Milk Tooth

Rough Trade Books, November 2018.

Available direct from the publisher here

Things are not always what they seem in these poems of trauma and transformation. Reflections and shape-shifters move through them: a child’s balloon like a fish with a hook in its mouth, a raven disturbingly alive and dead at the same time. Pain is tracked to a bad tooth, but the source is uncertain, the memory unstable and changeable; the picture 'splinters into refracted light'. Remembering, refusing and reimagining create mirrors, doubles and oppositions that tangle the thread, rejecting the simple, single way back.

'Sprackland’s words pierce through the mundanity of the everyday, creating intense emotional landscapes [...] With Milk Tooth, Sprackland continues to establish herself as one of Britain’s finest young poets.' Robert Greer, The London Magazine

'in that Plathian control, that cool presentation of event, vibrant, clustering images take hold and push through intimacy and address . . . Sprackland’s lyric voice is elastic, commodious . . . it bears evidence of its soldered edges, the violence of experience, an ethos of resistance delivered in crisp-cut lines whose intimations of gendered solidarity sting.' – Maria Sledmere, Poetry School

Glass As Broken Glass

Rack Press, January 2017.
Longlisted for a Sabotage Award
One of the London Review Bookshop's Spring Picks

Available direct from the publisher here and also here, here and here

‘I caved him in with the heel of my shoe’ begins ‘Snail’, the tiniest act of accidental violence setting the tone for Sprackland’s pamphlet . . . Between poor Ron Sullivan, struck by lightning seven times, who ‘crackled when he walked’, and the fevered lover who radiates fire at night, this skinny volume of 8 poems explores the body in extremis.' Julia Bird, The Poetry School Books of the Year 2017

"[With] formal acuity Martha Sprackland's 'Domestic' characterizes a broken relationship as helplessly frozen syntax teetering on that very word – as – everything that's just happened in a nameless quarrel 'as' something faraway, free of it, clear of it, like smoke or sky. Numbness of spent emotion, wonderfully anatomized: 'Glass as broken glass.'" – Glyn Maxwell

"Sprackland refreshes the domestic and mundane in poems which are outwardly calm, but lit from within to reveal unusual visionary angles." – Eric Gregory Award judges 2014

'In Glass As Broken Glass Martha Sprackland's poems thrum with a delicate fragility. These are words that push gently at life's fissures to reveal a quiet understanding of the splintered and fragmented nature of the world and our place in it.' – Sophie McKeand, Caught by the River

'Martha Sprackland is already a formidable technician. The sonnet is moved through quatrains and and a kind of terza rima, and there is deft and adept free verse. The result is a calm, taut surface to the poems which belies the heightened, sometimes gothic nature of the subject matter.' – Ian Pople, The Manchester Review

'A poet of considerable creative powers, with astute diction and use of imagery, together with a tranquil repose in the sense of time and place . . . she is a poet with genuine talent and insight.' Graham Hardie, London Grip

'[A] commanding teller of the strange stories of others . . . Sprackland's best poems have the power of an irresistible tide.' Alison Brackenbury, PN Review

'[V]iolence or (in this case) "terrible dynamism" is figured with a tender precision . . . Sprackland forces a wonderful fascination upon her readers.' Edwina Attlee, The Poetry Review

'This debut pamphlet refuses to provide easy answers. It packs a lot into so little space.' D. A. Prince, New Walk

'These are intriguing and provocative poems which will repay further attention . . . The poem which gives the pamphlet its title, ‘Domestic’, is allusive and atmospheric. Something has happened but we are not told what – a quarrel, a breakage, an injury, a declaration, a dissipation, a dull fact of damage, all conveyed in a series of images. The poem which has the most power is 'Superposition and Collapse' . . . It is stunning, recording a complex mix of baffled self-blame and grief.' – Elizabeth Rimmer, Sabotage Reviews

Limited edition booklet

Desperate Literature, December 2016

On Sharks

A four-poem pamphlet by PDF platform Minerva. Available for free HERE

Three poems on Disclaimer

'Silver Horse' in Visual Verse

'A little lovely Moony Night' in Cake

'De la lycanthropie, transformation et extase des sorciers' in Poetry London

'Great again, our island nation' in POEM

'from The Uses of Belladonna' in The Scores

'Poem for his knee in the bath' in MISO magazine

'Hey, Who Really Cares?' on Caught by the River

'Pulpo' and 'Superposition and Collapse' on Five Dials

Poetry on Caught by the River

Two poems on The Quietus

Three poems on The Compass

'Dooms' on the London Review of Books

Three poems on B O D Y

'Lessons' on Magma

'Outside at The Lamb' on Poems in Which


Glass as day-blooming flower,
television as mortar shell. Television
as volleyball against white sun.
Sun as broken glass, in fragments,
glass as crazy paving on street below.
Power cord as vapour trail.
White smoke as cigarette smoke,
smoke as wedding dress pulled through water,
smoke as blood in water.
Glass as water on street below.
Pavement cracks as broken glass as x-ray
held to box of light. Television as broken wrist.
Power cord as skywriting, as Marry Me
on biplane banner. Television as biplane.
Television as bird. White flower growing
in pavement crack as open hand.
Glass as broken glass.