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the essay form itself. Most of the scholarship on the essay itself has been done by Americans on American essays or considering the British periodical essayists. Many of the articles I reference in this chapter come from American literary journals, particularly River Teeth and Fourth Genre, two of the three main literary journals that solely publish non-fiction, and I am favouring the perspectives of practising creative non-fictionists who are also either academics or editors. In terms of audience, Chris Arthur is frequently published in American literary journals
11 Empowering literary educators and learners in Northern Ireland: university– community engagement for peace Rob Mark Not all issues are amenable to resolution through rational discourse. (Welton, 1995: 35) This chapter illustrates how a university–community partnership incorporated creative, non-text-based approaches into adult literacy work to contribute to the efforts towards creating greater equality and peacebuilding in Northern Ireland. The university–community partnership, known as the Literacy and Equality in Irish Society project (LEIS), was based on
at several collaborative projects I have been drawn to, sensing that they too hold clues – again, not just in the subject matter but in the process itself. If that is so, then the tools of ecology, its understandings of interdependent living processes in a system, might make a contribution to our knowledge of Creative Writing, that practice-led discipline that stands alongside literary study in the university, familially linked to it, but distinct. If I do this through consideration of my own work, this is in the spirit of the sceptical reflectiveness Creative
‘pathological narratives and “common-sense” racist imagery’ characteristic of what Palmer calls ‘white sociology’ writing on the area. 3 To be clear, as a white researcher, I make no claim of ‘insider’ status by conducting this research but hope to reflect on an alternative vision of Handsworth as told by its own Black creatives through word, sound and power. The colonial histories entwined with Handsworth's heritage mean that the perspectives shared by poets such as Benjamin Zephaniah and Moqapi Selassie
represents himself, with dark humour, as obsessed with his prerecorded Radio-Canada obituary, which he obtains and listens to on headphones, so that the audience cannot hear to what Lepage is (unhappily) reacting (see figure 2.4). It is a powerful representation of the desire to control how one is remembered, and also reflects the recognition that some of this is out of our hands. Some– but not all: in this mature phase of his career Lepage and Ex Machina are channelling energies into the sustainability of their creative and business interests. As they do so, they have
opportunities, the element of competition is intensified. The gradual re-distribution of public monies, allocated through arms-length organisations such as Arts Council England, may in time bring a renewed creative confidence to regions previously under-funded and overlooked. While, in the short term, increased funding opportunities may alleviate the creative compromise which comes with writing for a commercial audience, an over-reliance on funding can be equally restrictive, as Bhanot and Banga argue. 5 For pioneering young
EccentriCities Introduction Introduction Every work of genius slants the rational plane, or so claim twentiethcentury writers as disparate in style and distant in setting as Mário de Andrade and Vladimir Nabokov, re-casting creative consciousness in their respectively ‘hallucinated’ cities of São Paulo and St. Petersburg.1 While these writers eccentrically reconfigure and relocate creative consciousness in citytexts marked by peculiarly modern tempos and marginocentric topographies, they also recuperate an ancient association between art, alienation and
about creative translation. Creative translation may indeed be seen as a comparative approach in its own right—one that insists on the coming together of two different cultural moments to create a new piece of art. The translation of early medieval English literature has a long legacy, and translation of the riddles in particular has played a prominent role. The past ten years have witnessed a creative renaissance, including volumes that bring multiple poets together in a communal translation project, those that focus our attention on individual collections which
publishes figures outlining the economic performance of creative industries. The most recent figures, 1 for 2017, suggested creative industries as a whole were contributing over £100 billion to the economy, with remarkable growth since 2010. The cultural sector, as a distinctive part of the creative economy, contributed almost £30 billion. While there are complexities underpinning the relationship between individual firms’ profitability, workers’ wages, and overall contribution to the economy, it is fair to say there is money to be made by making culture. Yet this does
This book has championed multicultural Midlands creativity, from intimate performances through to international television specials and global best-sellers. In surveying a wide, although by no means exhaustive, array of Midlands culture, the book has highlighted the sheer breadth and diversity of voice, style and format in which the region expresses itself. It has interrogated the Midlands’ underdog status and evidenced empirically where disparities lie in terms of funding, reach and reception of regional creative output. It has emphasised the