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Cat Chong's Plain Air: An Apology in Transit is a pamphlet in flux, a diary like inner-monologue without a single full stop, charting the speaker's journeys from A to B yet evoking a bigger change, as the speaker leaves behind student life and wanders into the wider world. 'Plain Air...' contains meditations on disability, opioid use, carbon emissions, food waste and veganism backdropped by extinction rebellion protests and the songs of Oh Wonder. It's a pamphlet of quiet courage, resonant and resolutely rooted in the now.

Kat Payne Ware's THE LIVE ALBUM is a prime slab of poetry about pigs. The first side focuses on pork products, featuring ravishing cuts such as 'BACON', 'BELLY' and 'LOIN'. In the second side Payne Ware's poems grapple with the automation and mechanical production of the meat industry, highlighting its impersonality through playful use of form and intense language. THE LIVE ALBUM is an auspicious debut, one to sink your teeth into.

Roisin Dunnett's Animal, Vegetable is a subversive pamphlet of short stories, exploring metamorphosis, sexuality and the future of intimacy. Animal, Vegetable exists in a queered universe where these unusual and striking stories take place: glancing sideways at accepted social and physical realities. One character imagines an affair with an octopus, another falls in love with a meme while a third has a visceral confrontation with the inside of her own body. Dunnett adopts a vivid colour palette in her work, building contemporary fables in new forms.

In Jack Warren's debut pamphlet Rude Mechanical, the poems sing with the rhythm and cadences of working life. Warren's poetry moves from the factory to the pub 'searching for a moment's weary epiphany' or find him staring at the stars in 'the serenity of a cigarette break'. In Rude Mechanical, Warren looks to the role of art, literature and labour in our lives, the value of the natural world, and in an extended sequence on a long-distance relationship, he writes lyrically of falling and remaining in love.

Jessica Mookherjee's Play Lists is a collection of poetry dripping with nostalgia for a time when love was a name on a pencil case, rock and roll meant everything and the world seemed so much wider. Mookherjee's poems are bedazzled with glossy and alluring figures; Bowie, Bryan Ferry and Iggy Pop all feature as Mookherjee grows from school crushes, first dates and small town escapism to the excitement of being a young adult in London. Play Lists is an absorbing and tender stroll through the golden years.

Through the precession of simulacra, we have arrived at a landscape of e-girls and sad boys, the aesthetic values of our time transposed onto the ecstatic communications of the hyperreal. Through Baudrillardian analysis, Alex Mazey attempts to trace a genealogy of Sad Boy Aesthetics, charting its earliest occurrences to progenitors like Yung Lean and Bladee, before moving towards more connective and investigational readings of Lil Peep.

Day Mattar's Springing from the Pews is an explosive pamphlet which explores an episode of sexual violence through a verse play interwoven with confessions and journal entries. Mattar's poetry is eloquent, with a dark intensity underlying the sugary surface, with echoes of Frank O'Hara and Sharon Olds. A breathtaking read, Mattar's splenetic energy gushes out like water from a fire hydrant.

Video games and poetry are unlikely bedfellows, if video games are one of the most popular imaginative forms in contemporary culture, then poetry [real poetry as apposed to the kind you find by the sad flowers in service stations] could be one of the most neglected. Hit Point Green, edited by Matthew Haigh and Aaron Kent, shows where these two disparate worlds meet and how good they are for each other. Featuring a selection of the finest voices in contemporary poetry, Hit Point Green will have you gripped until game over.

Video games and poetry are unlikely bedfellows, if video games are one of the most popular imaginative forms in contemporary culture, then poetry [real poetry as apposed to the kind you find by the sad flowers in service stations] could be one of the most neglected. Hit Point Red, edited by Aaron Kent and Matthew Haigh, shows where these two disparate worlds meet and how good they are for each other. Featuring a selection of the finest voices in contemporary poetry, Hit Point Red will have you gripped until game over.

From dogs to curlews, sheep to people, the animals we live with tell us much about ourselves. In these stories, set in the bleak and eerie landscape of the Yorkshire Pennines, domestic struggles collide with the wild as humans fight for control - often making a bargain with the devil. These stories are well written, with an elegant style. The characters are believable and fully formed, as Hildyard inhabits the different voices throughout.

Adrian Earle - We Are Always and Forever EndingRelease Date: July 31st 2021Page count: 99 pagesReleased by Broken Sleep Books

Razielle Aigen's Dreamlands is a pamphlet with a deep interest in the subconscious, the natural world and the beauty of these spaces. Through her poetry Aigen explores the gap between the tangible and intangible, like the famous Taoist parable, Aigen could be a butterfly dreaming she is a poet or a poet dreaming she is a butterfly. Where do our dreams end and where does reality begin? We don't always need an answer, in Dreamlands, it is enough to have asked the question.

Jon Stone's Unravelanche is made up of 'snowstorm poems', swirling collages of fragmented text taken from a rich range of literary sources, from well-known rebellious figures such as D. H. Lawrence and Kurt Vonnegut to harder to find references, taking in comic books, films, and philosophical works. The poems are beautiful, like libraries trapped in ice, their words 'retain a powerful attraction to one another, forming sentences as they settle on the ground.'

In Valour Emma Hammond explores how modern life obstructs who we are and the challenges we go through which separate or unite us, in the fight against conformity. Hammond keeps her kookiness close to her chest, constructing levels of invisible resistance. Valour is a poetry collection which silences labels in search of the peace that exists outside of regulated space.

The poems in Annie Muir's New Year's Eve reverberate with rawness and truth, familiar themes of love, family relations and loneliness are reexamined by Muir, creating poems of a lived intensity and sparkling freshness. Muir is a poet who insists on never growing old, instead she 'just keeps starting again from scratch', so that each poem is a new dawn, a new year, a chance to be reborn.

Collected Pamphlets collects together 10 published pamphlets, and 2 previously unpublished pamphlets by working-class writer Aaron Kent. The book demonstrates the range of his poetics through experimental, lyrical, and political pamphlets. Collected Pamphlets showcases why JH Prynne called Kent's poetry 'unicorn flavoured.'

Lucy Harvest Clarke's poems move subtly between the world at hand and her own secret world. Armed with a mix of delicate rhythms and arresting variations, each poem feels mysterious, like an unexplained magic trick, always keeping the audience guessing. A Light Worker is a compelling, enigmatic collection which rewards repeated reading.

Cathleen Allyn Conway's American Ingénue is a pamphlet of found poems cut from Bret Easton Ellis novels and Francine Pascal's Sweet Valley High series. Conway transforms her unlikely source material into giddy, irreverent and violent episodes which centre around a 'damaged party girl' wandering 'the wreckage of New York'. American Ingénue is a dazzling and delightful pamphlet which takes the found poem to new, vertiginous heights.

Ed Luker's Other Life is an acerbic and intelligent collection with heaps of personality. Luker's poems show an interest in the inner riddles of poetic form coupled with desperate attempts to navigate the insane demands of modern life, including £3 pound sausage rolls, yoga and the plains of Calabria. These complicated pressures push Luker into riotous protest. Other Life pushes against a certain shyness in contemporary poetry, replacing it with megalomaniac verve and sparkle.

Karen Dennison's Of Hearts opens with a poem about Point Nemo, the 'spacecraft graveyard' and furthest place from land in the ocean. The poem sets the tone for a pamphlet which explores our tiny place in a vast, overwhelming universe. It is full of crisp, lucent, technically agile and clever poems of cosmic longing. Of Hearts is a deeply enjoyable pamphlet from a poet with her eyes pressed to a telescope, searching until 'the stars switch off'.