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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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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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