(c) Sue Flood
(c) Sue Flood

OPINION NADIA KAMIL

Honey Poo Poo and the Sad Songs of the Homesick

Depending on how you came across her, Judith Owen could strike you as several different people. Her range of work throughout her career is like a hall of mirrors, each genre reflecting a slightly differently shaped person. Once you spend any time in the Judith Owen hall of mirrors, you soon realise that the singing-songwriting persona appears to be the most accurate image of her, and the clearest distillation of her talent...


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05/08/2014

Pilgrims in Crow Country

New Welsh Writing Award co-judge Gwen Davies shares her summer nature writing reading list

25/07/2014

Seeking a new Rachel Carson!

New Welsh Review editor Gwen Davies announces the WWF Cymru Prize for Writing on
Nature and the Environment, the first category in the magazine's brand new New Welsh Writing Awards, with first prize as £1000, epublishing deal and weekend at Gladstone

17/07/2014

Wonderfulgood: A Look at Variety in the Dublin Performance Scene

Alicia Byrne Keane enjoys the freedom, variety and interdisciplinary panache of Dublin’s Wonderfulgood Collective

NEW Multimedia Content

Ben Richmond talks to Heini Gruffudd about his most recent book, a family memoir, A Haven for Hitler. Exclusively for subscribers, Ben's interview for New Welsh Review with Wiliam Owen Roberts is available log in here to access. He also speaks to Diarmait Mac Giolla Chriost, the author of Welsh Writing, Political Action & Incarceration, about Welsh-language prison literature. Plus: check out our late summer podcast plus editor Gwen Davies presents the highlights from the autumn issue highlights here.

REVIEW JONATHAN EDWARDS

Tonypandemonium

Jonathan Edwards admires Rachel Trezise’s debut play, set in her native valley but focused on a mother-daughter dysrelationship and the tragedy of time. Trezise is, he argues, as much post-Tarantino as she is post-Dylan Thomas
more...

VINTAGE GEMS

CATHERINE FISHER

The Other Wales

In my own work it was particularly clear to me that the real location can travel through the writer’s imagination, be transformed and end up very differently on the page. Touring Tredegar House and knowing very well that a room or a turn of corridor were settings where I had imagined a fragment of story, or a certain scene, it was disconcerting to revisit and realise that not only were they not as I described them, but that I had imported, changed, even transmuted the whole place into a fictional other... more...







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