2025 Titles — in date order

Published January 2025. Paperback, 86pp, 9 x 6ins, £10.95 / $18

ISBN 9781848619678

The Exact Colour of Snow articulates a complicit, playful commentary on our mundane interactions with the natural world. Notes, fragments and glimpsed biographies explore how we ignore our fragile landscape even while grounded in its rhythms, shapes and colours. Skeining through the fashion and factories of global import export and dye making, we travel back to soil, plants and animals. A route that offers different harvests: clearing bombs to erect North Sea windmills in the Mesolithic sludge of Doggerland, unseasonal Abbotsford oranges, and the production of fine leather for golf gloves from hairsheep in Yemen and North Africa. Behind the scenes in these poems, the excluded – often mothers or young women – observe and study to understand the whole shape of things. The final colour of snow in this collection is green. Exact Colour of Snow follows Bridget Khursheed’s debut, The Last Days of Petrol, which was hailed by Joyce McMillan, of The Scotsman, as “…brave, brilliant and chilling poetry, which almost forces a recognition of the new precarity of human life on earth”.

Published January 2025. Paperback, 412pp, 9 x 6ins, £19.95 / $32

ISBN 9781848619609

Before Dark: Collected Poems reflects Anderson’s peripatetic lifestyle of three decades. During a weekend in Paris in 1971, whilst teaching at the University of Grenoble, he met T.T. Wong, a young Chinese artist from Shanghai, and their long discussions cemented his aspiration to go East. English society had, he felt, since he was born into it shortly after the end of World War II, succeeded only in submerging his nose in the effluvium of a squalid sewer of class discriminations, so the time was more than ripe for him to bid farewell to the UK. Arriving, eventually, at the University of Hong Kong where T.T. Wong’s letter of introduction to a young Dostoevsky scholar heading a department had directed his feet, Anderson discovered that it was an institution where the ancien régime (Terms of Service finely calibrated to reflect skin pigmentation…) was firmly entrenched. After a good number of years he moved still further east, to Manila and the University of the Philippines. Through all these years, and the first few years of his return to the UK, the poems of Before Dark were written, along with the prose The Hoplite Journals, described by the novelist James Hamilton-Paterson as “enter[ing] that select pantheon of books to travel with, a vademecum ... A most remarkable achievement.”

Published January 2025. Paperback, 88pp, 9 x 6ins, £10.95 / $18

ISBN 9781848619661

In Tristia, Carmen Bugan tests the lyric against loss once again, as everything collapses around her, but this time much closer to home. These are poems about forging a stronger self in the fires of her lifetime, whether they are the forest fires that cover the American continent, the war in Ukraine, or her own world turned to ashes. The speaker in the poem 'Enheduana' laments:

He spat on my oven full of food,

Walked over my baskets full of bread,

Soiled the marriage bed, left the children crying,

And my heart toiling with heaven and earth.

Her poems insist on the beauty of the natural world, itself under threat, as a source of strength, as in 'Hawk,' where the speaker prays:

      Hawk, take everything

      That is weak in me,

      In your claws: eat it.

      Leave me wise and patient.

Published January 2025. Paperback, 174pp, 9 x 6ins, £14.95 / $23

ISBN 9781848619647

The Fabled Third is the final instalment in the sequence that began with A Presentment of Englishry. It continues to follow Laȝamon's 12th century version of the legendary history of Britain up to the death of Uther, ending as the story begins to overlap with Sir Thomas Malory’s later, better known tale of King Arthur. When Laȝamon's Uther arrives at Tintagel, he doesn’t enter the late fifth century settlement revealed by recent archaeology, but a castle that didn’t exist on that site. Looking at the fifth century through the lens of the twelfth produces a blurred version of the past. My attempts to reconcile that version with what is now known about late fifth century Britain makes the picture even less focussed. I recommend the pleasures of a flexible attitude towards geography, history, architecture and chronology.

Translated from Italian by Sarah Stickney.

Published January 2025. Paperback, 196pp, 9 x 6ins, £14.95 / $23. English only.

ISBN 9781848619616

This volume offers a translation of a large proportion of the author's recent huge selected volume in Italy. Restricted to the English versions in order to save the book from a vast page-count, it offers readers a superb over-view of a lifetime's creativity in Italian, and Albanian — for some of the work began life in the author's native language, before his exile in Italy.

“Gëzim Hajdari’s generous literary, scholarly, and editorial work extends across different countries and languages. Resistance, commitment, social justice, freedom, courage, and solidarity are at the centre of his research. In his own words, ‘Good poetry is an act of life and of ethics. A great life means great poetry.’ An already established poet in Albania, after moving to Italy, the author went through a patient, painful, and empowering reconstruction of his unique poetic voice, which has since developed as translingual Albanian-Italian.

 This edition represents the first English translation of Hajdari’s Poesie scelte, masterfully carried out by Sarah Stickney, who reconstructs the sense of subjectivity and history that is foundational to Hajdari’s poetic career. This book as such presents Anglophone readerships not only with a masterpiece of translingual poetry but also with what I have previously defined as Hajdari’s first self-anthology, that is, a retrospective collection and reorganisation—constructed by the author himself—of a substantial part of his published poetic work, here meticulously re-read and re-interpreted.’’—Alice Loda

2nd Edition. Published January 2025. Paperback, 120pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619548

Ebook edition ISBN 9781848619579, available from the usual online retailers, £4.95 / $7.50

A True Story Based on Lies is a remarkable and original novel that addresses the universal issues of class discrimination, male oppression and female servitude through dual narratives of spellbinding power. Set in contemporary Mexico, the book charts the consequences of a sexual relationship between Leonora, a servant in the wealthy O'Connor home, and her master. When a child, Aura Olivia, is born from this union she is brought up as the daughter of the house. As the novel unfolds, the "true" story gradually emerges. First published over 20 years ago, but out of print for some time, we are delighted to reissue this early example of the author's fiction.

2nd Edition. Published January 2025. Paperback, 160pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619555

Ebook edition ISBN 9781848619586, available from the usual online retailers, £4.95 / $7.50

Deserted by her mother as a baby, Emily lives with her father in Mexico City, working in the local orphanage. When a mysterious cousin, Santi, appears on the doorstep, he brings with him family secrets, and soon Emily finds desire and temptation have overturned her straightforward life forever. The Poison That Fascinates is an alluring fable forged in astonishing, sensuous prose. Jennifer Clement conjures a world heavy with the weight of Mexican superstition, mythology and faith, where saintliness and mortal sin sit side by side. The author's second novel, out of print for a little while now, offers another glimpse of Jennifer Clement's continuing growth as a literary novelist.

Published February 2025. Paperback, 98pp, 9 x 6ins, £12.95 / $18

ISBN 9781848619661

Measures of Weather is about more than just weather. What isn’t weather? Weather here is a stand-in, for the elemental, the transitional, the ungovernable. And what does it mean to measure? To find intersections. To articulate complex subject positions. To use language to make tangible changes in the material world. To call attention to the invisible in all its myriad of forms, from the minuscule to the gigantic. To articulate the inchoate, to give shape to the ineffable, the transient, and the impossible. Carpenter uses language as a medium to grapple with organisational structures and their failings, to think beyond the scale of the human body, to engage with a tangle of vast systems — of air, of glass, of wind, of west.

Translated from Russian by Stephen Capus

Published February 2025. Paperback, 110pp, 9 x 6 ins, £12.95 / $20

ISBN 9781848619685  Poetry Book Society Translation Choice

Anna Akhmatova was born near Odesa, Ukraine, in 1889, as Anna Gorenko. She adopted her pen-name from the family of her mother. She attended school in Tsarskoe Selo, near St. Petersburg, and lived most of her life in that city with which so much of her poetry is intimately connected. She frequented the Tower, the famous literary salon of the symbolist poet Vyacheslav Ivanov, and in 1910 she married fellow poet Nikolay Gumilev. The couple were divorced in 1918, three years before Gumilev was executed by the Bolsheviks for counter-revolutionary activities. 

      Akhmatova achieved fame with her first collection of poems, Evening, published in 1912, and her subsequent collections, Rosary and White Flock consolidated her reputation as one of Russia’s leading poets during the period preceding the October Revolution. After 1917 she took the decision to remain in Russia, rather than join those of her fellow writers who were opting to go into exile in the West. Between the publication of the second edition of Anno Domini in 1923 and the death of Stalin in 1953—with a brief reprieve during the Great Patriotic War—she found herself subject to censorship, and in 1946 she was expelled from the Soviet Writers’ Union in the wake of the notorious Zhdanov speech, in which she was described as a ‘cross between a nun and a whore’. Nonetheless, although she faced much personal hardship and a protracted exclusion from publication as a consequence of her decision to remain in Russia, she was also able to create Requiem, her great affirmation of solidarity with the victims of the Stalinist purges. Stephen Capus's formal translations offer a new way of approaching Akhmatova for Anglophone readers.

Translated from German by Nicholas Grindell.
Published February 2025. Paperback, 84pp, 8 x 8ins, £12.95 / $20.

ISBN 9781848619630

Among many other things, Honey Protocols can be approached as a dictionary (offering peculiar and extravagant definitions of creatures and concepts alike), as a routine documenting its own abolition (48 of its 66 poems open with the same phrase, escaping this compulsion towards the end), or as a book of tall tales (in one, two men sail a three-masted trampoline out onto a lake, the trampoline capsizes, they sink, the lake spits them back out onto the promenade). The collection might also be read as a dreamlike visit to the battlefield where the kind of stories we like to tell ourselves cross swords with the kind of stories that are constantly told to us (and sold to us) by the massed forces of mockery (with tech support from the Delphic engineers).

2nd edition. Translated from Spanish & French by Tony Frazer

Published February 2025. Paperback, 128pp, 9 x 6ins, £12.95 / $20

ISBN 9781848618640

The prose-poem Temblor de cielo  was written in 1928 and published in 1931. A more unified work than its companion volume, Altazor —also published in 1931, but longer in gestation—this might owe more to its style of delivery: an ecstatic outpouring of words that largely revolve around the themes of love, sex and death. The Isolde to whom much of the poem is addressed is an idealised feminine figure—part goddess, part idealised beloved, part Isolde from Wagner’s opera (another ecstatic outpouring on the theme of love, sex and death) and part Ximena Amunátegui, the young woman who had become the poet’s second wife. The poem is also a sustained lyric effusion of a kind that Huidobro had never produced before, and it marks the point at which his work moves on from the barnstorming avant-garderie of his younger years to a more mature style, albeit one influenced by surrealism, a movement which Huidobro had previously attacked. It is also the last time that Huidobro was to adopt the god-like narrative persona that occurs in his earlier work. In 1932 the author's French version appeared in Paris, which differs in some respects from the Spanish; for this second edition we have added that French version, plus an additional translation and a number of revisions to the original translation.

Translated from Dutch by Donald Gardner. Published with the support of the Dutch Foundation for Literature.

Published February 2025. Paperback, 108pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619319

Maria Barnas’ witty and subversive poetry can be seen as a quest for an identity that always just eludes her: ‘The floors / are buckling and the windows and doors / show cracks. These are the hinges / of an existence I call my own.’ Nothing is what it seems for her and appearances are indeed just that — appearances. In another poem, she points out that, ‘The corner of an eye can contain many things’, and this could almost be taken as a mission statement. 

       Barnas is an artist and critic as well as a poet. In her poetry she asks how adequate language is to grasp what we see. Is one’s native language a ‘home’? How reliable is it and is it equal to the task of representing reality, above all the reality of our interaction with each other, that is undermined by ambiguity, personal history, as well as the secret passages of Freudianism. This enquiry comes to a peak in her most recent collection, Diamond without r, in which she investigates her Polish roots as well as her adolescent years spent in Swindon. Polish words and scenes are held up to the prism of her lines, and there are also fragments of English, which may comprise flashbacks of her English experience. 

       For the reader this poetry has an unstable character; it expresses an urgency to belong as well as a sense of rejection, a desire sometimes to say two, contradictory things at once. It is at times quizzical, defiant and mocking.

Published 2Q 2025. Paperback, 80pp, 9 x 6ins, £10.95 / $18

ISBN 9781848619746

Published 1Q 2025. Paperback, ca. 184pp, 9 x 6ins, £14.95 / $23

ISBN 9781848619715

I have no record of the date when I first met Lee Grandjean but I remember the occasion well. It was towards the beginning of my period as creative writing fellow at Winchester School of Art and I had introduced myself to the students by giving a reading of my poetry. At the end of the reading, to my astonishment, a man in a white boiler suit stood up and clapped. Nervous on this occasion, my first thought was that this was intended as satire. It was, in fact, appreciation, and this was my first encounter with Lee Grandjean, who, at that time, held a sculpture fellowship at the School of Art. We talked after the reading and it wasn’t long before he was showing me the sculpture he was at work on. Thus began a creative relationship that has been, and continues to be, immensely important to both of us. (Jeremy Hooker)

Second edition. First UK edition.
Published 1Q 2025. Paperback, ca. 320pp, 9 x 6ins, £19.95 / $32

ISBN 9781848619692

What's in Store, first published in Canada in 2008, was Trevor Joyce's first full-length book following the publication of his collected poems, with the first dream of the fire they hunt the cold (Shearsman Books, 2001; 2nd edition 2003). For this volume, the author shaped eight years' worth of work — individual poems, extended sequences, translations from the Irish, Chinese, and other languages — into a continuous book-length structure. These poems find Joyce reaching out towards a jarringly wide range of styles and voices, from the tart lyricism of his re-workings of European folksongs to the ferociously dense collage/inscription of "STILLSMAN." Brought together as a book, the poems take on further meanings: What's in Store is at once a Borgesian guide to the history, customs and scientific discourse of an unknown country, and an Oulipian textual machine, whose workings by turns terrify and exalt.

Translated from German by various hands.

Published March 2025. Paperback, ca. 250pp, 9 x 6ins, £16.95 / $25

ISBN 9781848619074

This is the first major anthology of contemporary German-language poetry in English for more than 40 years. Authors features are: Yevgeniy Breyger, Sonja vom Brocke, Alexandru Bulucz, Carolin Callies, Ann Cotten, Oswald Egger, Ulrike Draesner, Elke Erb, Daniel Falb, Christian Filips, Dinçer Güçyeter, Martina Hefter, Jayne-Ann Igel, Hendrik Jackson, Thomas Kling, Dagmara Kraus, Birgit Kreipe, Nadja Küchenmeister, Jan Kuhlbrodt, Georg Leß, Friederike Mayröcker, Christoph Meckel, Steffen Popp, Monika Rinck, Ulrike Almut Sandig, Daniela Seel, Verena Stauffer, Ulf Stolterfoht, Sebastian Unger, Anja Utler, Peter Waterhouse, Uljana Wolf.

Translators are: Shane Anderson, Kurt Beals, Susan Bernofsky, Paul-Henri Campbell, Aimee Chor, Brian Currid, Andrew Duncan, Josh Edwin, Chris Fenwick, Gerald Fiebig, Iain Galbraith, Robert Gillett, Nicholas Grindell, Catherine Hales, Christian Hawkey, Jayashree Joshi, Alexander Kappe, Karen Leeder, Greg Nissan, Bradley Schmidt, Jake Schneider, Joel Scott, Sophie Seita, Donna Stonecipher, Nicola Thomas, Amy Visram, Jana Weiss.

Published April 2025. Paperback, 186pp, 8.5 x 5.5ins, £14.95 / $23

ISBN 9781848619838

Published April 2025. Chapbook, 32pp, 8.5 x 5.5ins, £7.50 / $10.95

ISBN 9781848619814



Published April 2025. Paperback, 100pp, 8.5 x 5.5ins, £9.95 / $17

ISBN 9781848619784

The first double issue of Shearsman magazine for 2025, featuring poetry by Martin Anderson, Claire Crowther, Keri Finlayson, Jane Frank, Amlanjyoti Goswami, David Hadbawnik, Matt Haw, Norman Jope, Alicia Byrne Keane, Linda Kemp, L. Kiew, Fiona Larkin, John Levy, Nicky Melville, John Newson, Anita Ngai, Mark Nowak, Adam Panichi, John Phillips, Ian Pople, Anna Reckin, Wendy Saloman, Nathan Shepherdson and Janet Sutherland, plus translations of Jürgen Becker (by Martyn Crucefix), Rilke (by John Greening), Evelyn Schlag (by Karen Leeder) and Volha Hapeyeva (by Annie Rutherford).

Published May 2025. Paperback, 86pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781848619593



Translated from Spanish by Tony Frazer & Terence Dooley.

Published 2025, date tbc. Paperback, 208pp, 9 x 6ins, £14.95 / $24

ISBN 9781848618640

Altazor is increasingly seen as one of the key works of the 20th-century Hispanic avant-garde in poetry. Apparently put together over several years, it looks back in part to the ground-breaking volume Ecuatorial (1918), imbibes a number of futurist tropes from that same era, takes in the surrealist wave that took hold in the mid-1920s, and ends with shattered pieces of language that appear to admit of the impossibility of finishing the work coherently, or even of coherent speech, while also implying a more pessimistic view of the world than that which Huidobro would have espoused as a younger man during the heyday of Cubist Paris. In amongst all this, the poem’s eponymous protagonist flies high and low, taking in the heavens and the depths of hell, following both Dedalus and Orpheus. While the book evidently left his contemporaries puzzled, and had minimal initial impact, Altazor today looks uncannily prophetic, even post-modern, in its emphasis on verbal games and trickery, on defamiliarisation, and being comfortable with a lack of any conclusion. Huidobro even boasted of this lack in a letter to Luis Buñuel, referencing Lautréamont and Rimbaud as other “failures” whose company he was glad to keep.

Published May 2025. Paperback, 84pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781848619883

Black Fens Viral began in summer 2020 when I was recovering from Covid. Lockdown was lifting and I was able to travel to Norfolk on the slow train which goes through the Black Fens of East Anglia. This flat, almost hedgeless and treeless, agricultural landscape of black peat was once marshland, before the drainage of the fens. The first sluice was created by the Dutch engineer Cornelius Vermuyden in 1642 to limit the tidal flow up the Great Ouse, but he did not realise that the peat would shrink after it dried out and be blown away by the wind. We now know that it also adds to global warming through leaking carbon dioxide and means the risk of flooding is more acute than ever.

        I often write about landscapes I love, such as Exmoor or the north Norfolk coast, protected by national parks and nature reserves, but I needed to write about this damaged landscape, where plants are exploited and biodiversity ignored. It corresponded to the damage caused by the pandemic, a result of human incursions into wild places. Writing about the Black Fens also brought back memories of my childhood in Lincolnshire. Depopulated by mechanised agriculture, it was a lonely landscape, as well as an ecological disaster. (Frances Presley)

Published in 2025, exact date tbc. Paperback, 188pp, 9 x 6ins, £14.95 / $23

ISBN 9781848619296

Gustaf Sobin's Collected Poems appeared posthumously in 2010, but left out work which had been collected in special limited editions — and which were outside the main trajectory of his work — as well as work which had been published in magazines but which had then been dropped from his main published collections. This Uncollected volume redresses the balance, and, for good measure, includes an interview with the Mexican poet, Tedi López Mills, which has only previously been published in Spanish. The volume in which that interview appeared, like the rest of the contents of this book, is no longer in print elsewhere.

Translated from Flemish by Donald Gardner

Published May 2025. Paperback, 132pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619258

Better known in the Anglophone world as a novelist (War and Turpentine, The Ascent, The Convert), Stefan Hertmans is also an essayist, a dramatist, and, from the very beginning, a poet. Initially influenced by the concise art of the German poet, Paul Celan, Hertmans' work later opened up, using longer forms. This selected edition represents the full range of his work.

Translated from Russian by Christopher Whyte
Published 2025. Exact date tbc. Paperback,    pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781848619760

Published in 2025, exact date tbc. Paperback, 188pp, 9 x 6ins, £14.95 / $23

ISBN 9781848619913 [Download a sample PDF from this book here.]
Ebook edition (available only from retailers) 9781848619920, £5 / $7.50

Venus Blue was Sobin's first novel, published in 1991. A haunting tale of obsession with golden-age Hollywood, the novel tells of Stefan Hollander, a collector of memorabilia connected with the 1930s starlet, Molly Lamanna, whose myth has only grown in proportion over the years, despite her having only appeared in five movies. Hollander comes into possession of a diary written 50 years previously by another who had been fascinated by Molly: Millicent Rappoport, a great beauty herself, and the wife of studio executive. Fuelled by his new discovery, Hollander begins to investigate, taking a journey that parallels that made by his predecessor, and the truth is slowly revealed, ever more complicated, and a tale worthy of the days of film noir is laid before our eyes. Molly, Millicent, and Molly's double, Vivien, come out of the shadows from behind a pall of cigarette smoke, enigmatic figures from another age.

Published in 2025, exact date tbc. Paperback, 120pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619876 [Download a sample PDF from this book here.]
Ebook edition (available only from retailers) 9781848619906, £5 / $7.50

Dark Mirrors – the author's second novel – is a love story. Guy Fallows finds the inspiration for a novel in a 16th-century Provencal dovecote which he discovers while hiking. It also leads him into a clandestine affair with its owner, and they both become obsessed with the dovecote’s recent history.

Published 2025; exact date tbc. Paperback, 80pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781848619708

Published July 2025. Paperback, 136pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781848619821

"Eliza O’Toole’s landmark work is much more than a ‘word-hoard’ of and around the farmland of East Anglia, the territory of Constable and Gainsborough. This is an angular book of linguistic inventiveness and substance, at once multilingual and polyphonic employing different registers to accommodate a divergent range and depth of agricultural, botanical, lepidoptera, historical and etymological knowledge. Each poem is in the present with an imposing sense of the past being visible within a mutable natural world. This is a mapping of place that digs deep down into the biochemistry and fragility of the land, wildlife, plants, insects, animals and farming life. In its slant investigation of the layered traces of time worked into the land, it considers whether current farming practices are obsolete by asking obliquely, ‘can the land afford a farm’ or ‘has the farm already been bought’? As a lexical analogue of the land, it delivers a vibrant, messy, stricken world of polychronic becomings. This is an extraordinary achievement." —David Caddy

First UK edition. Translated from Russian by John E. Bowlt.
Published 2025; exact date tbc. Paperback, 284pp, 9 x 6ins, £16.95 / $25

ISBN 9781848619623

This is a memoir, first published in 1933, of the author's Futurist years in pre-WW1 Russia and Ukraine. While there were other memoirs by the participants in the frenetic avant-garde of those years, most are short and give little real impression of the scene. Livshits (1887–1938), a poet of Ukrainian Jewish origin, was invited to join the young Hylaea [Гилея] grouping, later styled "Cubo-futurist", by its self-appointed leader, David Burliuk (1882–1967); other members were David's brothers, and the experimental poets Vladimir Mayakovsky (1893–1930), Velimir Khlebnikov (1885–1922), Aleksei Kruchyonykh (1886–1968), and poet-playwright-artist, Vasily Kamensky (1884–1961). The latter was born in Perm, Mayakovsky in Georgia, and Khlebnikov in Astrakhan, whereas the others were all born in Ukraine. In those days of the Russian Empire, all the participants in the movement spoke Russian as a first language, wrote in it and – in the case of Livshits – translated into it. The group collaborated closely with the major artists and composers of the era – Malevich, Exter, Rozanova, Matyushin, Lourié to name just a few – published wild manifestos, artist's books, gave readings that were more like late-20th-century happenings, and generally shook the intellectual world up. The movement burned brightly, but only for a short time, and was destroyed by war, civil war, revolution and exile. Livshits himself was to fall afoul of the Stalin purges in the 1930s, but he left us that remarkable memoir, without which the era would be much hazier. This translation first appeared almost 50 years ago in the USA, and was reissued in a fully-illustrated edition St Petersburg some 20 years ago, but is finally available in the UK and the US again in this new edition.

Published September 2025. Paperback, 80pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781848619890. NOT FOR SALE IN INDIA.

A companion to 2023's Book of Rahim, this latest collection by Arvind Krishna Mehrotra offers recent poems, many of them from the lockdown period, written in the poet's garden — studies, as he says, in the way that artists sketch what is before them. And "Whatever else it may be, a book of poems is also a municipal registry of births, marriages and deaths. This book is no exception."

Edited by Esther Sobin, Andrew Joron & Andrew Zawacki.
Published September 2025. Paperback, 756pp, 9 x 6ins, £27.95 / $39.95

ISBN 9781848619944

Sobin's Collected appeared posthumously in 2010, and has been unavailable for some two years. Given our long association with the author — his work appeared in the very first issue of Shearsman magazine in 1981, and we published three chapbooks of his work at various times in the 1980s and 1990s — we are delighted to be able to bring this major volume back into print. Sobin was an American poet of a very singular kind, but allied in some ways to the Objectivists and to poets such as Robert Creeley and Robert Duncan. Crucially, he spent most of his adult life in Provence, and counted France, and French poets among his most important influences. This makes him stand apart from his US contemporaries and leaves him in a slightly odd corner of the literary landscape. What is not in doubt, however, is the quality of the work. Sobin was a major poet, by and standard.

Published October 2025. Paperback, 100pp, 8.5 x 5.5ins, £9.95 / $17

ISBN 9781848619999.

The second double issue of Shearsman magazine for 2025; contents will be announced in July 2025.

Introduced by Elizabeth Wassell Montague

Published in 2025; date tbc. Paperback, 210pp, 9 x 6 ins, £14.95 / $24

ISBN 9781848619050

The late John Montague was one of Ireland's finest 20th-century poets. He spent a lot of time in France, and made friends with a number of French poets. This volume covers his engagement with French poetry of his own time, albeit with a few glances back in history, with selections running from Verlaine and Valéry up to Michel Deguy (1930–2022) and Claude Esteban (1935–2006). While not a definitive anthology of French poetry, the book gives a vivid impression of a fine poet engaging with the work of his peers: personal, but revealing, and foregrounding the work of some under-recognised French poets of the post-war era.

Translated from Spanish by Tony Frazer

Published in 2025. Date tbc. Paperback, 164pp, 9 x 6ins, £14.95 / $24

ISBN 9781848618640

This assemblage of uncollected Huidobro texts includes stray manuscripts — few of these actually survive and have not been collected somewhere in the previous books in this series — and his occasional poems: works in honour of the Soviet Union, of Republican Spain, of fallen France, of his paramour (and later common-law wife) Ximena, plus a vitriolic attack on some Italian (i.e. fascist) aviators working with the Chilean Air Force. Two early works are added, from the period that might be regarded as juvenilia, as they show an early interest in shaped poems — not quite calligrammes, but with some affinity. We have also located one poem which has never been published in book form before, either in Spanish or in English.

Poem texts translated from French by Tony Frazer. With an essay by Rosa Sarabia and a dozen full-colour images.
Published in 2025. Date tbc. Paperback, ca. 96pp, 9 x 6ins, £12.95 / $20

ISBN 9781848618206

In 1922, in Paris, Vicente Huidobro exhibited a dozen painted poems: poster-sized, these exotic creations were an attempt by the poet — who was close to a number of the leading painters of the time — to take the Cubist leanings in his verse to their logical extreme. Here Apollinairean calligrammes — and Apollinaire was one of Huidobro's first friends in Paris — move from being pictorial poems to being pictures in their own right. The volume includes all the recreated versions made for the 2001 Salle XIV exhibition at Madrid's Reina Sofía Museum, along with with as many reproductions of the originals, and their drafts, that we have been able to assemble.