Professor Alice EntwistleIn Her Own Words: Women Talking Poetry and Wales, ed., Alice Entwistle
In Her Own Words is a collection of interviews with fourteen women poets from Wales. They range in age, in location, and in themes and subject matter but are linked by their connections to Wales and Welsh culture in both languages. The poets who talk poetry and Wales to Alice Entwistle include Tiffany Atkinson, Ruth Bidgood, Menna Elfyn, former National Poet of Wales Gwyneth Lewis, Sheenagh Pugh, Anne Stevenson, and Zoe Skoulding.Poetry, Geography, Gender: Contemporary Women Rewriting Wales, by Alice Entwistle
(University of Wales Press, November 2013) Poetry, Geography, Gender explores literary and geographical analysis, cultural criticism and gender politics in the work of such well-known literary figures as Gwyneth Lewis, Menna Elfyn, Christine Evans and Gillian Clarke, alongside newer names like Zoe Skoulding and Samantha Wynne-Rhydderch. Drawing on her unpublished interviews with many of the featured poets, Alice Entwistle examines how and why their various senses of affiliation with a shared cultural hinterland should encourage us to rethink the relationship between nation, identity and literary aesthetics in post-devolution Wales.A History of Twentieth-Century British Women’s Poetry by Alice Entwistle and Jane Dowson
(Cambridge University Press, Oct 2009)
A History of Twentieth-Century British Women’s Poetry offers a detailed evaluative documentary record of the publications, activities and achievements of a lively but undervalued literary community. Part literary history, part critical analysis, this comprehensive survey is organised into three historical periods (1900–1945, 1945–1980 and 1980–2000), each part introduced by a comprehensive overview in which the emerging names are mapped against cultural, literary and poetic events and trends.
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Professor Philip GrossA Bright Acoustic, a collection of poetry by Philip Gross
(Bloodaxe, 2017) Philip Gross's most recent collection contemplates space and sound. ‘Philip Gross's A Bright Acoustic is a homage to the act of listening. These poems not only chart the varied noises that surround us, drawing attention to both urban and natural soundscapes, but they also resonate with their own sound-effects. Gross' form is similarly striking, and his use of indented lines and white space fits well with his exploration of noise and silence, the empty spaces on the page echoing the 'hundred shades of silence' that Gross paints with his words. Susannah Evans, New Welsh ReaderLove Songs of Carbon, a collection of poetry by Philip Gross
(Bloodaxe, 2015) Winner of the Roland Mathias Poetry Award (Wales Book of the Year 2016) and a Poetry Book Society Recommendation, Love Songs of Carbon is the eighteenth book of poetry published by Philip Gross. These are love poems, both to the person and to the body itself. ‘Love Songs of Carbon is remarkable for many reasons, but perhaps most of all for its simplicity. The poems are written as if something has shaken loose, come clear at last to the narrator, and this clarity lends a sharp insightfulness to poems that span the distance between the very personal and the quite literally universal.’ – Ashley Owen, New Welsh ReviewA Fold in the River, poetry by Philip Gross with artwork by Valerie Coffin Price
(Seren, 2015) A Fold in the River is a stunning collaboration between poet Philip Gross and the visual artist Valerie Coffin Price. Philip Gross once lived on the banks of the River Taff in Wales and his journals are the source for the powerful poems. Valerie Coffin Price revisited the walking route along the river and evolved the beautiful prints and drawings that accompany the poems. ‘Unsurprisingly, the book, is, in itself, a compelling aesthetic object, both in feel and presentation. Price's art work and Gross's poems are combined in riverine and arresting ways that immediately hook the reader.’ – Wales Arts Review
Gather Gold and Other Stories by Barrie Llewelyn (Opening Chapter, 2015) A collection of subtle and tightly-crafted stories about mothers and daughters, husbands and lovers, Gather Gold explores tensions and fusions between characters in rural Wales and urban America. These stories move fluidly between viewpoints and location, offering a range of startling and sometimes disturbing voices. ‘The stories are beautifully observed; they stay with the reader for a long time afterwards.’ - Emma Darwin
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Professor Kevin Mills
Stations of the Boar, a collection of poetry by Kevin Mills (Cinnamon Press, 2016) Winner of the Cinnamon Pamphlet Prize, 2016, Stations of the Boar is a collection of poems about St Cadoc/Catwg, the founder of Christianity in Wales and an early contender for patron saint. ‘A sequence that contributes eloquently to the ongoing poetic debate about national identity in Wales by invoking the life of Saint Cadoc. Drawing upon the 11th century hagiography, The Life of Saint Cadoc these poems insinuate the saint's presence into modern Welsh landscapes and so interrogates how the presence of the past constructs a nearly hallucinatory sense of what it might mean to be Welsh’ - Ian Gregson
Libra – per libris ad astra, a collection of poetry by Kevin Mills (Cinnamon Press, 2012) ‘The extraordinary verbal richness and ambition of this book should not be mistaken for obscurity. Kevin Mills deals unapologetically in deep veins of learning, whether early astronomy or Mesopotamian myth, but his knowledge is always leavened with a curiosity and, frequently, a kind of impish delight …any reader who is willing to play the game will come out feeling themselves acquainted not just with new knowledge but with a new attitude to knowledge; it will leave them wanting more. These poems reach out…. They are serious in the wish to communicate. The writing is witty and tender, delicate and tough. It consistently charms us out of the every-day’ – Philip Gross
The Prodigal Sign: A Parable of Criticism (Critical Inventions) by Kevin Mills (Sussex Academic Press, 2009) The Prodigal Sign characterises criticism as a set of prodigal practices that exceed the constraints of primary texts, history, and theory. Critics are habitual runaways: forever seeking to escape the jurisdiction of their forebears and of the academy. Always on the lookout for something new and distinctive to say about the same old texts or for texts that have escaped the professional attention of their peers, like the prodigal son, they live on their inheritance while trying to escape from their own disciplinary history. This work makes a case for celebrating the prodigal condition and for another escape: breaking out of traditional constraints towards a hybrid form that combines the critical with the creative.
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David Towsey The Walkin’ Trilogy by David Towsey (Jo Fletcher Books, 2013, 2014, 2015) The Walkin’ Trilogy (Jo Fletcher Books)
blends the western and horror genres to create a new take on the classic tropes of both the cowboy and the zombie. The novels follow the McDermott family through three generations as they struggle to survive in a post-apocalyptic landscape of rolling plains, harsh deserts, and forbidding mountains. Your Brother’s Blood introduces the family at a point of crisis: Thomas McDermott has died on a battlefield only to return as a Walkin’ – a state of undeath, but one that retains intellect, memory, and emotions. His wife, Sarah, and daughter, Mary, await his return, but that will only put them all in grave danger. In Your Servants and Your People, the McDermotts try to find a new life for their unusual family; Thomas hasn’t aged a day since his death, but Mary is now a young woman searching for her own sense of independence. And Sarah is doing her best to keep them all together. The trilogy concludes in Your Resting Place with Mary and her son, Ryan, living in the shadow of the family’s history. Ryan’s steps are haunted by a father he barely met, and the infamous Drowned Woman who wants them both dead.
Widow’s Welcome by D.K. Fields (Head of Zeus, 2019) Widow’s Welcome is the first book in the Tales of Fenest trilogy, written by DK Fields – the pseudonym for the writing partnership of David Towsey and Katherine Stansfield. This gaslamp fantasy novel follows Detective Cora Gorderheim as she tries to solve the murder of a storyteller, in a world where storytellers make or break political powers. Cora fears this is not only a murder, but a message. As she digs into the dead man's past, she finds herself drawn into the most dangerous of events: the election. In a world where stories win votes, someone has gone to a lot of trouble to silence this man.
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Professor Diana WallaceHarvest Home by Hilda Vaughan
, edited by Diana Wallace (Honno, 2019) A gripping Gothic tale of possession, madness and murder, Hilda Vaughan’s Harvest Home (1936), is a historical novel set in Abercoran on the south-west coast of Wales during the reign of George III. Daniel Hafod arrives home from England to become Master of Great House after the death of his uncle. But his obsessive pride and his dark desire for the pretty dairy-maid Eiluned lead to his downfall, as he and his sailor cousin, Dan, compete for her love. Outstanding in its lyrical evocation of a bygone Welsh rural life, Harvest Home is also a tautly-written psychological study of a man driven mad by desire.Christopher Meredith by Diana Wallace
(University of Wales Press, 2018) The first full-length study of the poet, novelist and translator Christopher Meredith, this book argues for his international significance as a writer concerned with place and national identity. Drawing on new material from interviews with Meredith, it locates his writing in his native south-east Wales with its distinctive combination of rural and industrial and its fractured history. Each chapter pairs poetry and fiction in order to listen to the echoes between them and illuminate the shared themes – language and translation, history and time, work and gender, place and identity - that connect Meredith’s multi-various texts. Female Gothic Histories: Gender, History and the Gothic by Diana Wallace
(University of Wales Press, 2013) This volume traces the development of women’s Gothic historical fiction from Sophia Lee’s The Recess in the late eighteenth century through the work of Elizabeth Gaskell, Vernon Lee, Daphne du Maurier and Victoria Holt to the best-selling novels of Sarah Waters in the twenty-first century. It explores the ways in which women writers have turned to the Gothic as a mode of writing that can both reinsert them into history and symbolise their exclusion. View Diana Wallace's output in our research repository