“In the name of the Father, the Son and the Holy…”
Mari opened her eyes. Down on her knees, she saw shapes forming in the dark. There came that fluttering sound again. At the little window, day was close; the wind’s thin breath a cloud on the glass. A flutter, like fingers leafing through pages. She got up to look. Against the cold glass, a butterfly beat a muted prayer for escape. Her pupils got darker, helping her penetrate the grey. When she was a little girl they’d say butterflies were just leaves reincarnated. She’d mulled it over then, her mood lifted on a fancy of fortunes befalling a girl in a world where one small leaf can bloom all colours, sprout wings, up sticks and up up away into the sunset. She shivered.
The noise had awoken Nanw, who stretched out lazily. Mari went over and chattered to her softly to keep her calm. The sea was breathing in the distance, dark against the growing light, and seagulls were being flung across the air like litter. The butterfly nagged gently like an old flame. Should she let it outside, it was sure to die, weak and failing as it already was from a winter in the cottage. But it was desperate to be let go. Nanw sat up, enchanted by the ragged wings. Mari caught it at the corner of the glass, cupping her hands around it as though she were receiving communion. She nudged open the sash with her elbow, the wings pulsing weakly on her palm. She stretched her arms out and a gust snatched the insect away across the garden. Now you could hear the ringing of wind in the rigging of boats below. Fear crept through her. She banged the window shut and drew the loose folds of her nightie around her. She gazed into the gloom, the butterfly’s powder a gold dust on her fingertips.
“Amen,” she whispered.
Nanw was mimicking her by leaning against her cage’s grid, arms clutched round her body. The weak light glowed silver in Mari’s hair, and ruby across the dark face of the monkey.
The chill had crept up Mari’s spine so she fetched a cardigan and hooked it over her shoulders. She let the cat into the bedroom to keep Nanw company while she had her breakfast.
The cottage was nestled on a remote road above the sea, surrounded by crooked trees. Opposite the low doorway, across the road, was an old stile marking the way down to the beach. The three small rooms were filled with clutter. Mari’s treasures choked the narrow kitchen passage, and vintage clothes hung along each wall. Papers were piled all anyhow, while the thick walls were so badly affected by damp that she had to keep a fire going in the bedroom. She went barefoot along the lino to the kitchen and lowered an egg on a spoon into a saucepan of water. She dried the spoon on her nightie, thrusting it into some cranny of an old wireless needing technical TLC after Nanw broke the aerial in a fit of temper. Mari listened to the radio’s far-off voices as she made herself a cup of tea. She left the teabag steaming on the sink.
She waited for the egg to rap out in Morse code that it was ready, and she sat down to eat at that early hour. Mari finished her egg, leaving the shell rocking on the table.
In the bedroom she put on two pairs of socks, and pushed her petticoat into the top of her trousers. Tying her money bag around her waist, she hid it under rolls of jumper. She threw some nuts over to Nanw who set to cracking them, eager for the next one even before she’d had the first. Years ago, the monkey would have gone with her mistress: she had been good for business. But times had changed; one nip and a customer would play hell. Mari crouched to say goodbye, stroking her little black hands, while Nanw tried to filch the bracelets chiming around Mari’s wrists. The cat half-woke and whipped her tail in envy.
“Stay here now, sweetie; the cat’ll keep you company.”
Mari stood up, letting go of the hands which curled back around the bars. Nanw turned her big eyes on her. Mari shut the door and went into the front room. She rummaged among the teddies in the toy chest and found a deep leather box. She held it tight against her breast like a child and carried it out carefully to the car, locking the door behind her.
Squalls stifled the sound of the engine starting up. The clock’s staccato said quarter to five. Dry leaves and rubbish were being blown about the garden. From her cell, Nanw saw the car depart, and she glanced out into the garden at a small colourful leaf clutching at blades of grass. The cat began to purr.
The Jeweller by Caryl Lewis, translation from Welsh by Gwen Davies. Published September 2019 by Honno. This extract is published with the permission of the author and publisher. My review of the novel is here.
First came Tartan Noir – a gritty form of crime fiction said to be particular to Scotland and Scottish writers but which borrows from American crime writes of the second half the twentieth century. Then Nordic Noir was born, taking us into bleak landscapes, dark moods and moral complexity with authors like Henning Mankell, Steig Larsson and Arnaldur Indriðason. There’s even Irish Noir which covers a broad range of crime writing by Irish authors, from historical crime fiction set in Belfast to modern procedurals engaging with first world problems and psychological thrillers.
Even if you subscribe to the view held by a number of authors and critics that these terms are meaningless and little more than marketing gimmicks, the reality is that they sell books. And in doing so they’ve helped raise the profile of many authors.
But so far there’s no sign of Welsh noir. In fact about Welsh crime writing in general there’s been hardly a peep.
And yet there’s a growing number of crime fiction authors based in Wales or who choose to set their work in the country.
Why haven’t you heard of them?
Partly I suspect because many of these authors have associations with small, independent publishers who don’t have as much sway with the purchasing teams in large bookstore chains. Nor do they have the kinds of budgets necessary for national ( UK-wide) promotion. Even trying to get attention within Wales is tough when the so called national newspaper of Wales The Western Mail, pays scant attention to arts coverage and still less to book reviews.
But there is a group of writers resolved to change how Welsh crime fiction and non fiction is perceived.
Crime Cymru was formed in 2017 to promote Welsh crime fiction with a mission to challenge the perceived belief that that ‘nobody who wants to be read sets their books in Wales’.
Crime Cymru started with just three members: Alis Hawkins, Rosie Claverton and Matt Johnson. But it’s grown to become a consortium of more than 25 authors. Some were born in Wales. Others have chosen to settle here. Some members live in the UK or further afield in North America but chose to set their work in Wales. What unites them is their feeling that Welsh crime fiction has a unique dimension that deserves more attention.
“We believe that Wales is under sold: by publishers, by booksellers, even by authors and readers,” said Alis. “And we’re determined to change that. Crime Cymru authors are proud to set our fiction in Wales. We don’t feel the need to move our characters to London, or to make up fictitious cities to police.”
In support of their objective of promoting Wales and Welsh crime writing, Crime Cymru members have carried their message direct to readers via appearances at a number of literary festivals and a Coffee and Crime Weekend partnership with the county library service in the capital city of Cardiff. They’ve even taken the battle across the border, to Bloody Scotland – Scotland’s premier crime fiction festival.
Future plans include the establishment of a crime writing competition in line with another of the group’s other objectives – to help nurture new writing talent.
“You could argue that until now we’ve been our own worst enemies: falling into a trap of assuming that anything coming from Wales is somehow less noteworthy than the output from England or Scotland,” said Alis. “It’s time we changed this attitude. We’re determined that Crime Cymru will play a real and tangible part, alongside higher education and cultural bodies, in raising the profile of Welsh writing in general and crime fiction in particular. “
Alis herself is suiting her actions to Crime Cymru’s words this May. To celebrate National Crime Reading Month and to publicise both Crime Cymru and the publication of the second in her Teifi Valley Coroner series, Alis – supported by local Crime Cymru members – will be visiting every independent bookshop in Wales – 32 at the last count.
The Crime Cymru authors cover a wide variety of styles and interests. They range from Cathy Ace whose Cait Morgan Mysteries feature a globetrotting sleuth who is a professor of criminal psychology to Philip Gwynne Jones who writes thrillers from his home in Venice. I’ve read a few of the group’s members although I wasn’t aware that Crime Cymru’s existence at the time.
My reviews are via these links:
Thorne Moore: A Time for Silence
Following shortly will be my review of None So Blind, the first book in Alis Hawkins’ series featuring a coroner in nineteenth century Wales.
Learn more about Crime Cymru and its authors via their website http://crime.cymru. You can also follow on Twitter @CRIMECYMRU
Emma Kavanagh comes from South Wales – the one in the UK, not the upstart “New” South Wales which is on the other side of the world. She is a former police and military psychologist who provides training to police and branches of the armed forces across the UK and Europe. Given her background it’s not surprising that To Catch A Killer is a psychological crime thriller. It features a woman police sergeant newly back in post after a fire at her home from which she was lucky to emerge alive, although with facial disfiguration. Now she is on the trail of the killer of an attractive, well-dressed woman found with her throat slashed in a London park.
This is a very fast-paced novel, with plenty of twists and turns and a central figure who is struggling to deal with the trauma of the fire. I hadn’t come across Emma Kavanagh’s work previously but on the evidence of just this novel, she is a name to watch for the future.
I’m also dipping into The Clever Guts Diet by Dr Michael Mosely (fascinating once you get over the yucky bits) and Mindfulness: A Practical Guide to Finding Peace in a Frantic World by J Mark G Williams. I’ve tried about half a dozen books on mindfulness in recent months and this one is the best so far. Very clear, very practical, with a commendable absence of hippy drippy stuff.
What did you recently finish reading?
This is a short but very compelling story of an elderly illustrator asked to look after his rather precocious four-year-old grandson for a few days.
Don’t imagine however this is a warm, family bonding kind of story. The relationship between these two people is one based on a battle for control. Grand-dad needs physical and mental space in which to work and complete his latest commission with a publisher is breathing down his neck. The boy just wants to play. In their tussle, the old man begins to question his abilities as an artist.
What do you think you’ll read next?
Always a tough question. This month it’s even more challenging because I’m preparing for an extended holiday which involves multiple long flights. I’m not keen to use up my luggage allowance with hefty books so am planning to take a maximum of 4 paperbacks that I’ll be happy to discard mid trip. I should add that I’ve also been making sure I have plenty of e-books available….
I need variety. Maybe one crime novel, maybe one ‘classic’ although some of those on my owned-but-unread shelves are rather bulky. I have six days to make up my mind. Based on previous experience the selections are going to change multiple times before the case is zipped for the last time.
How do you decide what books to take with you on a trip? Any recommendations for a strategy to help me make decisions.
What are you currently reading?
What did you recently finish reading?
What do you think you’ll read next?
Kate Hamer’s debut novel The Girl in the Red Coat is a psychologically tense novel that calls to mind that darkly disturbing fairy tale Little Red Riding Hood.
In Hamer’s novel a young girl disobeys her mother and wanders off during a day out at a story-telling festival. As the fog rises over the fields and the festival goers begin to hurry home, they pay scant attention to the lone child dressed in a bright red coat. No-one sees Carmel leave the site and get into a car with a man who claims to be the grandfather she has never met.
While keeping her captive in his remote and tumble-down hide-out, he plans his next move. He believes she is special, a girl with a gift for healing. A girl whose powers can make him rich.
Told in the alternating perspectives of the missing daughter and her grieving mother Beth, The Girl in the Red Coat is a novel keeps you hooked.
From Beth we learn that she’d long had a premonition that one day she would lose Carmel. Now it’s just the two of them (her husband Paul left her for a younger woman) she becomes ever more obsessed about keeping a close eye on her daughter. Her need to be protective is resented by her daughter. Carmel loves her mum but just wishes she would give her more freedom.
Beth is right to be afraid. Her daughter is an unusual child, highly imaginative, and intelligent beyond her years but also dreamer, prone to lose all sense of time and of her self while playing in the woods.
Was it just me who saw those absences? When she stood rooted to the spot and her eyes became strange and stony — then as soon as they came, they went. Fugues I began to name them.
Carmel’s sections of the narrative work carry the weight of the narrative since it’s through her we slowly come to understand her abductor’s plans and the girl’s struggle to retain her identity. There’s a race-against-time element to this novel
Child narrators are always tricky to pull off. They can either sound too childish or too mature for their supposed age. Hamer compounds the difficulties by imbuing her child with elevated powers of observation and communication. A few times the narrative comes across as a little unrealistic but the power of the story is so great that such thoughts last only a second.
Both daughter and mother make frequent reference to the fairytale nature of what’s happened to them. Beth wishes she’d kept her daughter “shut away in a fortress or a tower. Locked with a golden key that I would swallow.” Spotting her shadow on the wall beside her captor’s, Carmel muses: “We both look like the paper puppets … and I wonder what story we’d be telling if we were.” She steels herself by thinking: “Sometimes, it’s easier to think of things as stories … If I made these things into stories I could float away from them, and look at them sideways, or like they were happening inside a snow globe.”
Obviously this book has a strong race-against-time element to it. Will Carmel be found? Will mother and daughter ever be reunited in true fairy-tale tradition? Hamer handles the tension and suspense well and if that were all this book had, it would a perfectly enjoyable yarn.
But it’s her depiction of the complicated relationship between mother and daughter that made this novel considerably more appealing for me. Though their relationship had often in the past been tense, in their forced separation they discover the depth of their need for each other. When they see each other again, theirs will be a very different relationship resolves Carmel.
All that I can think is that I wish I was at home with Mum and everything was back to normal. That this wasn’t worth a stupid story about a fairy who has to earn her wings. Or even meeting the real writer. Where are fairies and writers when you need them? If I was with Mum, and everything was OK, I wouldn’t try to get away from her again. I’d stay close to her all the time. I wouldn’t even try looking over the wall at home, not ever.
As time passes and her confidence in her ability to survive diminishes, she still clings to the hope that one day she will be reunited with her mum.
Sometimes I wonder if when I’m dead I’m destined to be looking still. Turned into an owl and flying over the fields at night, swooping over crouching hedges and dark lanes. The smoke from chimneys billowing and swaying from the movement of my wings as I pass through. Or will I sit with her, high up in the beech tree, playing games? Spying on the people who live in our house and watching their comings and goings. Maybe we’ll call out to them and make them jump.
Is there a fairy-tale happy ending for Carmel and Beth? You;ll just have to read the book yourself because on that question, my lips are sealed.
About the book: The Girl in the Red Coat is the debut novel by Kate Hamer. It garnered a lot of positive comment when it was published by Faber and Faber in 2015. Hamer was a finalist in both the Costa Book Award for First Novel and the Dagger Award and the novel was selected as the Wales Book of the Year.
About the author: Kate Hamer comes from Pembrokeshire in Wales. She received a New Writer’s Bursary from Literature Wales to help her finish her novel, She currently lives with her husband in Cardiff. Her second novel The Doll Funeral was published in 2017.
Why I read this book: It was selected by one of the book clubs to which I belong but they postponed the date for the discussion and I couldn’t get to that rescheduled meeting. So the book went back on the shelf and I forgot about it until the end of last month when I was hunting around for some books to take with me on holiday.
It’s taken more than a decade but a government-backed initiative to celebrate the English-language literary heritage of Wales is on the cusp of a significant milestone. Since the Library of Wales project got underway in 2006, 49 titles have been published, many of them books that had been forgotten or were out of print. The 50th is due to hit the bookshops in a few months.
The Library of Wales series is a selection of English-language classics from Wales, ranging from novels to short stories, biographies and poetry. It’s funded by the Welsh Assembly Government through the Welsh Books Council as a way of sustaining the country’s heritage. When the project was announced in 2006 the intention was to o “…include the best of Welsh writing in English, as well as to showcase what has been unjustly neglected. ”
Have they succeeded?
It would be hard to challenge the inclusion of Raymond Williams in the list of books selected by the series editor Professor Dai Smith. Williams, who came from Monmouthshire, was one of the leading literary academics in the UK in the 1970s and 80s. His writings on politics, culture, the mass media and literature were influential in the developing field of Marxist criticism of literature. He has two titles in the Library of Wales series: his novel Border Country was actually the first book to be published in the Library of Wales series. Published in the 1960s it had been out of print for several years. I was expecting The Country and The City, in which he used alternating chapters on literature and social history to consider perceptions of rural and urban life, to be included. But instead we another novel, The Volunteers. Personally I would have opted for another of his academic works instead of the latter.
No surprises either to find the Rhondda author and broadcaster Gwyn Thomas included, also with three titles. I’ve read only one of these The Alone to the Alone and though I enjoyed it, I wonder if it’s too much a novel of its time and will not resonate as well in modern-day Wales.
Equally unsurprising to see the big guns Alun Lewis, Glyn Jones, Emyr Humphreys and Jack Jones amongst the selected authors.
A few choices did cause some raised eyebrows in the Booker household however. Carwyn by Alun Richards is a biography of one of the big names from the golden era of Welsh Rugby. I can’t help wondering if this is on the list because of the popularity of the subject rather than because it’s the best biography written by a Welsh author. I’m also lukewarm about the choice of autobiographical novel, Ash on a Young Man’s Sleeve by Dannie Abse. I would have expected his inclusion to be more for his poetry than his prose.
The question of how decisions were made what to include came up in a discussion panel at the Hay Festival about the Library of Wales initiative. Unfortunately Dai Smith was ill so couldn’t attend to answer a challenge from an audience member so it was left to Phil George, Chairman of the Arts Council, to defend the selection. He didn’t convince the questioner that this wasn’t “The Dai Smith Library of Wales” rather than a generally acceptable selection of the best from Welsh writers.
But the Library of Wales is to continue. The series publishers, Parthian Books, will be issuing the 5oth title in September, with a new book from Stevie Davies who was shortlisted for the Booker Prize in 2001 with The Element of Water. It’s likely to find favour with one of the other Hay panelists, lecturer Tomos Owen, who wants to see more contemporary authors selected.
Here are all the 50 books in the series. Click on the title to read the description and order the book direct from Parthian.
- A Kingdom, James Hanley
- A Rope of Vines, Brenda Chamberlain
- A Time to Laugh, Rhys Davies
- All Things Betray Thee, Gwyn Thomas
- The Alone to the Alone, Gwyn Thomas
- Ash on a Young Man’s Sleeve, Dannie Abse
- The Battle to the Weak, Hilda Vaughan
- Black Parade, Jack Jones
- Border Country, Raymond Williams
- Carwyn, Alun Richards
- The Caves of Alienation, Stuart Evans
- Congratulate the Devil, Howell Davies
- Country Dance, Margiad Evans
- Cwmardy, Lewis Jones
- Dai Country, Alun Richards
- Dat’s Love and Other Stories, Leonora Brito
- The Dark Philosophers, Gwyn Thomas
- Farewell Innocence, William Glynne-Jones
- Flame and Slag, Ron Berry
- Goodbye, Twentieth Century, Dannie Abse
- The Great God Pan, Arthur Machen
- The Heyday in the Blood, Geraint Goodwin
- The Hill of Dreams, Arthur Machen
- Home to an Empty House, Alun Richards
- I Sent a Letter to My Love, Bernice Rubens
- In the Green Tree, Alun Lewis
- Jampot Smith, Jeremy Brooks
- Make Room for the Jester, Stead Jones
- Old Soldier Sahib, Frank Richards
- Old Soldiers Never Die, Frank Richards
- Poetry 1900–2000, Meic Stephens (ed.)
- Rhapsody, Dorothy Edwards
- Ride the White Stallion, William Glynne-Jones
- So Long, Hector Bebb, Ron Berry
- Anthology of Sport, Gareth Williams (ed.)
- The Library of Wales Short Story Anthology Volume I, Dai Smith
- The Library of Wales Short Story Anthology Volume II, Dai Smith
- Turf or Stone, Margiad Evans
- The Valley, The City, The Village, Glyn Jones
- Voices of the Children, George Ewart Evans
- The Volunteers, Raymond Williams
- The Water-castle, Brenda Chamberlain
- We Live, Lewis Jones
- The Withered Root, Rhys Davies
- A Man’s Estate, Emyr Humphreys
- The Autobiography of a Super-Tramp W. H. Davies
- Young Emma, W.H. Davies
- In and Out of the Goldfish Bowl by Rachel Tresize
- Selected Stories, Rhys Davies
An Update: July 3, 2018
After I published this post, Richard Davies, the mastermind at Parthian, graciously pointed out that I had miscounted. I thought there were already 50 books published and the 51st would come out in September. But I inadvertently added a Raymond Williams text that isn’t really part of the Library of Wales series. I’ve now corrected my post.
Carol Lovekin definitely can’t be accused of taking an easy path for her second novel Snow Sisters. It’s a cross-over between Gothic tale and family drama that juggles three narrative viewpoints and three separate timelines. The result could easily have been a mess but instead it’s a multi-layered narrative about the enduring nature of the past and the resilience of sisterly love.
Snow Sisters takes place at Gull House, an imposing Victorian-style house in Wales complete with a fairy-tale tower and hiding places. Storms and winds from the nearby sea-shore batter its stone walls and screeching gulls circle overhead but its inhabitants are protected behind iron gates, shrubs and a garden wall of gnarled branches of wisteria hanging in ropes. It’s a house “redolent with the murmurs of people from other lives.” This was once the home of the Pryce family. Now it lies empty, abandoned when its last occupants; the sisters Meredith and Verity and their artist mother Allegra; were forced to move to London. Twenty years later Allegra makes a return visit to the house; a trip that rekindles memories of the past and the time when Meredith found a dusty sewing box in a disused attic. It proves to be a Pandora’s box, for in opening the box, Meredith unlocks the ghost of Angharad, a girl on the cusp of womanhood who has a horrific secret she must reveal before she can be at rest. The teenage girls, but most particularly Meredith, become the conduit for Angharad to tell her story but as it unfolds this voice from the past threatens to destroy the bond between the sisters.
The ghost aspect of Snow Sisters didn’t interest me greatly — I thought it leaned a little too much to the obvious — but the depiction of the fraught relationships between the two girls and their mother was impressive. Allegra is a splendidly drawn character; a tempestuous woman who drifts about in beads and floating frocks leaving her daughters to feed, clothe and generally fend for themselves. She comes across as a monstrous figure at times; one minute lavishing attention on her daughters , the next being cruel and dismissive. Meredith, the youngest, is her favourite; the daughter who can do no wrong but from whom in return she seeks adoration. Towards Verity she is hostile, particularly when the girl challenges her smoking and drinking habits and her affair with a much younger man. Allegra’s desire for happiness is what eventually drives the trio from the house despite her daughters’ objections. Yet Allegra is a mass of contradictions; narcissistic certainly but also vulnerable and pitiable in her constant pursuit of love.
With such a distant mother it is no surprise that the girls turn to each other for support. They squabble as all sisters do but there is a bond between them so strong that Verity believes “I know the shape of her heart. She’s under my skin, threaded into my heartbeat, her shadow is stitched to my edges.” United against Allegra, they are also of one mind in their love for their home Gull House and the garden planted with varieties of blue flowers by their beloved grandmother.
The depiction of Gull House is one of the triumphs of Snow Sisters. It, more than the ghostly manifestations, gives the novel its atmosphere and its sense of the past breaking through. This is a house Meredith believes has a heart. Though overgrown and a little forlorn by the time Verity makes her return trip, its allure is evident:
The elegant door, its blue-salt-worn to grey, still takes my breath away.
It’s a thing of beauty, this door, and even with the paint peeling, the shape of it remains insanely lovely. It sits in the stone facade of the house like a picture… At the top, set into the ornately curved frame, is a small window adorned with stained glass flowers. The curve continues out to the side and in it more small sections of glinting glass like jewels.
Every time I came across a description of the house and its gardens I wanted to immediately jump in my car and drive there, hoping against hope there would be a For Sale sign in its grounds and Angharad’s ghost will have been given notice to quit.
About the book: Snow Sisters is the second novel by Carol Lovekin. It was published by Honno in September 2017. In October it was chosen by the Welsh Books Council as their Book of the Month. I received a copy from the publishers in return for an honest review.
About the author: Carol Lovekin was born in Warwickshire, England but has lived in Wales since 1979. The legends and landscape of wales inform her writing as she explains in this post about Snow Sisters for Book Trail. Her first novel, Ghostbird, was released in 2016 . You can follow Carol’s blog here.
Why I read this book: I first heard of Carol Lovekin about a year ago when I went to a pop up bookshop in Cardiff in search of books by Wales-based authors and met some of the wonderful team at Honno. I do have a copy of Ghostbird which I meant to read this summer but somehow went off track. I thought I would make up for that omission by reading her latest novel.
Today in The View from Here series on literature from around the world, we get to visit my home country of Wales with the help of Caroline Oakley, Editor and Publisher at Honno, an independent co-operative press based in Aberystwyth, Wales.
Honno was established in 1986 to publish the best in Welsh women’s writing. Today it publishes novels, autobiographies, memoir and short story anthologies in English as well as classics in both Welsh and English. Over the years Honno and its titles have been awarded many awards. Registered as a community co-operative, any profits made by the company is invested in the publishing programme. Caroline has worked in general trade publishing for over thirty years and has edited a number of award winning and bestselling authors. When not working she likes to walk in the woods, make her own clothes, grow her own food and clear up after her housemates (all seven of whom have four legs).
Q. What recommendations would you have for readers who want to discover books written by authors from Wales?
A good starting point would be www.gwales.com. You can browse fiction by review or the different categories. You have to dig a little deeper but the site also lists Welsh publishers, so it is worth browsing through them individually to see the broad range of titles published in Wales.
Q. In 2014 the Wales Arts Review magazine asked readers the question: “Which is the Greatest Welsh Novel?” They ended up with a shortlist of 23 novels (listed here). What do you think of this list – are there any surprises? Any names missing for you?
I’m not sure I agree with such a label — it would be different for every reader… I’d want to know which categories the books were being judged against before opting for one over another. Also, I haven’t read them all, so how could I judge? And out of the 23 only half a dozen were by women— is this because male authors are better or because they are traditionally more likely to be published? I’m sure there are many many great novels by women that aren’t on the list.
Q. Are there any particular trends or themes that you find often in novels by writers from Wales?
Reinterpretations of traditional Welsh mythology, the history of Welsh emigration, and the transition from rural to industrial ways of life are themes that often crop up, both amongst the classic novels we publish and the contemporary submissions we get.
Q. Apart from Dylan Thomas, few authors from Wales seem to have made a big impact on the world stage. Why isn’t literature from Wales as well known as say Irish literature or Scottish fiction?
I wish I knew! Wales’s writers have certainly been recognised — R.S. Thomas was nominated for a Nobel Prize for instance. A degree of lingering mistrust between England and Wales could be partly to blame — however, Ireland does much better than either Wales or Scotland pro rata for population size and they too have a troubled history. Maybe hitherto they’ve had bigger characters/personalities who’ve been known for behaviour outside of their writing – Dylan Thomas is perhaps the only Welsh writer who fits into this category…
Q. How important are prizes like the Wales Book of the Year award or the Dylan Thomas prize in giving more attention to Welsh authors?
They have proved to be useful in terms of wider recognition from publishing industry in rest of UK and the world, for rights sales in particular –which improves the lot of the author who may then get an offer from bigger international publisher although less good for Welsh publisher who takes risk on an author but can’t afford to retain them on their list once they’re successful.
Q.In an article in The Bookseller magazine in 2016, a number of Welsh publishers commented on how it was getting harder to persuade mainstream media to review books and to get booksellers to stock their titles which come from Wales even if they are not necessarily about Wales Is that something that you’re concerned about?
It definitely has been an issue for us, partly down to mainstream media paying less attention to smaller presses generally, partly that smaller presses just don’t have the budget to effectively promote their books with review copies, pre-pub events and networking and partly down to being unable to network effectively with London-based media when you are in Aberystwyth! I don’t know that being from Wales or about Wales is necessarily the issue here — it’s more that space for any book related material is increasingly limited particularly in the print media/newspapers so inevitably they are going to focus on the big names. Also lead times are getting longer, which works against publishers whose lead times are shorter, which is true of some independent presses like Honno… Contrarily space online for books is growing incrementally but is yet to be seen as creditable or reliable in the same way as the established broadsheets.
Q. When Honno was created, the intention was to increase the opportunity for Welsh women in publishing and to bring Welsh women’s literature to a wider public. Is that still a key focus for you – have you seen any changes in attitude from readers over the years?
Absolutely it’s still a key focus! What we’d like to do is to widen our demographic to younger women in Wales and beyond — a lot of our initial interest was from women who are now getting older and making sure that their descendants know about Honno and recognise its importance is vital. There are many more demands on young women’s time and attention than was true in the early eighties— hence our interest in media other than print as a way of engaging younger readers.
Q Do you have a personal favourite among the authors from Wales?
Of the Welsh Women’s Classics we publish, My Mother’s House by Lily Tobias is one I particularly enjoyed. Obviously it is too difficult to choose a favourite contemporary author from among the Honno stable (without also risking the others’ wrath!) but outside of that Cynan Jones is a favourite — now receiving wide recognition but no longer published in Wales (hence my point earlier about the downside of prizes).
Intrigued? Want to know more?
- You can find more infomation about Honno, their catalogue and authors at their website www.honno.co.uk or via Facebook (facebook.com/honnopress) and via Twitter @honno.
- To learn more about literature from Wales visit the dedicated Literature from Wales page on this blog to discover reviews of authors from Wales and lists of suggested books to read.
- You might also want to take a look at a View from Wales post I wrote in 2016
Yesterday I posted my review of Anglesey Blue, the first in a series of detective novels by the Welsh-born author Dylan H Jones. The novel is set on the island of Anglesey (known as Ynys Môn in the Welsh language) in North Wale. It’s a place very close to Dylan’s heart – it’s where he was born, where he spent many of his formative years and where many of his immediate family members still live. In his debut novel, he introduces his lead character Detective Inspector Tudor Manx who has returned to the island after a gap of some thirty years. In this Q&A Dylan shares his plans for future books in the series and how he used his local knowledge to depict his chosen setting.
Q. You’ve described Anglesey Blue as the first in a series of crime novels featuring DI Manx. Did you always envisage this as a series?
Most definitely. I compare it to people’s attitude to films and TV these days. Personally, I’m seeing a shift away from the two hour cinema spectacular towards these incredibly well written, deep and character-driven TV shows. I think people crave that character development you get from a series. That’s how I felt about Manx. His story is just beginning, he has some real demons he needs to face, some real issues he needs to deal with and he needs to do all of this while solving some pretty gruesome crimes.
I’m not sure how many books will be in the series, but I’m elbow deep into book two right now, which sees Manx confronting even more demons, wrestling with his own feelings of guilt and questioning the choices he made that landed him back on the island. One thing I will say, without it being a spoiler, is that I want the first four books to be set in different seasons. The first was set in Winter, the second will be set in Spring, the third and fourth in Summer and Autumn respectively. I’m plotting it out this way because I think the Island of Anglesey changes with each season: the vibe in the summer, where the island is thick with tourists, is very different to the bleakness of the winter months—perfect fodder for a crime fiction author.
Q. It’s common now in crime fiction for the detective/investigator to have a troubled past. Were you conscious when you were writing Anglesey Blue that you were treading familiar ground – how did you avoid the cliches?
Thank you for mentioning that I did avoid the cliches! It’s always a knife-edge balancing act between rolling out the expected cliches and finding a fresh approach to your writing, especially in crime fiction. I think readers expect and want some familiarity with how an investigation plays out; the police craftwork etc, but also they want a fresh angle on all that. With Manx’s past, I wanted it not just to be troubled, but traumatic. The disappearance of this sister, Miriam, thirty years ago is a guilt that he carries with him, but also he’s haunted by the events that took place in London that precipitated his move back to the island. Add these to the fact that he’s now living somewhere he swore never to return to, I think adds more light and shade to his backstory.
Q. The novel clearly reflects your personal knowledge not just of the geography and landscape of Anglesey but of local attitudes. Were you able to rely completely on personal knowledge or did you need to make some additional research visits?
Looking back, much of it was already there, it just needed mining. I do still visit, at least once a year. All my immediate family still live there, as do my cousins. Speaking with them, going out on the town with them and their friends and immersing myself back in the culture helps a lot- I get an idea of what some of the issues are, what matters to them and reflect that as best I can in a dramatic way. My parents are also petty active in the local community, so I get those downloads on a weekly basis!
Q. There’s a joke running through the novel about the difficulties (impossibilities!) of pronouncing certain place names and expressions in Welsh. Was that a way to broaden the appeal of the novel beyond a Welsh readership?
In a way, yes. But, I’m also presenting Anglesey through the eyes of Manx. He’s been away from the island for 30 years and his Welsh is as rusty as mine! The reader comes along for the ride, and if we can throw out a few good jokes here and there and still get over the fact that Welsh is a thriving, working language on the island, then I’d say I’ve done my job. Also, Anglesey is home to a whole community of English people who moved there for the beauty and tranquility, many of become passionate about learning Welsh, others don’t share that passion, it’s that mix that makes it interesting and of course a rich seam of comedy at times.
Q. People who know the island of Anglesey think of it as a place of stunning coastlines and moody interiors. You present a darker side however – showing it as a place a little the worse for wear and suffering from economic collapse. How have people in Anglesey reacted to that portrayal of their communities?
These are all very interesting observations, however, I don’t necessarily agree with you. I think Anglesey has a dual personality. There’s the tourist- friendly Anglesey with the rash of refurbished pubs, gourmet restaurants, Blue Flag beaches and the like, but there’s also the flip side to that, especially near the port of Holyhead where there are some real challenges of poverty and crime.
I’m in constant contact with some incredibly helpful officers in the North Wales Constabulary who not only help with me with the police procedural aspects, but also paint a dark picture of the very real crimes they’re challenged with.
At the end of the day, the last thing I wanted to do was present a glossy, travel brochure promotion for Anglesey- that would have been a worse injustice to the island. Every place has its dark side: that’s what intrigues me, not only about places but also people.
My readers from Anglesey have been incredibly supportive in their reviews. One or two readers have complained about the profanity, but again, it’s real life. Some of the characters I portray are criminals, petty or otherwise, and I have very little control of what comes out of their mouths.(Ok, maybe a little, but I’m not big on censorship unless it feels forced or doesn’t serve the story!)
|Want to know more about Welsh writers ?
Dylan Thomas may be Wales’ best-known literary export but he forms part of a long tradition of excellence in literature demonstrated by people from this Celtic nation. Some of these writers you may not have even realised are from Wales – people like Sarah Walters and Roald Dahl. Broaden your reading horizons by taking a look at some of the authors I’ve highlighted on my Literature from Wales page.
Dramatic cliffs that drop down to small bays. Sandy beaches unspoiled by over-development. A few ancient monuments and megalithic tombs left behind by early settlers and Druids. The island of Anglesey in North Wales sounds like an idyllic spot doesn’t it? One rather famous couple certainly thought so, making one of the island’s farmhouses their first home when they could have chosen to live in a castle (the family has a few of them going spare). Prince William and his bride Kate lived there for three years declaring when they left, that Anglesey had a special place in their hearts.
Detective Inspector Tudor Manx, the protagonist of Anglesey Blue by Dylan H Jones has a rather more complex attitude to his homeland. He remembers some of his youthful experiences with great affection, especially summer holidays spent at the seaside and the year he worked at the fairground. But that was also the year his younger sister disappeared. His relationship with his mother and other sister fell apart as a result. After which he couldn’t wait to get away.
Now, thirty years later, he’s back to take up a new role heading the island’s small, and rather inexperienced, team of detectives. He finds there is trouble in paradise. The island is suffering from falling property prices, the dwindling appeal of the traditional seaside holiday and an active drug scene. When a body is discovered bound to a boat as if crucified, then two more bodies are discovered in quick succession and a powerfully addictive new drug comes onto the scene, Manx comes under pressure to prove he’s the right man for the job. What follows is a solidly-plotted police procedural novel with plenty of opportunities for Manx to ignore all his boss’s instruction to avoid “maverick, Lone Ranger fuckery” as he tries to keep one step ahead of a drug baron and his henchmen.
Anglesey Blue is the first outing for this DI in what is planned to be a series located on the island. Given this is such a crowded market in literature, the challenge is to bring something fresh to the table. Two things hold the key to success. One is the character of Manx himself who has to be more than a sum of cliched attributes. The other is the setting which has to feel like a place inhabited by real people rather than just a stage for crime. I’d say Dylan Jones has succeeded on both fronts.
He gives Manx a few quirks – like the fact he drives a completely impractical seven-litre Mark 3 Jensen, smokes cigars rather than cigarettes and has a very limited wardrobe.
Manx’s choice of wardrobe had always been uncomplicated and predictable, a limit colour palette of white Oxford shirt, a slim, black necktie left loose at the collar, black straight-legged jeans, a black sports leather jacket (either work, linen or leather, depending on the weather) and back, chisel-toe Blundstone books which he purchased off the internet directly from the factory in Tasmania.
Dylan Jones makes Manx a man of action, someone who often puts his own life at risk, but also a tenacious, methodical guy who continuously revisits his case notes, searching for anything he might have missed. Not for Manx is the kind of light bulb moment beloved of the scriptwriters of television detective series; but the “mundane reality of police work. The day-to-day grind, exhausting every avenue and cul-de-sac” kind of detective work. In part this attention to detail could be connected to the fact he’d left his last job with the Met in London under something of a cloud; the nature of which is never fully disclosed.
This is not the only unresolved mystery in Anglesey Blue; we also never get to know exactly what happened to Manx’s sister. The sense of mystery which remains by the end of the novel is one of the attractions of this novel for me; I don’t want everything tied up with a ribbon. It also cleverly leaves the door open for future episodes.
Of course Anglesey Blue isn’t solely about Manx. He’s supported by an array of colourful characters from the bright rookie policewoman Delyth Morris to the hostile Detective Sergeant Maldwyn Nader, a man prone to sudden outbreaks of extreme violence and the forensic scientist Ashton Bevan who loves dropping hints he knows all of Manx’s secrets. All of these have the potential to blossom as the series develops.
As for the setting, it’s enticingly atmospheric. Mists roll in across the Irish sea, obscuring the small inlets and islands and robbing the landscape of form and colour but then the sun breaks through, enticing holidaymakers to the beaches and the coastal resorts in search of “sand between the toes pleasure and dirty postcard innuendos.” Descriptions of the main settlements and Manx’s encounters with some of the sceptical inhabitants provide a lot of the local colour which is then supplemented by a few in-jokes about the difficulties of the Welsh language. They give a fresh feel to this novel, making it an entertaining read with the promise of more to come.
About the book: Anglesey Blue by Dylan H Jones was published by Bloodhound Books in March 2017. My copy was provided by the author and publisher in return for an honest review.
About the author : Dylan is a native of Anglesey. Though he now lives in Oakland, California, he regularly visits Anglesey where most of his immediate family live. He has worked as a media executive and copywriter at various TV networks and advertising agencies both in London and San Francisco. Currently, he is owner and Creative Director of Jones Digital Media, a video content agency. More information is available on his website and in a Q&A with Dylan Jones on this blog site in which he talks about the choice of Anglesey as a setting and his plans for the series.
Why I read this book: I’ve been cautious in accepting books for review this year but who could resist an approach from one of my fellow countrymen. Reading this gives me yet another opportunity to boost visibility of some of the great writers we have in Wales. Anglesey Blue is one of the books on my 20booksofsummer list.
The Primrose Path is an atmospheric thriller based on the premise that no matter how fast or far you run, you can never escape the past.
At the age of 19, Sarah D’Villez was abducted during a visit to some riding stables and held prisoner for days. She managed to escape though her attacker’s wife was murdered in the course of her flight. For years, Sarah re-lived the anguish of her ordeal and the media attention it generated. The trauma alienated her from her friends and mother and ultimately caused the breakdown of her marriage and separation from her child. Now in her 30s she learns that John Blundell, her abductor, is about to be released from prison. She has to escape before he, or the press, catch up with her. So she dyes her hair, changes her name to Rachel and moves to a converted barn in rural Wales to start a new life, telling no-one not even her mother about her whereabouts.
Even in such an isolated location she doesn’t feel completely safe. It’s not only the fear that someone might discover her secret. One of her nearest neighbours is Idris, a creepy, filthy truck driver who keeps turning up on her doorstep un-announced. Rachel is sure Idris is spying on her and is stealing her underwear. She’s afraid of what this brutish man could do to a woman living alone.
Rebecca Griffiths packs a lot into this book with several plot lines that appear unconnected but which gradually converge as the story progresses. We get Rachel’s flight to Wales and the tension created by her mother’s decision to hire a private investigator to track down her daughter. Added to that there is a mystery about the barn in which Rachel now lives. It once belonged to Idris’ family but no-one knows what happened to his young sister who just disappeared one day on a trip to the seaside. And for good measure, there is a serial killer on the loose who is preying on young women.
The story is told from the point of view of several characters, Rachel of course is one of the key narrators but we also hear from her mother Jennifer and from Dai, a widower who has reason to loathe Idris. In between we get some chilling first-person chapters narrated by the unnamed, unidentified serial killer who watches for their next victim.
Rebecca Griffiths certainly has a talent for creating some obnoxious characters. Rachel’s mother is a really masterful portrait of an acerbic, cold woman whose armour is pierced when she makes a shocking discovery in her husband’s study. And then there is Idris, a socially isolated, dysfunctional man who doesn’t know the meaning of the term personal hygiene. So repugnant is he that everyone in the community finds it easy to believe he is capable of anything.
Overall, The Primrose Path is a cleverly-plotted novel. I’ve seen several comments from reviewers that it’s overly slow to get going but that wasn’t my reaction. We needed time to get to know the multiple characters and their relationships to each other. Once Rachel is firmly established in Wales the pace picks up as we learn more about her former life. There are plenty of surprising twists and moments which challenge your assumptions. The clues to the denouement were there all along but I didn’t spot them so the ending was a surprise. I won’t spoil this for other readers other than to say that its worth keeping in mind as you read The Primrose Path that this is a novel in which virtually everyone has a secret…
I did have a couple of issues with the book. One is that it felt repetitive at times – we kept getting told for example that Idris’ home is a tip while Rachel’s new home is remote. I know Griffiths wanted to emphasise her vulnerability but I didn’t feel I needed to be hit over the head with that fact quite so much. The biggest issue however was the resolution of the serial killer sub-plot. Griffiths leads her readers down several garden paths about the identity of the killer and, to my delight, completely wrong-footed me ( I hate thrillers where the culprit is too evident.). However her solution felt too much of a cop-out because the culprit was barely present as a character in the novel so we never really understood their motivation for killing women they considered ‘slags’.
Overall however The Primrose Path is a well-structured tale that shows some deft handling of multiple plot lines and levels of tension. It’s clear why this debut novel by Rebecca Griffiths has earned her many accolades in the UK with predictions that she is on the track to a highly successful career. She’s someone I’ll certainly be keeping an eye open for in the future.
About the Book: The Primrose Path by Rebecca Griffiths was published by Sphere in 2016. The title is a phrase taken from Hamlet and has come to mean a course of action that seems easy and appropriate but can actually end in calamity.
About the author : Rebecca Griffiths grew up in rural mid-Wales. She returned to live there after a successful business career in London, Dublin and Scotland. The Primrose Path is her debut novel.
Why I bought this book: I came across this while mooching around the bookshop last year and was drawn to the fact this was by an author from my homeland.