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“... If the world​ of experimental poetry makes you think of pseudy dudes in black 501s and Doc Martens, then I would prescribe a small daily dose of Philip Terry, for whom being experimental chiefly means being thoughtfully rebellious and funny. In his translation of Dante’s Inferno (2014), Terry is guided through the hell that is the University of Essex (where he is professor of creative writing) by the Beat poet Ted Berrigan ...”

“... There are​ few contemporary poets as likeable as Michael Longley. That’s not because his poems are simply amiable, but because he looks at things hard and clearly and invites his readers to share his acts of seeing. In his new book, Angel Hill (Cape, £10), even a cataract operation is an opportunity to celebrate sharpness of vision: ‘My eyeball’s frozen ...”

“... Atypical poem​ in Fiona Benson’s first collection, Bright Travellers (2014), begins with a description of a hare:              There’s a leveret in the field.I know it by its mother’s haunt at dusk,can sense the cupped space of its watch              over near the gorse.The young hare is just a space of attention – evoked by that wonderful phrase ‘the cupped space of its watch’ – which captures both the attentiveness of a nervous creature and its wish to be invisible; there’s also the observer’s desire to establish that the animal is actually present ...”

“... Morning dearie’. Bond heaved himself awake. A set of teeth was grinning at him from the glass next to his bed. He was in an Innov8 2000 Profiling Hospital Bed with full electronic tilt control. Two tubes ran out of his side to drain the cavity where his right lung used to be. The nurse was trying to put her arm around him to help him sit up. ‘Now Jimmy … ’ ‘My name is … ’ What the devil was it? ‘Don’t mumble, Jimmy ...”

“... Ilya Kaminsky​ was born in 1977 in Odessa, the Ukrainian city named after Odysseus. In his first full-length collection of verse, Dancing in Odessa (2004), he let his readers in on a ‘secret’: ‘At the age of four I became deaf. When I lost my hearing, I began to see voices.’ When he was 16 his parents were granted asylum in the US and left ‘Odessa in such a hurry that we forgot the suitcase filled with English dictionaries outside our apartment building ...”

“... another’ is followed by twenty seconds of silence ‘and then a chaffinch starts and/then another’ is followed by another twenty seconds of silence ‘and starts and starts’. This allows Oswald to do what she has always wanted to do, which is to represent being in time, where things recur and repeat, and in which attempts to pause and linger on the moment get thwarted by the necessary flow of time ...”

“... Are there too many novels about missing Old Masters? Anyone who reads Jason Goodwin’s The Bellini Card might be forgiven for thinking so. It’s about a search for a portrait of Mehmet the Conqueror which was supposedly painted by Gentile Bellini during his visit to Istanbul in 1479. It relentlessly assembles all the standard fixtures and fittings of the sub-genre: exploitative forgers, dodgy art dealers, even dodgier descriptions of Venice, a blonde contessa who allows her hair to fall ‘in golden sheaves’ before she fences with our hero (who has the rare distinction of being an Ottoman eunuch detective, which alleviates the rich diet of cliché a little) and reveals that she has Something to Hide ...”

“... Bunyah is​ a valley about 300 km north of Sydney in which the Australian poet Les Murray grew up, and to which he returned in 1985 as ‘my refuge and my homeplace’. Over-educated readers might imagine from its title that On Bunyah (Carcanet, £14.99) is a set of philosophical meditations which belongs on the shelves next to, say, John Stuart Mill’s On Liberty ...”

“... Robin Robertson​ is something of a specialist in pain. He usually describes what painful events look like from the outside rather than how they feel from within. It’s often as though sufferers are so entranced by the appearance of what’s happening to them that they can’t actually see how bad it is. There is a fine slight poem from Slow Air (2002) called ‘Break’ in which a woman is washing glasses in the sink and hears a dull click, like a tongue, under the soap suds ...”

“... John McGahern is an extraordinary writer of charm and violence. His most recent novel, That They May Face the Rising Sun (2002), has a looseness and a gaiety which it took him nearly seventy years to allow himself. His earlier work marked him as one of the great writers of claustrophobia. His novels tend to evoke small places – single houses or tiny communities – and to crush into those places a set of family and moral ties that make them feel even smaller and tighter ...”

“... In Florence in 1348, shortly after two of its biggest banks collapsed because the English king had defaulted on a loan, roughly two-thirds of the population died of the Black Death. Egg-shaped buboes swelled up in the victims’ armpits or groins, and then black bruising spread across their bodies. According to Giovanni Boccaccio, whose father and stepmother died during the outbreak, the disease was so infectious that pigs who nuzzled the discarded clothing of the dead began instantly to writhe in agony, and then dropped down dead ...”

“... There’s a revealing slip near the start of John Banville’s new novel. Ursula Godley, whose husband lies dying upstairs, reflects on her son and daughter: ‘These are the creatures she carried inside her and gave birth to and fed from her own breast, phoenix-like.’ A phoenix can never feed its young because there is only ever one of it at a time ...”

“... Both of M.J. Hyland’s novels – only two so far – are written from the perspective of weird adolescents. Both books are strong, awkward and unobvious in ways that get under your skin. How the Light Gets In (2004) presents the world in the first-person present tense of Lou Connor, an Australian teenager who escapes from her family, which is impoverished in every way, by staying with a family in America ...”

“... I’m one of those writers who likes to stay with what he knows,’ James Gillespie, the persistently apolitical hero of Ronan Bennett’s third novel, The Catastrophist (1998), says. Gillespie, now a novelist, was once a historian. In his PhD he had argued that ‘the great political and religious upheavals of the 16th century owed little to ideological or doctrinal conviction, and everything to the Tudor state’s perpetual need for cash ...”

“... Many years ago, when there were still second-hand bookshops in which to skulk, I found a leather-bound volume with ‘BENTLEY’S HORACE’ on its spine. It was only twenty quid, so I dropped into the standard routine for bagging a bargain. You’d toy with a few other things, then take the one you really wanted to the desk with some gesture that said, ‘Oh well, I might as well pick up this old thing too ...”