Search results for ""UEA Publishing Project""

Hinterland is a quarterly, print and digital magazine dedicated to creative non-fiction. Hinterland's fourth issue celebrates the art of a beautifully turned piece of flash writing, with our Flash Non-Fiction Special: 40 pages of the best bite-sized writing around. Mark Cocker leads with a piece on the army ant, others consider topics as varied as migrant youth, New York through the decades, the troubling life of pets, inter-racial relationships, and the fall of dictators. Inside a stunning cover, created exclusively for Hinterland by artist Mia Hague, is an outstanding line-up of new creative non-fiction plus all our great regular features, including a beautiful photo essay by Lily Bungay and an interview with Tessa McWatt.

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MEGACITY brings together new writing from some of the most impenetrable corners of the world today with creativity, resilience and beautifully black humour. COVID-19 has thrived in megacities and poses unique challenges to the world’s densest urban hubs. Beat lockdown by travelling virtually, into the homes and lives of global megacity writers from Karachi, Paris, Manila, Lagos, Tokyo and others.Absurd, extreme, pleasure-filled, crime-ridden. Sky-high meccas of opportunity, vast swathes of squalor.This is the megacity and this, in many ways, is our future. Not long ago these massive urban hubs with over 10 million people were an anomaly - in 1950 only New York and Tokyo could claim the title. Now, eight of the world's population live in thirty-three megacities with many more predicted to arrive and make these places their home in the coming years.MEGACITY brings together twenty-two individual, creative responses to the megacity, infiltrating some of the densest, most difficult corners of the world today. From the tightly packed slums of Delhi and the violent favelas of São Paulo, to eye-watering London property prices and Chinese megacities constructed seemingly overnight - if you boggle at how anyone negotiates today’s rampant, unchecked city growth, this book is for you.Witchcraft, terrorism, chemical swamps, modern slavery, and corpses for rent are all day to day events within these pages. Translated from native languages such as DRC’s Lingala to Portuguese written in deepest Brazilian slang, this collection goes to places which are, for most of us, completely impenetrable.Some of today’s most renowned scientists, economists, architects and urban planners have turned their attention to the megacity in order to understand pressing contemporary dilemmas. It can be difficult, however, when we read their criticism of demographics, economics, infrastructure and environment, to imagine the individual amongst the teeming masses. MEGACITY redresses this problem: giving the reader a many-faceted sense of the megacity character, their stories and their settings.“Megacities are the super-novas of human social evolution, non-encompassable in their totality but fertile with conflicting futures. In this stunning anthology, local writers describe life within these gigantic urban landscapes as paradoxes of paradise and the inferno” - Mike Davis, author of City of Quartz and Planet of the SlumsContributing authorsDele Adeyemo, Kunlé Adayemi, Jessica Zafra, Richard Ali A Mutu, Uday Prakesh, Diego Gerard, Emily Ruth Ford, Liza Alexandrova-Zorina, Deepti Kapoor, Ayodele Olofintuade, Wu Jun, Anna Pook, Daniel Saldaña París, Hideo Furukawa, Ahmed Naji, Ferréz, Bilal Tanweer, Sheyla Smanioto, Montasser Al-Qaffash, and Jeffrey Pascual Yap

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We have dubbed Hinterland Issue 6 our ‘non-fiction fiction special’, in which we explore the curious space where fiction and non-fiction intersect and interact. To that end Heather Martin (The Reacher Guy) recalls how she came to write the biography of Lee Child, author of the Jack Reacher series; Nick Bradley (The Cat and The City) shares some of the photographs taken on his commute in Tokyo, an experience later tapped into for his debut novel; Ashley Hickson-Lovence (The 392) tells the true story of how Ruel Fox (nearly) led Norwich City to football greatness; we explore Tash Aw’s literary archive; and share a conversation with Helen Smith (The Uncommon Reader) about renowned editor Edward Garnett, all alongside a stand-out selection of reportage, memoir, essay and flash non-fiction.

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‘A miracle, an instant classic.’ Slavoj Zizek, philosopher The tragedy is done, the tyrant Macbeth dead. The time is free. But for how long? As Macduff pursues dreams of national revival, smaller lives are seeding. In the ruins of Dunsinane, the Porter tries to keep his three young boys safe from the nightmare of history. In a nunnery deep in Birnam Wood, a girl attempts to forget what she lost in war. Flitting between them, a tortured clairvoyant trembles with the knowledge of what's to come. A collaboration between two of the world's most eminent Shakespeare scholars, "Macbeth, Macbeth" is a unique mix of creative fiction and literary criticism that charts a new way of doing both, sparking a whole new world from the embers of Shakespeare's original tragedy. ”Macbeth, Macbeth” weaves a thread that enrichens the original classic with the manic energy of Tristram Shandy, the grim intensity of Crime and Punishment, and the existential absurdity of Waiting for Godot. 'A thrilling re-imagination of Shakespeare’s darkest play.' Lucy Bailey, theatre director‘Shakespeare, I suspect, would have been delighted.’ Don Paterson, poet

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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.

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The first-ever volume of the photographs of German writer W.G. Sebald, exquisitely designed to shed new light on his creative process, as it chronicles the images and encounters that shaped his writing life. Shadows of Reality presents a unique, fully illustrated catalogue of W.G. Sebald's photographs- an extraordinary combination of film negatives, prints, and slides from the University of East Anglia's photographic collection, the Deutsches Literaturarchiv Marbach, and the Sebald Estate. Complementing the exhibition Lines of Sight- W.G. Sebald's East Anglia and edited by literary scholar Clive Scott and photography curator Nick Warr, this wonderfully comprehensive book covers the multiple photographic facets of Sebald's published work and includes a substantial amount of material that has not been made public before. Introduced by Nick Warr, who offers an intriguing overview of the author's critical relationship to photography, Shadows of Reality also includes an illuminating interview with Michael Brandon-Jones, the photographer who collaborated with Sebald on all of his publications. The book features a collection of extracts-principally on photography-from interviews with Sebald himself, bequeathed to the archive of recordings held at the University of East Anglia by his close friend Gordon Turner, who also provides a memoir. Accompanying these are inspired essays by Clive Scott and Angela Breidbach on Sebald's writing-with-photographs and the complex and mercurial interactions of those photographs with narrative design. A deeply important collection for anyone interested in Sebald's creative processes or the ways in which photography might serve fiction, Shadows of Reality is an inexhaustible treasure trove of new discoveries and revelations about the cherished international author.

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Set in a small rural village, seemingly everyday events take on a macabre meaning. We follow Kim Miyoung, a relatively new villager and the local primary school teacher, as she is slowly overcome by anxiety, with her daughter at the vulnerable young age of three, a difficult group of schoolboys under her wing and her mother-in-law trying to drag her into house-of-cards village politics. To top it all, she finds herself plagued by the idea of son: folklore spirits out to make people’s lives miserable. As the village gathers for the annual ‘meju-making day’, amid all the hubbub, Miyoung loses sight of her daughter Mina. Despite her cries for help, no one joins her to look for Mina, everyone seems to be against her.

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The fifth year of the annual UEA Undergraduate Creative Writing Anthology. This year, the collection has received more submissions than ever before and the standard has been superb. This is the second edition of the anthology to be produced through Egg Box's attached NUS society of the same name, enabling students to gain more experience of the publishing process.It has been organised, edited, and, through NUA, designed almost entirely by students. We invite you inside UEA's creative writing department to see what the undergraduates have to offer... you will not be disappointed.Thank you to the contributors:Claudia Besant • Amy Bonar • Daniel Box • Martha Boyd • Felicity Brown • Sophie Bunce • Chloe Crowther • Grace Curtis • Ella Dorman-Gajic • Basil Eagle • Gus Edgar • Sam Edwards • Abbey Hancock • Zaid hassan • Liam Heitmann-Rice • Judith Howe • Becca Joyce • Mari Lavelle-Hill • Shannon Elizabeth Lewis • Jaime Lock • Adam Maric-Cleaver • Lucy May • Jono McDermott • Ellie Meikle • Catherine Mellor • Magdalena Meza Mitcher • Tamar Moshkovitz • Elish Mullane • Mathew Nixon • Alyssa Ollivier-Tabukashvili • Henry Opina • Cara Ow • Georgina Pearsall • Johnny Raspin • Ellie Reeves • Fiona Sangster • Minty Taylor • Francesca Thesen • Artemis Tsatsaki • Amelia Vale • Isabella Winton • Flora Wood

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Arranged against surges in violent British nationalism and political panic around borders, and related/growing crises of culture and politics, this is an anthology to mark and celebrate the contribution of non-UK-born writers to this country’s poetry culture, published on the 2nd anniversary of the UK’s referendum on membership of the European Union.

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That our ecological future appears grave can no longer come as any surprise. And yet we have so far failed, collectively and individually, to begin the kind of action necessary to shift our path away from catastrophic climate collapse. In this stark and startling little book, Rupert Read helps us to understand the direness of our predicament while showing us a metaphor and a method – a way of thinking – by which we might transform it. From the relatively uncontroversial starting point that we love our own children, we are introduced to a logic of care that iterates far into the future: in caring for our own children, we are committed to caring for the whole of human future; in caring for the whole of human future, we are committed to caring for the future of the natural world. Out of such thinking, hope emerges. As Read demonstrates in this urgent call to action, accepting that we care for our own offspring commits us to a struggle on behalf of us all.

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Writers in Conversation compiles Christopher Bigsby's interviews with the world's greatest writers from a decade of the Arthur Miller Centre's International Literary Festival at the University of East Anglia. These often candid, in-depth, witty and illuminating exchanges shine a light on the craft and profession of the working writer today.Featuring interviews with Naomi Alderman, David Almond, Tash Aw, Vince Cable, Tracy Chevalier, Bernard Cornwell, Andrew Cowan, Richard Dawkins, Margaret Drabble, Stephen Fry, David Hare, Emma Healey, Charlie Higson, Eimear McBride, Ian McEwan, David Mitchell, Lawrence Norfolk, Paul Nurse, Jane Smiley, Rose Tremain, David Vann and Vendela Vida.

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Okada is on a business trip to Budapest when he meets enigmatic Misa and her Italian girlfriend, Federica. Inexplicably drawn to Misa, he agrees to accompany the couple to a lavish party in Pest. On arrival, Federica ominously disappears, and Misa and Okada find themselves locked in a penthouse room with ten other guests. They are promised that they will be freed at dawn, providing that they follow the commands given to them by five spectators…A modern tale of memory, sexual tension and kink, Hirano's short story runs through the labyrinth it constructs, the narrative twisting, forking, hiding its secrets just around the corner.

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KESHIKI is a series of exquisitely designed chapbooks, showcasing the work of eight of the most exciting writers working in Japan today. Yuki has not slept in two months. He's been infected with genuine insomnia a condition spreading throughout the city's high-profile businessmen. At first, this is a condition worth boasting about: the less Yuki sleeps, the better he feels, and he gathers with the city's elite in clubs and bars to compare how long they've been awake. It is only when he visits a sanatorium that Yuki is told his memory is quickly deteriorating, and, suddenly, Yoshida's fragmented style starts to make sense... Dream-like, sensual and unnerving, these offerings by Kyoko Yoshida, a Japanese author writing in English, surprise the reader with their texture and imagery. Spring Sleepers, the title story, frames insomnia as the contemporary condition the narrative sliding from metropolitan hyperawareness to delirious exhaustion in the space of a few pages. Spring Awakening, a koan-like mediation, describes a newly born eel emerging from then returning to its home. Finally, Yoshida reflects on her time spent in Norwich, the City of Writing.

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Mamoru wakes up at 9am in Berlin, eats breakfast, and then sets off to teach a Japanese language class, carrying a sashimi knife in his bag. At this moment in New York, Manfred lurches from a dream where a fisherman was about to gut him he wakes just in time to make his morning work-out. Meanwhile, Michael is preparing to go to the late-night gym in Tokyo, thinking of a man he met in Berlin only weeks before.Tawada s story follows the three men Mamoru, Manfred and Michael as they move through their lives on different sides of the globe. Though thousands of miles apart, odd moments of synchronicity form between these characters, the narrative shifting from one perspective to another as the three men's lives momentarily align and diverge. Here, modernity is rendered textual as Tawada explores the strange nature of human connection in a globalized, technologized world, and discovers what this means for contemporary storytelling.

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'Audio Obscura is more hypnotic than it first sounds - these muttered confessions might even make you miss your train...' - Clara Tait, Time OutAt a railway station, everyday dramas are constantly being played out: meeting, parting, anticipating, escaping. The atmosphere is an odd mix of tension and contemplation. Everyone is waiting for something to happen or moving between events. In a station we are forced into proximity. We observe one another yet behave as if being in a crowd confers invisibility. We tend to assume that we are neither overheard nor overlooked. This book derives from a sound work, also called Audio Obscura. Commissioned by Artangel and Manchester International Festival, it was created for Manchester, Piccadilly and St Pancras International stations, where these photographs were taken.The idea comes from the camera obscura, or "dark room", a once popular form of entertainment and artist's tool which uses a small aperture and mirrors to project a reflection of the passing world. A form of proto-cinema, the camera obscura was in part what led to early photography, as people strove to fix the images it produced.As Lavinia Greenlaw writes in her introduction, "All of my work has, in one form or another, been an exploration of the point at which we start to make sense of things; an attempt to arrest and investigate that moment, to separate its components and test their effects. Audio Obscura extends this to the act of listening, or dark listening, in which unconscious aspects of perception are brought to light in ourselves."

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Egg Box announces Andre Mangeot's long-awaited first full collection, containing 43 of his finest poems to date. Titled Mixer, each poem begins with a cocktail recipe. The first poem is about opening a bar up in the evening, and the last about closing it at the end of the night, and in between a host of characters enter and leave, telling their stories in Carveresque fashion. This is a truly unique collection.

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Hom Yun's meticulously ordered life of reading books and drinking coffee receives a jolt when a mysterious cultural foundation unexpectedly agrees to fund his film proposal: a blend of fiction and documentary, a tone-poem constructed around a lyrical narrative, set around Scythian graves in the High Altai mountains. Desperate to be taken on as his assistant, the foundation's secretary follows him from their offices and begins a night of crossed wires, dislocation, and reality seen through glass, darkly. One of South Korea's most astonishingly sui generis authors, Bae Suah mixes the cerebral and the pungently physical, the mundane and the wildly surreal, in a characteristically potent blend.

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'A book celebrating a remarkably successful programme and rife with examples of valuable craft and life lessons' - Peter Ho Davies, The GuardianAn essential companion for young writers facing the long period of apprenticeship that lies ahead of them, Body of Work comprises over fifty pieces by writers connected with the Creative Writing programme at UEA.From Malcolm Bradbury and Ian McEwan to Angela Carter, Kazuo Ishiguro, Anne Enright and Tracy Chevalier, authors enlighten and entertain with autobiographical essays that describe what it is like to be a student or teach on the course – and the excitements, disillusionments and possibilities of life as a professional writer.Former visiting fellows at UEA including Paul Muldoon, Nam Le, John Boyne and Adam Mars-Jones recall their time there, or recount other situations that they have encountered in the course of being an author. Also included are contributions that clarify problems across the whole field of literary composition, through a mixture of practical advice, personal testimony and critical perspective.Finally, a series of appreciations and obituaries revisits authors associated with UEA, such as Angus Wilson; Lorna Sage; and W.G. Sebald, whose literary art and personal example continue to provide inspiration for those who follow.

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Inah has been having nightmares. Nightmares of fish bones, fractals, and a marriage that ended under some unnamed violence. Walking the night streets with a man she has known for years, whose feelings for her are bound up with his intense longing to live as a woman, the fragile bond of their relationship threatens to shatter. Internationally acclaimed author Han Kang directs her unflinching gaze on the painful complexities of damage and recovery, questioning what it is we want from ourselves and each other, and whether there are some things that are truly irreparable.

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This collection of five subtly wrought stories from Amatmoekrim brings her short fiction into the English language for the first time. Ranging from the speculative ‘Jacques d’Or’ to the radical ‘De Radicaal’, this collection is a journey through Amatmoekrim’s pre-occupation with what kind of world we are creating. Her often cheerful and entertaining writing is threaded with threatening undertones, creating a haunting effect on the reader.

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Introduced by James McDermott, with a foreword by Alice Nutter, the 2024 MA Scriptwriting cohort presents the full spectrum of comedy, tragedy and everything in between.

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Open the cover of this book and step into nine different worlds. Journey to 1990s Belarus, where nothing and no one is quite as they seem and the stakes couldn’t be higher; walk the plush corridors of a global chemical company with an obituary writer trying to untangle a mystery rooted in a twenty-year-old disaster; navigate the byways of Europe’s criminal underworld with a truck driver drawn into the poisonous orbit of a corrupt billionaire and his manipulative wife; follow a petty criminal and a rookie cop into the shadows of a storied Irish wood that holds the secrets of their shared past; visit a south coast town where a psychotic killer forces strangers to make the most heart-breaking choice of all; visit a women’s prison where rough justice is the order of the day for a police officer convicted of murder and drug trafficking; stalk a seafront stage with a Blackpool showman as he shapes and reshapes the narrative of his daughter’s most inexplicable act; flip through the pages of the most twisted self- help book ever to take the world by storm; or meander through a verdant Irish garden where flowers run riot, secrets lie buried and death is never far away.

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When Jane marries the elderly grocer William Chirp, she thinks she has moved up into the comfort of middle class. Instead, she discovers that William exerts a control over her life that forces her to live like a prisoner. His tight fistedness and suspicions so affect Jane that even after his death, she finds herself trapped in a penny pinching paranoia and resorts to scavenging for food out of garbage bins and taking her silverware with her everywhere in a shopping bag. Utterly forgotten for over 80 years, neither the book nor its author are mentioned in any history of 20 th century English literature. Yet Trevelyan is arguably the finest novelist of the generation to follow Virginia Woolf and William’s Wife is one of the most powerful psychological portraits in all fiction.As a story about a woman at the mercy of a domineering and abusive husband, William’s Wife is a novel still resonant and relevant in today’s world. Even more, it’s one of the most effective accounts of the onset and experience of mental illness, of a paranoia and miserliness that gradually takes over Jane Chirp’s life and leads her to move to ever more cramped and dingy flats where she surrounds herself with her belongings like a besieged hermit.

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An anthology of reviews produced in collaboration with special educational needs children studying at Hewett Academy, Norwich UK.

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A classic English novel rediscovered after 85 years With an introduction by Rachel Hore and an afterword by Brad Bigelow. A panoramic view of English life from 1919 to 1936, TWO THOUSAND MILLION MAN-POWER is no wistful, nostalgic account of this time. Instead, Gertrude Trevelyan shows how even the brightest and most able personalities can be ground down by economic highs and lows and a system in which individuals quickly disappear into crowds and statistics. One year, Robert and Katherine are enjoying the consumer comforts of a radio, a car, a house in the suburbs. The next, they are struggling to make ends meet in a tiny, squalid East End flat as Robert trudges hopelessly into London each day in hopes of finding work. The result is a savage portrait equaled only by George Orwell's The Road to Wigan Pier. TWO THOUSAND MILLION MAN-POWER follows Robert, a chemist, and Katherine, a schoolteacher, through two tumultuous decades in English history. From New Year's Eve 1919 to the funeral of King George V in 1936, they experience youthful radicalism, economic boom and bust, comfortable middle-class life in the suburbs and grinding poverty and the debilitating experience of looking for work where there is none to be found. Gertrude Trevelyan sets their story against the backdrop of newspaper headlines, radio broadcasts and advertising slogans, contrasting the promises of progress and technology with the brutal effects of economic upswings and downturns. The result is one of the finest fictional portraits of English life in the 1920s and 1930s--the equivalent for England of John Dos Passos's epic, U.S.A.. Utterly forgotten for over 80 years, Gertrude Trevelyan is finally being rediscovered. The stylistic and imaginative daring of her fiction arguably makes her one of the finest English novelists of the generation that followed Virginia Woolf. Fiction.

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2022 edition of the UEA MA Translation creative writing course anthology

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2022 edition of the UEA MA Biography and Creative Non-Fiction creative writing course anthology

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“...it suddenly rushed out onto the road, as if chased, and leapt straight into my arms. That is how I ended up taking it home.”An enthralling selection of shorter stories in which, among many other things besides, we encounter death as a supernatural beast-presence trapped inside a box only to escape and cause mayhem in a local village; a darkly comic fable concerning a father and his son set in a world where children take on the forms of different animals as part of their 'formal education'; and a series of micro fiction 'stations', or vignettes, recounting different scenes, characters or dreams on an implied narrative journey.

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2021/22 collection of UEA Creative Writing Society pieces.

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Writer Phillip Lopate described the essay as ‘an open-ended adventure, an invitation to doubt and self-surprise’. The essays in this special issue use the form as a platform to allow a multitude of voices to ring clear, inviting us to explore topics as varied as nature, trauma, last lines of poetry, and Esperanto.Featuring writing by Tom Bailey, Susmita Bhattacharya, Bonnie Lander Johnson, Constance Kresge, Christopher Linforth, Zachary D. Shell, Rob McClure Smith, Charlie J. Stephens, S.Y. Tam, Jack Young, and Anna Vaught

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"If I had to choose the richest person whom I would call a friend, I would pick Han Seung-hui."A reconnection with an old friend leads to an intriguing party invite with surprising results and, through this simple tale and the progress of a single relationship, but from separate and very different worlds, a deeper story is told of contemporary society and class.

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"Crime fiction is an extraordinary genre. It's one that doesn't know its place, and never really has... There is a reason why crime fiction is still so loved, and why the writers featured in the following pages are telling the stories we want to hear. The human appetite for the grisly is an entirely natural one. Blood, cruelty and deception lie behind the oldest stories we've been told... There's nothing beats a stunning good murder, after all." - William Shaw "Crime writing is a broad church. Far from being just about cops and robbers, violence, action and entertainment, at its best it holds a mirror up to our world, urging us to examine the line between right and wrong, and what leads people to cross it. The best crime fiction leans into the darkest and the noblest parts of humanity, and can take us into all areas of society - from inner city council estate to remote Greek island, from outwardly innocent English suburbia to raw, Australian outback. You'll find all of that in here, and more." - Julia Crouch

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"These poems will transport you far. The work here combs an expanse of place and experience. Complex subjects are explored with maturity and many poems push confidently at the boundaries of form. There is an energy to the work, displaying advanced, original thinking. The writing students at the University of East Anglia have proved a fearlessness in their ability to dissect identity, origin, trauma, love, objects, language. I read these poems and I learnt things." - Rebecca Goss

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Hinterland is a new 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. Our launch issue stars (among others) Costa Biography Award-winner Rebecca Stott (In the Days of Rain), celebrated journalist Ian Thomson (Dante’s Divine Comedy, The Dead Yard, Primo Levi), an interview with Damian Le Bas (The Stopping Places) a coming of age story by Michael Kineman, a journey across India by Saloni Prasad, photographer Helen James and a glimpse into the world of Tokyo's Western hostesses by Susan K Burton (shortlisted for the 2018 Tony Lothian Prize).

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'The Sick List operates on the far side of literature.' John Schad In this novel, an unnamed academic in an unnamed contemporary university, relates his obsession with his tutor, Gordon. He pores over the increasingly bizarre mis-readings in Gordon’s annotations in a strange selection of stolen library books. Is Gordon unraveling a mystery? Or is his own mind unraveling? Meanwhile, an epidemic of catatonia breaks out; academics are found slumped and unconscious at their desks. Is reading itself the cause of this sickness? Is the only escape to return to illiteracy?Witty, moving, and beautifully written, The Sick List plays with the dividing line between deploring and exemplifying what it most despises. Inspired by the work of the Austrian novelist Thomas Bernhard, it considers how the minds of educated people are moulded by both the breadth of literary culture and the narrowness of academic institutions. ‘The Sick List is about menace, about a menace (Gordon), and is written in the voice of a menace. It reads like one of the pen-portraits of surreal ultra-violence in Bernhard's Gargoyles, where education turns out to be the most deceitful panacea of all.' Katharine Craik

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'The new and most heartening aspect of the well-crafted poems you will read in this book is... their capacity to express and explore ecologies of feeling and being. They do not censor their capacity for metamorphosis... Here is a gathering of itinerants, who all have been habited in the University of East Anglia's land' - Vahni CapildeoFeaturing work by: Helen Akers • Kirsteen Anderson • Geffen Bankir • Rachel Cleverly • Lili Cooper • Jade Cuttle • Alison Graham • Amanda Holiday • T. E. Irvine • Mari Lavelle-Hill • Deshawn McKinney • Laia Sales Merino • Ryan Norman

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A poet reflects on the lives of the different generations of women around her as she contemplates her own divorce from a socially-engaged photographer; her feelings are complicated by the ethics of public/private, art/life divisions, as well as the country’s contemporary history. The story reveals the raw complexity of gender dynamics in a society still hobbled by the demands forced on its people through war and ideology and rapid modernization; it is a good reminder of the different feminisms that do and must exist.

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An acid-sharp novella of longing and language, in which the past comes up hard against the present, from Jonathan Gibbs, acclaimed author of Randall, or The Painted Grape (Galley Beggar, 2014):‘It was not the only painting in the room, but it was the one that drew the eye. It was a Golden Age interior, the like of which you might see a dozen times in the Rijksmuseum, Jenny guessed, and once or twice in any gallery in Europe or America with a half-decent collection. Simple, domestic: a woman and a man in a room, the striking yellow and black tiled floor spread in expanding diamonds towards the viewer. There were paintings on the walls of the room in the painting, and a mirror on the left wall, tilted, that reflected the tiles, in a masterful flourish of perspective…’When Jenny Thursley, a 40-year old linguistics lecturer, returns to Europe for a conference in Amsterdam, she finds herself pitched back into the presence of a life she had fled: a once-inspirational mentor now dying, a former lover again within reach, the flickerings of new desire. Over little more than twenty-four hours Jenny must write a keynote conferene speech, face up to her own mortality, and to the consequences of the bad choices she has made – while finding the nerve to make new choices that might be no better. Witty, sexy and provocative, The Large Door is a meditation on life and living, and on ages – golden and otherwise – that recalls the sparkling mid-century work of writers such as Muriel Spark and Brigid Brophy.

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A virus inflames a woman with mortal desire; a colonial naturalist seeks an impossible specimen; invisible violence stalks a safari; and a child’s bullying summons archaic armies. Ranging from taut human drama to phantasmagoria, these scenes make rich and strange connections – between ancient and new, human and animal, Africa and Europe, reality and dream. Includes prize-winning stories as well as previously unpublished works from one of South Africa’s foremost novelists.

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Writers in Conversation compiles Christopher Bigsby’s interviews with the world’s greatest writers from over a decade of the Arthur Miller Centre’s International Literary Festival at the University of East Anglia. These often candid, in-depth, witty and illuminating exchanges shine a light on the craft and profession of the working writer today; a must buy for any scholar or fan of any of these household names.Published in association with the Arthur Miller Institute for American Studies.Writers in Conversation with Christopher Bigsby Volume Seven, edited by Christopher Bigsby, features interviews with Paddy Ashdown, Antony Beevor, Louis de Bernièrs, Kenneth Clarke, J P Donleavy, Richard Flanagan, David Grossman, Richard Holmes, Kazuo Ishiguro, Penelope Lively, David Lodge, Ruth Rendell, Kamila Shamsie, Jon Snow, Rebecca Stott, D J Taylor, Rose Tremain, and Stephen Westaby.

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The Green Monk was written between London, Madrid, and Krakow, and engages thrillingly with various surrealist visions of artists and poets, including Leonora Carrington, Salvador Dali, Federico García Lorca, James Tate, and Chika Sagawa. It concerns, variously, queer erotics, animism & magic, food, death & sublime nature, fairy tales & alchemy, & the wonders of everyday life in Madrid. It is simultaneously contemporary and ancient, built on visual images and techniques of juxtaposition and collage, accompanied by entertainingly absurd narratives. These poems sit between worlds and take the reader on shamanistic journeys, healings, and transformations, through a language of migration and immigration, across various physical and imaginary, spatial and temporal, fields.

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‘Our non-fiction writers this year have spread their wings to take on an extraordinary range of subjects, places and, indeed, genres…’–Kathryn HughesNon-fiction writing constantly finds itself being redefined. It can mean almost anything, but always involves facts and truth as writers break rules and experiment with content and form. From memoir to journalism, to stories that combine history with lived experience, this anthology of creative non-fiction assembles voices from six different countries, telling true stories from Europe, Asia, Africa, South America and North America.Romana Canneti • Lorna Daymond • Freya Dean • Aaron Deary • Ingrid Fagundez • Justus Flair • Peter Goulding • Peiyi Li • Yin F Lim • Jess Morgan • Aaron O'Farrell • Ivan Pope • Saloni Prasad • Kate Romain • Sureshkumar Pasupula Sekar • Susan Woolliams

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Taken from the author’s Dutch short story collection Nederzettigen, this trio of stories is follows various individuals trying to build an existence, who need to feel at home somewhere. Each character is displaced in a different way but, wherever they come from, all the characters have a conflicting longing for change and stability. In crystal clear language, Van Hassel tells three tales about restless times in a fragmented society.

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What does it mean to be human? Poetry asks this question. The answer, if one looks in any anthology—from any country or era—would appear to be that humanity consists of hopelessly doomed romantics, variously-religious spiritual seekers, or soldiers. It takes a lot of searching to find a poetry about the most universal and human of activities; that of parenting or of being parented. In recent years, poets such as Bernadette Mayer, Alice Notley, and Anne Waldman have all written long celebrations of motherhood, but there has never been a poetry written by fathers about the father-daughter relationship. Tim Atkins’ ON FATHERS < ON DAUGHTYRS changes this.ON FATHERS < ON DAUGHTYRS is a long poem which rolls up its sleeves, puts on a waterproof apron, and dives head-first into this messy world. From being thrown out of museums for throwing too much paint around to marching through London (repeatedly) on political demonstrations, Tim Atkins casts a warm eye on the many and various pleasures of being the father of two daughters. In a brand new poetics of the transcendent domestic, which combines the styles of The New York School and Britain’s Tom Raworth, slapstick and tragedy coexist on every page.Philip Larkin wrote that your mum & dad fuck you up. ON FATHERS < ON DAUGHTYRS is a poem with plenty of fucking around but very little fucking up. Poet George Oppen asked the question; "My daughter, my daughter, what can I say of living?" Atkins’ happy poem is a 120-page answer. "Come down here right now/ & get your snot off the ceiling."

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WORD/WORLD is a book of three registers. The collections Alphabet Poems, Apples and Origins, and then the Word/World poems themselves, comprise the contents of this book. These three constitute a progression, through language, from the unruly, abstracted language of trauma, into a more integrated and embodied approach to a language that inhabits an awakened body in the present tense.The fabric of WORD/WORLD spans heirloom seeds, police murders, witch burning, Ayahuasca tourism, shamanism, the asteroid Chiron, soul mates, alchemical principles, plant medicine, tantric sex, gangster rap and the end of American Apparel. It is an attempt to heal divisions and static states, and looks towards a world that exists outside of duality.Building on the work of Morris’ first book, The On All Said Things Moratorium, WORD/WORLD firmly establishes poetry as its own language, a language which borrows from but is not like other language, and in which ideas can be held, examined, questioned from different angles, and exploded.

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CLICK & COLLECT is a sequence of poems that explores the shape and shaping of consumerism, internet culture, queerness and emotion. How do we brand the world around us and how does it brand us? Across lyrics and half-story-poems, CLICK & COLLECT gives advice on how to frighten your friends, weighs up the pros and cons of cream jeans, questions the efficacy of algae as a face mask, gives dental hygiene tips and ideas for floral arrangements. There’s even a poem from the perspective of the crocodile on Lacoste-branded clothing. If click & collect is the new cause & effect, how can realignments of brands-as-objects and objects-as-brands create queer spaces for new orientations and arrangements?

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