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These poems are written from across the poet's life, contemplating his native land of Russia from both a literal and a figurative distance, while at the same time casting a sometimes jaundiced eye on the alien culture of America in which he spent the final years of his life. Loseff's poetry excels in complex imagery, rich literary allusion, and is abundant in formal experiment. Whether absorbed by the world of literature (particularly his fellow poets) or relating real-life experiences, Loseff conjures up a restless and frequently disturbing universe.

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In the author's own words:
"She loves a laid-back allusiveness. She loves the unusual. The 'shifting voices'. She thinks the poems might be musical in structure. She loves Debussy. A happiness addict he (from a letter to Poniatoski). The left foot keeps rhythm with the right. It's more about forlorn than about form: the raw desire and an exploration of un-belonging. The eel in surreal. This means they have a deceptively improvised feel. A particular groove. This makes it what is known as authentic. It's all gorgeously erotic. With the lightness of touch that she loves. The moments of original comedy she loves, a rare ability to maintain and withhold tension she loves. She loves."

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In Christopher James' mercurial second collection, Seamus Heaney breaks down in a lane; John Lennon haunts the Great Wall of China while an archaeologist is exhumed sometime in the distant future. This is where the living and the dead intermingle like passengers waiting nervously for a flight.

Reaching from the Humber to the Thames; Cromer to Kathmandu, it's a dizzying and unpredictable world tour that veers in and out of reality like a plane passing through a cloud. In the shadow of environmental disaster and the possibility of dragons, there are more mundane dramas to face too: house moves, family secrets, marriage proposals that do not go to plan, and children woken in the night by rain.

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Set in the Stalinist era, when Lithuania's farmers lost everything to the process of collectivization, this book documents the life of the village idiot/trickster Kukutis. Unable to comprehend the strictures of the totalitarian regime, he says and does what he likes and is a potent symbol of freedom until the downfall of communism in Lithuania.

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Glyn Hughes was diagnosed with lymphoma cancer in 2009. He had recently been granted use of an isolated stone hut - the "Bull-Box" - in the Ribble Valley and the time spent there and in its environs was a major part of his healing. This poem sequence describes the experience.

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