Steve McQueen’s Bounty began with a trip to Grenada in the summer of 2024, and it stays close to what he found there: the island’s plant life, photographed in vivid colour. Published by MACK in March 2026, the book runs to 132 pages and appears in hardcover. It is not a travelogue. The flora are treated as permanent markers of beauty in a land shaped by exploitation, and the photographs ask what a landscape can hold of historical trauma.

The title points two ways, and McQueen lets both readings stand. Bounty is the generosity of nature; it is also the sum paid to slave catchers. That doubleness runs through the sequence, which is attuned to resilience and to the interlocking of history, heritage and survival inside apparently simple forms — a leaf, a bloom, a stem.

The project takes its cue from Derek Walcott’s elegy to his mother, ‘The Bounty’. Walcott’s poem is included, alongside a new text by the writer and poet Dionne Brand; the design is by Irma Boom. These elements place the photographs within a conversation among poetry, writing and the book as an object, rather than leaving them to stand alone on the page.

For collectors, the interest lies in continuity. This is McQueen extending a sustained enquiry into colonial history and its legacies, and doing so in a form where the calm of the image is inseparable from the argument. The pairing of a poet’s elegy, a contemporary writer’s response and Boom’s design gives the volume a coherence worth noting — a book that has been composed, not merely assembled.