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William Martin (1925-2010) was a poet of extraordinary vision and musicality. Thoroughly grounded in his native North-East England, its pit communities and industry, his song-like poems nevertheless traverse a vast geographical and historical landscape ranging from deep Celtic and Anglo-Saxon sources to the thought and myths of India, via a passionate political engagement that never limits song to mere rhetoric. He also drew on children?s games, ballads and street songs in poems showing both political anger and a wider concern for a society losing its common ground, its rituals and rites of passage.

The lode in Gillian Allnutt’s title picks up on two of the many meanings of the word. A lode can be a course, a way, a journey; also a road, a lane. Her collection traces a journey through time, the time of her own life and of our lives, since the Second World War. Lode also means guidance, here the guidance afforded by the continuity and relative stability – economic, cultural, spiritual – of Britain’s postwar years, the setting of the first part of the book. That sense of stability ended with Covid, which found Gillian Allnutt isolated in the former pit village of Esh Winning in Co. Durham, her home for the past 30 years, the landscape of much of the middle section of the book. The poems in the book’s third part, Earth-hoard, are raids on the new Unknowable, drawing on the habitual resources of the old known world, informed by spiritual traditions, especially Christianity; by English literature; and by the old habit of writing about a natural world which is now threatened as never before.

The word versus means one thing pitched against another. To be versus versus, therefore, is a paradox, but paradox can be helpful – it can open a space for deeper thought. This anthology aims to be such a space. It brings together one hundred deaf, disabled and neurodivergent poets from across the international arena, from emerging voices to world-renowned authors, and offers an urgent redress, unpicking many misapprehensions and misrepresentations. The reader will encounter poems of love and pain, self-care and companionship; poems which challenge cultural, medical and political agendas and policies. There are war poems, poems as acts of witness and solidarity, poems which address the impacts of the climate emergency. There are humorous poems, nature poems, and much more. The selection also draws together poetry in a wide variety of styles and forms, and from different traditions, such as haiku, renga, sonnet, villanelle, prose poem, performance poem, and sign language. Building on the work of decades of disability justice advocacy, Versus Versus offers a poetry of assertiveness and immense vitality. Rachael Boast is a British writer, editor and disability advocate, navigating Ichthyosis and related conditions. She has published four collections of poetry with Picador, Sidereal (2011), Pilgrim's Flower (2013), Void Studies (2016) and Hotel Raphael (2021). Her poems have been anthologised in Stairs and Whispers: D/deaf and Disabled Poets Write Back (Nine Arches, 2017), Staying Human (Bloodaxe Books, 2020) and 100 Poems to Save the Earth (Seren, 2021). This anthology was prepared with the help of an Advocacy and Advisory Panel: grateful thanks to Karthika Nair, Chisom Okafor and Daniel Sluman. Many thanks to the Royal Society of Literature and to the judges of the 2023 Literature Matters Awards for selecting this anthology as one of the winning entries. Cover image description: The book's cover features a square-shaped artwork by Polish artist, Julian Stanczak, entitled 'Concurrent Colors'. The painting creates an optical illusion of vertical moving curved lines in red and blue, giving the impression of moving waves or sand dunes. At the edges of the painting the lines thin out so that they resemble a comb effect. The painting has a darker blue framing band around it, filling the extent of the cover. The title of the anthology 'VERSUS VERSUS' is in a large red font at the top of the cover, and the subtitle, '100 POEMS BY DEAF, DISABLED & NEURODIVERGENT POETS', is in a large blue font underneath the square painting. The editor's name, Rachael Boast, is in a smaller red font beneath the subtitle.

Mythic and familial beasts roam the swamps and moors of Pascale Petit’s Beast. These spirits of the wild haunt the Camargue of Provence, the limestone Causses and gorges of the Languedoc, Indian tiger forests, the Amazon rainforest, and her home by Bodmin Moor in Cornwall. Some of these remote places are vestiges of earth’s pristine habitats, while other wildernesses are encaged in cellars of Paris, along with the world’s last species. Their essence is evoked in lithe and luxurious lines sometimes compressed as a trapped animal. An estranged father reappears as a hunter, while Maman is an orb spider or a grand piano; both are predators. And there are earthly beasts – wild horses and bulls, lammergeiers, bee-eaters and catfish, remnants of a vanishing natural world. Beast asks if survival is possible in an abusive family and on an abused home planet, in the face of climate catastrophe, childhood trauma and war. These poems address difficult challenges, insisting that making art is an act of love and hope, and there are joyful lyrics celebrating the ineffable beauty of endangered species. Beast is a Poetry Book Society Recommendation. Content warning: this book contains descriptions of historical sexual abuse and assault.

These poems emerged from journeys of great personal significance, and out of a migrant sensibility tied to three different countries. Sensuous, droll, yearning, they consider otherwise forgotten (ignored, repressed, erased) events. In 2017, Vidyan Ravinthiran travelled to the north of Sri Lanka where his parents grew up – it finally felt safe – visiting war-torn Tamil areas overwritten by a tourist focus on the sun-spoiled South. In 2020, he, his wife and their one-year-old moved from Britain to the United States, months before the pandemic hit and the travel ban separated them for almost two years from family overseas. Avidya is a political and a spiritual collection, whose multiple poetic forms, open and closed, are shaped by myth and philosophy, and by Sri Lankan as well as global crises. It is also a book about the forms of both strength and fear that parents pass on to their children.

Benjamin Zephaniah (1958-2023) was a writer and performer of extraordinary range: an oral poet, novelist, playwright, children’s writer, reggae artist, actor, television personality and political activist. Born and raised in Birmingham, he was sent to an approved school for being uncontrollable, rebellious and ‘a born failure’, ending up in jail for burglary and affray. After prison he turned from crime to music and poetry. He was later nominated for Oxford Professor of Poetry, and voted Britain’s third favourite poet of all time (after T.S. Eliot and John Donne) in a BBC poll. Benjamin was a poet who wouldn't stay silent, who didn't pull any punches, who wrote out of a sense of urgency and a commitment to social justice. Known for his performance poetry with a political edge for adults as well as his poetry with attitude for children, he had his own rap/reggae band. He was the first person to record with the Wailers after the death of Bob Marley, in a musical tribute to Nelson Mandela, which Mandela heard while in prison on Robben Island. Dis Poetry brings together all the poems from Benjamin’s three Bloodaxe collections, City Psalms (1992), Propa Propaganda (1996) and Too Black, Too Strong (2001), as well as some from The Dread Affair (1985), along with previously unpublished work and lyrics from various recordings. The book includes a QR code giving access to Pamela Robertson-Pearce's feature film To Do Wid Me originally released as a DVD-book in 2015 – enabling you to see and hear Benjamin performing in full over 20 of the poems in Dis Poetry on your phone while reading the book.

Arundhathi Subramaniam’s poems map a wobbling world, trying to find its axis in a season of change. Fabrics tear, lands splinter, stances harden, loved ones die, names dissolve. But wandering through these pages are some extraordinary women – women who vault nimbly over borders, walk naked, walk aslant, and sometimes upside down. Leaping from the past into a global present, these exuberant voices offer tips on how to retain one’s spine through life’s giddiest rollercoaster rides. Blurring the divide between the mundane and the magical, the historical and the imaginary, they point to a new world that might lie within the folds of the old. A world that requires a new set of skills: how to find the right nicknames, how to ‘gatecrash into the present’, how to ‘go skinny-dipping in the self’. These are songs of bewilderment, insight and startling freedom. Arundhathi Subramaniam has published five collections in India and three books with Bloodaxe in the UK including When God Is a Traveller (2014), which was shortlisted for the T.S. Eliot Prize, and Love Without a Story (2020). Her earlier work is available in Where I Live: New & Selected Poems (2009). She has published other books on Buddhism and spiritual figures.

In Pretenders, her third book of poetry, Kate Potts asks: what is it like, as a daily, lived experience, to feel like a fraud or a fake? And what can ‘the imposter phenomenon’ – a sense that our true abilities and achievements, and other core aspects of our identities, are unreal, undeserved or mistakenly bestowed – tell us about who we are and how we relate to one anothe? hrough lively and vivid poetic monologues drawn from original interview material, and through original poetry, Pretenders begins to consider individual feelings and experiences of fraudulence, pretence and persona in a wider social and historical context. The varied, hesitant, questing voices build to create a bold and innovative chorus. Pretenders shines a light on our value systems and hierarchies, interrogating notions of ‘realness’, self-assurance, and the self. Kate Potts' Whichever Music was a Poetry Book Society Pamphlet Choice in 2008 and shortlisted for a Michael Marks Award. Her first book-length collection, Pure Hustle, was published by Bloodaxe in 2011, and followed by Feral, a Poetry Book Society Recommendation.

First Rain in Paradise is a book about falling. Gwyneth Lewis?s highly inventive poems trace an interior landscape carved out by the trauma of childhood emotional abuse through subsequent chronic ill health and towards a hard-won resurrection. These accounts of living in and emerging from the dark wrestle with the angel of language. Suffering does not preclude humour and may, in fact, require it, in poems written from the shadows but committed to the light. This work refuses to keep pain a secret. Shame is a lurking presence. Gwyneth Lewis has won wide acclaim for her versatile and varied writing across genres, most notably in her award-winning poetry in both English and Welsh. This book shows a deepening of her technical, imaginative and intellectual resources which are challenged and exercised to the full. The poems map uneasy terrains with realism and ? most importantly ? with joy.

Ana Blandiana is one of Romania?s foremost poets, a leading dissident before the fall of Communism, and now one of her country?s strongest candidates for the Nobel Prize. A prominent opponent of the Cea? scu regime, Blandiana became known for her daring, outspoken poems as well as for her courageous defence of ethical values. Over the years, her works have become the symbol of a moral consciousness that refuses to be silenced by a totalitarian government. The Shadow of Words covers Blandiana?s early collections published from 1964 to 1981, as well as including uncollected poems from that period which only appeared in anthologies. It follows My Native Land A4 (2014), The Sun of Hereafter ? Ebb of the Senses (2017) and Five Books (2021) in completing Bloodaxe?s presentation of Blandiana?s collected poems to date in English translation. She published these poems during the brief period of political thaw of Romania?s communist regime, when aestheticism took on a more subversive role, reaffirming the autonomy of the poetic word and freeing it from the stultifying demands of propagandist proletarian art. In her early poems, Blandiana?s voice articulates a pure and vibrant spiritual language of unmistakable ethical clarity, calling for moral regeneration in the face of indifference. Their ethical idealism and steadfastness override the many masks of degradation. These youthful books announce from the outset the sense of responsibility and faith in the survival of the collective soul that has always characterised Blandiana?s poetry.

After first making her mark as a compelling performer, Belgian poet Charlotte Van den Broeck was acclaimed as one of Europe’s most innovative and original new voices in poetry. Her first two collections, Chameleon and Nachtroer, were published together in David Colmer’s English translation by Bloodaxe in 2020. Whereas those earlier books often return to childhood and youth in urban and European landscapes, the key sequence of The Inside of a Stone concentrates on desert landscapes and womanhood – and the emotional resonance between the two – while reconceptualising their metaphorical relationship. With close observation and striking images she engages with the arid, eroded landscape. In other poems she considers sexual violence while watching a pair of mating turtles, imagines an alternative emotional life for Ilsebill, the fisherman’s wife from the Grimm fairytale, and explores medieval poet Hildegard of Bingen’s magical healing. From the reviews in Belgium and The Netherlands of The Inside of a Stone:‘In lines that are graceful yet urgent, Charlotte Van den Broeck reveals the wounds in landscapes, animals and people, women.’ – Trouw‘Charlotte Van den Broeck captures intense experiences in living language.’ – Trouw‘Charlotte Van den Broeck dismantles herself and the world.’ – Volkskrant‘With this collection, Charlotte Van den Broeck shows the limitations of the female image and breaks through them with her poems.’ – NRC

Krisztina Tóth is one of the leading Hungarian poets of the generation who began publishing in the late 1980s. The recipient of many awards, she is also renowned for her fiction which has been translated into many languages including English. My Secret Life is the first book of Krisztina Tóth’s poetry in English translation. The poems were selected by her from three of her nine published collections, with the addition of some new or previously uncollected poems. ‘Her work has the nervous energy of the times but is shaped by a deep and disciplined intelligence. Her subjects are invariably human. They are concerned with love, family, friendship, loss, and a kind of existential disaffection. Tragic in one sense but ever inventive, full of life’s minute yet highly resonant particulars, they seem to extend into an almost cinematic narrative about the cruelties of factory farming, murder, ageing, the treatment of women as sex toys and death itself. She is a bravura formalist when she needs to be. Her vigour and scope are enormous.’ – George Szirtes'Poems pulsating with sensual power, deeply painful poems, about everything that is regarded as very personal.[…] Not with her themes, not with her tone does she prove to be an innovator. In this respect she remains faithful to the great, intellectual current of Hungarian poetry, a current that is not very old. It can be traced back to the beginning of the twentieth century […] Krisztina Tóth proves herself to be an innovator within this important tradition through the stirring rhythm of her poems. She wraps her persona, ready for any change of form, in rhythm. In other words, she makes herself impersonal in the most personal of ways and ready for confessions that are relevant for everyone; through her changing tone, through her surprises. […] Krisztina Tóth's composition sets her apart from all the others. She has the strength of a buffalo and the weightlessness of a butterfly.' – Péter Nádas, afterword to Barcod? eviewing Krisztina Tóth’s short story collection Pixel under the title ‘The Hungarian Author who foresaw the future of Nationalism’, Stephanie Newman wrote: ‘Tóth muses that generations of humans, like bobbing needles, are “seaming together the fraying layers of the past and the present”. Their countries of origin don’t matter; neither do their religions, genders, or ethnicities. What Tóth creates in Pixel is emblematic of Europe as she sees it: a place in which “everything is sewn together while the thread itself is invisible”.’