Buller has been widely published in anthologies and journals including, in the UK, Acumen, Outposts, The Interpreter’s House, The London Magazine, The Rialto, Cambridge Left and in the USA, The California Quarterly and The Comstock Review. He has had two previous chapbooks published, Thirteen Poems (Festival Publications, Queen’s University Belfast, 1965) and Travelling Light (Waterloo, 2005).

His verse has been awarded prizes including first place in the Ware Poetry Competition.

ISBN 1-902731-38-7
£8.00

Well-known before 1958, he was silent for 22 years, during which time he worked in Belfast, part of the circle including Heaney, Longley and Mahon. When he was able to write again from 1980 he was not a completely different poet, but a profoundly developed one: elegist and satirist, he refracts historical occasion to all he’s experienced, which includes the poets he’s known and worked with.

The language is absolutely exact and economical......and [he] makes the best uses of the characteristic Buller effect of the shorter last line – which I remember imitating while at Cambridge. Wish I could write like that
Thom Gunn

Buller’s work can be as stimulating as a well-iced gin and tonic
Glen Cavaliero

Fastidious, gentle, lyrical, and exceptionally prosodic, Buller is an accomplished exponent of poetic form, while also being freely confident in occasionally doing without it. And this all depends on the tone and subject of what he is writing about. Buller is a consummate craftsman, whose meticulous skill is balanced with an ease of expression and a musicality of language. His elegies and tributes to various artistic influences – D.H. Lawrence, Thomas Hardy, Strindberg, Picasso et al – are admirably devoid of callow self-comparison. Buller’s poetry only lacks self-preoccupation: he keeps himself to one side and pays tribute to all those things in life, both tangible and abstract, that have inspired him
Alan Morrison

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ISBN 1-902731-28-X
£3.00

Norman Buller's distinctive, structured verse comes as a fresh and reassuring breeze of unpretentious relief in the post-modern, post-lyrical free-form powerplay of today's poetry scene - one which often misdiagnoses a timeless attention to rhytm and form as symptomatic of retrogressive conventionality, whilst skirting over the importance of 'the subject'.

Buller is one poet who marries weighty relevance of subject with the occasionally traditional carriage of form to as strong an effect as the more fashionable experimentalists. An accessible erudition pervades this dexterity of form and rhytm, with an occasional nostalgic echo among perennial themes ('The Mendips and Mrs. Cox') and sporadic polemical surprises as in the wittily sardonic 'Millenium Gig' -
Alan Morrison

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