© Image by Caroline Forbes

Jo Shapcott

(b. 1953)

"But the exact place where the self and the other touch, where there's the possibility of either transformation or stasis...that's the place that interests me most." - Jo Shapcott

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These poems come from a special recording for the Poetry Archive:

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  • Interview with Jo Shapcott
    Join acclaimed poet, Jo Shapcott, in her Welsh retreat as she talks about the pleasures of science and music that inform her work - and the importance of getting up early to write!
    View all interviews
  • The Female Poem
    From the Aldeburgh Poetry Festival 2009, a new podcast on 'The Female Poem': a lively and wide-ranging discussion between Jo Shapcott, Maureen Duffy, Pascale Petit and Annie Freud. Among other things, they discuss the horror of being labelled a 'female poet', whether the male poem is the default position, the importance of 'outsider art', why 'miserable guys stalk the poetic world', and whether Donne, Keats and Wyatt wrote 'female' poems. The Female Poem discussion at The Aldeburgh Poetry Festival was supported by The Poetry Society.

Select bibliography

  • Electroplating the Baby, Bloodaxe, 1988 - out of print
  • Phrase Book, Oxford University Press, 1992 - out of print
  • A Journey to the Inner Eye: A Guide for All, South Bank Centre, 1996 - out of print
  • Emergency Kit: Poems for Strange Times (editor with Matthew Sweeney), Faber and Faber, 1996
  • Motherland, Gwaithel & Gilwern, 1996
  • Contemporary Slovenian Poetry (editor with Francis R. Jones), Bloodaxe, 1996 - out of print
  • Penguin Modern Poets 12 (contributor with Helen Dunmore and Matthew Sweeney), Penguin, 1997
  • My Life Asleep, Oxford University Press, 1998 - out of print
  • Last Words: New Poetry for the New Century, (editor with Don Paterson) Picador, 1999 - out of print
  • Poetry Quartets 5, Audio Cassette, The British Council/Bloodaxe Books, 1999
  • Her Book: Poems 1988-1998, Faber and Faber, 2000
  • Elizabeth Bishop: Poet of the Periphery (editor with Linda Anderson), Newcastle/Bloodaxe Poetry Series: 1, 2002
  • Discourses (editor), Gulbenkian Foundation and the Royal Society, 2002
  • Tender Taxes: Translations from Rainer Maria Rilke, Faber and Faber, 2002
  • George Herbert (editor), Faber & Faber, 2006
  • Jo Shapcott Reading from her poems, CD, The Poetry Archive, 2006
  • The Transformers, Bloodaxe, 2007
  • Of Mutability Faber, 2010
Jo Shapcott (b.1953) is from London but traces her family roots to the former mining communities of the Forest of Dean in Gloucestershire. She studied at Trinity College, Dublin, and currently teaches on the MA in Creative Writing at Royal Holloway. The sure-footed surrealism of her first collection, Electroplating the Baby, won immediate acclaim and was awarded the Commonwealth Poetry Prize for Best First Collection. Shapcott had already announced her arrival on the poetry scene three years earlier when she won the National Poetry Competition, a feat which she repeated in 1991 with the title poem from her second collection, Phrase Book. This introduced Shapcott's celebrated 'Mad Cow' persona to the world and also delighted in the poetic potential of quantum physics, whilst her third collection, My Life Asleep, won the Forward Prize for best collection. A selected poems, Her Book, appeared from Faber in 2000 and they also published Tender Taxes, the fruit of Shapcott's ten-year engagement with the French poems of Rainer Maria Rilke.

Intellectually ambitious and eschewing the personal, Shapcott's poetry nevertheless belongs as much to the body as the mind. There is a celebratory eroticism in many of her poems, even when skewed by serious illness as in her startling description of a bald head as "newborn-pale, erection-tender" ('Hairless'). Shapcott is particularly drawn to moments of dissolution when the boundaries between the self and the outside world are disrupted, the skin made permeable: so in her poem 'Deft' she imagines her body as "a drop of water". That Shapcott's transformative treatment of the body can sometimes have a feminist context is evident in the playful defiance of a poem like 'Piss Flower'. Elsewhere it is a conduit to ecstasy, a means of experiencing unity with the world: "I breathe in and become everything I see" ('Deft'). This quality of intimate exploration is also present in her versions of Rilke, particularly the sequence on roses in which Shapcott allows the flowers whom Rilke addressed to talk back to him. Equal parts challenge and seduction, these poems offer an interchange between translator and translated which is like the closeness of lovers: "You touch me with everything/that's touched you." ('Rosa foliolosa')

Shapcott's voice relishes the sensuality of her work, exploring it with the "rangy, long-legged" brio which one critic described as her characteristic tone.

Her recording was made for The Poetry Archive on 16 December 2005 at The Audio Workshop, London, UK and was produced by Richard Carrington.


1982 South West Arts Literature Award

1985 National Poetry Competition (First Prize), 'The Surrealists' Summer Convention Came to Our City'

1989 Commonwealth Poetry Prize for Best First Collection, Electroplating the Baby

1989 New Statesman Prudence Farmer Award

1991 National Poetry Competition (First Prize), 'Phrase Book'

1999 Forward Poetry Prize (Best Collection - winner), My Life Asleep

2006 Cholmondeley Award

Costa 2010

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