With his poetry debut Creek Water Journal (1974), Robert Gray at once established his name as a highly original imaginist. He sees the rural world with an unerring eye; how man mars it and in time it re-establishes harmonies of its own. The city - Sydney in particular, with the play of water and light in the Harbour - plays a part. As well as the image poems there are discursive and narrative pieces.

Shows Ford Madox Ford's poetic development from his early lyrics to his later conversational style. This volume displays, as well as early work, his less familiar modes, including satirical pieces never before collected.

Burns Singer spent the 1950s gaining and losing a reputation. He became an insider, notably as a writer of Times Literary Supplement leaders, yet considered himself an Outsider, alienating a generation of young editors and fellow poets. His attitude to the Movement was one of contempt. His sympathies were with the Apocalyptics of the 1940s. W.S. Graham, George Barker and Dylan Thomas were influences that he absorbed and outgrew, but never repudiated. His poetry fuses Apocalyptic sublimity with the principled intelligence of the Movement.

Jon Stallworthy rounded the Horn en route to being born in London. World War II and his colonial inheritance informs the poetry in this collection. The presence of the past has also informed some of his best-known work: No Ordinary Sunday, A Letter From Berlin, and The Almond Tree.

To mark John Ashbery's 70th birthday, Carcanet publish his first five books of poems in a single volume: The Tennis Court Oath (1962); Same Trees (1956); Rivers and Mountains (1966); The Double Dream of Spring (1970); and Three Poems (1972).

The themes of the previous volume of poetry define the tasks of the next for Louise Gluck. This collection shows the poet in this evolution. It includes: Firstborn (1968); The House on Marshland (1975); Descending Figure (1980); The Triumph of Achilles (1985); and Ararat (1990).