Search results for ""UEA Publishing Project""

From distraught bridesmaids who lose their bride to young adults searching for love on Tinder, theses stories showcase some of UEA s finest storytelling. The 2015 scriptwriting anthology comprises of eight original pieces from a wide range of talent some dark, some comedic, some a little bit of both.Here are scripts that give us a glimpse into eight wildly contrasting worlds filled with striking characters. Whether it s terminally ill adolescent patients finding unique ways to entertain themselves, or a father and son clockmaking duo who come to head in a shocking way, there s something in this anthology for everyone.

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The first in a new line of anthologies of undergraduate writing from the University of East Anglia, a university renowned the world over for its creative writing programme.Inside these covers a remarkable range of work by forty-six writers of prose and poetry awaits discovery. There are dreams and nightmares, facts and theories, experiments and routines, couplings and separations, confessions and concealings, bodies and minds, umbrellas and football boots, lovers and strangers, arrivals and departures, fantasies and realities, rooms and rivers, whole landscapes in beans and beans in whole landscapes. One way or another, however you choose, it is time to enter the Underworld…"Underworld displays the extraordinary range, style and inventiveness of our undergraduate community of writers. There is a great deal to showcase and celebrate."- Andrew Cowan

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With a foreword by UEA alumnus and novelist Joe Dunthorne and an introduction by Henry Sutton, this anthology showcases some thirty new names for the future. The world-renowned UEA programme's alumni includes Ian McEwan, Anne Enright, Tracy Chevalier, Kazuo Ishiguro, John Boyne, Kathryn Simmonds, Adam Foulds, Diana Evans, Deirdre Madden, Toby Litt, Anjali Joseph and Andrew Miller."The UEA is a supportive community, a creative muse and a fertile ground – under clear East Anglian skies – to grow the best crop of new writers each year. Sample and enjoy this season's produce."– Jeremy Page, author of Salt and The WakeNathan Hamilton is one of the UK's leading young poetry editors. He recently edited the Bloodaxe anthology Dear World & Everyone In It: new poetry in the UK (2013; ISBN 9781852249496). Rachel Hore is the author of six novels published by Simon & Schuster, most recently The Silent Tide (2013; ISBN 9780857209740) and The Glass Painter's Daughter (2013; ISBN 9781849835336).

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Short-listed for the 2013 New Angle Prize for Literature.BOOK OF THE YEAR - overall winner of the East Anglian Book Awards 2012"A major piece of work, beautifully presented, on a subject familiar to us all but about which few of us have a deep understanding. Reading The Last Hunters is sure to change that" - Eastern Daily Press"I put it aside for late summer reading but couldn't put it down. [Candy Whittome] has caught the voices and that East Anglian up-beat realism... Brilliant" - Richard Mabey"Candy Whittome and David Morris's book pays tribute to the crabmen of Cromer. The photographs are beautifully composed, and the descriptions of the people interviewed full of affection. But what makes the book special is the range of voices we hear… natural storytellers, recounting tales of triumph and catastrophe - long days, rough seas, terrible accidents, glorious homecomings with a full catch" - Blake MorrisonThe Last Hunters is a contemporary portrait of one of the last surviving fishing communities in Britain. The book tells the stories of the Cromer crab fishermen and their families in their own words, accompanied by David Morris' stunning black-and-white photographs. A compelling account of a community in danger The Last Hunters celebrates a way of living that is in tune with the environment, reliant on skill, resilience, and exceptional will. It is also an utterly human story of a group of ordinary people living out-of-the-ordinary lives.

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"A really unusual and effective narrative voice, showing great wisdom and assurance" - Financial TimesInspired by a concert held during the Aldeburgh Festival on an American airbase in Suffolk, this haunting new novel shows how complex human relations and the power of place can capture and inspire the musical imagination. Washed-up composer Michael Anders retreats to England’s south coast to write a commission for a New York music festival. Plagued by the protracted absence in America of his psychoanalyst wife, and by boyhood memories of an angel glimpsed in the Suffolk marshes, Anders finds his unease growing as he enters a landscape at once reassuringly pastoral and drowning in apocalyptic junk. Norman castles, Martello towers and decaying WW2 fortifications bear witness to England’s military past, while the airwaves hum with spy chatter picked up by the radar installations that once linked wartime Pevensey to the Suffolk of his childhood encounter with the angel.As Anders struggles to find his narrative and musical thread, he succumbs to the competing claims of Alice, his monster landlady, and Nancy Flight, a young punk singer with dirty fingernails and a siren voice. Holding the strands together is Walter Benjamin’s Angel of History, blown backwards into the future and straight into Anders’ inspired music.

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Rose Tremain's fiction often finds itself drawn into the "wide skies and watery byways of East Anglia". The short stories gathered in Wildtrack, selected from her collections published over three decades, convey the sense of isolation, darkness and secrecy the region fosters: a sense that has long fired Tremain's imagination.At first sight, these four stories might seem to have little in common apart from their East Anglian settings. But some of the protagonists also share a feeling of anxiety that there is something wrong or missing in their lives which they must confront. The title story, Wildtrack, and Peerless both tackle the question of how we find meaning in a secular life, while in A Shooting Season, the main character believes she has found a safe haven, free from intervention of any kind – but then The Past makes an appearance.

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The world-renowned UEA Creative Writing MA presents its annual selection of new young poets. Founded in 1992, students and tutors on the course have included Owen Sheers, Kathy Simmonds, Denise Riley, Andrew Motion, Ben Borek, Lavinia Greenlaw, George Szirtes, Matthew Hollis, Adam Foulds, Hugo Williams, Daniel Kane and Anthony Thwaite."This group of poets have come from all over the world to work together at UEA. The interaction of such different voices has helped each to become more distinctive, more its own."Lavinia Greenlaw"No house-style, no ready-mades, simply original thinking, original writing from an exciting set of individual voices."George Szirtes

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"The funny thing about Daniel Kane's book, given its rather showy title, is how unostentatious his poems really are. Excessive, yes, gorgeously so; and 'out there' in bravely following his, or his given language's, inclinations. What is anything that can be observed or thought and how do our words account for, and even augment, that sketchy existence? How is a poem a fact if anything can be? Peculiar to Kane is his often headlong, always nimble variant on how to proceed: transmutation, an ostensible care for writing as fitting together a world in words as if out of nowhere. This remarkable book adds up, heartily, to its own 'heap big meal'."— Bill BerksonDaniel Kane was born in New York City and grew up in Manila,Philippines; Mexico City, Mexico; London, England; Tenafly, New Jersey; and New York City. He is currently Senior Lecturer in American Literature at the University of Sussex, Brighton, England. Kane's books include All Poets Welcome: The Lower East Side Poetry Scene in the 1960s, What Is Poetry: Conversations with the American Avant Garde, Don't Ever Get Famous: Essays on New York Writing After the New York School (editor and contributor), and Fragments, Blotches and Healing Lights: The Conversation Between 'New American' Film and Poetry (forthcoming 2009)."Daniel Kane is the revitalising voice twenty-first century poetry needs, and Ostentation of Peacock is a full display of his transatlantic talent. Fresh, funny and visionary, this book offers the reader a real world of fantasy with the lyric grace of early Ashbery and the prophetic ambition of early Ginsberg."— Jeremy Noel-Tod"The variegated plumage of Kane's elegant, iridescent, fan-tailed poems is a constant delight. Some are indeed as ostentatious as peacocks in their pride, but others obliquely and movingly mime uncertainty, confusion, and loss. This is a gorgeous collection, and one that deserves a 'harmonious welcome'."— Mark Ford"Fun is missing from this world everywhere; but here it is, at times pitiless but still fun. Daniel Kane's personable imagination dwells in the house of free play: a posture of meditation on the couch upon which there is ought to do but muse on things of a consequence neither relativized nor sanitized. Absolute inquiry into creatures-objects-ideas produces, in this leavened mind, a flurry of response that is a 'cosmos or order or harmony in a bag full of hard to categorize leaves'. Not only fun has been missing, but also compassion, and that is here too, 'with singular freshness and poignancy'."— Rebecca Wolff

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Introduced by scriptwriter Steve Waters, here ten scripts for the stage and screen showcase a variety of techniques and styles, each demonstrating high standards of creativity, craft and application. Throughout the anthology, characters are not necessarily who they seem, events can turn in a beat, and revelations have ambiguous consequences."The course brilliantly celebrates the art of scriptwriting whilst maintaining focus on the importance of gaining the tools to become a professional. It fosters creative exploration whilst facilitating the acquisition of applicable practical skills and knowledge of the industry."– Molly Naylor, writer/performerNathan Hamilton is one of the UK's leading young poetry editors. He recently edited the Bloodaxe anthology Dear World & Everyone In It: new poetry in the UK (2013; ISBN 9781852249496). Rachel Hore is the author of six novels published by Simon & Schuster, most recently The Silent Tide (2013; ISBN 9780857209740) and The Glass Painter's Daughter (2013; ISBN 9781849835336).

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EADT "Reader's Choice" winner, The New Angle Prize for Literature 2011"Scallop is at once a monument to a great musician-composer and a celebration of the origins of his art... A robust and poetic work of art (that) stands at the thrilling edge where culture meets nature" - Mel GoodingMuch has been said and written about Maggi Hambling's Scallop on Aldeburgh beach. Here is the artist's own story, told as it happened, with interpolations by some of those who supported (and some who didn't) her exhilarating and provocative sculpture to Benjamin Britten, one of Britain's most exalted composers.Maggi Hambling traces her love of the sea back to earliest childhood and records how this lifelong passion has fired her work, culminating in the construction of a 15ft high, six-and-a-half ton stainless steel sculpture rising out of the shingle on Aldeburgh beach. Children love it. Lovers love it. Those paying tribute to lost loved ones gather around it. And there are those who would wish it melted down or carted away. The artist, and those nearest the action, tell the fascinating story of its conception, official acceptance and construction, and the unholy row that erupted after it was finally unveiled.

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Underscore is the seventh installment of UEA's Undergraduate Creative Writing Anthology which is produced annually to highlight the shear wealth of talent the university inspires. The project was made possible by the School for Literature, Drama & Creative Writing and UEA Publishing Project, Ltd., and organised by the university s own student publishing society, Egg Box. This collection of prose, poetry, and script was shortlisted from over a hundred superb submissions and contains almost every theme and style you could imagine. So sit back, relax, and take a look at all we have to offer You won t be disappointed.

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of sirens, body & faultlines is a book of prophecy against this Brexit era, rising from a post-2008 London, where crisis and austerity meet the vanity projects of the super-rich. Committed to the immediacy of a present that is precarious and under surveillance, of sirens... attends to queer, transfeminist and people of colour counter-memories and histories. It seeks new expressions of desire and modes of breath, pushing against the gravities that would rather these lives and worlds disappear.While arguing with the radio may seem futile, syntax, punctuation, grammar and the page must still all be mobilised to help create new conditions of possibility – for collectivity, for poetry to speak. Nat Raha’s exceptional, experimental, queer lyric mobilises all aspects of language to reveal contradictions of capitalism and defuse populist rhetoric. This is a writing of city life against the flows to capital; labouring bodies speaking back to the demands of work and the fictions of xenophobic politicians. It concerns herstory, transfeminism, collectivity; the everyday of South East London, transformation and decolonisation, through counter-memories, anti-memoir, and a trans poetics.

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Author and activist Lydia Maria Child was a foundational figure in the development of American literature in the early nineteenth century. After her debut novel Hobomok (1824) challenged readers with its representation of interracial marriage, she continued to blaze literary trails for the rest of her life, developing a loyal readership as she confronted the most pressing issues in American life. She wrote novels, poems and short stories, composed housekeeping and parenting manuals, edited abolitionist newspapers and narratives -- most notably Harriet Jacobs' Incidents in the Life of a Slave Girl (1861). Less well-known is that she almost single-handedly invented a new American literature for children. For decades, and particularly during her time at the helm of ground-breaking children's magazine The Juvenile Miscellany (1826-1834), Child was a constant companion for young readers across the world. For the first time, this anthology brings together a career-spanning collection of Child's writing for children which demonstrates the extraordinary richness and range of her vital work in this field. As she shaped the idea of what children's literature could be and do, Child trusted her young readers to understand difficult questions of social and racial justice, explorations of natural and national history, sentimental domestic sketches, and much more besides. Contemporary readers can now rediscover the delight that the arrival of a new issue of The Juvenile Miscellany brought to the world while grappling critically with the ongoing resonance of these questions in the twenty-first century.

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In the writing of poetry and translations, everything and nothing is foreign; everything and nothing is new. This hybrid collection takes us across the globe, showcasing an impressive range of poetry and translated literature, examining places and sensations that are often as familiar as they are strange. In Venice, a woman realises that she is merely “The Photographer’s Girlfriend,” while in Chile, young love is quietly eroded by social and economic realities. Meanwhile, a Ugandan poet explores her family heritage, and the wisdom of Hermann Hesse is passed on in a new translation.

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Boasting an impressive array of budding literary talent, the third edition of Peninsula showcases an ambitious and wide-ranging collection of poetry and prose from Durham University’s emerging writers. The fiction in this collection reflects the post-pandemic world we are all learning to navigate: poised between loss and hopefulness, filled with contrasts and complexities, it cuts straight to the heart of the human experience.

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Published quarterly from the University of East Anglia, Hinterland brings you the best new creative nonfiction. Issue 11 is a Place Writing special in collaboration with the Centre for Place Writing, Manchester Metropolitan University.

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2022 edition of the UEA MA Crime Fiction creative writing anthology

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2022 edition of UEA MA Prose Fiction Creative Writing course anthology

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Poetic reflection on disjointed life. A diary of a village approached by pandemic. 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 five, Contactless/Miradas-19.After Noon by Andre Hughes, translated by Aída López MilánContactless by Christopher Perry, translated by Aída López Milán

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Time: The Present collects the best short stories of one of the finestAmerican writers of the 1930s, Tess Slesinger. An Academy Award-winning screenwriter, Tess Slesinger was one of the most innovative and original short story writers of her generation.She dealt with issues of sexuality, economics, race, and the complexrelationships between men and women in and out of marriage thatremain highly relevant today. Slesinger’s stories can be satirical, comic, bittersweet, or tragic—but most of all, always immediate. As Vivian Gornick puts it in her eloquentintroduction, Slesinger’s ‘feeling for life’s unavoidable sorrow remainshaunting.’ Taking great stylistic risks, Slesinger freed her stories of theconstraints of period and place and created works that are timeless in their impact and approach. Time: The Present restores Slesinger’s rightful place as one of the greats of the 20th century short story form. It includes numerous stories from The New Yorker, Vanity Fair, and other magazines collected here for the first time.Time: The Present continues Recovered Books’ mission to bring long forgotten books of exceptional merit and resounding relevance to today’s readers.

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Pull Devil, Pull Baker is one of the oddest autobiographies ever written.The novelist Stella Benson first encountered an eccentric Russiannobleman, Count Nicolas de Toulouse Lautrec De Savine in the pauper’sward of a Hong Kong hospital. Striking up a friendship, she foundherself fascinated by the Count’s garrulous memoirs, written in a uniqueblend of English, French, and Russian.The Count’s adventures included a stint as a Russian cavalry officer,gold mining in California, a failed attempt to establish himself as Czar ofBulgaria, get-rich-quick schemes, and countless romanticentanglements. Were these all inventions of his fervid mind, like alatter-day Baron Munchausen? Were they true? Could they be both?In Pull Devil, Pull Baker, Stella Benson not only collected the Count’srecollections but provided a running commentary that reflects on thenature of memory, truth, and the power of storytelling. In the process,she created a book that anticipates by decades the ”new nonfiction”school of such bestsellers as The Lifespan of a Fact and the work ofGeoff Dyer, W. G. Sebald and others who weave together fiction and fact.Pull Devil, Pull Baker exemplifies the unique and remarkable booksbeing brought back to print by Recovered Books, the new series fromBoiler House Press that celebrates the gems that have been lost to thechanging tides of critical and popular taste. Pull Devil, Pull Baker is easily the most exceptional and genre-busting reissue of 2022.

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Grinding monotony. A diary of panic. The life of the home. 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 two, No Date on the Calendar / Sin fecha en el calendario.Cartoons by Willa Froy, translated by Soledad Benavente CeballosUnprecedented by Aayra Khawaja, translated by Javier Romero CastañedaWeekly Routine by Ryan Lenney, translated by Roberto Matei

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"I simply shrugged at her like a westerner, which did nothing to temper the bottled-up shame and simmering anger within me."A cranky woman of letters ends up investigating after a story submitted for a writing competition at a government sponsored magazine is pulled from publication by its author, and in doing so finds a story of her own.

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RTA Parker’s Space Odes is an entertainingly bonkers romp of constellation and collage, writing and re-writing its entertainingly allusive way through intertextual space lampooning, deriding, despairing at and celebrating robots, the universe, love and sport (cricket, mostly) in a wonky poetics of anxiety and joy at the world we are thoroughly and catastrophically screwing up.‘No Catharsis.No bust through into the empyrean.No illumination.It ends with you realizing that even the silent beyond has been colonised by wankers’Texts quoted from or paraphrased repeatedly and/or prominently include Ralph Metzner and Timothy Leary’s The Psychedelic Experience, The Cantos of Ezra Pound, Star Wars, George Eliot’s Middlemarch, A1: Britain’s Longest Road, Silent Running, Cool Runnings, 2001: A Space Odyssey, Samuel R. Delany’s Trouble on Triton and Dhalgren, Emily Witt’s Future Sex, The Song Remains the Same, Aliens, Blade Runner, Larry McMurtry’s Lonesome Dove, Charles Olson’s The Maximus Poems, Woodstock, Rainer Maria Rilke’s Duino Elegies, Herman Melville’s Mardi, and a Voyage Thither and Willa Cather’s O Pioneers!--RTA Parker was born in 1978. His poetry has appeared in Onedit, Signals, The Rialto, Great Works, Freaklung, Naked Punch, Glitch, Brand and The Wolf, and he has read at various reading series, including Crossing the Line, Chlorine, and Desperate for Love. He is the editor and printer of Crater; a hand-bound and letter-pressed poetry pamphlet series based in London and Brighton. His poem, 'All The Bleak Chippies' (included in Space Odes) won the Ledbury Poetry Prize, in 2018.

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This issue of Peninsula is the second in a new series of anthologies produced annually by postgraduates from Durham University's English Department. Having spent the better part of a year studying via Zoom, this collection presents a broad scope of creative output that can be achieved during the pandemic. Peninsula showcases an extraordinary dedication to the art of writing, and a sustained passion for the possibilities of language. This collection is a map of the creative journeys of a group of unique and ambitious emerging writers, whose mututally supportive community has inspired an array of unforgettable prose and verse.

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

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Featuring work by: Amna Alamir • Chloe Bettles • Eleanor Burleigh • Hetty Cliss • Abigail Craig • Sam Davidson • Rose Francklin • Gabrielle Griot • Alex Hillman • Maya Hough • P. B. Hughes • Elke Huismans • Alex Innocent • Lauren Kania • Viv Kemp • Prerana Kumar • Sam Newcombe • Mariana Peña Feeney • Christopher Perry • Max Purkiss • George Richards • Jesse Smith • Tim Snell • Kiera Summer • Tristan·E • Alex Wood

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The World We Want is Us is the anthologized debut of Public Menace; bringing together the revolutionary imaginations of poets from across the globe to celebrate building fresh creative coalitions in the mobilization for future change. Organized into three sections, the Public Menace poets collected in this anthology span nationalities, poetic styles and revolutionary scopes. On offer is a kaleidoscopic journey into the intersecting struggles for our future, expressed through the voices of contemporary poets from America, Africa, Asia and Europe. The radical approach of Public Menace concerning the organization of creative communities sees stalwart voices published alongside fledgling artists, resulting in a roster as diverse in perspective as it is free-wheeling and wild with its variety of form and style. The anthology opens with poems that speak to the sense of wonder and speculative dreaming that precipitates mobilizing for activism. Take Root Among the Stars sings to God and dead heroes, contemplates writing as an act of resistance, and tackles feelings of despondency and dread that accompany wishes for change. Middle Fingers up marks the progression of radical thought from the abstract to the concrete: these poems shout loudly against injustice and subjugation. Transphobia, racism and colonialism, misogyny, climate catastrophe, technological interferences and capitalist oppression are among the main topics of resistance. After the crescendo of powerful refusal expressed throughout Middle Fingers Up, the collection draws to a close with And All Shall Be Well. This final section celebrates the regrowth and recuperation that necessarily accompanies movements for change. Poems here express a commitment to tenderness and the retention of beauty that fighting for our futures can steal.

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For 50 years UEA's MA and MFA in Prose Fiction has brought together the best and brightest emerging writers from around the globe. The programme has produced such recent successes as Emma Healey, John Boyne, Naomi Alderman, Elizabeth Macneal, Tash Aw, Anappara Deepa and JY Neon Yang. The works found in this anthology did not bloom in isolation. Writing is a craft, a practice - it does not sneak up in the night and come to life as a perfect manuscript by morning. Anyone who believes that all writing emerges in solitude would do well to witness the thrill of ten authors clustered together as they pick apart a newborn story and pass its paragraphs hand to hand. UEA offers the joy of letting stories collide. The cohort is made up of people who live and breathe language, and this anthology offers you a glimpse into the work that is the culmination of thirty-three writers living and working together in constructive collaboration. With a foreword by Rachel Cusk and an introduction by Naomi Wood and Philip Langeskov, Bloom offers an iridescent array of diverse and intriguing insights into the latest in literature. You can safely say that you read it here first.

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Edited and co-ordinated by Sarah Lowndes, Like The Sea I Think is an enthralling collection of new marine writing from East Anglia gathered from library workshops and open submissions held across the region. It is wonderfully designed, as always, by Emily Benton, and available as a memento and inspiration for all those living by, inspired by, or curious about, the sea. It is our provider, our enemy, our defender, our gateway to the world; it defines our borders, informs our imaginations, it inspires our artists. The anthology features an incredible range of writing styles, subject matter, and authors; the youngest featured is 11, the eldest 87. The perfect companion on a Norfolk coastal walk punctuated by warm coffee shops and local pubs.The volume includes 55 contributions from Viv Allen • Roy Ballard • Molly Bernardin • Neil Bousfield • Erin Bradshaw • Bev Broadhead • Tess Carruthers • David Cochrane • Louise Cole • Ruthie Collins • Mireia Molina Costa • Jade Cuttle • Janet Ellis • Cathy Erlam • Rose Evison • Jessica D’Alton Goode • Rachel Goodman • Mirabel Greaves • Chloe Hambly • Cate McKay Haynes • Sarah Hudis • Barrie de Lara • Jeni Lawes • Imogen Lea • Patricia Jane Lee • Stephanie Lillie • Angie Maddigan • George Mahood • Pip Mattich • Hillary Mellon • Jane Mills • Lloyd Mills • Jess Morgan • Lindsay Nash • Molly Naylor • Eoghan O’Maolain • Anna Opara • Sebastian Owen • Maria Pavledis • Clare Peed • Jon Platten • Simeon Ralph • Thogdin Ripley • Holly Sandiford • Gaia Shaw • Graham Sillett • James Smart • Robert F.W. Smith • Katie Stockton • Ryan Thacker • Rebecca Tough • Sarah Walker • Elizabeth Lewis Williams • Rachel Wood • Suzanne Woolnough

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Writing Places is a creative writing and literary translation project between students at the University of East Anglia in Norwich and Jadavpur University in Kolkata. Encouraging students to explore the connections between writing and place, this chapbook features a range of creative responses including poetry, prose, and translation. It includes a total of 39 pieces from Sophie Landridge, Rupsa Nag, Lili Cooper, Rachel Goodman, Marzia Rahman, Alice Davies, Peter Minj, Meghomala Bhattacharya, Naina Dey, Rebecca Philips, Katarzyna Biela, Syamantakshobhan Basu, Srishti Dutta Chowdhury, Daisy Flynn, Vijay Khurana, Surojit Kayal, Alice Willitts and Bishnupriya Chowduri. Writing Places was created through the partnership between the National Centre for Writing, the University of East Anglia, the British Centre for Literary Translation (BCLT), the Kolkata Literary Meet, Seagull Books, and the Centre for the Translation of Indian Literatures at Jadavpur University. It is supported by the British Council and Arts Council England ReImagine India fund as part of the UK-India Year of Culture.

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For the first time, Peninsula gathers the voices of Durham University's emerging writers into an ambitious and culturally diverse volume, covering aspects of the human experience from identity and diaspora to philosophy and the significance of place. Imaginative and distinctive, these short stories and poems by postgraduates from Durham University's English Department reflect the creative thoughts that echo off the cobbles of this northern city.Josh Allsop • Janina Arndt • Lucy Atkinson • Theo Breet • Rory Clarkson • Rosie Crocker • Laura Day • Cassidy Harvard-Davies • Finn Haunch • Ethan Hemmati • Avleen Kaur • Annabel Mahoney • Matthew McKenzie • Kleopatra Olympiou • Victoria Penn • Upasana Pradhan • Imogen Sharpe • James Shiers • Claudia Sterbini •Rachael Wanogho • Tula Wild • WU, You • Chutian Xiao

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This Spring issue of Hinterland celebrates the limitless reach of life writing. Between them, our writers explore adoption, suicide, sexual assault, the AIDS crisis, conscription, grandparents, trauma, and the enduring influence of Elizabeth Bishop. Headlining this issue we celebrate a work seminal to the genre of life writing: Lorna Sage’s Bad Blood, with a collection of exclusive-to-Hinterland pieces by Christopher Bigsby, Victor Sage and Sharon Tolaini-Sage, with a foreword by Kathryn Hughes, that illuminate and respond to the legacy of Sage’s memoir, now entering its third decade of continuous publication.

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Literary Activism – activism that revisits and interrogates an idea of literature – emerges from a radically altered landscape for both publishing and academia, where market pressures are effecting changes – on language, on the measuring of value, on the concept of influence – we might struggle to recognise.Taking in the roles of writer, critic, translator, academic and publisher, the essays in this volume follow no single line of enquiry. Rather, they offer the beginnings of an analysis of the literary world at a certain moment of globalization, while also questioning whether a literary world exists and, if it does, where its boundaries lie.The collection moves in many directions – from Arun Kolatkar and his near-heroic refusal of both market place and reputation; to Derek Attridge, who argues for a form of affirmative criticism which positions the critic as a ‘lover of the text’; while, from Amsterdam, Dubravka Ugrešić;reflects on life in a literary ‘out of nation zone’, adrift in a territory where intellectual protest has been stripped of ideological impetus and subsumed by the voraciousness of the market.Taken together, these essays initiate a series of conversations about who reads what and why, about the practice of writing and criticism at this particular contemporary moment, and about the activities and institutions that shape an understanding of what literature is and what it can do.Literary Activism, edited by Amit Chaudhuri, features writing from Derek Attridge, Tim Parks, Dubravka Ugrešić, Laetitia Zecchini, Peter D. Macdonald, Saikat Majumdar, Jamie McKendrick, and Swapan Chakravorty, with an afterword byJon Cook.

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The story takes place on a stairwell, all in about a minute’s time, while the narrator’s partner seizes her by the hair. The narrator had gotten caught, after running out of the apartment to try to escape assault. While she tries desperately to avoid falling down the stairs, she has a series of flashbacks about a friend who committed suicide years earlier. In this brief moment, she searches her memories for any signs she may have missed, and feels guilt for not having finished writing his story.

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An exciting and eagerly anticipated full-collection debut from a hugely talented poet. “Exuberantly raw and playful, Samantha Walton’s first collection Self Heal engages passionately with questions of identity, consumerism, gender, and humanity’s relationship to the natural environment. To self heal means to live amid a dizzying array of worldly demands, requiring all the abundance of humour, compassion, and intelligence this debut has to offer.”Carrie Etter “Here it is, the long-awaited collection by Samantha Walton! Self Heal is infused with passion and politics -- you could say that the poems are love poems, but unlike any you’ve read. With exhilarating wit, Walton declares the exchanges, vital or aggrieved, between the living stuff of the world: ‘the swabbed mystery of the connection/ between your body & the gross/ understatement of your environment’. These brilliant, acutely beautiful, deliciously mordant poems will tendril their way into your psyche.” Lila Matsumoto "You can open up your head and rub these poems on your brain when you want to feel better about the wreck: they’re “heal” poems, as the title says: Samantha Walton’s Self Heal opens to what blows between working streets and windy sky: “under the scolded / boots of the Poor Law / press the kissed field” and out comes love “to rub a mind across a meadow” in the company of saucy language bodies saying “call me / x”." Lisa Samuels, author of Symphony for Human Transport and Foreign Native

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Make no mistake, these are the stars of the future – and you're reading them here first. – Ian Rankin One of the most inspiring aspects of this collection is the ingenuity, the variety, and the originality of the writers. No two books are remotely alike, and there are no formulaic novels in here. There are psychological thrillers, procedurals with a twist, historical crime fiction, and novels that transcend all subgeneric categories. These novels give us the perspective of villains and detectives, but also of suspects, victims, and those who blur the line between all of these. There are novels from the perspective of police officers, cyber-security experts, probation officers, forensic linguists, geographical profilers, and forensic experts, professional and ‘unprofessional’ detectives, families out for vengeance, and vigilantes on the streets. – Laura Joyce The crime novel is a dynamic beast, no more so than now. At UEA we champion difference, the pushing of boundaries, experimentation and excellence. At the end of this volume – the second such anthology from graduating MA Crime Fiction students – I believe these ideas and ambitions, have been well and truly met. We have been taken on journeys both light and dark, across time and space, with integrity and rigour, insightfulness and humour. Always, however, we have been aware of not just talent and potential, but craft. – Henry SuttonDimitris Akrivos • Denise Beardon • Bob Jones • Femi Kayode • Roe Lane • Natalie Marlow • Nicola Monaghan • Niamh O'Connor • Louise Sharland • Peter Sibley • Mark Wightman • Matt Willis • Freya Wolfe

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Every year the UK’s longest-running Creative Writing MA Prose Fiction programme draws together an eclectic mix of writers from across the globe. They tread in the footsteps of some well-established names, most notably the recipient of last year’s Nobel Prize in Literature, Kazuo Ishiguro, as well as Booker Prize for Fiction winners Ian McEwan and Anne Enright, but also more recent successful graduates: Naomi Alderman, Ayobami Adebayo, and Emma Healey.To be a student on UEA’s prestigious Prose Fiction MA isn’t merely an invitation to stand on the shoulders of giants; it is a rare opportunity to be part of a vibrant community of writers who both support and challenge each other to produce imaginative, thrilling and ambitious work. This year’s anthology showcases the enormous talent of the cohort and gives a tantalising glimpse into the early work of writers that are sure to become household names in the future.Harriet Avery • Gemma Barry • S.G. Bayat • Rick Bland • J. Marcelo Borromeo • Grace Brown • Greg Buchanan • Zoe Cook • Frank Costello • Emily Coutts • Jill Crawford • Sean David Gilbert • Niamh Gordon • Francis Gosper • Jenny Hedger • Faye Holder • Sarah Hopkinson • Naomi Ishiguro • Silvia Kwon • Louise Lamb • Ayanna Gillian Lloyd • Philly Malicka • Senica Maltese • Arathi Menon • Benjamin Stickney Morrison • Victoria Proctor • D.C. Restaino • Anita Sharma • Kate Vine • Millie Walton • Anna Wharton

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This will be Polak’s first short story collection, as well as her first translation into English. The collection will bring together five of her most compelling stories, exploring a range of vivid human relationships ranging from pets to food, and lovers to family. All previously published by magazines including NRC or collections including Onze dieren, these stories will surprise, delight and move their readers.

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Featuring two brand new short stories, this chapbook is Heerma van Voss’ first translation into English. In his typical style, these stories feature compelling, well-wrought characters that suck the reader into their simultaneously hilarious and heart-breaking lives. Once again in these selections from his Dutch short story collection De derde persoon, Heerma van Voss has produced unputdownable fiction.

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The University of East Anglia's Creative Writing MA Scriptwriting Anthology for the 2016 cohort.

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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.Kyojiro is a cultural anthropologist, days away from making the trip of his career when he meets Mariko, a free-spirited Japanese woman living on Guam, a remote island in the Pacific Ocean. Mariko is everything Kyojiro isn't adaptable, whimsical, and ready to make life-changing decisions with the changing tides. It is during their brief time together that Kyojiro is able to watch the woman he loves metamorphosize from Mariko into Mariquita, shedding her Japanese identity and becoming a woman who belongs to Guam.In Mariko / Mariquita, Ikezawa explores the shifting notions of Japanese cultural identity against a politically charged backdrop. Ikezawa's light, teasing dialogue, and the tone conveyed in Birnbaum's translation, delicately explore the seemingly inconsequential choices we make as part of our day-to-day existence, and friction this creates with our cultural identities.

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Widely renowned as the UK s most successful course of its kind, the University of East Anglia s MA in Creative Writing was also the country s first. It has launched the careers of a vast array of award-winning and best-selling authors, including <>Anne Enright, Jane Harris, Kazuo Ishiguro and Andrew Miller. The 2015 Prose Fiction graduates featured in this anthology continue to produce work that is at the forefront of literary innovation, with evocative storytelling, formal experimentation, well-drawn characters and places that will fascinate, haunt and disturb long after readers have turned the final page. Though diverse in setting and genre, these twenty-five pieces share one element: they are all driven by strong and unique voices.These fresh new voices in fiction will no doubt contribute to the literary conversation and go on to join the ranks of the course s esteemed alumni as their careers develop in the future.

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UEA's Non-Fiction Programme is taught by Kathryn Hughes, the James Tait Black Prize-winning biographer and Guardian literary critic, William Fiennes, author of The Snow Geese (Picador, 2010; ISBN 9780330375795), and Helen Smith, a recent winner of the Biographers' Club Award.The course counts Granta author Mark Cocker among many successful alumni, and this new anthology introduces the next set of names to watch in this ever-growing field.Nathan Hamilton is one of the UK's leading young poetry editors. He recently edited the Bloodaxe anthology Dear World & Everyone In It: new poetry in the UK (2013; ISBN 9781852249496). Rachel Hore is the author of six novels published by Simon & Schuster, most recently The Silent Tide (2013; ISBN 9780857209740) and The Glass Painter's Daughter (2013; ISBN 9781849835336).

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Introduced by George Szirtes, this anthology brings together the work of 10 new poetry talents from the University of East Anglia's world-renowned Creative Writing programme. UEA has produced numerous successful and prize-winning alumni, including Sam Riviere, Agnes Lehoczky, Kate Kilalea, Adam Foulds, Kathryn Simmonds, Sebastian Barker and Owen Sheers."What emerges is not only a sense of exciting individual talents mining and developing their own gifts, but also a renewed conviction that the art of poetry is not just alive and well in Britain today, but ready to go out there and rattle a few cages."– John Burnside"This is a bold, diverse enjoyable selection of poems. The authors would rather take a risk than play it safe. Good for them"– Sean O'BrienNathan Hamilton is one of the UK's leading young poetry editors. He recently edited the Bloodaxe anthology Dear World & Everyone In It: new poetry in the UK (2013; ISBN 9781852249496). Rachel Hore is the author of six novels published by Simon & Schuster, most recently The Silent Tide (2013; ISBN 9780857209740) and The Glass Painter's Daughter (2013; ISBN 9781849835336).

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