• little but often (collaboration with book artist Ronald King, Circle Press, 2007)
• Greenfields (poems, Carcanet, 2007)
• Earliest Spring Yet (poems, Landfill Press, 2006)
• Lute Variations (versions of Louise Labé, Rack Press, 2006)
• British Poetry Magazines 1914-2000, with David Miller (bibliography, union catalogue, index and history, British Library, 2006)
• Lucky Day (poems, Carcanet Press, 2005)
• The Mechanical Word (poems for a series of five artist's books by Karen Bleitz, Circle Press, 2005)
• A Boy In Summer (elliptical novel, 11:9, 2002)
• Frosted, Melted (poems, Diehard, 2002)
• Renfrewshire in Old Photographs (poems, with Raymond Friel, 2000)
• The Star You Steer By: Basil Bunting and British Modernism (co-edited collection of essays, with James McGonigal, Rodopi, 2000)
• Gift Horse (collaboration with book artist Ronald King, Circle Press, 1999)
• Perfume & Petrol Fumes (poems, Diehard, 1999)
• Hand Held (poems, Akros, 1997)
• Marks & Sparks (poems, Akros, 1995)
• Contraflow on the Superhighway (co-edited anthology with W. N. Herbert of Informationist poetry, Southfields/Gairfish, 1994)
• Tube Shelter Perspective (poems, Southfields, 1993)
• Sense and a Minor Fever (poems, Vennel Press, 1993)
• The Fabulous Matter of Fact: Neil M. Gunn's Poetics (literary criticism, Edinburgh University Press, 1991)

Channel Link

 

Even stations move.

Can I meet you fifteen years ago
by the sprung chainlink?

We could watch together those ever-afters
waiting for a platform. The go-ahead
and they're polite about it.

Sandstone dust, or not now the long settled past --
construction grit in a suspension of air.

I could meet you fifteen minutes ago
at the same coordinates.
I'm watch-wiping on the interim platform.

For once I'm not about
to be all that late,
give or take, and if you'd show up
not even half apologising (not that you -- )
between yesterday and now, or simply tomorrow
I'd class that on time.

David Wheatley, "'and cannot say /and cannot say": Richard Price, Randolph Healy and the Dialogue of the Deaf', paper given at The Way It Had To Be Said... Language, Translation, Experimentation, Symposium of the AHRC Irish-Scottish Poetry Project, Queen's University Belfast, 22nd Nov. 2007,

Fiona Wilson, "For Your Information: Getting the News from Painted, spoken", International Journal of Scottish Literature, 2 (Spring/Summer 2007)

"Lucky Day by Richard Price is a felicitous gathering of Richard Price's unusual, poignant and funny poetry, which has been appearing in chapbooks, magazines and beautiful small-press volumes for more than a decade. They are clear, witty, intelligent, versatile and often highly moving; superb examples of a hardearned surface simplicity conveying oceanic depths of feeling and thought." (Robert Potts, The Guardian)

"The play of these poems is moving and yet linguistically challenging. The sense of innocent nursery rhyme and the hard-ended reality of the situation create a unique poetry - even a new modernism. Price has given late modernism an injection of humanity it has long required." (John Kinsella, The Manhattan Review, on Lucky Day)

"Price was one of the so-called Informationists. Their agenda, broadly, involved reclaiming the various specialist lexicons and syntaxes - scientific, commercial, political and technological - and finding metaphor under mere data. In Price's case this is often achieved by juxtaposition with 'traditional' verse forms, such as lullabies, nursery rhymes and songs, in a manner reminiscent of the late Veronica Forrest-Thomson. For example, one sub-section of the book is entitled 'Marks and Sparks': the nickmame of a high street store is transformed into a meditation on the thrills and bruises of love. This may sound academic, but consider the height of this collection, the 'Hand Held' sequence. Confessional poetry can be slightly manipulative; however, these poems are not splurges of unedited emotion, but honed and sophisticated objects. They range from the brutally frank ('People will not love you / when we are dead') to hard-won epiphanies ('whatever your clear eyes are meaning / you mean it brightly'). Those who think contemporary poetry is a parlour-game for pseuds ought to read this astonishingly moving, filigree-fine book." (S. B. Kelly, The Sunday Herald, on Lucky Day)