies that she explores with language. Lost landscapes and lost loves merge as she confronts loneliness at the same time as showing us new bloom is on the horizon - that nature will always will us another spark.

Shortlisted for the T.S. Eliot Prize 2023.Standing in the Forest of Being Alive is a memoir-in-poems that reckons with erotic love even as the narrator is diagnosed and treated for breast cancer at the age of thirty-six during a time of pandemic and political upheaval. With humour and honesty, the book portrays both the pleasures and the horrors of the lover, the citizen, and the medical subject. How can we find, in the midst of hell, what isn't hell? And whom can we tell how much we want to live? An intimate, hilarious and devastating look into some of the most private moments of a life--even if they happen to occur in a medical office with six strangers looking on. This book is for anyone who's ever asked how to live in the face of suffering, and doesn't expect an easy answer. Standing in the Forest of Being Alive looks unflinchingly at painful realities, posing the question ‘What isn't hell?’ and finds the answer in a powerful eros, letting a loved one pull laughter out of the narrator's reluctant mouth like a red violet cerulean handkerchief.

Longlisted for Laurel Prize 2023. Set in a technicolour world of dreams, ghosts, classical music, and Key West storms, Jodie Hollander’s compelling second collection charts the emotional journey of the daughter of a professional classical pianist. These bold and arresting poems, rich with musicality, and fierce in their emotional honesty, chart the complicated repercussions of family dysfunction and musical obsession while traversing the landscape of the human condition and exploring the need for refuge in the natural world.

Situated where salt and freshwater meet, where floods and fields ‘mingle parts’, Emily Hasler’s second collection exposes the dailiness of disaster to chart the constantly shifting courses of rivers and lives.Taking its name from the sections of libraries where much of Hasler’s research began, Local Interest maps the friable and slippery landscapes of south Suffolk and north Essex: estuaries and water meadows, coastal defences and disused decoys, possible futures and forgotten pasts.This is a book of habitats lost, created and threatened, teeming with plants, people, animals and ‘legless, uneyed life’. Here are promontories, precarity and potential; the first English sea battle and a forgotten stuntman; rare and familiar birds; a fish die-off and a vanished world; a historic earthquake and continuous erosion. Moments and millennia are as muddled as the elements. In these poems nothing is pure and everything is borrowed. Language is hybrid; poems are ‘stolen’ and ‘observed’. Local Interest questions boundaries and belonging, squinting at ideas of invasion and migration, borders and crossings. It asks what is ‘local’ and to whom; how we might celebrate dwelling while looking beyond permanence and ownership. This is poetry that wallows at the muddy edges of things, that asks you to follow it ‘through every breach that was and could be’.

Natalie Linh Bolderston’s debut collection traces her matrilineal heritage across continents and centuries, interweaving her voice with those of her mother and grandmother. The poems move between 1930s China, 1970s Vietnam and an ancient landscape populated by mothers, daughters and deities from Vietnamese and Chinese myth.Divinations on Survival asks what it means to share a lineage in the shadow of war, and traces the complex legacies of survival that emerge as a result of conflict. Always returning to the question of how intimate, familial ties are warped and undone by political turmoil, violence and displacement, the collection distils and expands on stories passed down from grandmother to mother, to daughter, and casts women not as victims, but as powerful protectors, healers and survivors.Formally innovative and supple, these poems disrupt and unsettle meaning, confronting the colonising force of language to work towards a radical new poetics.

At the heart of Linda Anderson’s second collection is an exploration of time and of ageing. Time is pressing, urgent, in relation to both the individual and the planet. However, underneath, there is also something unfinished, whether that be in relation to memory’s ability to revise the past and take on different shapes and meanings, or in relation to writing itself which has a materiality which links it to the body of the writer. The collection contains an interrogation of the poet’s notebooks where chance and randomness have an important part to play, forging surprising links, and directing attention to the surrounding bloom of uncertainty, the ‘diaphanous, unwritten poem’ that lurks behind any finished poem. The fragility of the body also undermines certainty, and while much of the collection draws on visual imagery, derived particularly from the natural world, the loss of sight is folded into acts of careful observation, making seeing itself both more problematic and more precious.This collection ranges restlessly across forms and voices connecting the poems to artists, writers, and musicians such as Stanley Spencer, Frédérick Chopin and Elizabeth Bishop. Yet words also repeat across different poems, like musical motifs, forming a fragile net for the collection. There are moments too when silence takes over and we are asked to wait, to discover a different meaning in hesitancy.