Forthcoming 2 October, 2025
Unearthed in a clear-out, a picture calendar she’s kept
– hoarding, I’ve learnt, is a mark of the emigrant –
across continents and time.
So begins Sarah Howe’s extraordinary new collection, returning to the riddle of belonging she explored in her award-winning debut, Loop of Jade. At the heart is her own mother’s clouded past: abandoned as a baby and taken in, at the turbulent dawn of Communist China, by a woman with her own hidden motives. Now a mother herself, Howe finds herself re-examining this unreliable narrative with fresh sight. Sifting through her own history, the poet asks, how can a new generation transform a shattered inheritance? And what is lost and gained in the pursuit?
What unfolds is a personal Babel of voices and identities, and an examination of the contradictory legacies of colonialism, where poems – past and present – act as ‘foretokens’, omens of what lies ahead. A central spine of poems takes the molecular structure of DNA as its template: a ‘ladder of atoms beginning to twist’, down which the poet steps into the darkness of time. Objects of witness resurface to tell their own stories: fragile porcelains of past centuries transiting across continents; a picture calendar of old postcards from another world.
‘From the other side of ruin / we found safe passage’, Howe writes in these spectacular poems of emotional heft and quickening wit, their voice salvaged from the fragments of a former self. Foretokens is a monumental work of survival and creation, turning over what is left behind as it strikes out towards astonishing new vistas.
Winner of the T.S. Eliot Prize
Winner of The Sunday Times Young Writer of the Year Award
Shortlisted for the Forward Prize for Best First Collection
Shortlisted for the Seamus Heaney Centre Poetry Prize
A Book of the Year in the TLS, Observer, Independent & New Statesman
There is a Chinese proverb that says: ‘It is more profitable to raise geese than daughters.’ But geese, like daughters, know the obligation to return home. In her exquisite first collection, Sarah Howe explores a dual heritage, journeying back to Hong Kong in search of her roots.
With extraordinary range and power, the poems build into a meditation on hybridity, intermarriage and love – what meaning we find in the world, in art, and in each other. Crossing the bounds of time, race and language, this is an enthralling exploration of self and place, of migration and inheritance, and introduces an unmistakable new voice in British poetry.
Dave Coates, Dave Poems
Kate Potts, Poetry International
Gail Low, Dundee University Review of the Arts
Charlie Place, The Worm Hole
Eric Karl Anderson, The Lonesome Reader
Lorraine Lau, ‘Between Language and Silence: Self-Writing Diasporic Identity in Sarah Howe’s Loop of Jade’, Hong Kong Studies, 4 ( 2024), 37–56.
Jennifer Wong, ‘Sarah Howe: Pilgrimage, Chinoiserie, and Translated Identities’, Identity, Home and Writing Elsewhere in Contemporary Chinese Diaspora Poetry (Bloomsbury, 2024), pp. 83–92.
Luo Hui, ‘Line, Loop, Constellation: Classical Chinese Poetry Between Sinophone and Anglophone Worlds’ in A World History of Chinese Literature, ed. Yingjin Zhang (Routledge, 2023), pp. 62–73.
Cosima Bruno, ‘Translation in a Multilingual Context: Six Authors Writing the City’, in The Bloomsbury Handbook of Modern Chinese Literature in Translation, ed. Cosima Bruno, Lucas Klein and Chris Song (Bloomsbury, 2023), pp. 319-331.
Lucas Klein, ‘Inside the History of the World: Syntheses of Literary Form between Prose Poetry and China’, PMLA, 138 (2023), 666-681.
Yasna Bozhkova, ‘Intercultural and Intertextual Crossings in Sarah Howe’s Loop of Jade’, Sillages Critiques, 32 (2022).
Antony Huen, ‘The “Old Hong Kong” and “A Gold-Sifting Bird”: Hong Kong and Chinese Ekphrasis in Contemporary British Poetry’, Wasafiri, 37 (2022), 13–21.
Peter McDonald, ‘Sarah Howe: Artefacts of Writing’, Great Writers Inspire: University of Oxford (2020).
Mary-Jean Chan,‘“Journeying is Hard”: Difficulty, Race and Poetics in Sarah Howe’s Loop of Jade’, Journal of British and Irish Innovative Poetry 12 (2020), 1–29.
Jennifer Wong, ‘Hannah Lowe and Sarah Howe: Multicultural Heritage and Questions of Identity’, English, 69 (2020), 246–269.
Tammy Ho Lai-Ming, ‘Something Sets Us Looking for a Place: Poetry of Jennifer Wong and Sarah Howe’, Wasafiri, 32 (2017), 41–45.
Carol Rumens, ‘Poem of the week: Yangtze by Sarah Howe’, The Guardian, (2016).
Sarah Howe’s debut offers great range – a series of poetic endeavours which nourish and reward. Some of the work here reflects her dual heritage – in one longer piece, she describes travelling to China and Hong Kong to trace her mother’s roots. She also offers imagistic shorter poems and edgier forays into more experimental terrain. She is a poet of place, from the limited landscapes of bed to the grand vistas of exploration.
Poetry Book Society Translation Choice
Karin Karakașlı’s highly cinematic poems are powered by music, metaphor and a fascination for the mechanics of language itself. This new selection brings together poems from Karakașlı’s 15-year career, vividly translated into English by translator and writer Canan Marașligil working with British poet Sarah Howe.
An acclaimed writer in multiple genres as well as a journalist and academic, Karin Karakașlı has repeatedly turned to poetry to chart complex emotional geographies – both her own and those of her country, Turkey. Her highly cinematic poems are powered by music, metaphor and a fascination for the mechanics of language itself. Running through her work is a deeply held belief in the emancipatory potential of words.
Following on from her 2017 chapbook History-Geography, this new selection brings together poems from Karakașlı’s 15-year career, vividly translated into English by translator and writer Canan Marașligil working with British poet Sarah Howe. The Poetry Translation Centre’s World Poet Series showcases the most exciting living poets from Africa, Asia, the Middle East and Latin America.