Frances Leviston's first collection, Public Dream, was one of the most acclaimed debuts of recent years, and praised for combining 'technical mastery with a lucidity that verges on the hypnotic' (Independent).
Furniture, Lorraine Mariner's debut collection, was shortlisted for both the Forward Prize for Best First Collection and the Seamus Heaney Centre Poetry Prize.
After the success of Grain (shortlisted for the Griffin Poetry Prize, poetry's most prestigious international award) John Glenday returns with The Golden Mean.
Aimless Love is Billy Collins' first compilation of poems in twelve years, and a wonderful successor to his first, the bestselling Taking Off Emily Dickinson's Clothes.
Kae Tempest is one of the most exciting and innovative performers to have emerged in spoken-word poetry in many years; their dramatic poem Brand New Ancients won the prestigious Ted Hughes Prize for innovation in poetry.
In John Kinsella's new collection, 'Sack' not only refers not only to the shocking title poem, where a tied, writhing sack is seen flung from a car into gully - but also to the sacking and exploitation of the landscape and those who labour on it.
In her prize-winning fourth collection, Mean Time, Poet Laureate Carol Ann Duffy dramatizes scenes from childhood, adolescence and adulthood, finding moments of grace or consolation in memory, love and language amid the complexities of life.
Rachael Boast's first collection, Sidereal, was one of the most highly regarded debuts of recent years, winning the Forward Prize for Best First Collection and the Seamus Heaney Centre for Poetry Prize.
Pluto - the non-planet, the ex-planet - is the dominant celestial influence in Glyn Maxwell's new collection: Pluto is a book about change, the before-and-after of love, the aftermath of loss: change of status and station, home and place, of tense and pronoun.
Charged with strangeness and beauty, Hill of Doors is a haunted and haunting book, where each successive poem seems a shape conjured from the shadows, and where the uncanny is made physically present.
Little Gods established Jacob Polley as one of the leading talents of the younger generation; his third collection sees him extend that gift in often wholly unexpected directions.
The Trouble with Poetry is the new collection from probably the most popular poet in the entire planet, and finds everyone's favourite contemporary Pre-Socratic in as funny and wise (and sometimes joyfully silly) form as ever.
Gerard Woodward's poetry has long been admired for its sharp and unflinching eye, its fearless surrealism, its blacker-than-black humour, and its ability to find a little abyss in any detail, no matter how innocuous or domestic.
'Look - here's a poet of ferocious invention, a breathtaking wit that ushers us to epiphanies of grief and laughter, an encyclopaedic knowledge of hip ephemera that's never merely knowing, and a playful ear - which is, I note, an anagram of Paul Farley .
Robin Robertson's fourth collection is, if anything, an even more intense, moving, bleakly lyrical, and at times shocking book than Swithering, winner of the Forward Prize.
Rachael Boast's first collection is dominated by astral influence and divine chance, by unseen or remote causes; but despite its celestial title, Sidereal is full of terrestrial concerns, the traffic and chaos of the human and natural worlds.
Ian Duhig's erudite, compassionate and often wonderfully droll poetry sits at the intersection of the literary and folk traditions, and moves in an easy and masterly fashion between them.
Annie Freud's award-winning first collection, The Best Man That Ever Was, introduced readers to a remarkably versatile new voice; The Mirabelles delivers a similarly exhilarating cornucopia - the Mask of Temporary Madness, Marc Almond, mini-novels a sonnet long, Carottes Vichy, and the most gripping account of a billiard game you'll ever read.
The Red-Funnelled Boat charts a course through richly varied territory, from theological obsession to the paranoid fantasies of the armchair footballer, the vernacular hell of mental illness and the author's lyrical yearning for the elsewheres of the Hebrides and the cinematic Midwest.
Timothy Donnelly's brilliant, breakneck and beautiful poetry has been hailed as some of the most original and exciting new work to emerge from the US in several years.
'Billy Collins is one of my favourite poets in the world' Carol Ann Duffy Readers will only have to open this book at random to realize the privation a life without Billy Collins has been.
While Downriver contains the English urban pastoral and hymns to the Northern deities for which Sean O'Brien is justly celebrated, the poet has always been more a singer than even his many admirers have sometimes conceded: here, that lyric note is sounded more openly than ever before.
John Stammers has a poetic mind original enough to read the most mundane and familiar events as great portents and wonders, and an eye clear enough to uncover the surreal when it's right under our noses.
John Stammers's collection is witty, touching and clever - with brilliant images where love scenes are laced with irony and the details of contemporary life.
The Dark Film, Paul Farley's first collection since the highly acclaimed Tramp in Flames, expands the poet's research into 'the art of seeing', and all that humans project of themselves into the world.
Conjure is Michael Donaghy's third collection, and his most accomplished to date, displaying the same trademark elegance, sleight of hand and philosophical wit that have established his reputation as a 'poet's poet'.
While Banjo opens with a clutch of fine lyrics, elegies and set-pieces, at the heart of Samantha Wynne-Rhydderch's new book is a remarkable tale of darkness and light, music and silence.
Collecting verse written in the years 2008-2011, Nefertiti in the Flak Tower sees Clive James approach his later years with the same technical versatility, emotional poignancy and lightly-worn erudition as defined his career.
However arresting, outlandish, or hilarious, the poems in Horoscopes for the Dead are typically prompted by the familiar things of the world: dogs, stars, food, love, and marriage as well as life's local triumphs and disappointments, joys and shames.
In Feminine Gospels, Carol Ann Duffy draws on the historical, the archetypal, the biblical and the fantastical to create various visions - and revisions - of female identity.
Jackie Kay's new collection is a lyric counterpart to her memoir, Red Dust Road, the extraordinary story of the search for her Nigerian and Highland birth-parents; but it is also a moving book in its own right, and a deep enquiry into all forms of human friendship.
