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Running Upon The Wires is Kate Tempest’s first book of free-standing poetry since the acclaimed Hold Your Own. In a beautifully varied series of formal poems, spoken songs, fragments, vignettes and ballads, Tempest charts the heartbreak at the end of one relationship and the joy at the beginning of a new love; but also tells us what happens in between, when the heart is pulled both ways at once.

Running Upon The Wires is, in a sense, a departure from her previous work, and unashamedly personal and intimate in its address – but will also confirm Tempest’s role as one of our most important poetic truth–tellers: it will be no surprise to readers to discover that she’s no less a direct and unflinching observer of matters of the heart than she is of social and political change. Running Upon The Wires is a heartbreaking, moving and joyous book about love, in its endings and in its beginnings.

Winner of the Pulitzer Prize for Poetry and the T.S. Eliot Poetry Prize

Stag’s Leap, Sharon Olds’ stunningly poignant new sequence of poems, tells the story of a divorce, embracing strands of love, sex, sorrow, memory, and new freedom. In this wise and intimate telling – which carries us through the seasons when her marriage was ending – Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical passion that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip.

Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and now loves another woman. As she writes in the remarkable title poem, ‘When anyone escapes, my heart / leaps up. Even when it’s I who am escaped from, / I am half on the side of the leaver’.

Olds’ propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music – sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

The poems in Alan Jenkin’s magnificent collection are closely linked, forming a movingly autobiographical book which deals with the disjunction between the aspirations of youth and the realities of middle-age.

The narrator looks back on his twenties, full of the grand ambition to be the next Rimbaud, and wryly contrasts it with his current situation: friends dead, women lost, opportunities missed. Images of drifting, of the random patterns that fate imposes on existence, weave their way through poems full of sea-scapes and sailing boats. Ghosts loom through the mist; objects imbued with memory accumulate like driftwood. But although Alan Jenkins writes about a sense of loss and failure – his rich poetry formally dextrous and inventive, witty and subtle in its allusions – acts as a counterbalance, showing how the twisting of an emotion into shape can salvage feelings of pointlessness. Through his personal experience, he explores themes that will resonate with a broad audience: the difference between men and women.

Jonathan Bate believes that the slow, meditative reading of poetry – absorbing ourselves in the images of a poem, slowing to its beat, allowing our minds to rest in the pause of a line-ending – can bring us tranquility as we find echoes of our own experiences on the page. Experiences of beautiful places, strong feelings and moments that lift the human spirit.

In The Shepherd’s Hut, Bate introduces us to the diet of swans, the quest for inner peace in ancient Chinese poetry, the English seaside and the summer Mediterranean, a rose garden and a snow-covered moor. He reminds us what it is like to fall in love and to say goodbye.

These are poems of memory and of mourning; quick-fire thoughts and longer meditations inspired by the great poets of the past.