Jane Commane was born in Coventry and lives and works in Warwickshire. Her first full-length collection, Assembly Lines, was published by Bloodaxe in 2018. Her poetry has featured in anthologies including The Best British Poetry 2011 (Salt Publishing) and Lung Jazz: Young British Poets for Oxfam (Cinnamon) and in magazines including Anon, And Other Poems, Bare Fiction, Iota, Tears in the Fence and The Morning Star. She has been a poet in residence at the Brontë Parsonage in Haworth, and has led many writing workshops in a variety of locations, including in museums, castles, city centres, orchards and along riverbanks. In 2016, she was chosen to join Writing West Midlands' Room 204 writer development programme. A graduate of the Warwick Writing Programme, for a decade she also worked in museums and archives. Jane is editor at Nine Arches Press, co-editor of Under the Radar magazine, co-organiser of the Leicester Shindig poetry series, and is co-author (with Jo Bell) of How to Be a Poet, a creative writing handbook and blog series. In 2017 she was awarded a Jerwood Compton Poetry Fellowship.

Books by Jane Commane:

Other poems on the web by Jane Commane:
Two poems
"Sand"
"The Shop-floor Gospel"
"Midlands Kids"
Two poems

Jane Commane's Website.

About Assembly Lines:

"What a joy to read these poems and be led by Jane Commane through Edgelands Midlands — its secret geologies and ghostly factories, 'dog eared estate-avenues' and restless classrooms. In these vivid, fierce poems melancholy and unease spangle the Midlands air like dust and 'heartsick towns' search for new ways to be and begin again. The poems in Assembly Lines work with magic and tough tenderness and linger in the mind long after their shift is done. A shining debut from one of poetry's brightest guiding lights."
— Liz Berry

"Assembly Lines is a marvellous collection: mature, clear, brilliantly visioned in lost worlds of cities, lives and livelihoods. It speaks, almost telepathically, to the nation as it is and as it was: broken, divided, where the hope lies thinly and can be caught only in perception. This is writing as an act of community, even when the community may never listen or has never cared. Yet by default of these poems, where writing is also an act of attention, and attention an act of love, every poem here is a kind of love poem. It is like listening to a long solo in the dark. A song to the Midlands."
— David Morley