– Read, Herbert Edward, Songs of Chaos. London: Elkin Mathews, 1915.
– "The World and the Guild Idea". The Guildsman No. 5, April 1917, and No. 6, May 1917.
– "Definitions Towards a Modern Theory of Poetry." Art and Letters. vol.1, no. 3, pp. 73-8. January 1918.
– Naked Warriors. London: Art & Letters, 1919.
– Auguries of Life and Death. privately published, 1919.
– Eclogues: A Book of Poems. London: C.W. Beaumont, 1919.
– "Review of Russell’s ’Analysis of Mind’. The New Age, vol. 24, no. 18, September 1, 1921, pp. 211-12.
– Mutations of the Phoenix. London: The Hogarth Press, 1923.
– "Psychoanalysis and the Critic". The Criterion. vol. III, pp. 214-30. 1924-5.
– "Review of Fry, ’The Artist and Psychoanalysis’". The Criterion vol. III, pp. 471-2. 1924-5.
– English Pottery: its Development from Early Times to the End of the Eighteenth Century. with Bernard Rackham, London: Ernest Benn, 1924.
– In Retreat. London: The Hogarth Press, 1925.
– English Stained Glass. London: and New York: G.P. Putnam, 1926.
– Reason and Romanticism. London: Faber & Gwyer, 1926.
– Collected Poems, 1913-25. London: Faber & Gwyer, 1926.
– "Notes on the Originality of Thought". The Criterion vol. 6, no. 4, pp. 363-9, 1927.
– English Prose Style. London: G. Bell, 1928.
– Phases of English Poetry. London: The Hogarth Press, 1928.
– The Sense of Glory: Essays in Criticism. Cambridge: University Press, 1929.
– Read ed., T. E. Hulme, Notes on Language and Style. Seattle: University of Washington, 1929.
– "The Meaning of Art." The Listener, vol. II, supplement no. 1. September 25, 1929.
– Staffordshire Pottery Figures. London: Duckworth, 1929.
– Ambush. London: Faber & Faber, 1930.
– Wordsworth. London: Jonathan Cape, 1930.
– Julian Benda and the New Humanism. Seattle: University of Washington, 1930.
– "Beyond Realism". The Listener. vol. III, p. 679, 1930.
–  The Meaning of Art. London: Faber & Faber, 1931.
– The London Book of English Prose. Selected and ordered by Read and Bonamy Dobrée. London: Eyre & Spottiswoode, 1931.
– The Place of Art in a University. Edinburgh: Oliver & Boyd, 1931.
– Form in Modern Poetry. London: Sheed & Ward, 1932.
– The Anatomy of Art: An Introduction to the Problems of Art and Aesthetics. New York: Dodd, Mead and Company 1932.
– Art Now: An Introduction to the Theory of Modern Painting and Sculpture. London: Faber & Faber, 1933.
– The End of a War. London: Faber & Faber, 1933.
– The English Vision: An Anthology. London: Eyre & Spottiswode, 1933.
– The Innocent Eye. London: Faber & Faber, 1933.
– Art and Industry: The Principles of Industrial Design. London: Faber & Faber, 1934.
– Henry Moore, Sculptor: An Appreciation. London: Zwemmer, 1934.
– Essential Communism. London: S. Nott, 1935.

– The Green Child: A Romance. London: William Heinemann, 1935. Repr. Eyre & Spottiswoode 1947; Penguin Books 1969; Penguin Books reprinted 1979
– The Meaning of Art. London: Faber & Faber, 1935.
– Poems, 1914-34. London: Faber & Faber, 1935.
–  Icon and Idea: The Function of Art in the Development of Human Consciousness. London: Faber & Faber, 1935.
– In Defence of Shelley and Other Essays. London: William Heinemann, 1936.
– " Introduction", in Herbert Read, ed., Surrealism. London: Faber & Faber, 1936.
– "The Necessity of Anarchism", Adelphi, September-November 1937.
–  Art and Society. London: William Heinemann Ltd., 1937.
– Paul Nash. London: Soho Gallery, 1937.
– "Why I am a Surrealist". New English Weekly. vol. 10, pp. 413-14. March 4, 1937.
– Poetry and Anarchism. London: Faber & Faber, 1938.
– "Books of the Quarter," Criterion xvii, No. 69 (July 1938)
– Collected Essays in Literary Criticism. London: Faber & Faber, 1938.
– The Knapsack: A Pocket-Book of Prose and Verse. London: G. Routledge, 1939.
– Annals of Innocence and Experience London: Faber & Faber, 1940.
– Thirty-five Poems London: Faber & Faber, 1940.
– To Hell with Culture: Democratic Values Are New Values. London: Kegan Paul, 1941.
– (ed.) Kropotkin: Selections from His Writings. London: Freedom Press, 1942.
– The Politics of the Unpolitical. London: George Routledge, 1943.
– The Education of Free Men. London: Freedom Press, 1944.
– "Education through Art " in Stefan Schimanski and Henry Treece (eds.),Transformation Two. London : Lindsay Drummond, 1944.
– Paul Nash. Harmondsworth: Penguin Books, 1944.
– A World Within a War. London: Faber & Faber, 1944.
– Anarchy and Order: Essays in Politics. London: Faber & Faber, 1945. Reed.: London: Faber & Faber, 1954 CIRA, Lausanne; Anarchy and order ; essays in politics intr. by Howard ZINN . - Boston (USA) : Beacon, 1971 . CIRA, Lausanne.
– Freedom: Is It a Crime? Two Speeches. London: Freedom Press Defense Committee, 1945. CIRA, Lausanne
– Education through Art. London: Faber & Faber, 2nd ed., 1945.
– A Coat of Many Colours: Occasional Essays. London : George Routledge, 1945
– « The Centenary of ‘The Ego and His Own’, Freedom 27 July 1946.
– Collected Poems. London: Faber & Faber, 1946. Revised edition, 1953, 1966.
– The Future of Industrial Design. London: Design & Industries Association, 1946.
– "Why I was inspired by Nietzsche." The Listener. vol. 38, February 13, 1947, pp. 295-6. London: Drummond, 1947.
– The Grass Roots of Art. London: Lindsay Drummond, 1947.
– The Innocent Eye. New York: Henry Holt and Company, 1947.
– Youth and Leisure. Peterborough: Peterborough Education Board, 1947.
– Culture and Education in World Order. New York: Museum of Modern Art, 1948.
– Klee (1879-1940). London: Faber & Faber, 1948.
– Ben Nicholson: Paintings, Reliefs, Drawings. introduction by Read, London: Lund, Humphries, 1948.
– Coleridge as Critic. London: Faber & Faber, 1949.
– Education for Peace. New York: Scribner, 1949. CIRA, Lausanne.
– Gauguin (1848-1903). London: Faber & Faber, 1949.
– The London Book of English Verse. Selected and ordered by Read and Bonamy Dobrée. London: Eyre & Spottiswoode, 1949.
– Existentialism, Marxism and Anarchism; Chains of Freedom. London: Freedom Press, 1949.
– "The Critic as a Man of Feeling," The Kenyon Review, Autumn 1950, Vol. XII, No. 4
– Art and the Evolution of Man: Lecture delivered at Conway Hall, London, on April 10, 1951. London: Freedom Press, 1951.
– Byron. London and New York: Published for the British Council by Longmans, Green, 1951.
– Contemporary British Art. Harmondsworth: Penguin Books, 1951.
– Form in Modern Poetry. London: Sheed & Ward, 1952.
– The Philosophy of Modern Art: Collected Essays. London: Faber & Faber, 1952.
– The True Voice of Feeling: Studies in English Romantic Poetry. London: Faber & Faber, 1953.
– The Politics of the Unpolitical. London: Routledge, 1953.
– The Grass Roots of Art: Lectures on the Social Aspects of Art in an Industrial Age. London: Faber & Faber, new ed., 1955.
– Education through Art. A Révolutionary Policy. London : Society for Education through Art, 1955.
– Moon’s Farm and Poems Mainly Elegiac. London: Faber & Faber, 1955.
– Icon and Idea: The Function of Art in the Developmenht of Human Consciousness. London: Faber & Faber, 1955.
–  Art and Sculpture. London: Faber & Faber, 1956.
– The Nature of Literature. New York: Horizon Press, 1956.
– This Way Delight: A Book of Poetry for the Young. (Selected and introduced by Read.) New York: Pantheon, 1956.
– The Psychopathology of Reaction in the Arts. London: Institute of Contemporary Arts, 1956.
– The Significance of Children’s Art. Vancouver: University of British Columbia, 1957.
– The Tenth Muse: Essays in Criticism. London: Routledge & Kegan Paul, 1957.
– The Contrary Experience: Autobiographies. London : Faber & Faber, 1958.
–  Lynn Chadwick. Amriswill: Bodensee-Verlag, 1958.
– "Aspirations in Perspective," Listener 7 May 1959
– A Concise History of Modern Painting. London : Thames & Hudson, 1959.
–  Kandinsky (1866-1944). London: Faber & Faber, 1959.
– The Forms of Things Unknown: Essays Towards an Aesthetic Philosophy. London: Faber & Faber, 1960.
– The Parliament of Women: A Drama in Three Acts. Huntingdon: Vine Press, 1960.
– Truth Is More Sacred. With Edward Dahlberg. London: Routledge & Kegan Paul, 1961.
– Aristotle’s Mother: An Imaginary Conversation. North Harrow: Philip Ward, 1961.
– "A Nest of Gentle Artists," Apollo. vol. 67, no. 7, September 1962, pp/ 536-8.
– Vocal Avowals. St. Gallen: Tschudy-Verlag, 1962.
– A Letter to a Young Painter. London: Thames & Hudson, 1962.
– Design and Tradition. Hemingford Grey: Vine Press, 1962.
– « What Is There Left to Say? », Encounter, no. 109 (October 1962). Repr. in Read, Cult of Sincerity.)
–  Design and Tradition : The Design Oration (1961) of the Society of Industrial Artists. Hemingford Grey, Huntingdon: one Press, 1962.
The Contrary Experience: Autobiographies. London: Faber & Faber, 1963.
– Selected Writings: Poetry and Criticism. London: Faber & Faber, 1963.
– Lord Byron at the Opera: A Play for Broadcasting. North Harrow: Philip Ward, 1963.
– A Concise History of Modern Sculpture. London: Thames & Hudson, 1964.
– The Origins of Form in Art. London: Thames & Hudson, 1965.
– The Styles of European Art. London: Thames & Hudson, 1965.
– Henry Moore, A Study of His Life and Work. London: Thames & Hudson, 1965.
– High Noon and Darkest Night. Middletown, CT: Center for Advanced Studies, Wesleyan University, 1965.
– The Redemption of the Robot: My Encounter with Education Through Art. New York: Trident Press, 1966.
– T.S.E.: A Memoir. Middleton: Center for Advanced Studies, Wesleyan University, 1967.
– Art and Alienation: The Role of the Artist in Society. London: Thames & Hudson, 1967.
– Poetry and Experience. London: Vision, 1967.
– Arp. London: Thames & Hudson, 1968.
– "Kropotkin: the Master." Meet Kropotkin. The Salvation Series No. 1. Bombay: The Libertarian Book House, n.d.
– The Cult of Sincerity. London: Faber & Faber, 1968.
– « Pragmatic Anarchism », Encounter, XXX, no. 1 (January 1968). [Reprinted in Read, Cult of Sincerity].
– Essays in Literary Criticism: Particular Studies. London: Faber & Faber, 1969. CIRA, Lausanne
– A One-Man Manifesto and Other Writings for Freedom Press, ed. David Goodway, London: Freedom Press, 1994. CIRA, Lausanne
Contribution to periodicals
Art & Letters
Burlington Magazine
Criterion
New Age
Poetry London
The Listener