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The Travels of Sir John Mandeville was one of the most popular books of the later Middle Ages. Purporting to describe the circumnavigation of an English knight through Africa, India, and the Middle East in 1322, the narrative is a fantastical collection of sights: seas, islands, phoenixes, pyramids, rocks that enchant ships and apes that contain human souls, interwoven with geographical descriptions that are perfectly accurate. Matthew Francis’s new collection is a sequence of poems that celebrate and give voice to Mandeville, in his own words, caught as he is between physical and symbolic geographies, between a world that is round and one that has Jerusalem at its centre. And all of it narrated in the terse, solitary, conflicted and strangely passionate voice of this medieval Crusoe whose very existence was disputed.

Peter Redgrove, who died in 2003, was one of the most prolific of post-war poets and, as this Collected Poems reveals, one of the finest. A friend and contemporary of Ted Hughes and Sylvia Plath in the early 1950s, Redgrove was regarded by many as their equal, and his work has been championed by a wide variety of writers – from Margaret Drabble to Colin Wilson, Douglas Dunn to Seamus Heaney. Ted Hughes once wrote warmly to Redgrove of ‘how important you’ve been to me. You’ve no idea how much – right from the first time we met.’

In this first Collected Poems, Neil Roberts has gathered together the best poems from twenty-six volumes of verse – from The Collector (1959) to the three books published posthumously. The result is an unearthed treasure trove – poems that find new and thrilling ways of celebrating the natural world and the human condition, poems that dazzle with their visual imagination, poems that show the huge range and depth of the poet’s art. In Redgrove’s poetry there is a unique melding of the erotic, the terrifying, the playful, the strange, and the strangely familiar; his originality and energy is unparalleled in our time and his work was the work of a true visionary.

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature. John Skelton (1460-1529) lived through one of England’s most turbulent and dangerous periods. A tutor to Prince Henry (later Henry VIII), Skelton enjoyed the monarch’s favour at court, despite his outspokenness. Throughout the sixteenth century many of Skelton’s poems were printed and reprinted, including “The Bouge of Court”, “Philip Sparrow”, “Colin Clout” and “The Tunning of Elinour Rumming”.

For the past four decades, Robert Bringhurst has been writing some of the most powerful poetry in English. Distinguished by engaged and passionate curiosity, a wide-ranging intelligence and true originality, his poetry has sometimes been mistaken as austere and opaque. In fact, his work engages in ideas about the human condition, myth, the natural world, language and philosophy, and is unusual for having both a pared simplicity and profound wisdom.

His watchword is clarity, and the elements he considers crucial to effective typography could just as easily be looked for – and found – in his poetry: ‘invite the reader into the text; reveal the tenor and meaning of the text; clarify the structure and the order of the text; link the text with other existing elements; induce a state of energetic repose, which is the ideal condition for reading.’

There is such relish for the tactile, physical nature of words, for spare, elemental imagery and for rhetorical weight – in the voice, and the sound of the voice – that each poem has a sense of gem-like purity. While Bringhurst’s work may not be the most fashionable poetry being written today, it is certainly amongst the most compelling in its truth, power and beauty.