This thesis investigates the relationship between queer domestic space and poetic form through both a critical and a creative component. It aims to bring a new scrutiny to historic and contemporary queer home-making, expanding the ways it can be responded to in lyric poetry. The creative component comprises a collection of poems that explore queer production of selfhood and how it relates to bodily dwelling. The collection employs aspects of concrete poetry as well as a range of poetic forms that reflect the rigidity of heteronormative hegemony and the reassuring structure of the closeted space. In the critical component, I draw on thinkers including Gaston Bachelard and Diane Fuss to suggest that poetry and domestic space exert a mutual influence over one another. Furthermore, this influence is a distinct one within queer homes, leading to a distinctly queer poetics. It draws on spatial theory, queer theory, cultural and political history, and phenomenology to investigate the relationship between the poetry of Elizabeth Bishop, Thom Gunn, and Adrienne Rich, and the domestic spaces they inhabited. Chapter 1 traces Gunn’s shift from closeted poet to his inhabitation of a queer commune, drawing on Stephen Vider’s historical accounts of queer domesticity at the time, to show how these developments map onto his poetic practice. Chapter 2 argues that Rich’s repurposing of heteronormative domestic structures maps onto her development towards the more expansive structures that shape her later work. Chapter 3 draws on Eve Kosofky Sedgewick’s thinking in order to argue that the closeted households Bishop inhabits enable and shape the forms of her poetry. Chapter 4 situates my own poetry collection alongside these three poets, showing how my writing builds on their foundations in order to consider what queer domesticity makes possible in poetry.