Search results for ""UEA Publishing Project""

The Bitter Roots is a novel full of evocative details of a time and place, a frank, unvarnished portrait of an America struggling with racism, class prejudice, conflicts between labor and capital, and sexual stereotypes. The Bitter Roots will appeal to fans of Norman Maclean's A River Runs Through It.

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A masterpiece of humanism, Time Stood Still recounts Paul Cohen-Portheim's years of internment in England as an enemy alien during World War One. A passionate but balanced argument against internment and its inherently dehumanizing effects.

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Hinterland is a quarterly magazine showcasing the best in creative non-fiction writing. Each issue features a stellar line-up of writing talent from around the globe: stories by established, best-selling authors as well as a host of exciting new writers making their publishing debut. Much of the writing in our latest issue relates to the body. Whether it’s addiction, illness or a coming-of-age awareness of desire, the authors featured explore how bodies can be afflicted and affected in many different ways. And in light of the recent Covid pandemic, reflections around life and mortality are inevitable, from parental time-travel through a child’s life by Jarred McGinnis (The Coward), to grief as experienced via our online lives by Joe Moran (If You Should Fail, First You Write a Sentence).Also featuring writing by Munizha Ahmad-Cooke, Laura Dobson, Edvige Giunta, Candice Kelsey, Elizabeth Norton, Ali Seegar, Richard Skelton, Michelle Spinei, Adrian Tissier, Dave Wakely and Sam Gordon Webb.

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A digital invasion, and loving a child. Life and death in the garden. Encountering another's spirit. A unique collaboration between Creative Writing students at UEA and students of Translation Studies at the University de Alcalá, Unmasked Writings/Historias desconfinadas is a series of five chapbooks mapping the emotional angles of the pandemic and giving voice to the long moments of introspection we all cultivated during the hardest months of this crisis. Each text is presented both in the original English and the translated Spanish.This is volume four, Isolated Intimacies / En la intimidad de las historias.An Evening Discourse by Soe Thet San, translated by Candelas Bayón CentiagoyaBuffet of Death by Henry Johns. translated by Julia Martínez YolbaNightwalks by Denise Kuehl, translated by Rebeca Busto Acedo and Marta Rodrigo Rodríguez

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"My name is きょうこ, Kyoko, I am Korean ... I have something important to tell you."A subtly disorienting story of reminiscences between a mother and daughter as they each in their own way struggle with the effects of the mother's encroaching dementia. As they each try to piece together the fragments of a traumatic history, through doing so they tell a wider story of Korea itself.

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"Despite the hordes of people packing the theatre that day, I can't remember a single face."An extended meditation on the world of Korean cinema, the blockbuster versus the independent artist, its trends and its characters and role in society, as seen through the eyes of a film enthusiast narrator and their interactions with those around them, each on their own journey.

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Breach by Lisa Samuels performs a vital palilalia of lockdown. Starting with the dead, with Li Wenliang, who was the first to raise the Covid alarm, the book pitches and surges in deflections, hungers, and political feeling through pandemic-as-ordinary-life. The forced changes in relations we've all suffered derange the lines, chopped likethreats ofgrocerieshands on technomaps and wild-typehost societiesthere’s a maskbetween you andevery tangi-ble growthBreach is a song of lockdown: its tragedies, absurdities, non sequitur linguistic hilarities, and nightmarish lexical distortions, presented at a perfect moment for reflection, as we each continue adjust our bodies, lives and breaths...'The first work of poetry I have read that has helped me think-feel COVID; the way it is changing the relationship between inside and out, and the personal-political metaphysics of materialism, as body, as power, and as language. A vaccine against the solitude of screen heritage, confinement, and fear, Lisa Samuels’s Breach is also a meditation on the material of contagion. In terrifyingly precise helicoid strands of words hinging and unhinging from the order of grammar, Samuels unravels in poetic nucleotides the warp and weft of our different transnational pathogens knotting into monuments at the breach of biopolitcal capitalism, from the everyday of breath as windows, to the felt rend(er)ing of our data flows, our “crypt toes”.'– Lily Robert-Foley'Written in the middle of the pandemic that broke so many of us open, Lisa Samuels’s Breach pieces together the body that the Spinoza epigraph suggests “constitutes the formal being of the human mind.” Lines and words cohabit, fragment, and trail down the page, making new meanings and associations as this book considers relations among mind, body, and human, terms whose foundations have been unsettled by the pandemic, authoritarian brutality, and intense isolation of 2020-2021. In this polymorphous text pleasure and pain coexist, “ear to ear / composite / lustening,” and each touch is haunted by the breach it must cross to meet another. If we listen with more than our ears perhaps we can peer “underneath / your skein face / doctor, nurse” and develop “ideas of what’s / sheer.” Sheered open, we might make ourselves a little more transparent, a little less masked.'– Amaranth Borsuk--Lisa Samuels works with experimental writing, sound and visual art, and relational theory in transnational life. Her many books include Tomorrowland (2009), Anti M (2013), Symphony for Human Transport (2017), and The Long White Cloud of Unknowing (2019), and her theories of deformance, autography, and distributed centrality have wide circulation. In 2021, her novel Tender Girl (2015) will appear in Serbian translation with Partizanska Press. Breach is her first poetry book with Boiler House Press.

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Family tension. Poetry, and the trauma of casual racism. An archivist of the distant future. A unique collaboration between Creative Writing students at UEA and students of Translation Studies at the University de Alcalá, Unmasked Writings/Historias desconfinadas is a series of five chapbooks mapping the emotional angles of the pandemic and giving voice to the long moments of introspection we all cultivated during the hardest months of this crisis. Each text is presented both in the original English and the translated Spanish.This is volume one, Muted Voices/voces acalladas.Lady Time by Molly-Rose Medhurst, translated by Ana Sánchez AsenjoSilences by Michaela Vitagliano, translated by Sonia Herranz Martínez and Salomé Torres VargasUnmask Me by Denise Monroe, translated by Paula López García and Olivia Serret Sanz

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The latest volume of creative writing from the biography and creative non-fiction strand of UEA's world-renowned Creative Writing MA, from the 2020/21 student cohort.

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The latest volume of creative writing from the scriptwriting strand of UEA's world-renowned Creative Writing MA, from the 2020/21 student cohort.

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Rather a lot of things have felt On the Line this year, don’t you think? The title comes from a joke that we all fell in love with, and that we felt fit this collection fantastically. This is a celebration of all the fantastic work that our members at UEA's Creative Writing Society have done in spite of - and because of - everything. We hope you enjoy reading it as much as we did creating it.

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The UEA MA 2020 Scriptwriting Anthology presents an exciting look at the next generation of stage and screenwriters from around the globe. These writers have creaed a varied array of truly original work, tackling innovative story structures and dramatic techniques, pertinent and timely issues and a whole world of themes. Graduates of the MA in Scriptwriting include Bruntwood and BAFTA winners now blazing their own trails in TV, film, radio and theatre. This anthology features a foreword by recent graduate Tilly Lunken, as well as an introduction by course convenor and renowned playwright, Steve Waters.

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Segments is the first official publication of writing by the members of UEA’s Creative Writing Society.One of the university’s most active and popular societies, CWS strives to unite students from across the university over a love for excellent writing. With the support of Egg-Box Publishing, CWS presents the very best of members’ work: an eclectic mix of prose, poetry and a little bit in-between

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In Hinterland Issue 3 we publish, with huge pleasure, the pieces that won the Hinterland Prize 2019: Anna Lachkaya’s beautifully evoked account of immigrant girlhood, Megan Holland’s story of grief and becoming, and Dani Redd’s other-worldly roam across a remote Scandinavian island. Inside a stunning cover, created exclusively for Hinterland by artist Rebecca Pymar, is an outstanding line-up of new creative non-fiction plus all our great regular features, including the award-winning poet George Szirtes in conversation with his daughter Helen Szirtes.

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'Absolutely the most important book of our era.' Virginia Woolf Textual Non Sense is mischievous, minimalist, and revolutionary: a short fuse intended to spark a fundamental re-thinking of how we engage with notions of canon. Classic texts are mangled, quotes are mis-attributed, and great authors are misidentified as Robert Crawford brings literature and chaos theory together in a romance made on Tinder. William Shakespeare of the School of Literature and Bookmaking introduces a survey of writers' struggles. John Buchan provides his guide to writing a best-seller (blotting paper plays a key role). Professor Mike Foucault employs Big Data to investigate the new discipline, ‘Creaticism', or 'Critive Writing.'Humour and literary criticism tend to go together like apples and arsenic. Textual Non Sense argues that humour is an essential corrective--a missing ingredient to a cure for the arthritis and calcification of academic literary criticism. ‘I just can’t wait for the American edition!’ Emily Dickinson

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Archive Fevers offers a new generation of psychologically-engaged readers a playful queer/feminist interpretation of Jaques Derrida’s Archive Fever (1995). Through its creative critical form, the book demonstrates the unconscious life of research while interrogating the often misunderstood, overlooked or misrepresented landscape of individual gender-queer experiences of therapy. Utilising the framework of experimental narrative fiction, Blake elucidates Derrida’s concept of archive fever, Freud’s seminal concept of the death drive and Avita Ronell’s concept of haunted writing. The relationship between anthropology, psychoanalysis and surrealism during the early 20th century is examined throughout. Surrealism, though shunned by anthropology and psychotherapy, asserts an urgent contemporary usefulness. The role of technology in psychotherapy comes under necessary scrutiny, the ever-chainging backdrop of a global pandemic adding yet another layer of relevance to current phsychotherapy practice. The resulting narrative brings to the fore the bizarre, messy, disturbing, sometimes gruesome aspects of archival and ethnographic research that are usually left out of formal accounts.

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Sissy is an hilarious romp of epic proportions, encompassing in its burlesque scope our modern crisis of masculinity, the banality of City work, our retreat into virtual lives and the alienating effects of modern technology, with lots of variegatedsexing in-between. Sissy is an anti-hero and antidote to Don Juan. He is a modern masculine counterweight and sad manifestation of the internet-induced fright of the real: a thirty-something wimp by day – literally and surreally re-born ofhis long-suffering mother each morning – and a would-be-Weinstein by virtual night. The novel’s brilliant overall set piece is a virtuosic attack on the notion of the male Romantic Hero and it is written, appropriately, in a language that is rich andflamboyant; enjoyably, hilariously, baroque but also an extraordinary reclamation of the narrative epic form for ‘now’.Ben Borek is unique: no-one else writes like this, or can write like this. His vision is unflinchingly dark but also, almost inexplicably, obscurely warm and deeply humane.

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A young woman delves into the circumstances of her mother’s death ahead of her own marriage, interrogating a woman who witnessed her mother’s death and would later come to play a crucial role in her life. An exploration of the human (in)capacity for (self-)deception and knowledge, the story offers a nuanced portrait of contemporary (Korean) social mores. As with all Cheon’s work to date this beautifully crafted story places women at its core, and explores form and genre (in this case epistolatory) while subtly weaving into the text a deep interrogation of social issues.

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Throughout these stories, Maartje Wortel plays an ingenious game with her readers. Small events have major consequences, while the major events fade into the background. Her stories are alienating and completely logical at the same time, chaotic and orderly, funny and loud – all written in her characteristic idiosyncratic prose.

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Returning to her archetypally ‘fresh and clear’ (Faithful) nonfiction, Mountain is a moving and memorable autobiographical account of a young woman making a trip to the mountains she visited so often as a child. Now grown and with her partner, past and present collide to create an impressive consideration of love and childhood, nostalgia and hope. Never before published in any language, this will also be Hofstede’s English language debut.

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A schoolboy is in his senior year when he attends Comiket, a comic market in Tokyo. There, he meets a married woman ten years his senior, a cosplayer who goes by the name of Anzu. Drawn to his resemblance to a character from an anime series, he and Anzu begin an intense affair. Over time, he becomes increasingly wary of his relationship with Anzu, but, at the same time, he finds himself unable to leave her.Barton's translation masterfully captures the witty, boisterous tone in which Kubo writes, rendering for us in English the inner thoughts of a teenage boy growing up in Japan. Dealing with themes of sex, fertility and the female boy, Mikumari explores the complex relationship between private desire and popular culture in modern times.

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The latest anthology of undergraduate writing from the University of East Anglia, a university renowned the world over for its creative writing programme.

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A collection of essays and other texts by eleven internationally acclaimed writers, critics and artists.Over a decade after his death W.G. Sebald remains a major presence in world literature. He has a devoted readership in many different countries. This lively and accessible collection offers a series of different illuminations on why Sebald’s work continues to fascinate. Follow Ali Smith as she gets loosed in the translation of his work. Discover with Robert Macfarlane the arguments for and against Sebald’s reputation. Find out from Will Self why British readers might find him a "good German". Think with John Coetzee about the recurrent psychological crisis that haunts Sebald’s imagination. These are just a few of the many discoveries, insights, and imaginative responses that this collection offers its readers. This is the book that readers of Sebald, new or old, need to take with them as they journey through his work. It speaks of and to the different experiences involved in reading Sebald, whether responding to the relation between word and image, or the question of what can and cannot be remembered, or the resonant character of voice and voices, or the strange networks and connections that make up Sebald’s texts. And then there are personal memories by Tess Jaray of working with Sebald, Tacita Dean's own version of Sebaldian connectedness and an enigmatic memorial by Richard Long.The book is edited and has an introduction by Jon Cook, a Professor of Literature and Director of the Centre for Creative and Performing Arts at the University of East Anglia, who was for a number of years a friend and colleague of W.G. Sebald.

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The University of East Anglia is proud to announce its new anthologies of work from the prose (including life writing), poetry and scriptwriting strands from their world-renowned creative writing MA. UEA 17 Poets Anthology 2012 carries a foreword by Pure author Andrew Miller, and an introduction from Lavinia Greenlaw and George Szirtes.Over the decades, the course has produced many successful, well-loved and prize-winning authors, such as Ian McEwan, Tracy Chevalier, Toby Litt, Kazuo Ishiguro, John Boyne, Susan Fletcher, Joe Dunthorne, Anajali Joseph, Sam Byers – step inside for an exciting glimpse of names that might soon be among them."The interaction of such different voices has helped each to become more distinctive, more its own." Lavinia Greenlaw"No house-style, no ready-mades, simply original thinking, original writing from an exciting set of individual voices." George Szirtes

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With a foreword by Costa Prize-winner, Andrew Miller, the UEA Creative Writing Prose Anthology 2012 showcases over 30 talented new writers from the Prose and Life Writing courses. Over the decades, the UEA course has produced many successful, well-loved and prize-winning authors, such as Ian McEwan, Tracy Chevalier, Toby Litt, Kazuo Ishiguro, John Boyne, Susan Fletcher, Joe Dunthorne, Anajali Joseph and Sam Byers."In years to come, when some of these writers are household names, this book will allow you to say, with total superiority: 'I preferred their early stuff.'" Joe Dunthorne, author of Submarine"Thoughtful prose... provocative stories that stay in the mind, extracts from novels that make one long for the finished book. Read them and sample the future." John Boyne, author of The Boy in the Striped Pyjamas"The UEA is a supportive community, a creative muse and a fertile ground... to grow the best crop of new writers each year. Sample and enjoy this season's produce."Jeremy Page, author of Salt and The Wake

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The world-renowned UEA Creative Writing MA presents a selection of new poets. Founded in 1992, course tutors and students have included Owen Sheers, Kathryn Simmonds, Denise Riley, Andrew Motion, Ben Borek, Lavinia Greenlaw, George Szirtes, Matthew Hollis, Adam Foulds, Hugo Williams, Daniel Kane, and Anthony Thwaite. Buy this to glimpse the future of new poetry in Britain and further afield."No house-style, no ready-mades, simply original thinking, original writing from from an exciting set of individual voices." - George Szirtes

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Todd, Randy, and Carter are teenagers, grammar school boys who come across a younger boy while roaming the countryside around their commuter town. They decide to hold him hostage in a small cave in an abandoned quarry and then consider what to do next. In Lord of the Flies, William Golding needed a plane crash and a tropical island to bring out the capacity for violence and evil in his English schoolboys. Jane White, a mother and housewife living in Godalming when she wrote Quarry , needed only a chance encounter in fields not unlike those around her own development.Quarry is among the most unsettling novels of its time. White’s teenaged kidnappers ride bikes, worry about exams, and have to get home in time for supper. Yet they also imprison and torture another boy with the cold calculating objectivity that Hannah Arendt called “the banality of evil.” Written in cool, realistic prose, Quarry creates a situation that seems fantastic and too horrifying to be true yet sustains an atmosphere of normality that only increases its power to shock. It is both a gripping and believable account of a crime and a parable filled with complex symbolism. “Nothing since A High Wind in Jamaica probes the depths of innocence with such terror and finesse as Jane White’s novel,” declared Newsday.

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This remarkable Brazilian novel has been garlanded with multiple awards and accolades since its initial publication, as Desesterro: the prestigious Sesc Prize for Literature, the Machado de Assis award and the Jabuti award. The story follows four generations of female characters as they navigate the hardships of life in the parched landscape of the Brazilian sertao. Male figures are peripheral, but are also revealed as the origin of much of the suffering in the novel, generating for the women a kind of exile not only in relation to the land but to their sense of self. This is a ground-breaking feminist work, a bracing modernist fable, of sorts, formally reminiscent of A Girl Is a Half-formed Thing.

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An unnamed narrator visits her friend, the girl who is getting married, in her apartment on the fifth floor of an anonymous building. With each flight of steps, the narrator recalls different memories of the time they have spent together their time in high school, their first jobs, a chance encounter on the train. However, just as the building's corridor twists and turn toward the flat, we realise that the story, too, is shifting under our feet. As details go missing and memories are contradicted, we are left wondering whose eyes we re looking through.

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The Untouchable ApartmentKandagawa's relationship with Mano ended over four years ago, which is why she's surprised when he calls her, drunk, to tell her that their old apartment has been knocked down. As they walk through the city, Kandagawa relives moments of their relationship and questions their decision to be apart. Lose Your Private Life Waterumi Yano is a successful young novelist, her books winning prestigious prizes and the hearts of readers all over the world. However, Waterumi is herself a fiction, a penname for the 28 year old Terumi Yano, a woman struggling to hold on to her identity as she is increasingly recognized by her loved ones as Waterumi.A GenealogyA fable-like retelling which broadly sketches the evolution of mankind and ends with Kandagawa, sitting in a bath in her apartment, remembering how, in the past, she used to be a fish.

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Introduced by Sophie Robinson, this collection from the most recent cohort of the renowned UEA Creative Writing MA, brings together young poets from all over the world. Together their work weaves a unique and intimate portrait of modern life.

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This collection showcases the bold, heartfelt work of the 2024 graduates from both the MA in Literary Translation and MA in Poetry at UEA.

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We invite you to open your mind and engage your imagination, with twenty-two diverse and gripping tales written for the stage and screen. Set across the world, from London to Paris, the backroads of Eastern Europe to the post-apocalyptic highways of the United States, across forests and cliffsides, and even to Heaven itself, these varied pieces tackle subjects from desperate survival, to unrequited love, to exploring new identities. Hiking through Rendlesham Forest, Jay searches for aliens and confronts his childhood trauma in Pareidolia. Jerry struggles with the most important decision of his life... whether or not to shave his moustache, in MoustOUCHe. Two young brothers make the discovery of their lives in Mortars.

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Hecate-like, A True & Just Record invites us to the three-way crossroads of poetry, feminist rhetorics, and early modern studies. Kate Bolton Bonnici weaves together archival materials from the English witch trials, 20th- century poets and philosophers, and her own family. With fury and care, haunted by absences, these poems—all also forms of experimental scholarship—interrogate, disrupt, and play.Here, a multitude of stellar engagements delve spiritedly into what sonic and visual presences may be made of form, utterance, accusation, exchange, and page on the troubled edge of devilish societal inquisition ... . Bring on the prizes, this poetry is delicious! Allison Adelle Hedge Coke, author of Look at This BlueKate Bolton Bonnici’s A True & Just Record movingly demonstrates poetry’s capacity to forge critical and philosophical dialogue across time and space. ... The result is a daring and gorgeous poetic conversation. Melissa E. Sanchez, Donald T. Regan Professor, University of PennsylvaniaWitch as spell, curse, praise, eulogy, recovery, incantation, archival raid and save, library as cathedral and books as catechism — as befits poetry as anarchic art, in Kate Bolton Bonnici’s hands the sacred is barbaric and the profane is holy. ... A wicked and wise achievement. Fred D’Aguiar, author of Letters to America and For the UnnamedBonnici’s collection reveals that, far from being remote and unapproachable, centuries-old writings remain vibrantly relevant to our own historical moment. Kimberly Johnson, author of Fatal

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The world is on fire.We are too young to change a thing.So how else can one express these undulating emotions but to put pen to paper?From the very tops of mountains, running through cities, to our childhood homes and all the way down to seas abroad. Follow UEA's most promising student writers as they burst with powerful prose exploring topics personal, global, and mystical in 2023's Undergraduate Anthology.

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One of the most audacious modernist novels. A woman, fifty, widowed, rejected by her younger lover, lies dying in a nursing home. As she nears death, her thoughts go back through her life in an attempt to find its meaning. Trevelyan's most important work, a novel that belongs with To the Lighthouse or As I Lay Dying.

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As a young horse, Black Beauty is well-loved and happy. But when his owner is forced to sell him, his life changes drastically. He has many new owners--some of them cruel and some of them kind. All he needs is someone to love him again... Whether pulling an elegant carriage or a ramshackle cab, Black Beauty tries to live as best he can. This is his amazing story, told as only he could tell it.This edition of this beloved novel features an original foreword by favourite children's author Jacqueline Wilson and an afterword by Professor Thomas Ruys Smith (University of East Anglia) which reintroduces readers to this much-loved book, examining the roots of its extraordinary longevity, the timelessness of Sewell’s powerful literary vision, and the ongoing necessity of her message of kindness and care to animals – and humans.Every copy of this edition sold will contribute directly to Redwings’ mission to value every horse and try to see the world from an equine point of view.

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The 2022 collection of creative writing from Durham University

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2022 edition of the UEA MA Scriptwriting creative writing course anthology

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2022 edition of UEA MA Poetry creative writing course anthology

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“Rasma hated her dreams; they made her sick — she rested best when she fell into complete silence and darkness."Rasma is a taxi driver with a mysterious past, a mysterious present, an uncertain future, and a complex relationship with a 'double'. We follow her through a series of encounters personal and professional - some troubling, some comic, some profound - as she struggles with her sense of identity and belonging while trying to make ends meet.

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“That spring, as if by agreement, we got it into our heads that something should finally happen, something should change.”A selection taken from the memoirs of a youth spent growing up in a small town - its fascinations with fads, fashions, slang and bands; its successful/disastrous explorations of personal style and taste; what's cool, what's not cool; all pitched at the question and at times painful process of working out who we are in the world.

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Strained relations. Imposed reconnections. Fragile last missions. A unique collaboration between Creative Writing students at UEA and students of Translation Studies at the University de Alcalá, Unmasked Writings/Historias desconfinadas is a series of five chapbooks mapping the emotional angles of the pandemic and giving voice to the long moments of introspection we all cultivated during the hardest months of this crisis. Each text is presented both in the original English and the translated Spanish.This is volume three, Love From Afar/Amor a distancia.Can I Call You Back by Charlotte Brammer, translated by Silvia Sánchez TudelaIsolation Alone by Milly Barton, translated by Beatriz López Quiroga and Alumdena de Agustín PorrasThings Past Redress by Siobhan Horner, translated by Ángela Muro Arpón and Claudia Medrano González

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"Met her again today. I finally got my hands on her, but still can't believe what she put me through all that time. Attaching her face here. K-Bot.jpg"A story of a young student's tribulations and those of the people around her which says a lot about the process of coming of age in contemporary Korean society more broadly.

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"The bloodstains on the linoleum were impossible to remove completely."A madcap, sci-fi, found-family caper set in a world where a small group of people, known as 'monsters', have developed odd special powers or traits necessitating their voluntary, or less voluntary, incarceration while the state works out what to do with them and which builds to a wonderfully comic set-piece, charmingly told with tenderness and wry humour.

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