This is motherhood — intimate, defiant, and ordering another negroni.
— Rachel Long
Careful and wild simultaneously
— Caroline Bird
a glowing collection from a poet to watch out for in future.
— Tamar Yoseloff
These are wonderful poems
— Colum McCann
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The work is formally nimble, often fragmentary, and suffused with humour, candour and mythic resonance. What emerges is a document of maternal time in all its fractured, luminous detail: devotional, ambivalent, and defiantly alive.
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With lyrical clarity and fierce emotional intelligence, Feeney traces the blur of postnatal days, sleeplessness, bodily estrangement, rural isolation, small joys and submerged rage, crafting a poetics of contradiction, beauty and survival.
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Book cover for Small Change by Steph Ellen Feeney, published by Broken Sleep Books. The background is a warm terracotta red, with the title and author name in black serif type at the top left. Three white line-drawn washing lines stretch across the cover, each hung with pegged items: boxer shorts, socks, and underwear on the upper lines, and a stuffed toy bear, a swimsuit, and shorts on the lower line.
Small Change by Steph Ellen Feeney is a radiant, unflinching collection that distils the seismic transformations of new motherhood into a sequence of poems both intimate and expansive.
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Through repetition, fragmentation & reclamatory camp, Mills crafts a poetics that is at once vulnerable &vdefiant, haunted & transgressive.
Drink deep reader, drink deep.
— Jason Schneiderman
a smart, innovative, & unrelenting collection.
— Charles Jensen
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and the figure of the "Final Boy" as both myth and mirror. These poems are sharp-edged, sexually charged, and formally agile—moving between elegy, confession and cultural critique with electric precision.
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Book cover for Final Slash Boy by Stephen S. Mills, published by Broken Sleep Books. The background is dark charcoal with a subtle grid texture. Four vertical stripes in yellow, orange, red, and purple run down the left side of the cover. The title appears in bold white serif type at the top left, with the author's name in white beneath it. "Broken Sleep Books" appears in small type at the bottom left.
Final Slash Boy is a taut, incendiary collection that melds queer desire, pop horror and personal hauntology into a lyric of resistance and reclamation. Channelling the tropes of slasher cinema, Mills interrogates survival, gendered violence [...]
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A delightful and horrifying, endlessly inventive sequence
— Luke Kennard, @lukekennard.bsky.social
An astutely satirical swing at the marketised dystopias of our neo-liberal moment.
— Fran Lock
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St Leger’s voice is deadpan, funny and quietly furious, drawing on sci-fi, tech culture and classed experience to show how the future of work is already deforming the present.
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Framed through recruitment questions, these poems expose work as fantasy, coercion, performance & slow apocalypse all at once, where CV gaps become liberation myths, children dance through burnout, & ambition mutates into something monstrous & absurd.
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Book cover for Occupational Phenomena by Henry St Leger, published by Broken Sleep Books. The title and author name appear in bold yellow type against a dark grey wall. A photograph shows a desktop surface with a potted cactus in a grey ceramic pot, a row of small colourful books, a yellow sticky note on the wall, a yellow eraser, and a pencil sharpener. The overall palette is muted and domestic.
Occupational Phenomena by Henry St Leger is a razor sharp pamphlet that turns the language of job interviews, productivity culture and corporate aspiration into a theatre of surreal dread.
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This book highlights Byrne’s continuous ability to conjure up the historical with the everyday in waves of resonant, vibrant language.
— Sarah Crewe
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Fierce, lucid and sometimes darkly funny, this collection insists on moral attention without offering false consolation, holding open a space where anger, grief and tenderness can sharpen into resistance.
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Byrne braids political witness with history and myth, channeling England through its Boudiccan roots and Roman invasion, finding Shelley on the shores of Italy, standing up to how corporate banality blameshifts or sidesteps away from justice.
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These poems move from Eichmann’s glass cage to boardrooms, tabloids, riots, outsourced pain and climate breakdown, always alert to the way institutions convert human lives into abstraction.
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Book cover for The Banality of Power by James Byrne, published by Broken Sleep Books. The cover has a dark charcoal background with the title in bold white serif type and the author's name in grey beneath it. Centred on the cover is a circular white line-art illustration of three hares in motion, surrounded by ivy leaves. The bottom of the cover reads "POETRY BOOK SOCIETY RECOMMENDATION" in white uppercase type.
In The Banality of Power, James Byrne anatomises the everyday mechanics of harm, tracing how cruelty becomes procedure, how violence is normalised, and how authority hides in plain sight.
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Three copies of the pamphlet Home to My Cats (the cover featuring a feline silhouette within a yellow pane in an otherwise blue and black grid) are invitingly fanned on a wooden desk. You want to buy so, so many of these.
This book, unlike me, is just about having kittens.
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@brokensleepbooks.bsky.social
A book laid on a brightly patterned red and orange table runner, in bright sunshine. The book has a dark brown cover of the corner of an empty room. Bare floorboards and bare brick walls and a large sash window to the right. Light streams in but nothing can be seen outside. The title Fragile July appears in a light orange serif font in the top left, Oscar Nearly in white below.
The book held open at a spread with text only partially visible on the left, a photograph on its side on the right, the photograph in black and white showing a window with curtains, a radiator and the tops of some kitchen chairs. A wooden door into another room to the left. Beyond the window the silhouettes of trees.
Extremely proud to share my brother @nearlyoscar.bsky.social’s brilliant, haunting book Fragile July, just out with award-winning indie @brokensleepbooks.bsky.social. The book is a prose-poem w/photos; it captures a time we both remember when things were weird. It might strike a chord with you too.
My first book of poems, We Both Say, is out on May 31st with the good folks at @brokensleepbooks.bsky.social. You can pre-order it right now: www.brokensleepbooks.com/product-page...
“Never glare back
at the thought hammock.
*J’accuse*
is a complete sentence.”
Teachings by @tomsnarsky.bsky.social in Mountebank, published by @brokensleepbooks.bsky.social
On Geoff Hattersley, whose Collected Poems was published by @brokensleepbooks.bsky.social a few months ago:
rorywaterman.substack.com/p/geoff-hatt...
Poetry collection submissions open! 1st April - 31st May brokensleepbooks.com/submissions
We are open for full length poetry collection submissions until 31st May.
A very small percentage of people who submit to Broken Sleep Books actually buy a book from us. If every submitter bought just 1 title, it would make a huge difference.
Guidelines: www.brokensleepbooks.com/submissions
My latest review is of two titles from @brokensleepbooks.bsky.social including @robertsheppard.bsky.social
ellipticalmovements.wordpress.com/2026/03/25/t...
Home to My Cats is deliciously strange and sincere, celebrating cats in all their tender/violent contradictions.
— Kirsten Irving
This collection shows us once again that cats bring out the best in people.
— James Womack
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Beneath the surface-level glee sits a serious enquiry into attention, companionship and belief, as the cats become both muse and measure, their small tyrannies and private theologies remaking the home into a site of lyric necessity.
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Crothers writes with a quick, punning intelligence and a gift for the compressed song, where philosophy slides into litter-tray comedy, and tenderness is sharpened by wit.
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These poems move between lyric address and ekphrasis, riffing on Louise Bourgeois, Franz Marc, Takashi Murakami, Louis Wain, and Arthur Rackham, while also letting Taylor Swift and Leonard Cohen wander into the cat’s-eye frame.
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Book cover for Home to My Cats by Adam Crothers. A bold geometric design of bright blue panels divided by thick black grid lines, like a stylised window or tiled façade. One central panel is mustard yellow, containing a black silhouette of a sitting cat in profile. The title and author name appear in mustard yellow serif type at the top-left, and ‘Broken Sleep Books’ is in small mustard yellow type near the bottom-left.
Home to My Cats by Adam Crothers is a fizzing, formally playful pamphlet that turns feline devotion into a poetics of art, music and mischief.
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What emerges is a forensic lyric of classed upbringing and adult reckoning, where shame, violence, and love sit close together, and where compassion often arrives too late to change the facts, but not too late to change how they are held.
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