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This title was first published in 2000: John Petts (1914-1991) is one of the outstanding wood-engravers of the twentieth century. His stunning prints featuring Welsh mountains and the people who live amongst them reflect his deep concern for the history of the land and are distinguished by his profound understanding of the physical and psychological properties of light. Extensively illustrated, John Petts and the Caseg Press spans the entire career of this reclusive artist and offers the first account of the private press he founded in Snowdonia in 1937. In 1935, John Petts and Brenda Chamberlain abandoned their studentships at the Royal Academy Schools, London for a rundown farmhouse in the rugged terrain of Snowdonia. They started the Caseg Press in 1937 in the hope that it might finance their freedom to work. At first dedicated to saleable ephemera such as Christmas cards and bookplates, the press later became involved in the broader Welsh cultural scene, providing illustrations for the Welsh Review, a monthly literary periodical. In 1941, with the writer Alun Lewis, the Caseg press produced a series of broadsheets designed to express continuity and identification with the life of rural Wales in the face of social change precipitated by the second world war. John Petts and the Caseg Press is the first monograph on this artist. It covers both his work for the Caseg Press and for other publishers such as the Golden Cockerel Press. The volume offers a unique insight into an important chapter in the history of private presses in Britain and the development of neo-romanticism in art and literature during the inter-war period.
Examines debates central to postwar British culture, showing the pressures of reconstruction and the mutual implication of war and peace.
Alun Lewis (1915-1944) is one of the most impressive and important writers of the 20th century. The leading author of World War Two, perhaps the leading poet, he is still an influential figure, particularly in his native Wales. In this new and revised edition of his biography John Pikoulis draws on unpublished material and Lewis's now extensively available work to present a portrait of the man: passionate, thoughtful, serious with an often romantic nature. From his childhood days in the depressed valleys of south Wales, Lewis felt he had a vocation to be a writer. Pikoulis traces Lewis's development from the remarkable schoolboy stories written as an unhappy boarder, through his university education at Aberystwyth and Manchester to his return to the valleys as a teacher. His extended treatment of Lewis's military service, especially in India and Burma (where he was to die aged twenty-eight), reflects his standing as a war writer. Lewis's poems and stories, authentic and moving, were popular with both readers and critics, catching the tone of the 'phoney war' years and later the disturbing but exciting experience of his war in India. His vivid letters home, which have been compared to Keats's letters, capture both the atmosphere of war and the essence of Lewis's character, and Pikoulis draws on them, and on contemporary photographs, to portray a fascinating man and writer. Dr. John Pikoulis is a lecturer in the Department of Continuing Studies at Cardiff University. His other books include a critical study of William Faulkner.
Cartographies of Culture: New Geographies of Welsh Writing in English offers a pioneering new examination of the links between maps and imaginative writing. Concerned to draw literary studies and geography into a fruitful dialogue, the book offers a genuinely interdisciplinary study of literary texts in relation to the spatialities of culture. Taking the anglophone literature of Wales as its main ‘data field’, the book offers a boldly imaginative and stringently theorised analysis of five literary ‘maps’. What emerges is nothing less than a new way of reading literature through, and as, maps.
Published to mark the centenary of the sometime ‘ogre of Wales’, this volume (by the executor of his unpublished literary estate) deals with the idées fixes that serially possessed his fiercely intense imagination: Iago Prytherch, Wales, his family, and of course a vexingly elusive Deity. Here, these familiar obsessions are set in several unusual contexts that bring his poetry into startling new relief: his war poetry is considered alongside his early poetry’s relationship to English topographical tradition; comparisons with Borges and Levertov underline the international dimensions of his concerns; the intriguing ‘secret code’ of some of his Welsh-language references is cracked; and his painting-poems (including several hitherto unpublished) are moved centre stage from the peripheries to which they’ve been routinely relegated.
Includes entries for maps and atlases.