I was lucky enough to be introduced to medieval Welsh literature when I was an undergraduate, and the Welsh language mesmerised me. It is so unlike any other language that I had come across and translating texts from Welsh into English was as absorbing as code-cracking. My apprenticeship as a scholar was long and hard and I soon realised that my particular contribution was to make Welsh literature accessible to non-Welsh speakers, not simply through translations, but by aligning the Welsh tradition with the wider literary cultures of Europe. I want Wales and its two literatures to take their place as two of the great literatures of Europe.
M. Wynn Thomas is the foremost literary critic writing in Wales today, and a writer I particularly admire.
He pioneered the concept of ‘Welsh writing in English’ as distinct from ‘Welsh writing’ (in Welsh), honouring the bilingual culture of Wales. Thomas’s twelve poems are selected from three key periods of Welsh history, the Middle Ages, the pre-modern period, and our own time.
Each poem is read in the context of its social and political background, educating us about the politics of Welshness, the cultural assumptions written into the literature, and above all what it means to be Welsh in a nation that is not a state.
This is such an elegant and original way to foreground the creativity of Welsh poets alongside the cultural forces that shaped them.
Down the centuries, poets have provided Wales with a window onto its own distinctive world. This book gives the general reader a sense of the view to be seen through that special window in twelve illustrated poems, each bringing very different periods and aspects of the Welsh past into focus. Together, the poems give the flavour of a poetic tradition, both ancient and modern, that is internationally renowned for its distinction, demonstrating how Wales boast one of the oldest and yet continuing vibrant poetic traditions, the former in the Welsh language and the latter in English and bilingually.
I write historical fiction, non-fiction, and biography. My historical fiction is set in the eighteenth century, which is often pictured as a time when people swanned about in fancy clothes, lived on country estates, travelled in gleaming carriages, and dined and danced their nights away in glittering assembly rooms. But most people didn’t live like that at all, although they are the ones who made the clothes, worked on the estates, drove the carriages, cooked the food, and cleaned the rooms. The books on my list focus on history from their point of view. In my own work – fiction and non-fiction – I’m also interested in telling the stories of so-called “ordinary” people.
My father was Welsh, and so I’m drawn to Welsh stories and history. Feet in Chains is about Jane and Ifan Gruffydd’s struggle to keep body and soul together on their small holding near Caernarfon, and raise their children. Ifan is a quarryman, at the mercy of powerful employers who can lower wages or increase hours at will. Kate Roberts was herself the daughter of a quarryman and was brought up on her parents’ smallholding in Caernarfonshire. Like two of the Gruffydd children, she won a scholarship enabling her to attend school. She became a teacher, but had to give up her career when she married because of the marriage bar on women. Her personal experiences give the novel much of its power.
Snowdonia, 1880, and Jane Gruffydd is a newcomer to the district, dressed to the nines and almost fainting in the heat of the interminable prayer meeting out on the mountainside...In the pages of this classic 1936 novel, we see the passionate and headstrong Jane grow up and grow old, struggling to bring up a family of six children on the pittance earned by her slate-quarrying husband, Ifan. Spanning the next forty years, the novel traces the contours not only of one vividly evoked Welsh family but of a nation coming to self-consciousness; it begins in the heyday of Methodist fervour…
I was lucky enough to be introduced to medieval Welsh literature when I was an undergraduate, and the Welsh language mesmerised me. It is so unlike any other language that I had come across and translating texts from Welsh into English was as absorbing as code-cracking. My apprenticeship as a scholar was long and hard and I soon realised that my particular contribution was to make Welsh literature accessible to non-Welsh speakers, not simply through translations, but by aligning the Welsh tradition with the wider literary cultures of Europe. I want Wales and its two literatures to take their place as two of the great literatures of Europe.
I first read the tales of The Mabinogion when I was an undergraduate and their amazing otherness helped to propel me towards a career researching medieval Welsh literature.
These prose tales were composed in Welsh between 1100 and 1300. Four of the tales are linked together and are known as ‘The Four Branches of the Mabinogi’. Other tales include two original Arthurian stories, a dream vision set in the Roman British past, and three tales based on the French Arthurian romances of Chrétien de Troyes.
In this rich mixture of genres, otherworldly women marry heroic men, warfare between Wales and Ireland destroys a generation, and Arthur strides the land as the king of the whole island of Britain. Sioned Davies’s translation is the latest and best, capturing all the drama and apparent simplicity of the original Welsh texts.
'I cannot be killed indoors,' he said, 'nor out of doors; I cannot be killed on horseback, nor on foot.' 'Well,' she said, 'how can you be killed?'
Celtic mythology, Arthurian romance, and an intriguing interpretation of British history - these are just some of the themes embraced by the anonymous authors of the eleven tales that make up the Welsh medieval masterpiece known as the Mabinogion. They tell of Gwydion the shape-shifter, who can create a woman out of flowers; of Math the magician whose feet must lie in the lap of a virgin; of hanging a pregnant mouse…
I was lucky enough to be introduced to medieval Welsh literature when I was an undergraduate, and the Welsh language mesmerised me. It is so unlike any other language that I had come across and translating texts from Welsh into English was as absorbing as code-cracking. My apprenticeship as a scholar was long and hard and I soon realised that my particular contribution was to make Welsh literature accessible to non-Welsh speakers, not simply through translations, but by aligning the Welsh tradition with the wider literary cultures of Europe. I want Wales and its two literatures to take their place as two of the great literatures of Europe.
There are a number of anthologies of Welsh poetry in translation, but Tony Conran’s collection remains my favourite.
It is a terrific selection, from the great medieval court poets to the giants of the nineteenth century and the modernist poets of the twentieth century. Well-known poets such as Dafydd ap Gwilym and Waldo Williams rub shoulders with less familiar names, such as Gruffudd ap Maredudd and Alun Llywelyn-Williams.
Some individual poems have their own prefaces explaining their context, while the whole volume begins with a masterly introduction to the Welsh bardic tradition.
As a bonus, the volume concludes with a substantial explanation of the metres of Welsh poetry, so if you are not sure how to tell an englyn from an awdl, this is the book for you.
"This selection of translations covers 14 centuries of Welsh poetry, from the epics of Taliesin and Aneirin to contemporary poets like Gwyn Thomas and Nesta Wyn Jones. The range of works includes sagas and carols, hymns and strict metres, and Romantics and social realism. Among the poets included are Cynddelw, Owain Gwynedd, Dafydd ap Gwilym, Ann Griffiths, Pantycelyn, T. Gwyn Jones, Williams Parry and his cousin Parry-Williams, Saunders Lewis, Gwenallt, and Waldo Williams. A substantial appendix of englynionstanzas to be accompanied by the harpis provided. Also included are a guide to the intricacies of Welsh meter, the complex rules that…
I’ve been fascinated by England’s World War II evacuations since I was a child. Appropriately enough, I first learned of this extraordinary historical event in a story: it’s the reason the Pevensies are sent to the Professor’s house in C.S. Lewis’s The Lion, the Witch, and the Wardrobe. In the dark days of World War II, more than a million English children boarded trains, buses, and ships, to be picked up and cared for by strangers, in some cases for the duration of the war. It’s a historical event that is as astonishing to me now as it was when I first read of it all those years ago.
Not only is this a heartfelt evacuee story, it’s also a brilliant mystery. When Jimmy and his brother, Ronnie, are sent to the Welsh countryside to escape the bombings, Jimmy is angry at the adults responsible – “They think they know everything but all they do is leave or make wars or send their children away.” The boys eventually warm to their kind foster parents, but some of the villagers aren’t so welcoming. When Jimmy finds a skull in a hollow tree, he has no idea how it’s tied to an unsolved mystery, and the reader has no idea how it will figure in this story’s gripping, satisfying, and emotional conclusion.
"Beautifully told. This appealing book is about losses healed, lies uncovered, cruelty defeated and goodness rewarded." The Sunday Times
September 1939.
When Jimmy is evacuated to a small village in Wales, it couldn't be more different from London. Green, quiet and full of strangers, he instantly feels out of place.
But then he finds a skull hidden in a tree, and suddenly the valley is more frightening than the war. Who can Jimmy trust? His brother is too little; his best friend has changed.
Finding an ally in someone he never expects, they set out together to uncover the secrets…
The writing by Paula Brackston is A+. Morgana, the main character emerges fully drawn; I felt like I knew her immediately.
This is a woman who doesn't speak! The author writes clear and vivid descriptions—so visual that it puts me deeply into the scenes, and that keeps my attention strong.
Morgana has a kind of wild nature in the Welsh countryside, making her mysterious that is contrasted by her silence. Her marriage to Cai becomes a tumble of love, anxiety, and fear, which adds a haunting tension.
I especially found Morgana’s witch-walking to be amazing, and I was cheering for her all the way through the dark forces prevailing. Here is a tale of old witchcraft, good vs. evil, with strong literary values. As a reader, I was transported into this bewitching world. Great storytelling.
New York Times bestselling author Paula Brackston transports readers to the windswept mountains of Wales in The Winter Witch, an enthralling tale of love and magic.
In her small early nineteenth century Welsh town, there is no one quite like Morgana. She is small and quick and pretty enough to attract a suitor, but there are things that set her apart from other girls. Though her mind is sharp she has not spoken since she was a young girl. Her silence is a mystery, as well as her magic—the household objects that seem to move at her command, the bad…
I was drawn into the study of medieval history through an interest in chivalry and this led to a PhD and various publications on the career and household of Edward the Black Prince (1330-76). He lived through the heart of what’s become known as the late medieval crisis: a period which many contemporaries thought was a prelude to the apocalypse. I’ve been teaching and writing about this period for more than 20 years now and remain fascinated by the contrasts between creativity and utter devastation that characterise the later middle ages.
Rees Davies was one of the first historians to seek to explore the histories of Britain and Ireland as both unique and intertwined narratives. Although this book focuses on the Welsh revolt of the early 15th century it shows the author’s formidable understanding of the relationship between England and Wales in the century after the Edwardian conquest. An object lesson in academic history written with the general reader in mind.
Owain Glyn Dwr is arguably the most famous figure in the history of Wales. His revolt (1400-1409) was the last major Welsh rebellion against English rule. It established a measure of unity such as Wales had never previously experienced and generated a remarkable vision of Wales as an independent country with its own native prince, its own church, and its own universities. In the event, Owain's rebellion was defeated or, perhaps more correctly, burnt itself out. But Owain himself was not captured; and soon after his death he became a legendary hero among the Welsh people. In more recent times…
I am a Professor of English at the University of Sussex. I have worked on a wide range of subjects over the years, mainly about the English Renaissance. I have a long-standing interest in travel and colonial writing, the ways in which the English interacted with other peoples and other places, which started with my interest in Ireland where I studied and which was the subject of my early books. I have broadened my perspective as I have read more on the Americas, Africa, Europe, and Asia, over the years and am committed to uncovering the truth of the uncomfortable, challenging, and fascinating history of the early British Empire.
The Madoc legend claimed that a Welsh prince discovered America long before Columbus, the traces remaining in a few words and through some later accounts.
The Welsh historian Gwyn Williams shows how the myth was used to establish racist genealogies through the myth of ‘white Indians’, detailing how dangerous and offensive an apparently confused and confusing legend could be. A magnificent piece of hard-headed historical analysis.
This examination of the story of Madoc, the Welsh prince alleged to have sailed to America centuries before Columbus, is a work of historical detection which not only tracks down strange stories and beliefs to their factual origins, but shows how myth can actually shape history. Readership: all those interested in Wales, Welsh history, overseas colonization, especially of America
I am a strong, independent woman (*snaps fingers through the air*), yet I adore a soul-sucking romance. Many might think this is a contradiction, but it’s not! A woman can be both loving and stubborn…both enamored by her partner yet still strong enough to speak up for herself. Sadly, I think historical fiction often defaults to portraying dependent and subjugated women, and this isn’t necessarily wrong—in fact, it’s probably more accurate. However, when I’m getting lost in the magic of a novel, I want to experience the all-consuming love without sacrificing the resiliency and independence of the women involved, and these books spin stories where both outcomes are possible!
I seriously enjoy a good “between-a-rock-and-a-hard-place” romance, especially when the female heroine is able to navigate it while staying true to herself. In this one, King John weds his illegitimate but beloved daughter Joanna to his bitter enemy, Llewelyn, Prince of North Wales, in an effort to take Wales under his control. But Joanna loves both of them—father and husband—and is forced time and again to prove her loyalty to one side or the other, until neither faction supports her in return. While this definitely portrays the helplessness that many medieval women faced, often experiencing a forced marriage for some political purpose or other, Joanna’s courage, bravery, and sense of self in the face of so much conflict were inspiring and so addicting to read about.
An absorbing historical novel of power and betrayal, loyalty and political intrigue in thirteenth-century England, Wales and France, centring on King John of England, younger brother to the brilliant Richard Lionheart, Joanna, his illegitimate but recognised daughter and Llewellyn Ab Iowerth, Prince of Gwynedd, a bitter opponent of English ways, laws and encroachment into Wales who becomes Joanna's husband.
I have always tuned into the atmosphere of places. Sometimes this is a joy and sometimes it’s a very different experience, but either way, it’s a fundamental part of me. It spills over into my work, too, because each of the thirty-odd non-fiction books I’ve written has its own strong atmosphere. I was particularly aware of this while writing Red Sky at Night, as I wanted to evoke a sense of the past informing the present, whether that means planting a shrub to keep witches away from your front door or baking what I still think is one of the best fruit cakes ever.
The haunting themes and mood of The Owl Service lodged themselves in my imagination when I first read it as a teenager and there they stay, decades later. I’ve returned to its mysterious and beguiling world several times since then, and on each occasion, the book has immediately woven its old spell around me. It is rich in Welsh magic as the past is played out against the backdrop of the present, and a hidden collection of plates decorated with what might be a pattern of owls becomes something far more potent and sinister. This is one of the books that first introduced me to the mysteries of landscape, the power of the past, and the enduring life of myths.
A 50th Anniversary Edition featuring a new introduction by Philip Pullman, THE OWL SERVICE is an all-time classic, combining mystery, adventure, history and a complex set of human relationships.
It all begins with the scratching in the ceiling. From the moment Alison discovers the dinner service in the attic, with its curious pattern of floral owls, a chain of events is set in progress that is to effect everybody's lives.
Relentlessly, Alison, her step-brother Roger and Welsh boy Gwyn are drawn into the replay of a tragic Welsh legend - a modern drama played out against a background of ancient…
