• Moon for Sale (poems, Carcanet, 2017)
• Sedna and the Fulmar (with book artist Ronald King, Circle Press, 2017)
• Is This A Poem? (essays on poetry, small presses, and artist’s books, Molecular Press, 2016)
• Going, going, gone (with book artist Ronald King, Circle Press, 2013)
• Small World (poems, Carcanet, 2012)
• Rays (poems, Carcanet, 2009)
• The Island (fiction, as 'R. J. Price', Two Ravens, 2009)
• Wake Up and Sleep (with artist Caroline Isgar, 2009)
• folded (with book artist Julie Johnstone, essence press, 2008)
• little but often (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 (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 (short stories, 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) 

Medicate to lessen

 

Medicate to lessen what’s intimate in sorrow,
or talk, talk it over –
 
                all this choice in reasons, in the render,
                and it’s just between you and no-one in particular, a value one-to-one.
 
                Faith in a reflecting surface – I confess, no inner life to speak of
and a thirst for outerness. From sip to gulp a zepto sec,
so multiply. Still no quench.
Sensation consumption, max and no check:  where’s that exteriority heading?
 
Para-diagnose and park it, self-drug.
In any case, less self, thanks, and a quest for structures of the collective.
I know, the good future’s old-fashioned.
Belonging to sharing needs activation. It doesn’t scratch a plan for let’s get off this planet.
There’s so much space, together.
 
A fine car pursuit, screech of post-production. Keep going. They’re close, gaining.
They’re close, shape-shifting,
like like to the function of like. They’re
 
a liquid air acceptance, that kind of government.
The mobilised layers stuff mouths with all a bit harmless,
so much dust you don’t see the pyroclastic flow –
viscose tides of it in the menace,
viscose tides of it in the confidence,
viscose, but they’re saying just breathe this clothy slick in, it’s
natural,
 
grab yourself a leg-up, grip justifies grasp, use your stealth, hot royalize.
 
Can this weight, this velocity be used?
It doesn’t start with choice, with unit of “you”, how any one might feel.
Privilege polices the pre-sets , trumpets its come-the-innocent  equal opportunity / “just join-in” .
 
It’s a way of lifestyle, a shield formation, the self-special,
aggrandised gangs hoarding elegance and “give the hordes a kicking, example serves”.
 
Etch a plan for let’s get off this planet. There’s so much inner space, out there, together.

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

"Poets have to be linguistic virtuosi, but I prefer them to be brilliant quietly. Richard Price’s poetry is inventive, sometimes dazzling, but never merely showy. I first came to Price’s poetry with the publication of Lucky Day (2005) and every subsequent book has delivered fresh weather. Moon for Sale appeared in January 2017, and I’m still rereading it and finding new pleasures. Price threads the political into the personal when he writes love poetry, and his intensely felt lyricism is sinewy with warning." -- Carol Rumens, The Guardian

"Many of the poems in Moon for Sale, especially the longer poems, may look like free verse; in fact, their precise structures, their subtle use of rhyme and ingenious rhythms reflect the speed and depth of thought. The ordering of the poems in the collection is deeply satisfying; Price leads the reader on a mazy sometimes astonishing pilgrimage to a safe arrival." -- James Aitchison, Acumen

"...moments of sudden natural beauty are unexpected and lovely accompaniments to the jaunty and memorable style of Moon for Sale." -- Suzannah V. Evans, Tears in the Fence