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Editorial Reviews. About the Author. Lucy Thomas specializes in Welsh women's writing and.
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An anthology of award-winning short stories and poetry from UK and international authors. Feeding the Cat introduces readers to a range of emerging voices in prose and poetry. Casgliad o straeon byrion a cherddi wedi'u casglu o blith gwaith awduron yn y Deyrnas Gyfunol a'r tu hwnt, gyda'r pwyslais ar roi cyfle i awduron newydd. Cinnamon Press is making a valuable contribution to the Welsh publishing sphere. Its titles focus on creative writing, and it already has a number of poetry collections and short-story titles on its list.
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Feeding the Cat combines both poetry and short story. I had not previously encountered any of the authors represented here. But she is certainly not your ordinary journalist, so be prepared for a sinister turn of events. These are only three of the nine stories to be found in this anthology, and the remaining pages are devoted to poetry. It is difficult to select particular poems in a short review, so I would merely add that most of the poets have produced work that deserves to be read again and again. Dewi Roberts It is possible to use this review for promotional purposes, but the following acknowledgment should be included: A review from www.
Gellir defnyddio'r adolygiad hwn at bwrpas hybu, ond gofynnir i chi gynnwys y gydnabyddiaeth ganlynol: Adolygiad oddi ar www. Rowan B Fortune is assistant editor at Cinnamon Press.
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His writing engages with several forms including poetry, fiction, reviews and essays. He runs a YouTube channel with a large subscriber base that features his work in philosophy, aesthetics and literature, including a series of mixed media microfictions.
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He recently completed an MA in novel writing and is working on a first novel and collection of short stories and microfictions. The perfect book to discover new writing. See what other Customers have written about this title :. Bookmark this page. Please enter at least one search term.
Advanced Search. Edit your search preferences Search Tips. Please provide at least one of author, title, ISBN, keyword, or publisher. Published Date min to max Option: Enter a published year range to help narrow your results. Condition Any. Binding Any. The English quarry manager Garry Thoyts catches two of his workers with nets, ferrets and a sackful of rabbits. Acting on behalf of his cousin, the landowner and quarry owner, he confronts them.
The dispute spills over into the quarry, and the inherent class tensions are brought into sharp relief.
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It is an affair that will be far-reaching in its consequences, for it affects our Motherland herself. The six-month strike central to Saunderson's A Welsh Heroine is rather more firmly rooted in the economic concerns of the working-class community it depicts. In contrast, the owners are conspicuous by their absence their home is used by the officers of the cavalry brought in to prevent rioting.
The colliers are objects of pity rather than individuals with agency, with the exception of the heroine. Unable to disperse because the soldiers are in the way, the crowd listens in fear and confusion as the Riot Act is read and the soldiers take aim. Melodrama provides a vehicle for Saunderson to expose the lethal class relations that would shortly culminate in the army being deployed in Tonypandy and Llanelli in and , and, in at least one instance, opening fire.
At the height of this crisis, the crowd is saved by the quick thinking and leadership of the working-class heroine, Morfydd Llewelyn. And, by this time, the strike has been overtaken by the unfolding romance plot, which enacts a rapprochement between the classes. According to H. In A Maid of Cymru , the foreman tries to keep the peace and persuade the English manager to respect local practices, but his task is really to mediate in the interests of keeping the quarry functional. Instead, the role of leader is performed by dynamic women with imagination and energy.
But these determined women use similar techniques to provide direction and leadership to crowds of colliers or quarrymen: the power of Welsh hymns. If this seems a stereotype too far, we need to recall the social milieu from which these novels emerge. In his book on Nonconformist literature, M. The great hymns and hymn tunes have an incomparable personal and communal power.
These weren't the work of the professional classes. Hymns and melodies were largely the product of shepherds, tinplate workers, blacksmiths, miners and shopkeepers. In A Maid of Cymru , Tangwystyl gathers the strikers on a mountainside, intent on rousing their nationalism above more petty grievances. For all its melodrama, this scene and the wider religious dimensions of the plot 29 place Irene Saunderson's industrial romance within that body of anglophone writing identified by M.
Certainly the power of hymns and the act of singing are recurring motifs in women's industrial fiction. Much of the plot revolves around the passion for music shared by working folk and gentry alike. Almost at once there is an explosion, which the manager and those interested in the musical instruments survive, while the malcontents who have moved to a different part of the mine are all killed. Thus far, the focus has been on the ways in which industrial scenes and settings have been used in conjunction with other narratives—the nationalism of Mallt Williams or depictions of religious faith or romanticized female agency—as well as the way wider class conflicts merge with industrial disputes.
Industrial accidents and mining disasters are stock features of coalfields literature, included from the outset in women's writing.
Welsh Women’s Classics – Page 3 – Honno Press
Female perspectives are privileged in Anne Beale's The Queen o' the May , which features a powerfully related colliery explosion told from the perspective of the frantic families of the victims and rescuers. The tense scene above ground would be repeated by Allen Raine and Irene Saunderson—the transfixed watchers by turns terrified and excited, the waiting punctuated by the movement of the pit cage, disgorging stretchers or taking in heroic rescuers.
The action goes underground in Raine's A Welsh Witch. Three men and a newly employed year-old boy are trapped for several days after a roof fall caused by an explosion.
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They survive the afterdamp, but face starvation and madness. If Raine focuses on a realistic account of men trapped below ground, the explosions in Anne Beale and Irene Saunderson provide an opportunity for female protagonists to demonstrate courage and strength. In The Queen o' the May , the heroine proves the value of her domestic skills, bearing restorative tea to exhausted miners, nursing the sick and injured, and offering emotional support and news to those unable to get to the pit.
In A Welsh Heroine , when the men have done all they can, Morfydd goes underground to rescue the manager herself. Although the drama of the fatal underground disaster remains a vivid literary reminder of the human costs of coal, more recent scholarship has focused on the fate of the maimed survivors of accidents and on the representation of disability in coalfields literature. Disability along with injury, disfigurement, sickness and the provision of care are important themes in women's industrial writing in this period.
While women remained the primary caregivers in late nineteenth- and early twentieth-century industrial centres, medical intervention and organized welfare systems were increasingly important—the strike in Joseph Keating's Son of Judith is to win the right to increase the weekly medical insurance money taken from the miners' pay.
Coalfields were important sites for the development of medical services to deal with both emergencies and the longer-term health needs of disabled miners.
One is a sympathetically portrayed itinerant grocer with a wooden leg, the other a malevolent figure whose body represents his character. Hitherto a bully and a coward, he heroically rescues colliers trapped in the mine following an explosion, before himself becoming trapped beneath a rockfall. Over two chapters, the rescue and his slow death and absolution are described without a single reference to his physical deficiencies although he keeps his name almost to the end.
Arguably, the narrative remedies Jack-y-bandy's physical defects by omission in tandem with his spiritual restoration, but it also allows for a disabled body to be a hero's body. Saunderson's treatment of the more attractive Jeremiah Jinkins is more subtle. Jinkins has a quasi-paternal role in this novel and, as such, is a double for the unpleasant Jack-y-bandy who, it turns out, is Morfydd's natural father. Jinkins finds laundry work for Morfydd during the strike and gives her the occasional gift of money or food, despite his status as a renowned miser.
Disability critics Mitchell and Snyder have argued that disability requires and engenders a narrative. Instead, Jinkins and his prosthesis are at the centre of a comic interlude which is intended to introduce us to the wider community in an essentially ethnographic passage. The self-importance of Jinkins deserves to be punctured, but, in fact, Saunderson's treatment of this incident, and in particular the way in which she describes the prosthesis—at once a part of his body and yet an inanimate and replaceable appendage—reveals a more serious interest in the body and its boundaries.
The portion that was snapped off from the wooden leg, reposed that night, wrapped up in an old shawl within the arms of a little child who had found it lying a yard or two away from the accident.
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Disfigurement and disability in an industrial landscape are important elements of the detective plot of A Burglary, or Unconscious Influence The industrial landscape in which Dillwyn's characters reside is a potential danger in more than one novel.