• 1994 Eric Gregory Award
• 1996 Forward Poetry Prize (Best First Collection) for Slattern
• 1996 London Arts Board New Writer Award
• 1996 Saltire Society Scottish First Book of the Year Award for Slattern
• 1996 Scottish Arts Council Book Award for Slattern
• 1997 Mail on Sunday/John Llewellyn Rhys Prize (shortlist) for Slattern
• 1997 Somerset Maugham Award for Slattern
• 1999 Forward Poetry Prize (Best Poetry Collection of the Year) (shortlist) for Samarkand
• 1999 Scottish Arts Council Book Award for Samarkand
• 2004 Forward Poetry Prize (Best Poetry Collection of the Year) (shortlist) for Newborn
• 2009 Scottish Arts Council Book Award for What Is She Doing Here?: A Refugee's Story

• 2009 BBC National Short Story Prize for The Not-Dead and The Saved

• 1st edition Chatto & Windus, 1995
• (editor)
• 1st edition Picador, 2004

Anthologies

Kate Clanchy's new book, What Is She Doing Here?, can be described as a memoir of her relationship with a Kosovan refugee, Antigona, but it is much more than that. Antigona escapes from her devastated village by way of Italy to London, where she meets, befriends and is employed by Clanchy. The bond between the two women is fraught but strong, caught in the contradiction of their roles as employer, employee and friend. But, as Clanchy finds the words to write Antigona's story, we begin to hear Antigona's own voice, one that both educates and angers the narrator, and, above all, makes her question many things about her life.

Clanchy has done a marvellous thing. By giving voice to a refugee and telling a story that would otherwise have gone unheard, she reminds us both of the solidarity that exists between women, and of how far feminism - not just as an ideology, but as a system governing economic transaction - has yet to go.

Kate Clanchy is notable for her tightly-written lyrics that explore thirtysomething life in the post-feminist era. Newborn, her third collection of poems, depends largely on a sense of recognition. It attempts to draw on common experiences of women, and the unfamiliar world they enter once they have boarded the pregnancy train and realise, to use Sylvia Plath's metaphor, that "there's no getting off".