2026 Titles — in date order

Published January 2026. Paperback, 80pp, 8.5 x 5.5ins, £10.95 / $18.

ISBN 978-1-83738-011-4

In its tragicomic navigation of different forms of loss, Forgetfulness moves from the allegorical to the abstract lyric, through to the surreal-absurd, and finally to a series of splintered memories. It is a collection which seeks to re-construct and re-inhabit the past through the truths of imagination and fiction, as well as the storytelling of remembrance. Throughout these pages, the end is uncertain, forever in the making, and only possibly true. 

Published January 2026. Paperback, 136pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619869

Manual de espumas was published in 1924 and was one of the most important eruptions in the early phase of the 20th-century Spanish avant-garde. Heavily influenced by Vicente Huidobro and his theories of Creationism, the book is effectively the first Creationist volume by someone other than Huidobro himself, while also being the volume that carried the banner for Ultraism, Spain's first movement of the vanguardia.



Published January 2026. Paperback, 98pp, 9 x 6ins, £12.95 / $20

ISBN 9781837380060

A retablo is a painting created in thanks for divine protection or a miracle. In this luminous collection, Michelle Penn transposes the art form into poems that explore aspects of the female experience. Her retablos capture moments of vulnerability, confrontations with politics and societal ideals, the struggle to construct a self, and the search for something to believe in when protection and miracles seem rare. A rich palette of images — from nuclear blast glass and an atomic Madonna to a sword-swallowing Pierrot and a muse-for-hire — creates a compelling picture of endurance, defiance, and ultimately, hope.



Translated from German by Alexander Kappe. Bilingual edition.
Published January 2026. Paperback, 172pp, 9 x 6ins, £14.95 / $23

ISBN 9781837380077

"The foliage is colourful. The clothing is colourful. The animals are colourful, the people from head to toe. The poems are colourful, both the good and the bad. The lakes, the skies, the circling planets, the deities and the computers. Memories flow through joints, gather in fasciae, become information, narrative, illness – are transmitted.In line with fascial dynamics, my new poem has three different types of fascia layers. 1. Superficial fascia – whose high elasticity (variable dynamic language – transcendent writing) promotes the accumulation of linguistic discoveries (corresponding to the accumulation of body fat in connection with prenatal weight gain). 2. Visceral fascia – less elastic, connects the organs and holds them together, keeps their tension constant so that the organs retain their own mobility within the body without leaving their place and losing their function (mercilessly allowing oneself to be drawn into the inner tension, inner width and narrowness, without striking a pose, letting the little horse into the house). 3. Deep fascia – equipped with numerous highly sensitive receptors for pain perception, changes in movement, pressure & vibrations, changes in the chemical environment and temperature fluctuations (exploring & integrating inherent memories, experiences of happiness, traumas – transferring illness, exposing oneself, memory)." –Yevgeniy Breyger

Translated from Hungarian by Ágnes Lehóczky & Adam Piette. Bilingual edition
Introduced by George Szirtes. With illustrations by György Békeffi.

Published February 2026. Paperback, ca. 300pp, 9 x 6ins, £17.95 / $25

ISBN 9781837380015

These translations by Piette and Lehóczky form a five-year long project with an ambition to translate a significant selection of the poems of the modernist, socialist, working-class Hungarian poet, Attila József (1905–1937). József lived a poverty-stricken, passionate and unstable life as a wanderer, a bohemian, a poet, a thinker, a non-conformist, a hobo and a lover till his untimely death by suicide, struck by a train, in Balatonszárszó on Lake Balaton, aged only 32. His poetry is surrealist, existentialist, Villonesque, tough-minded, quasi anarchist, deeply drenched in Hungarian folklore and the folk song, passionate, lyrical, elegiac, marked by his solitary wandering, his keen observation of the lives of the people, by his psychoanalytically inflected gaze into the unconscious, into the mind and body of lovers, his philosophical focus on dialectic and social injustice. The lyrics, free verse and formal, in an astonishing number of experimental forms, range from the metaphysical to the memoir, have filiations to French medieval, post-symbolist and surrealist poetry, fuse Nietzsche, Marx, Hegel and Freud in daring raids on the inarticulate, sing with haunting vernacular and ancient beauty and rise to extraordinary heights and flights of the imagination, yet are always grounded in the real, in the concrete particulars of the metropolis, the dark streets of the underclasses of this world.

Published February 2026. Paperback, 80pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781837380183



Published February 2026. Paperback, 84pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781837380183

Published February 2026. Paperback, 114pp, 9 x 6ins, £12.95 / $20

ISBN 9781837380053

Published March 2026. Paperback, 84pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781837380305

Rooted in the geographies of the Nordic region—Oslo, the Norwegian fjords, the Baltic, the Faroe Islands—these poems chart a path through ecological disquiet, emotional estrangement, and the metaphysics of climate and weather. They're interested in the failure of traditional notions of the sublime to accommodate our contemporary moment: how climate collapse, grief, and urban fatigue both mirror and resist the old frameworks of awe. Across seasonal rotations and drifting landscapes, the collection tests what it means to endure, to observe, and to remain unsettled. 

Published March 2026. Paperback, 120pp, 9 x 6ins, £12.95 / $20

ISBN 9781848619548

Culhwch and Olwen (Culhwch ac Olwen), is a prose tale, written in medieval Welsh, which survives in two manuscripts from the 14th century. The story, in its current version, probably dates from the 11th, though some parts may be much older. It is one of the eleven stories collected in The Mabinogion. When Gwyn Jones and Thomas Jones translated the collection, they placed Culhwch and Olwen in a group they called ‘The Four Independent Native tales’. The ‘oldest surviving Arthurian tale’, it is unlike any of the other stories in the collection and I think it is one of the great literary performances. Whoever put the surviving version together was a genius; a wayward or accidental genius, but a genius.

By modern literary standards it is chaotic and unsure of its genre. It is episodic, inconsistent and contradicts itself. There are conversations which read as though parts have been lost or misunderstood, and episodes in which the sequence of events

seems to be scrambled. But if one accepts the story is the way it is because its audience liked it that way, then it is a reminder that ‘modern literary standards’ are not the only way of approaching a text, and any attempt to cling to them will ruin your enjoyment of what follows. It has the logic of dreams and the morality of nightmare.

Published March 2026. Paperback, 76pp, 9 x 6ins, £10.95 / $18

ISBN 978183730152

Published March 2026. Paperback, 94pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781837380145

Published April 2026. Paperback, 72pp, 8.5 x 5.5ins, £10.95 / $18

ISBN 9781837380176

Translated from Spanish by Terence Dooley
Published April 2026. Paperback, 98pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781837380220

"Mario Martín Gijón’s Dis(illusion) shows us language as a web of interlinked meanings. Opposites lurk within each word like sprung traps; allusions haunt them; one must proceed with immense delicacy. With the virtuosity of a lacemaker, Martín Gijón brackets and pleats his syllables and the meanings they carry in this extended, fractured reflection on living as loss." —Fiona Sampson

"Martín Gijón deliberately creates ambiguity and multiple possible meanings – harking back to the Cubists’ ambition to paint the same object from different perspectives within the same picture. Thus, the poet is not only navigating loss but also, in a phenomenological approach, examining the way his own consciousness is fractured into different possible responses to a situation where his sense of being a self has been shattered." —Ian Seed

Published April 2026. Paperback, 100pp, 8.5 x 5.5ins, £9.95 / $17

ISBN 9781837380329

The first double issue of Shearsman magazine for 2026.

Translated from German by Martyn Crucefix
Published May 2026. Paperback, 102pp, 9 x 6ins, £12.95 / $20

ISBN 9781837380084

Published May 2026. Paperback, 100pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781837380299

Published May 2026. Paperback, 106pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781837380237



Translated from Spanish by Peter Boyle
Published June 2026. Paperback, 124pp, 9 x 6ins, £12.95 / $20

ISBN 9781837380244

Published July 2026. Paperback, ca. 100pp, 8.5 x 5.5ins, £12.95 / $20

ISBN 9781837380190

Published July 2026. Paperback, 84pp, 9 x 6ins, £10.95 / $18

ISBN 9781837380206



Published July 2026. Paperback, 92pp, 8.5 x 5.5ins, £12.95 / $18

ISBN 9781837380213



Published October 2026. Paperback, 100pp, 8.5 x 5.5ins, £9.95 / $17

ISBN 9781837380374

The second double issue of Shearsman magazine for 2026; contents will be announced in July 2026.

Introduced by Elizabeth Wassell Montague

Published in 2026; date tbc. Paperback, 210pp, 9 x 6 ins, £14.95 / $24

ISBN 9781837380107

The late John Montague was one of Ireland's finest 20th-century poets. He spent a lot of time in France, and made friends with a number of French poets. This volume covers his engagement with French poetry of his own time, albeit with a few glances back in history, with selections running from Verlaine and Valéry up to Michel Deguy (1930–2022) and Claude Esteban (1935–2006). While not a definitive anthology of French poetry, the book gives a vivid impression of a fine poet engaging with the work of his peers: personal, but revealing, and foregrounding the work of some under-recognised French poets of the post-war era.

Translated from Spanish by Tony Frazer & Terence Dooley.

Published 2026, date tbc. Paperback, 208pp, 9 x 6ins, £14.95 / $24

ISBN 9781848618640

Altazor is increasingly seen as one of the key works of the 20th-century Hispanic avant-garde in poetry. Apparently put together over several years, it looks back in part to the ground-breaking volume Ecuatorial (1918), imbibes a number of futurist tropes from that same era, takes in the surrealist wave that took hold in the mid-1920s, and ends with shattered pieces of language that appear to admit of the impossibility of finishing the work coherently, or even of coherent speech, while also implying a more pessimistic view of the world than that which Huidobro would have espoused as a younger man during the heyday of Cubist Paris. In amongst all this, the poem’s eponymous protagonist flies high and low, taking in the heavens and the depths of hell, following both Dedalus and Orpheus. While the book evidently left his contemporaries puzzled, and had minimal initial impact, Altazor today looks uncannily prophetic, even post-modern, in its emphasis on verbal games and trickery, on defamiliarisation, and being comfortable with a lack of any conclusion. Huidobro even boasted of this lack in a letter to Luis Buñuel, referencing Lautréamont and Rimbaud as other “failures” whose company he was glad to keep.

Poem texts translated from French by Tony Frazer. With an essay by Rosa Sarabia and a dozen full-colour images.
Published in 2026. Date tbc. Paperback, ca. 96pp, 9 x 6ins, £12.95 / $20

ISBN 9781848618206

In 1922, in Paris, Vicente Huidobro exhibited a dozen painted poems: poster-sized, these exotic creations were an attempt by the poet — who was close to a number of the leading painters of the time — to take the Cubist leanings in his verse to their logical extreme. Here Apollinairean calligrammes — and Apollinaire was one of Huidobro's first friends in Paris — move from being pictorial poems to being pictures in their own right. The volume includes all the recreated versions made for the 2001 Salle XIV exhibition at Madrid's Reina Sofía Museum, along with with as many reproductions of the originals, and their drafts, that we have been able to assemble.