Friday Poem – ‘Politics of Water’ by Peter Finch

This week’s Friday Poem is ‘Politics of Water’ by Peter Finch. Originally published in his 1996 collection Math, it now features in Volume One of his newly published Collected Poems.

This cover features a photo of a geometric concrete sculpture made up of hexagons. The text reads: Peter Finch Collected Poems One 1968-1997

Peter Finch’s remarkable career spans over fifty years. He has been taking poetry to places it didn’t know it wanted to go from the beginning; blending the avant-garde, concrete, visual, sound, performance and more conventional forms to create something unique. His new two-volume Collected Poems, edited by Andrew Taylor, cement his reputation as one of Britain’s leading poets.

This cover features a photo of a geometric concrete sculpture made up of hexagons. The text reads: Peter Finch Collected Poems Two 1997-2021

Volume One brings together work from long lost chapbooks, broadsheets and limited editions, as well as more conventionally published work. Volume Two focuses on the second half of Finch’s career with poems from later collections sitting alongside works from his prose books and those engraved in the public realm on sculptures, walls and buildings, particularly in his native Cardiff. Nerys Williams and Ian McMillan provide appreciative forewords to each volume.

POLITICS OF WATER
there (here) are (were) places (pimples) in (on)
Wales (wheels) I (we) don’t (can’t) go (gone)
reservoirs (places) that (this) are (will be) the (a)
subconscious (subterranean) (subtotal) (subliminal)
(superfluous) (serenity) of (in) (on) a (the)
people (people). Here (where) were (will be)
pimples (scars) (gouges) (savage stripes)
on (in) wheels (fields) (folds) I (you) (we)
can’t (can) (cannot) gone (grown) (green)
places (princes) (parsons) (people) this
(those) will be (will not) a (the)
subterranean (terminal) (termination) (treeless)
invasion (inversion) in (of) the (the) people
(person) (personal) (private) (so private)
(so personal) (only) it is (never) not (yours)
(mine) (moan) (theirs) (his) (hers) (ours) (whose)
dig (dirge) (deep) (down) (down) (down)

Order the Collected Poems Complete Set on the Seren website for £30.00, or buy them individually for £19.99 each.

We launched the Collected Poems at Jury’s Inn in Cardiff earlier this week. Watch the live stream recording on demand on our AM channel now amam.cymru/seren.

Photos by John Briggs.

Friday Poem – ‘Rhys’ by Rhian Edwards

This week’s Friday Poem is ‘Rhys’ by Rhian Edwards from her collection Clueless Dogs.

This cover shows a cartoon collage of a Dalmatian. The text reads Clueless Dogs Rhian Edwards.

Clueless Dogs is the multi-award-winning debut collection by Rhian Edwards. Full of verve and humour, Rhian Edwards’ language has a winning honesty and intensity. Poems like ‘The Welshman Who Couldn’t Sing’ chronicle a fraught childhood in Bridgend, south Wales, where the sensitive child escapes through imaginative games of ‘Playing Dead’ and ‘Broken Lifeboat’. Later poems explore teenage lusts, student rivalries, damaged peers and tense situations. Although the author doesn’t flinch from ruthless depictions, in which we are often implicated by her use of the second person ‘You’, there is an underlying sweetness, an elegiac thread to this remarkable collection.

Rhys
Like the time you invited me inside
the ottoman on the landing
and sat on the lid laughing
while I scratched and screamed at the wood.
Or when the babysitter wasn’t looking,
you taught me the quickest way to add nine,
showed me to tie my laces with the tale
of two rabbits disappearing down a hole.
Like the day you caught the slow-worm
that tried to whip away the sun,
letting it loose into the folds
of the blanket that I held like a lover.
Not to mention the crimes I invented
for which I never knew you were beaten,
or that summer you took away the stabilisers
to be the sole witness to me riding away.
Like the times I spied in your bedroom,
played your records and fanned open your books,
only to slip between the sheets
with a nakedness meant only for bath time.

Clueless Dogs is available on the Seren website: £9.99

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Friday Poem – ‘Samuel Taylor Colderidge Walking from the Queen’s Head…’ by Jonathan Edwards

This week’s Friday Poem is ‘Samuel Taylor Coleridge Walking from The Queen’s Head…’ by Jonathan Edwards from his collection Gen.

This cover shows a colourful painting of a street scene croweded with people. The text reads: Gen, Jonathan Edwards

Gen is a book of lions and rock stars, street parties and servants, postmen and voices. In the opening sequence’s exploration of youth and young manhood, the author sets his own Valleys upbringing against the 50s youth of his parents and the experience of a range of pop culture icons, including Kurt Cobain and Harry Houdini. These poems give way to a sequence of monologues and character sketches, giving us the lives of crocodiles and food testers, pianists and retail park trees.

Samuel Taylor Coleridge Walking
from The Queen’s Head, Gray’s Inn,
to Hornsby’s and Co., Cornhill, to Buy
an Irish Lottery Ticket, November 1793
At twenty-one, he needs something big to happen
to cover his bar tab, run up trying to escape
thought of his debts. What his life is going like
is this: the blown scholarship
nothing that can’t be dealt with
by opium; ladies with abracadabra
clothes to make the girl who will not love
disappear. A night
of weighing up options: on one hand,
the army, in the other,
a pistol. Then drunken inspiration, a solution
to his life and here he is, on his way,
inventing a new walk –
the wobble-stride. He’s walking, walking,
writing in his head To Fortune, a poem
to read whose rhyming couplets
is to hear him walking
now. A month or two and his brother
will clear his debts,
a day or so and his lottery ticket
will lie in a ditch, a couple of weeks
and To Fortune will appear in The Morning Chronicle,
his first published poem, and they’ll pay a guinea,
which he’ll try – and find it good –
against his teeth.

Gen is available on the Seren website: £9.99

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Friday Poem – ‘Under One’s Hat’ by Hannah Hodgson

This week’s Friday Poem is ‘Under One’s Hat’ by Hannah Hodgson from her debut collection 163 Days.

This cover shows a photo of the artist Sue Austin diving underwater in her wheel chair. The text reads: 163 Days Hannah Hodgson.

Hannah Hodgon is an award-winning poet and a palliative care patient. In her compelling debut collection 163 Days, she uses a panoply of medical, legal, and personal vocabularies to explore what illness, death and dying does to a person as both patient and witness.  

“Hannah Hodgson takes us to the paradoxical heart of poetry itself” – Caroline Bird

Under One’s Hat
My mother thinks my tongue is retractable tape.
That I reveal too much, that I’m not good
at keeping secrets. One of my friends said
the only reason he can keep things quiet,
is his body has the handy feature of forgetting.
Never registering which truths belong to who,
blank pages recorded in place of events. Part of it
is my inheritance. My nan is a lethal gossip.
I’m a witness to so many lives unspooling,
that I’ve stopped waiting for the Police to arrive
and collect statements. Truth is slippery.
There’s a reason why water polishes riverbeds
and stones. I close my mouth around the things I know,
lock them inside of me as treasure.
I understand now, why NHS noticeboards
are laminated. It’s because of blood.
Turns out, doctors can’t keep secrets either.
They hide them, chirping, tiny birds nesting
in their desks; fed by a tiny paintbrush.

163 Days is available on the Seren website: £9.99

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Listen to a radio play of 163 Days on the BBC New Creative Website

Friday Poem – ‘Somniloquy’ by Paul Henry

This week’s Friday Poem is ‘Somniloquy’ by Paul Henry from his new collection As If To Sing.

This cover shows an abstract painting by the artist Antony Goble. A woman with blue skin dominates the image in a vibrant orange dress. She is balancing an urn on her head and holds a red crow in her hand. The text reads: As If To Sing, Paul Henry. "One of the best lyric poets currently writing" - Hugo Williams

The power of song, to sustain the human spirit, resonates through As if to Sing. A trapped caver crawls back through songs to the sea; Welsh soldiers pack their hearts into a song on the eve of battle, ‘for safe-keeping’; a child crossing a bridge sings ‘a song with no beginning or end’… Rich in the musical lyricism admired by readers and fellow poets, As if to Sing is an essential addition to this poet’s compelling body of work.

“A poet at the top of his game.” – Radio Wales Review Show

Somniloquy
Speak into my good ear.
The house is bubble-wrapped
with rain. It’s late.
To better hear your voice
through this worn out device
I lean in closer to the page.
To better hear the sleep talk
tangled in its sheets
I lean in closer to your lips.
Speak into my good ear.
The crackle of dark matter
on its way to this room
clears at last, to better hear
your dream ask, Is it you?
Where have you been?

Listen to Gary Raymond, Paul Chambers and Dr Emily Garside reviewing As If To Sing on the Radio Wales Review Show.

Paul is launching As If To Sing at Book-ish in Crickhowell on Thursday 28th April. Visit their website book-ish.co.uk to buy tickets.

As If To Sing is available on the Seren website £9.99

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Friday Poem – ‘When it Rains, I Think of You’ by Eric Ngalle Charles

This week’s Friday Poem is ‘When it Rains, I Think of You’ by Eric Ngalle Charles from his new collection Homelands.

This cover shows a painting of a young African boy wearing a blue robe tied around his waist and an oversized black hat standing in front of a building. The text reads: Homelands, Eric Ngalle Charles.

In Homelands Eric Ngalle Charles draws on his early life raised by the matriarchs of Cameroon, being sent to Moscow by human traffickers, and finding a new home in Wales. Rich in tone, subject and emotion, Charles’ poetry moves between the present and the past, between Africa and Europe, and between despair and hope. It discovers that historical injustices now play out in new forms, and that family tensions are as strong as the love within a family. Despite the difficulties Charles has faced, Homelands contains poems of fondness, warmth and humour and, as he returns to Cameroon to confront old ghosts, forgiveness. 

When it Rains, I Think of You
Farzana,
and if you will return
alive or dead from that awful place,
the Al-Jawiywah prison,
meeting point for migrants and traffickers.
I think of you there,
where today, a quarrel brews:
to entertain themselves
the guards throw one toothbrush and paste
and watch inmates fight for it.
A mad woman paces up,
then down, an old man sits and stares.
Farzana is pregnant, skeletal,
she wants to leave this
makeshift jail where migrants
starve and soldiers
make merry over rum with traffickers.
When it rains I think of you,
Farzana,
and if you will return.

Homelands is available on the Seren website: £9.99

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On the 27th May Eric will be reading from Homelands as part of the Hay Festival Schools Programme. Tickets for the Hay Festival main programme go on sale today at 12pm.

Friday Poem – ‘Four Poets in a Bookshop’ by Abeer Ameer

This week’s Friday Poem is ‘Four Poets in a Bookshop’ by Abeer Ameer from her debut collection Inhale/Exile.

This cover shows a closeup painting of someone cutting reeds. The text reads: Inhale/Exile Abeer Ameer

Cardiff-based poet Abeer Ameer writes of her forebears in her first collection, Inhale/Exile. Dedicated to the “holders of these stories”, the book begins with a poem about a storyteller on a rooftop in Najaf, Iraq, follows tales of courage and survival, and ends with a woman cooking food for neighbours on the anniversary of her son’s death.

Four Poets in a Bookshop

In the land of two rivers and hanging gardens,
four poets meet in a bookshop. No one can know.
Portrait of Saddam watches; they hide under the cloak
of Arabic lexicon. They share with one breath
meanings that turn the Master’s key
to worlds where Adam was taught the names.

Trees, reborn as pages, witness the names
of four and those gathered to reach the Gardens,
as they escape their locked chests without key.
They are four men who know.
Reading between lines of apocalypse, each strained breath
foretells of beasts with their daggers and cloak

scarring minds and hearts of men by Baathist cloak.
Present are bygone days of Karbala’s names
which poets dare to mention under their breath.
Alive and well with the Lord of the Gardens.
Willing to exchange this world for the next, four know
that informants sell to the cruellest bidder for neighbours’ key.

Saddam’s spies claw to learn of persons key
and clothe their families in mourning cloak.
Three-quarters give eyes, tongues and nails. They know
they must not, to treachery, yield any names.
Silent skin, dipped in acid, bastes in hanging gardens
bearing to keep hidden secrets beyond dissolved breath.

No haste nor waste for ordained beat and breath
nor desire for the iron key
to dust’s throne; they dream of other gardens.
Longing only to reunite with the People of the Cloak
and the Most Compassionate through His Names.
Those clinging to ebbing sands of time do not yet know

The bookshop bears witness to what few mortals know.
Its shelves and books inhale each whispered breath
and all that poetry and scripture, names.
Kerosene warms the last poet. He clutches the bookshop’s key,
drinks black tea sugar cannot sweeten and wears a black cloak.
Alone; his companions have already reached the Garden.

Many years after a shroud is his cloak and cancer takes his breath,
the names of seekers are still hidden. Their key is kept buried in the earth
upon which gardens grow, and reed beds and shrines know how to Read.

Inhale/Exile is available on the Seren website: £9.99

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Barney Norris – The Wellspring: From Page to Stage

In this guest post, Barney Norris discusses the link between his memoir The Wellspring and his new stage production of the same name currently touring the UK. Catch Barney and his father David Owen Norris performing The Wellspring at the Oxford Playhouse from today.

Barney Norris' 'The Wellspring: Conversations with David Owen Norris' cover; a greyscale sketch of a countryside scene with a single square turret in the middle.

In The Wellspring acclaimed novelist and dramatist Barney Norris conducts a conversation with his even more acclaimed father, the pianist and composer David Owen Norris, on creativity, cultural identity, and how the two intertwine. In addition to being called ‘quite possibly the most interesting pianist in the world’ (Toronto Globe and Mail) and ‘a famous thinker/philosopher of the keyboard’ (Seattle Times), Norris senior is a respected and longstanding television and radio presenter who has worked with a huge range of musicians, conductors and composers in the concert hall and on the airwaves.

The Wellspring

Seven years ago, I was sitting outside Romsey Abbey when the thought came to me that I should write a book of interviews with my father. David Owen Norris, my Dad, has had many jobs – he’s a pianist, a broadcaster and a teacher, among other things. He’s also a composer, and while we were touring a piece of music he’d written, that I’d written some accompanying poems for, I had the idea of writing a book about this aspect of his life. Partly as a way of amplifying his work; partly to trace the journey of one artist from childhood into creativity, as a means of exploring how that journey happens for every artist; partly as a way of knowing my Dad better. I called up Mick Felton at Seren Books, a publisher with the courage and heart to take on quixotic, idiosyncratic projects of this nature, who had previously published my study of the Welsh theatre artist Peter Gill, To Bodies Gone, and who I occasionally besiege with poetry in the hope that he’ll one day let me have a collection (I’m doing the same thing now, here in this blog, not ever so subtly, look!), and he agreed to publish the book if we wrote it.

Barney Norris lays a table cloth on a table while David to his left brings a saucepan on a chopping board to the table.
Photo by Robert Day

What emerged from that process was a sequence of three long interviews with my Dad, loosely grouped around the activities of ‘listening’, ‘playing’ and ‘writing’. I think you can map these onto any artist’s trajectory: they start by absorbing the world, then explore the art form that interests them, and finally, if things go their way (if kind and visionary publishers give them a collection, say), they find a way to make a statement. Dad’s particular version of that journey took in lots of specific things – he’s a study in a particular kind of Englishness, a particular rural culture and a particular artistic context as well. We were very proud of the book, and all the more so when the theatre I was working with at the time, Northampton’s Royal and Derngate, asked me whether we’d consider adapting the book for the stage. Being a book of interviews, it was done in dialogue, after all – so why couldn’t it work live?

Barney Norris sits centre stage on a chair while David Norris sits diagonally to him in the bottom-left corner, facing a piano
Photo by Robert Day

Dad and I got together in the rehearsal room in December 2019 to work out whether it was possible. The first big decision we made was that we mustn’t use the original book too closely as source material – they had to be companions to each other, palimpsests of one another, because an evening where we read out an abbreviated version of the book wouldn’t work. Reading and performing are so fundamentally different, and require such a different kind of writing. In addition, the relationship in the book – that of interviewer and subject – wouldn’t wash onstage. Onstage, everyone visible to the audience has equal weight in the overall picture; one of them can’t be the interviewer, secondary characters don’t exist. I would need to take up more space in the play we made.

Barney Norris sits with his feet on a chair in front of him (centre stage), right index poised in the air, waiting to say something
Photo by Robert Day

So we created something that slightly resembled a winterbourne – the previous Wellspring, my book of interviews with Dad, had passed through this way the previous winter, and now, in a different winter, new water would make its way through the same gullies and eddies of our life stories. Whatever we created would take the same path, passing through all of the same material, but the summer that has passed between the two projects would inevitably mean everything was somehow different. What emerged, then, was a story that seemed both strikingly different, and strikingly the same. It’s a huge privilege to have got to explore this, the idea of telling the same story twice. Part of what I’m writing is my own journey through life, and the changes in my relationship with my father, after all; I am watching my time pass as I retell this tale from its source again, and note how I change it each time.

Both Norrises smile as David sits by the piano(bottom right stage corner)  while Barney stands centre stage addressing the audience.
Photo by Robert Day

Barney Norris

Visit the Oxford Playhouse website for tickets to see ‘The Wellspring’ this week www.oxfordplayhouse.com/events/the-wellspring.

The Wellspring is available on the Seren website for £12.99.

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Friday Poem – ‘From the Cockpit Window’ by Anne-Marie Fyfe

This week’s Friday Poem is ‘From the Cockpit Window’ by Anne-Marie Fyfe from her collection House of Small Absences.

This cover shows a painting of a girl carrying a dolls house, standing in the garden of big house. The text reads: House of Small Absences, Anne-Marie Fyfe

Anne-Marie Fyfe’s poems have long dwelt on the role that the spaces we inhabit, the places in which we find security, play in our lives: House of Small Absences is an observation window into strange, unsettling spaces—a deserted stage-set, our own personalised ‘museum’, a Piedmont albergo, underground cities, Midtown roof-gardens, convent orchards, houseboats, a foldaway circus, a Romanian sleeper-carriage—the familiar rendered uncanny through the distorting lenses of distance and life’s exigencies, its inevitable lettings-go…

From the Cockpit Window
Here, above,
cracks in the buildings are filled with battered moonlight.
– Elizabeth Bishop, The Man-Moth
The full moon is being held hostage
tonight. A two-hundred-&-seventy degree vista
and all I make out are roof-garden umbrellas,
latticed fire escapes, jungles of wisteria
straggling around water-tower struts.
Uplighters cast panther shadows
and Egyptian columns against the cloudswirl
that drapes the Chrysler pinnacle.
There’s a low-altitude nosedive, a rattle
of applause on the wing. Our world
is hurtling towards sudden resolution.
Tumbling zeros play needle roulette,
the spirit bubble’s way out of kilter.
Close enough now to smell garbage scows,
charred pretzels, onions, to hear
taxis honking, meters ticking,
the steam whoosh of airshafts.
On my tongue there’s the after-taste of metal fatigue.
Who’ll answer my entryphone? How long
before they empty the closet of shirts
and jackets, their sleeves hanging aimless.

House of Small Absences is available on the Seren website: £9.99

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Gifts for Mother’s Day

With Mother’s Day just around the corner, we’ve rounded up a list of books that would make great Mother’s Day gifts. Browse the list below, or visit our new titles page for more ideas.

Auscultation – Ilse Pedler

This cover shows a digital image of an orange butterfly resting on the cord of a stethoscope. The text reads: Auscultation, Ilse Pedler. "Unique and utterly original" Kim Moore.

Auscultation means listening and specifically, in medicine, listening to sounds that come from the body’s internal organs. If listening is a central theme of this collection, it is also about being heard. Ilse Pedler is poet of breadth and depth. There are poems about waiting rooms and surgical instruments, about crisis calls, about overhearing farmers and pet owners and colleagues. There are poems about surviving a stern childhood and a heartbreaking sequence about being a stepmother. This is a compelling set of poems from a striking new voice.

Writing Motherhood – Ed. Carolyn Jess-Cooke

This cover shows a painting of two mothers and their young daughters looking out at the reader. The text reads: Writing Motherhood, A Creative Anthology. Edited by Carolyn Jess-Cooke

Through a unique combination of interviews, poems, and essays by established writers, Writing Motherhood interrogates contemporary representations of motherhood in media and literature. It asks why so many novels dealing with serious women’s issues are packaged in pink covers with wellies and tea cups, and demonstrates how the exquisite moments of motherhood often enrich artistic practice rather than hinder it. Writing Motherhood is a vital exploration of the complexities of contemporary sexual politics, publishing, artistic creation, and 21st Century parenting.

Cecil & Noreen – Patrick Corcoran

This cover shows a close up sepia image of an elderly couple's hands. The text reads: Cecil & Noreen, Patrick Corcoran.

Cecil & Noreen is a poignant, subtle and amusing love story in which an elderly couple reminisce about their marriage. In a nursing home, Cecil recollects the memories through the aide-memoir of Noreen’s preserved letters which he keeps in a box by his bed. Noreen visits the ailing Cecil twice daily, and provides a more reliable version of the events the letters describe. Both are committed Catholics. The novel opens with their first meeting at church, at which Noreen accidentally floors Cecil with a ceremonial banner. Beautifully-written and deeply compassionate, Cecil & Noreen ennobles the ’ordinary’ lives of its characters. 

Waterfalls of Stars – Rosanne Alexander

This cover shows a photo of Skomer Island surrounded by rough seas. The sky is an eerie green where a storm meets blue sky and sunshine. The text reads: Rosanne Alexander, Waterfalls of Stars: My ten years on the Island of Skomer

When Rosanne Alexander’s boyfriend Mike was offered the job of warden of Skomer Island, they had just ten days to leave college, marry (a condition of employment) and gather their belongings and provisions. In Waterfalls of Stars, Rosanne Alexander relates their experiences, including her observations of the island’s wildlife and landscape. Her lyrical evocation of the natural world will inspire and entertain anyone who has felt the need for escape.

The World, the Lizard and Me – Gil Courtemanche

This cover is orange. Shadowy figures of children fighting in a war and a bright lizard are overlaid in the background. The text reads: The World the Lizard and Me, Gil Courtemanche

The World, the Lizard and Me is a novel of testament to the plight of children caught up in the civil wars of Central Africa. First published in 2009, this translation by David Homel is the first in EnglishThe World, the Lizard and Me follows the life of Claude Tremblay who, from the age of eleven has sought justice for thousands of voiceless victims. Now an investigator at the International Criminal Court in The Hague, he is pursuing Thomas Kabanga, a warlord charged with creating child soldiers in the Congo. Gil Courtemanche draws on his own experiences to write a novel of gripping immediacy.

Women’s Work – Edited by Eva Salzman and Amy Wack

This cover shows a painting of a child looking over the edge of a table, looking a  jug teetering on the edge of falling over. The text reads: Women's Work: Modern Women Poets Writing in English.

With over 250 contributors, Women’s Work brings together generous selection of poetry by women, with an emphasis on twentieth-century poetry in English. Featuring poets from the USA, Canada, England, Ireland, Scotland, Wales, Australia, and New Zealand, it is arranged by thematic chapters that touch on various aspects of modern life. Women’s Work aims to be a touchstone of women’s thoughts and experiences; to be entertaining and relevant as well as inclusive and representative of some of the best poetry published today.

Welsh Quilts – Jen Jones

This cover shows a close up of an intricate grey and red quilt with a starburst shape in the centre. The text reads: Welsh Quilst, Jen Jones. Foreword by Kaffe Fassett, Patterns by Sandie Lush.

In Welsh Quilts expert author Jen Jones presents an authoritative guide to the history and art of the quilt in Wales. Driven by her desire to see this gloriously high-quality craft revived, Jones set out to research the topic which led to the creation of her extensive quilt collection, now housed in the Welsh Quilt Centre in Lampeter. Including stunning, high resolution images of the bold designs and intricate stitching of the quilts in her collection, Welsh Quilts is the essential book on the subject, whether you are a quilter yourself, or simply interested in quilting heritage.

Call Mother a Lonely Field – Liam Carson

This cover shows a black and white photo of Liam Carson's parents in the 1940s. The text reads: Liam Carson, Call Mother a Lonely Field. "A short but intense portrayal of his parents and the divided city where they made their loves. It will leave you enriches no matter your origins." Bernard MacLaverty.

Call Mother a Lonely Field mines the emotional archaeology of family, home and language as the author attempts to break their tethers, and the refuge he finds within them. Liam Carson confronts the complex relationship between a son thinking in English, a father dreaming in Irish ‘in a room just off the reality I knew’, and a mother who, after raising five children through Irish, is no longer comfortable speaking it in the violent reality of 1970s Belfast.

Love and Fallout – Kathryn Simmonds

This cover shows an illustration of a woman lying fully clothed in a bath reading a book. The text reads: Love and Fallout, Kathryn Simmonds.

When Tessa’s best friend organises a surprise TV makeover, Tessa is horrified. It’s the last thing she needs. What’s more, the ‘Greenham Common angle’ the TV producers have devised reopens some personal history Tessa has tried to hide away. Moving between the present and 1982, and set against the backdrop of the mass protests which touched thousands of women’s lives, Love and Fallout is a book about friendship, motherhood and the accidents that make us who we are. A hugely entertaining novel from debut novelist and award-winning poet Kathryn Simmonds.

A Second Whisper – Lynne Hjelmgaard

This cover shows an abstract painting  of two grey figures against a background of a blue, grey and yellow. The text reads: A Second Whisper, Lynne Hjelmgaard. "these poems tell the story of a special late love after bereavement, as well as of loves of all kinds, and the very experience of being alive." – Gillian Clarke

A Second Whisper is a thoughtful and sensitive collection that reflects the changing identities of a woman: in motherhood, in widowhood, in friendship and grief. Hjelmgaard looks back upon her life in New York, Demark, The Caribbean, and London. There are elegies to her late husband as well as to her mentor and partner, the renowned Welsh poet Dannie Abse, who died in 2014. Her lyrics are precise, warm in tone, and suffused with optimism for the future.

The Old And The Young – Margiad Evans

This cover shows a black and white photo of Margiad Evans in a box in the centre. The text reads: The Old And the Young, Margiad Evans. Seren Classics.

First published in 1948, The Old And The Young is a collection of short stories by Margiad Evans (1909-1958). These many of these fifteen stories, all but one written during the Forties, the hardships of rural living are exacerbated by the war. Men are absent, families are separated, women have to shoulder added burdens. This collection is testament to the quiet heroism of the home front, to the stoic resourcefulness of those who have no cenotaph. Indeed, in war or in peace, it is Evans’s ability to delineate the defining nature of small incidents, and to uncover in a precise locality moments of profound spirituality, which raise The Old And The Young to the level of a classic.

The Stromness Dinner – Peter Benson

This cover shows a geometric painting of overlapping blue, yellow and green circles. The text reads: The Stromness Dinner, Peter Benson

Ed Beech is one half of Beech Building Services. He’s based in Bermondsey but no job’s too small, no distance too great. So when he’s asked to do some work on a house in Orkney, he loads the van with paint, tools and sandwiches, and takes off. He gets nervous around farm animals and large ships, and he’s never been so far north, but when he’s joined by Claire, his client’s city banker sister, he discovers that in Stromness, anything is possible.

Seren Gift Subscription – one year

Seren Gift Subscription

If you’re looking for a gift that will last a whole year, why not treat Mum to a one year Seren Gift Subscription? Seren Subscribers receive three brand-new Seren books across the year – one poetry, one fiction and one non-fiction – plus a host of other exclusive perks. We’ll post them a gift card explaining who the subscription is from, as well as a welcome pack containing a Subscriber tote-bag, notebook and pen in anticipation of their first book arriving in May 2022.

Browse our new titles pages for more great gift ideas.

Create your free Seren account and enjoy 20% off every book you buy from us.