POETRY

 

- 'Animal Song (II)’, ‘Lullaby Girl’, Pistons and Bones’ and ‘Scanderoon’. The White Review 21, Spring 2018

- 'California (I)', 'Sleep Psalm/Weather'. Disclaimer, January 2018

- 'Postscript', The Emma Press Anthology of Love, January 2018


Koestler Voices: New Poetry from Prisons. The Koestler Trust, 2017 (anthology editor)

- ‘Catalogue of Strange Fish’. POETRY, May 2017 and Poetry Review 107.1, Spring 2017

 - ‘The Homecoming’. The Tree Line: poems for Trees, Woods & people. London: Worple Press, 2017

 - ‘Postscript’. Visual Verse, 2016

 - Wolf’. Magma 62, Summer 2015

 - ‘Suckling Pig’. Poetry Wales 51.1, Summer 2015

 - ‘Anthropologies’ and ‘Shoplifter of the World’. Ploughshares, Spring 2015

 

 - ‘To Read a History in the Earth’. MAP: Poems after William Smith’s Geological Map of 1815. London: Worple Press, 2015

 - ‘Poem in Which I Consider My Labours’. Poems in Which issue 5, 2014

 - Thirty-Three’. The Best British Poetry 2013 (ed. Ahren Warner). London: Salt, 2013

 - ‘Greening’. Soundings: A Journal of Politics and Culture, Autumn 2013

 - ‘From The Blown Definitions’. Poetry Review 103:3, Autumn 2013

 - ‘Doomdark’s Revenge’. Coin opera II (ed. Jon Stone and Kirsten Irving). London: Sidekick Books, 2013

 - ‘Stray Dog’. prac crit: contemporary poems up close
, 2013

 - ‘4.57am’, ‘Dia Del Muertos’, ‘Iron Horse’. The Harlequin Issue 2, 2013

 - 'The Runt’, ‘Un-History’. Dear World & Everyone In It: new poetry in the UK (ed. Nathan Hamilton). Tarset, Northumberland: Bloodaxe Books , 2013

 

CRITICISM

'"All Things are Words of Some Strange Tongue": Dictionary Definition Form in Contemporary American Poetry'. Poetry & the Dictionary. Liverpool: Liverpool University Press, 2018 (forthcoming)
 

The House of Pain and Mending: On Prison Poetry'. The Poetry Review 104:4, Winter 2017

 

'Borderlands': Review of Anne Carson's Float and Sharon Olds's Odes.The Poetry Review 106:4, Winter 2016


'Social Class in Contemporary UK Poetry'. Poetry Wales Winter 2016

 

 

Print Print | Sitemap
Photo credit: Naomi Woddis