Search results for ""UEA Publishing Project""

“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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This Summer issue of Hinterland indulges in all of the delights food-writing has to offer. Headlining this issue we have new writing from Kate Young who anticipates sharing meals once more, and Pragya Agarwal, who uses memories of food to explore the promise and pain of emigration. We also sit down to chat with celebrated cook Anna Jones about how she writes her award-winning cookbooks.Also featuring writing by Noah Birksted-Breen, Amy Cotler, Sally Gander, Hester Van Hensbergen, Sue Hann, Connor Harrison, Andrew Kenrick, Edward Little, Maya Osman-Krinsky, Kimmo Rosenthal and Sarah Young.

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In 1935 a small boy is found in a mine in what is known as the Belgian Congo. It is a time of ferment; nefarious forces are at play. Against this backdrop, the boy’s discovery draws the attention of men of distinction across the globe – scientists, politicians and army men. Soon enough a race begins, to bring the boy into safe custody. After a tortuous journey by train through the continent of Africa, the boy travels by ship to New York, where he is taken into the care of the United States Army. From here our diminutive hero will become swept up in a narrative not of his own making, a narrative that will lead him into the heart of one of the most devastating events of the twentieth century.Audacious in its conceit, thrillingly readable and profoundly humane, Little Boy is a novel of science and politics, of men and war, of compassion and becoming. In prose of baffled grace, it weaves a path through some of the darkest moments in our collective history. Its ending will leave you, like its protagonist, suspended in mid-air, stunned by the awful things that men have put forth into the world.

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Hinterland is a quarterly, print and digital magazine dedicated to creative non-fiction.Hinterland offers an answer to the question ‘what is creative non-fiction?’ by showcasing the best new writing across the fields of memoir, essay, travel and food writing, reportage, psychoscape, biography, flash non-fiction and more. Their pages bring together work by established, award-winning authors alongside new writers, many of whom we are thrilled to publish for the first time and whose work, we promise, will merit your full attention. Hinterland intends to challenge, move, entertain and, above all, be a fantastic read. Their second issue features brand-new non-fiction by Richard Beard (The Day that went Missing) with accompanying illustrations by Dru Marland and a non-fiction play by Antoinette Moses, as well as a stellar line up of talented new writers who we know you’re going to love. Issue 2 also includes an interview with Bart Van Es (The Cut Out Girl), a photo essay by photographer Martin Eberlen and a look at the life of the Speaker of the House, John Bercow, by Stephen Massil.

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The UEA MA 2019 Scriptwriting Anthology presents a look into the next generation of stage and screenwriters from around the world. These writers investigate current issues while also reimagining story structure in order to create truly original work. Graduates of the MA in Scriptwriting include Bruntwood and BAFTA winners leading the way in TV, film, radio, and theatre. This anthology features a foreword by recent graduate James McDermott, as well as an introduction by renowned playwright and course convenor Steve Waters. Featuring work by: Dimitra Barla • Taylor Beidler • Magdalene Bird • Alice Coulthard • Jack Marcus Fitch • Natalie Froome • Sai Haval • Jessie Lockie • James Pickthall • Fiona Sangster • Katie Stockton

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'A snapshot of what the crime novel is doing now and a glimpse of the directions it might take in the future' - Mick Herron'Crime fiction demands a flexible, sceptical framework for its own increasingly rude health. The eleven writers in this third MA Crime Fiction Anthology understand this. Irrespective of subject, setting, theme or prose style, each uses the multitudes of the crime genre to embrace and reflect who we are and how we live now. Each understands and respects the genre, even as they dismantle its traditions' - Tom Benn'The creative writing workshop is an environment that is built upon freedom, but also support. It's almost too magical a place, too idyllic, too democratic, too truthful. But I don't believe in magic, any more than I believe in the muse. What has happened in this space, which is ever expanding, over the last couple of years, has been an outpouring of talent and determination, by eleven extraordinary writers' - Henry SuttonFeaturing work by: Laura Ashton • Judi Daykin • Antony Dunford • Jayne Farnworth • Natasha Hutcheson • Louise Mangos • Elizabeth Saccente • Matthew Smith • Karen Taylor • Wendy Turbin • Bridget Walsh

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This collection features work by the latest international cohort of UEA’s MA and MFA Prose Fiction graduates. These stories and extracts push the boundaries of form and genre. They will immerse you in twenty-eight different worlds, each of which will challenge and delight in a new and interesting way.The UEA is renowned for housing the longest-running MA Creative Writing: Prose Fiction programme in the UK, consistently producing prize-winning and critically-acclaimed work. Its alumni include well-established authors such as Emma Healey, John Boyne, and Naomi Alderman, as well as up-and-coming writers like bestselling novelist Elizabeth Macneal.With a foreword by Henrietta Rose-Innes and an introduction from course convenor Philip Langeskov, this year’s Prose Fiction Anthology demonstrates that UEA students continue to produce imaginative and diverse world-class literature.Featuring work by: Karen Angelico • Sussie Anie • Jekwu Anyaegbuna • Stephen Buoro • Catherine Gaffney • Fearghal Hall • Luisa Hausleithner • Amber Higgins • Khuram Hussain • Matt Jones • Vijay Khurana • Jasmin Kirkbride • Maya Lubinsky • Sylvia Madrigal • Ceci Mazzarella • Shandana Minhas • Carmen Morawski • Madeleine Morgan • Tess O'Hara • Tasha Ong • Troy Onyango • Hale Öztekin-Cuss • James Smart • Amelia Vale • Melissa Wan • Bethany Wright • Rebecca Yolland

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“What could be more timely than the wresting of new ways of saying from the hand-me-down matter of language; what more exploratory and exacting/exciting? Perhaps, in an era of frequently cynical and lazy language-use, an appetite has grown among readers for writing that doesn’t so much hit the nail squarely on the head, as refashion the very concept of the hammer” says Tiffany Atkinson, in her Introduction to this volume; a volume that is the record of a year of hard work, experiment, conversation, revision, and speculative play between the weight of tradition and the desire to find new ways of saying. What is immediately visible in these pages is the sheer variation in style and form, from the fragmentary and epigrammatic to the ranging and discursive, from the intimate to the global, from the playful to the elegiac. What is not visible is the mutual care and camaraderie of a group working together to encourage the emergence of each distinctive voice.Here are the UEA Poets of 2018. Remember, you read them here first.‘It’s so nice to have such a collectively-minded group on the MA this year. People will one day speak of the Norwich School...’– Jeremy Noel-TodGboyega Abayomi • Naomi Afrassiabi • Blythe Zarozinia Aimson • Craig Barker • Max Bowden • Anna Cathenka • Cai Draper • Kat Franceska • Rachel Goodman • Laurence Hardy • Iona May • Keeley Middleton • Bec Miles • Ellen Renton • Jessica O'Brien Rhodes • Alice Willitts

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Originally published in Dutch in 2017, this essay is a critique on the intellectual hold of destructive, non-sustainable capitalism on Western thought. It challenges the way that Soviet and Chinese totalitarianism has been used to discredit the idealism of 19th century communism.Reaching out from the intellectual and historical legacy of Karl Marx and Rosa Luxemburg, Peek investigates what he sees as the inevitable failure of capitalism, and argues for a fairer redistribution of knowledge, power and income.

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Happenstance Press ‘This is the internet generation, and the references in these poems pull with abandon from a huge territory. If the general thrust is to embrace, the poems have in common, the courage to sing out and explore.’ -- Sally Festing, Heppenstance Press‘There’s always talk of ‘saving’ poetry; it’s fine, becomes deeper and wider each year. Don’t believe me? Open up this anthology and read words cajoled into new shapes so they might move or disturb you (and sometimes both) with all their bright surprises.’ -- Martin Figura, Saboteur Best Spoken Word Award winner 2013 ‘Here is a book of poetic tangents, setting words and worlds at a tangent to each other. Words are not to be taken for granted, of course. Nor are they. This is the way the future comes flying at you. At a tangent. And the voices fitting in the space there, like the stones in a fruit.’ -- George Szirtes, T S Eliot Prize winner 2004, 2009‘I view the UEA MA creative writing anthology as a barometer of what’s going on in the poetry world, and this year’s collection does not disappoint. Poems range from the lyrical to the experimental and each voice is exciting and unique. I look forward to hearing more from these poets in the future.’ -- Julia Webb, Forward Prize Shortlist 2017This year's anthology contains work from 12 exciting new voices: Dario Biagini, Fern Broome Richards, Paul Frederik Carlsen, David Charles Gill, Rich Law, Naomi Madlock, S.Z. Mason, Molly Ellen Pearson, Jake Reynolds, Olivia Walwyn, Arron Westbrook, and E.F. Willis, with a foreword by Paul Mills and introduction from Sophie Robinson.

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Beginning with an extended riff involving the glorified music search engine Spotify and ending with the ongoing and ignored tragedy of European migration, these prose poems [sic] address a range of historic and contemporary particulars including the entertainer/paedophile Rolf Harris, ripoff payday loan sharks, English football grounds, world shipping, the endangered flora & fauna of the British Isles and singer-(not)songwriter Art Garfunkel.Punctuationless and insistently lower-case, and employing repetition and the list as forms of subterfuge, nothing in LATANOPROST VARIATIONS is quite as it seems. There’s something wrong in every poem which is turned over and over, again and again, so that the whole is effectively a diagnostic report from the back-to-front. The title refers to a topical eye-drop used for the treatment of the chronic eye condition glaucoma which if left untreated leads to loss of sight. This book is a plea not to turn a blind eye.Not being a doctor himself, the author has no advice except never to forget that on 17 May, 2017, the day Rolf Harris was released from Stafford Prison after a brief internment, Donald Trump announced a $110 billion arms deal with Saudi Arabia and a small boatload of migrants awaited rescue off the island of Lampedusa. As one of the poems reminds us: “the men of war are difficult to ignore shaking hands with them does not mean they are not men of war.” Or as another concludes: “thank you art garfunkel thank you after all the eyes are fine.”

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Ten Thousand Things is about motherhood. Also it is about the equipmentality of woman in/to society in general. It is about parenting as labour; poetry as labour; labour as poetry; poetry as thought; thinking as poetry; protest as labour; poetry as protest; and our perennially changing, perennially stuck hereditary lines. It is for warrior-women. It is for girly-men. It is for all persons, animals, plants in between. It is about love. It is about fear. It is about doubt. It is about hope.It is against misogyny, even of the well-meaning kind that tells people how to be in the short term or when to sacrifice themselves for everybody else’s good. It is against the mythopoesis of mother as stand-in for all creation, and also, of course, it carefully recognizes this careless summary. It is against purity and divisive lines. It is against destruction – of any persons or animals or plants on this planet, which also happens to be the home that sustains us. Duh!It wishes that in the future there would be other ways of loving, living, pro-/creating and dying. It hopes humans might find out what these are before it’s too late.

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The University of East Anglia's Creative Writing MA Prose Anthology for the 2016 cohort including Prose Fiction and Creative Non-Fiction.

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When his wife returns to her parents house to have their second child, an unnamed narrator and his son are left to manage by themselves. Instead of absence, what the father and son begin to notice is a strange noise opening up between them, reverberating through their home, their television set, and the books they read at night. The wood outside their home hums with it, too: leaves fall from branches which are already naked, trees wriggle when walked past, and the hills on the horizon rise and fall in a building rhythm.Ono's stories teeter on the edge of something unsayable, exploring repetition and contradiction to sketch compelling, otherworldly characters. The strange sound which hums through the twinned narratives is distilled in Carpenter's translation, which masterfully employs the rhythms and echoes of the English language to convey Ono's sense that something is coughing, laughing, turning under the words on the page.

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under|tow NOUN1. an underlying feeling or influence, especially one that is contrary to the prevailing atmosphere and is not expressed openly;2. a current of water below the surface, moving in a different direction from any surface current.In Undertow, the University of East Anglia’s third annual anthology of work by undergraduate creative writing students, we are proud to present pieces of writing that flow against the surface current and push you into unknown waters. With pieces concerning everything from aliens in Birmingham and the struggle for racial justice to a hotel minibar and children of the sea, this anthology contains some of the best writing that the University of East Anglia has to offer.“The pieces in this anthology are striking in their originality in form and content. I have found them very stimulating and a great read. I hope you do too.”--Peter Liss

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The dark secrets of elephant-keeping; camels, puddings, love and loss; an unlikely heroine of the American Civil War; the enchanting shores of Lake Metigoshe during dragonfly season these are just some of the subjects of this rich collection of eleven new Non-fiction voices, graduates from the University of East Anglia s renowned Creative Writing MA.With a foreword by Ian Thomson & an introduction by Kathryn Hughes

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What is creative non-fiction? It's great factual writing with a strong narrative: biography, memoir, travel, history, sports, reportage, humour, literary journalism, political commentary, cultural criticism and more. Join us and explore this burgeoning genre through the work of students from UEA's acclaimed creative writing programme.

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Ten scripts. Ten writers. One anthology.This year's scriptwriting anthology contains work from a group of writers who all offer something different for both the stage and screen. Each script celebrates the writer's distinct voice and proves that the MA Scriptwriting course is vital in bringing a writer's creativity to life.Spanning a wide range of genres, the anthology is a delightful mix of the weird and the wacky: people queue up to win a can of baked beans, friends encounter ghosts and an awkward teenager gets help with his Christmas shopping from the unlikeliest of people.As we are led through each script by memorable characters, and transported from worlds which are cheerful and light or dark and twisted, there's no doubt that this year's anthology showcases the best of UEA writing talent.

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Other Carnivals is published to coincide with Full Circle's FlipSide festivalof Brazilian and UK Literature, Music and Art at Snape in October 2013. Translated and edited by Ángel Gurría-Quintana this new collection of short stories by some of Brazil's finest authors features work by Milton Hatoum, Bernardo Carvalho, Tatiana Salem Levy, Cristovão Tezza, Andrea del Fuego, Beatriz Bracher, Marcelino Freire, João Anzanello Carrascoza, Ferréz, André Sant'Anna, Adriana Lisboa and Reinaldo Moraes.The twelve stories offer snapshots of Brazilian life, past and present, in all its teeming and vibrant complexity. With contributions by writers from all corners of the country, and ranging from well-established veterans to emerging literary stars, Other Carnivals: New Writing from Brazil is a heady mix of the comic, the tragic, the beautiful, the ugly and the surreal. Subverting the clichés about Brazil even as it finds kernels of truth within them, this is a book that will thrill readers already acquainted with the country's literature, and will make converts of those approaching it for the first time. Other Carnivals is proof, as if any were required, that one of Brazil's greatest natural resources is its wealth of talented storytellers.

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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 Scriptwriting Anthology 2012 includes an interview with British playwright Steve Waters and an introduction by course director Val Taylor.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."Out of such talent the notion of non-fiction might yet be invented anew."– Philip Hoare, author of Leviathan or, The Whale (winner of the Samuel Johnson Prize for Non-Fiction)

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Originally published in 1975, Fenwomen was the first non-fiction book published by Virago. A vivid social and oral history of an isolated village in the Cambridgeshire Fens, it provides a unique portrait, spanning nearly 100 years, via the previously unheard voices of the women who lived there, of a community where there were virtually no professional or middle-class people, where intermarriage was common and a single family owned all the village land. Fenwomen was in a tradition stretching through Ronald Blythe (Akenfield) and 20 years further back to the true pioneer of English oral history, George Ewart Evans, with his publication Ask the Fellows Who Cut the Hay (1956). In an extended new introduction to this Full Circle edition, Mary Chamberlain ecalls her original intent to write a "feminist Akenfield", a "history from the bottom up… not of great country houses and the chatelaines who ran them but of women as labourers and labourers' wives". She describes, too, how she revisited the village and talked to some of the original women about how their lives had changed over 35 years."By any measure, this book is essential reading, but in this handsome new edition, with Justin Partyka's eloquent, unforgettable photographic portraits of Isleham and its people, it is a joy to own" - Stephanie Cross, The Lady

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The world-renowned UEA Creative Writing MA presents new work from the three prose strands of the course: fiction, life writing, and scriptwriting. Past course tutors and students have included Kazuo Ishiguro, Ian McEwan, Toby Litt, John Boyne, Trezza Azzopardi, Rose Tremain, Malcolm Bradbury, Anne Enright, Angela Carter, Ali Smith, Tracey Chevalier, Joe Dunthorne, Adam Foulds and Tash Aw, among many others. Buy this collection if you want an exciting glimpse into the future of new prose writing in Britain and around the world."UEA has a knack of discovering writers with a distinctive voice – in this case 40 distinctive voices – and this latest anthology proves that standards remain high. Thoughtful prose, provocative stories that stay in the mind, extracts from novels that make one long for the finished book. Read it and sample the future."John Boyne"To all of you with Blurb-fatigue: We always say that this group of writers is exceptionally gifted, promising, and startlingly original.. I won't lie: they actually are all of that, and more... Established writers will wish we'd strangled this lot at birth."Trezza Azzopardi

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The world-renowned UEA Creative Writing MA presents new work from the three prose strands of the course: fiction, life writing, and scriptwriting. Past course tutors and students have included Kazuo Ishiguro, Ian McEwan, Toby Litt, John Boyne, Trezza Azzopardi, Rose Tremain, Malcolm Bradbury, Anne Enright, Angela Carter, Ali Smith,Tracy Chevalier, Joe Dunthorne, Adam Foulds and Tash Aw. Buy this if you want an exciting glimpse the future of new prose writing in Britain and further afield."To all of you with Blurb-fatigue: We always say that this group of writers is exceptionally gifted, promising, and startlingly original.. I won't lie: they actually are all of that, and more. Sorry to have got your hopes up. Established writers will wish we'd strangled this lot at birth." - Trezza Azzopardi

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New poetry from the world-renowned UEA Creative Writing MA: Poetry 2016 student cohort.

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Logo Rewind is a fascinating and uniquely enriching source of inspiration for modern designers and provides a treasure trove for anyone interested in UK history, students of history and design, creatives, and the contemporary design community more broadly, both nationally and internationally.The book includes introductions and essays by Jens Müller and Minnie Moll and contributions from other big names from the world of design alongside UEA academics exploring the history of these cultural artefacts, each annotated with their name, occupation, location, and year of identification.'This marvellous book has opened my eyes to an exciting new angle on the long history of branding. I’ve advised on branding, and taught it, for 30 years, but this story was completely new to me. Of course, the medieval merchants of Norwich wouldn’t have used the word ‘brand’. But they instinctively understood the power of branding. They created symbols as shorthand for their businesses – symbols we’d now call logos.' - Robert Jones, Professor of Brand Leadership UEA

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Genevieve Taggard is recognized as one of the finest American poets of the 20 th century. Her work appears in every major anthology of American poetry. Yet this is the first comprehensive collection of her work ever to appear.To Test the Joy collects the best of Genevieve Taggard’s poetry, fiction, memoirs, and criticism, providing a superb overview of her remarkable life and career. Taggard constantly challenged herself as a woman, as a citizen, and as an artist. She strove constantly to find deeper meanings in herself, in her times, and in the world around her. The result is a poetry of exceptional power and precision: “a product of fine discipline, a complete and unusual blending,” as one reviewer put it.Genevieve Taggard’s life and work embraced issues and experiences at the core of 20th Century history: the oppression of colonialism; the fight for the rights of women; the struggle of labour against capitalism; the destruction of nature by industrialization. Issues and experiences that are still relevant today.To Test the Joy weaves Taggard’s poetry and prose with critical commentary by Anne Hammond that leads the reader through Taggard’s life, from her childhood days in Hawai’i to the Bohemian world of 1920s New York City to the strikes and protests of the 1930s and her return to the green world of her Vermont farm in the 1940s.

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A gripping story of a young woman growing up in the harsh setting of a Nevada ranch in the 1940s. No More Giants combines a deep love for the land with a bracingly honest view of family conflicts and the loss of dreams. Jenny struggles to survive and escape from the frustrations and hatred of her parents. Ignored when first published, No More Giants is now recognized as a classic work about women in the American West.

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Working hard to survive in a harsh world, the Peppers still find joy and love in their little brown house - until a chance encounter with a wealthy family changes their fortunes forever. When it was first published in 1881, Margaret Sidney’s Five Little Peppers was an immediate bestseller. Its account of the five Pepper siblings’ adventures in the American Gilded Age attracted an army of young readers who clamoured for sequels well into the twentieth century. Progressive for its time in its depictions of the children’s lives, this groundbreaking edition will strike a new chord with young readers in the twenty-first century: it is the first version of the book to give readers a full introduction to the text, providing an account of Sidney’s life and times, a full description of the book’s historical and literary context, and a sense of what insights the Pepper family’s extraordinary experiences might provide for our own moment of upheaval. A must-read for all fans of American classics such as Little Women and What Katy Did.

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How can you tell who's insane when the world has gone mad? Originally translated into English by Robert Kee in 1957, the new edition includes an Introduction by Sinclair McKay and an Afterword by Chris Maloney. Who can tell exactly where the difference lies between those of us who imagine ourselves sane and those we call insane? As Dr Robert Vossmenge tries to practice psychiatry in Germany in the early 1930s, he finds himself at odds with his profession as it increasingly falls under the influence of the Nazi regime and its aim to rid German society of those it considers undesirables. He tries to stay out of trouble by keeping a low profile, but when he strikes up a friendship with a Luthern pastor, he begins to question his assumptions about what constitutes sanity in a world where the people in charge seem to be insane. Though he quietly wages a one-man campaign against the German war effort while serving as a Luftwaffe doctor, Vossmenge is ultimately forced to chose between survival and standing for his beliefs. The Sanity Inspectors is a gripping account of the challenge of trying to be a good man in an evil system. Always amusing and often frightening.--The Boston Globe Clear and fast moving, with humor that refuses to be repressed.--The Indianapolis Star Fiction.

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“So it was that a happy historical coincidence came to be: sex came into my life after the fall of the Soviet Empire…"Two charged and psychologically intriguing short stories that experiment entertainingly within a contemporary gothic mode. In one, a doctor relates his dark fascination with a patient as things fall apart; in the other a sexual awakening has tragic and transgressive consequences; both, in lucid prose, speak emblematically of shifts or breakdowns of social orders more broadly.

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"Are you referring to the 'strange and sorrowful coincidences'? That's what I call them. I don't know what you've heard, but they're no ordinary, everyday thing, just so we're clear."A young woman rumoured to be possed of a strange supernatural ability and a young man take a walk. As she tells him her story it emerges that he has a specific request of her concerning a problem of his own. A charming tale of unlikely friendship found.

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In a series of warm and often funny letters, Kim Adrian delivers a compelling feminist critique of the 6-volume autobiographical novel My Struggle, by Norwegian writer Karl Ove Knausgaard.

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The genre of creative non-fiction has never been more playful with form, and so this issue of Hinterland celebrates the art of experimentation. Headlining the issue we have an epistolary essay from Jenn Ashworth (Ghosted, Notes Made While Falling) written to her younger self’s favourite author. We also sit down to chat with Doireann Ní Ghríofa about her hybrid work of non-fiction and auto-fiction, A Ghost in the Throat. Also featuring writing by Chris Beckett, Chris Cusack, Pune Dracker, Jacqueline Ellis, Jordan Harrison-Twist, Alice Kent, Laura Knott, Aaron Landsman, Carla Montemayor and Jon Paul Roberts.

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

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Susan Coolidge’s What Katy Did has captured the imaginations of readers since its first publication in 1872. A classic of American children’s literature, it tells the story of Katy Carr - twelve years old, free-spirited, perennially untidy, endearingly awkward and irrepressibly imaginative. Accompanied by her many siblings, Katy embarks on a series of playful misadventures - when she can escape the watchful eye of her fussy Aunt Izzie - until disaster strikes, and Katy has to learn a series of important lessons about life, happiness and growing up. In time for the 150th anniversary of its first publication, this is the first edition of What Katy Did to provide readers with a full introduction to the text, one which describes a context for both the challenges Katy faces in meeting the expectations of nineteenth-century young womanhood, and a consideration of her ongoing significance in the twenty-first century. A must read for fans of Little Women, this unique edition has been carefully designed to introduce a new generation to Katy and her escapades. Edited by specialists in the genre, it combines aesthetics, accessibility and academic rigour. Hilary Emmett and Thomas Ruys Smith, both based in the School of Art, Media and American Studies at the University of East Anglia, are experts in nineteenth century children's literature and the authors and editors of a variety of books including, most recently, The Oxford Handbook of Charles Brockden Brown (Emmett) and Deep Water: The Mississippi River in the Age of Mark Twain (Smith). Crucially, it has accessibility at its heart: the editors were passionate that this book should be approachable for those with visual impairments and dyslexia but without sacrificing the aesthetic beauty of the finished book for the general reader. This is a valuable edition to be treasured and handed on to future fans of Katy and her world.

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A book censor is on the look-out for objectionable content; a daughter mourns her father during her journey to fulfill his final wishes; a desperate man runs around a city to pay off his debts. Critical of regimes and nonetheless nostalgic for their home countries, Mo(a)t is a compendium of stories from six different authors reflecting on the paradoxical demands of our day-to-day lives. Each story is written with the author’s unique style, highlighting their skills in contemporary Arabic literature.What binds the stories of Mo(a)t together is the fact that they are transnational. The stories in this anthology are not centered around a theme, but rather, a concept. Each author lives outside their birth country — whether by choice or exile — yet, as writers, they’ve chosen to continue to express themselves in their mother tongue, rather than in the language of their adopted countries. From South Sudan to the Western Sahara, the authors in this collection reveal the symbiotic relationship between ourselves and our communities, and the freedom to step beyond these boundaries.

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An anthology of ten translated texts across seven different languages, each concerned with the themes of moving between spaces, both figuratively and literally. From the graduates of the UEA Master's in Literary Translation 2019 and 2020.

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Secrets and Lives offers thirteen strikingly diverse explorations of memory - its dangers and its possibilites. Its subjects range from a kidnapped woman trapped on the Isle of Skye in the 18th century to a young man in Mumbai dealing with the death of his parents. Its settings range from Vietnam and Australia to Essex, Sussex and Norfolk, its sources from folk songs and old diaries to television and Twitter. And the secrets it reveals demonstrate the endless capacity of creative nonfiction to illuminate our world in all its aspects, familiar and unfamiliar.

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Written, edited, and designed entirely by the 2018-2019 Creative Writing postgraduate cohort at the University of Edinburgh, the fourth volume of From Arthur's Seat celebrates the beauty of the path less trodden. This ambitious new anthology includes short stories, poems, and excerpts by 28 writers from around the globe. Breaking with tradition, this edition is inspired by choose-your-own-adventure books and ingeniously links stories and poems together to form 10 secret, overarching narratives. The adventure begins...

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Edited and co-ordinated by Sarah Lowndes, Field Work is an enthralling collection of new nature writing from East Anglia gathered from library workshops and open submissions held across the region. The library workshops run by Lowndes at Cromer and Great Yarmouth libraries offered the opportunity to read and discuss exciting poetry and prose about the natural world written by women and people of colour, to challenge the conception of the genre as predominantly white and male. The resulting anthology presents a fresh new take on the nature writing genre, bringing intersectional considerations of race, class, gender and sexuality to bear on our relationship with the land. Field Work features a diverse range of responses from children, young people and adults who call the landscape of East Anglia their home, whether born and bred or those who have migrated to this land. The anthology has been designed imaginatively by Emily Benton, and is available as a keepsake and inspiration for all those living in, inspired by, or curious about, the wondrous flora and fauna of the English landscape. The anthology features an incredible range of writing styles, subject matter, and authors; including prose, poetry, short stories and life writing.

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