Frank explores poems stowed away in prose, as revealed by Nicole Sealey and Emma Filtness. The collections referenced are “The Ferguson Report: An Erasure” by Nicole Sealey and “This Savage Language” by Emma Filtness. The poems referenced are “Page 260” and “Page 5”.

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Frank celebrates the joys of wallowing in a big fat poetry anthology, in this case "A Century of Poetry in the New Yorker: 1925-2025". The poems referenced are “My Great-Grandmother’s Bible” by Spencer Reece and “How to Listen” by Major Jackson.

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Frank loves the clay, machinery and scary religion in the poetry of Jack Clemo. The poems reference are ‘A Calvinist in Love’, ‘Christ in the Clay-Pit’, ‘The Excavator’ and ‘Sufficiency’.

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The poet, Greta Stoddart, instructs Frank on the deeper meanings of three tulips in a milk bottle. The poems referenced are ‘Fool’ and ‘Three Tulips in a Milk Bottle’.

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Frank joins a secret society with Pebbles Flintstone and the poet, Scott McKendry. The poems referenced are ‘Keepers of the Pedigree’ and ‘Hi-Vis’.

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Frank finds the beauty in Amy Clampitt's poetry and written-off cars. The poem referenced is ‘Salvage’ from ‘The Kingfisher’.

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The poet, Rebecca Goss, shows Frank life in a rearview mirror. The poems referenced are ‘Pheasant in Rear-View Mirror’ and ‘Sylvia’

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Frank shares a pulpit with RS Thomas. The poems referenced are ‘Border Blues’, ‘Service’ and ‘Poetry For Supper’.

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Frank is very moved by what the poet, Mona Van Duyn, can do with an eraser. The poem referenced is ‘The Creation’ by Mona Van Duyn.

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Frank and the poet, Craig Raine, explore a disused botanical garden. The poems referenced are ‘A Martian Sends a Postcard Home’, ‘Listen With Mother’ and ‘The Old Botanical Gardens’ by Craig Raine.

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Frank and the poet, Wislawa Szymborska, discover how many people actually like poetry. The poems referenced are ‘Plato, or Why’ and ‘Some Like Poetry’ by Wislawa Szymborska.

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