In Praise of Men and Other People, Bloodaxe 2003

This is the writer’s ingenuity… : each part of the narrative is correlative, none is objective, and the balance between them reveals an improvisation that is both physical and emotional . . . [T]his compelling volume of conflicting advice, conflicting loyalties, and skilful ventriloquy ends unambiguously on Sansom’s own voice: momentarily, something solid, perhaps.

Poetry Review, Jane Griffiths


Ann Sansom’s new collection is a welcome return for a quietly authoritative, resiliently gritty poet whose debut collection. Romance, won her many admirers. These are poems that overturn readers’ expectations. They often present human dramas in which people are seen as acting out their versions of themselves in their own fictions. They are set in curiously deracinated urban landscapes, homing in on chance encounters and missed connections, and balanced by a brisk authenticity and affectionate generosity.

Times Literary Supplement, Neil Powell


Much of the best poetry in any age starts off with the local and then moves beyond it to the wider application of what is seen and experienced. Ann Sansom does that widening with skill and imagination.

Ambit 175, Jim Burns


The disparate poems in the collection capture the poignancy of the everyday, with a quiet and measured voice, that is the more powerful for its restraint.

Dazed and Confused


She’s brill.

Artscene, Vic Allen


Romance, Bloodaxe 1994

Ann Sansom’s naturally accomplished and instinctively organised poems come as a breath of fresh air … There is a maturity to her work, a sureness of hand associated with only the most established poets, but there is a freshness too, and a bareknuckle confidence that seems to sing of the author’s realisation of poetry as a first language and a mother tongue.

Simon Armitage


Ann Sansom has found her territory and speaks from it with eloquence and power.

Helen Dunmore


An authentic Northern mix of realism and imagination [that demonstrates] her eye for detail, the pure phrasing of a largely unfigurative language and the range of her imagination.

Stanley Cook


Opening the Ice, Smith/Doorstop Books 1990

A clear sense of narrative illuminated by accurate observation … with a sharp edge of personal involvement, of love and love lost that gives her poems an intimate feel. Warm, direct and delicately phrased.

David Harmer