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  The Black Man's Lament or How to...

  Amelia Opie

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  Amelia Alderson, an only child, was born on the 12th November 1769 in Norwich, England. 
  After the death of her mother on New Year’s Eve 1784 she became her father's housekeeper and hostess. 
  The young Amelia was energetic, attractive, and an admirer of fashion.  She spent much of her youth writing poetry and plays and putting on local amateur theatricals.  At 18 she had published anonymously ‘The Dangers of Coquetry’. 
  Amelia married in the spring of 1798 to the artist John Opie at the Church of St Marylebone, in Westminster, and together they lived in Berners Street where Amelia was already living. 
  Her next novel in 1801 ‘Father and Daughter’, was very popular even though it dealt with such themes as illegitimacy, a socially difficult subject for its times.  From this point on published works were far more regular.  The following year her volume ‘Poems’ appeared and was again very popular.  Novels continued to flow and she never once abandoned her social activism and her call for better treatment of women and the dispossessed in her works.  She was also keenly involved in a love of society and its attendant frills. 
  Encouraged by her husband to write more she published Adeline Mowbray in 1804, an exploration of women's education, marriage, and the abolition of slavery.  
  Her husband died in 1807 and she paused from writing for a few years before resuming with further novels and poems.  Of particular interest was her short poem ‘The Black Man's Lament’ in 1826.  Her life now was in the main spent travelling and working for charities and against slavery.  She even helped create a Ladies Anti-Slavery Society in Norwich which organised a parliamentary petition of 187,000 names of which hers was the first name. 
  After a visit to Cromer, a seaside resort on the North Norfolk coast, she caught a chill and retired to her bedroom.  
  Amelia Opie died on the 2nd December 1853 in Norwich.  She was 84.

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  Byways - fiction and poetry on foot

  Cherry Potts

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  Byways, an anthology of stories and poems from across the UK and elsewhere, exploring the urban shortcuts, well-trodden meanders, ancient pathways, hillside and field paths. The public and the secret ways that take us away from the crowds and out of our vehicles. Mainly in English but including a handful of poems in Welsh (with translation), join us off the beaten track.
  Arachne Press has a track record (pun intended) of publishing what academics call psychogeography, but we call well-routed. We also have history with climate concern. We combine the two here, offering drama and solace from experiencing the world at the slow pace of a walk, whether the short cut to the chippy, or an all day hike in the hills.
  with contributions from Adele Evershed, Amelia Foster, Angela Arnold, Annemarie Cooper, Annie Kissack, Attalea Rose, Cath Humphris, Des Mannay, Diana Powell, Eabhan Ní Shuileabháin, Em Gray, Gloria Heffernan, Gregory McGreevy, Gwyn Parry, Heather Lane, Helen Campbell, Jane McLaughlin, Jeff Phelps, Jonah Corren, Josie Levin, Judith Mikesch-McKenzie, Katie Harrison, Katie Margaret Hall, Kelly Davis, Laura Besley, Lisa Farrell, Lizzie Lovejoy, Mab Jones, Maddison Price, Marcus Smith, Michael Shann, Michelle Penn, Mitzi Dorton, Nicholas McGaughey, Phil Wood, Raymond Luczak, Rhys Owain Williams, Ros Woolner, Sara Louise Wheeler, Seth Crook, Simon Chandler, Sue Burge Sue Moules and Thea Smiley

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  Rosencrantz and Guildenstern Are...

  Tom Stoppard

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  While attempting to discover the roots of Hamlet’s unhappiness, two courtiers go on a journey to plumb the depths of the universe’s mysteries. Tom Stoppard’s wildly inventive, Tony® Award-winning first play takes us through a tilted version of Shakespeare’s most famous tragedy while casting new light on questions of fate, mortality and the meaning of existence. 
   
  Recorded at The Invisible Studios, West Hollywood in June 2022. 
   
  Directed by Rosalind Ayres 
  Producing Director: Susan Albert Loewenberg 
   
  An L.A. Theatre Works full-cast recording starring: 
  JD Cullum as Claudius and Soldier; 
  Seamus Dever as Hamlet; 
  Anna Lyse Erikson as Opehlia and Alfred; 
  Martin Jarvis as The Player; 
  Adhir Kalyan as Rosencrantz; 
  André Sogliuzzo as Polonius, Player-King, Ambassador, and Horatio; 
  Susan Sullivan as Gertrude; 
  Matthew Wolf as Guildenstern. 
   
  Senior Producer: Anna Lyse Erikson 
  Prepared for audio by Mark Holden for The Invisible Studios, West Hollywood 
  Sound Design: David Wilson, Neil Wogensen and Charles Carroll 
  Recording Engineer, Editor and Mixer: Charles Carroll 
  Senior Radio Producer: Ronn Lipkin 
  Foley Artist: Jeff Gardner

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  'Look Back to Look Forward' -...

  Frank O'Connor

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  While Frank O'Connor was known primarily as one of Ireland's finest short-story writers, he was also an accomplished translator. In the long line of Irish writers given to translating poems in Irish into poems written in English – a tradition stretching back at least as far as Jonathan Swift – he stands out above all the rest.
  Between the mid-1920s and the mid-1960s, O'Connor published 121 translations that give voice to the full range of this centuries-old tradition. Collected here in full for the first time, O'Connor's work shows an uncanny aptitude for carrying over into English verse many of the riches to be found in the originals – the ancient voice of the Hag of Beare lamenting her decline into old age; the voices of the early monks describing the Irish landscape, Irish weather, their religious faith, and, in at least one instance, their cat; the voice of Hugh O'Rourke's wife torn between loyalty to her husband and a rising desire for her seducer. All these voices haunted O'Connor throughout his career, whatever else he was doing. The collection includes the Irish-language sources for all 121 translations along with literal translations, enabling the reader to see what O'Connor started from.
  O'Connor's translations sprang from a compulsive desire to breathe life into Ireland's past, to 'look back to look forward,' as he once put it; for him the Irish-language tradition was not for scholars and archives alone, but formed a living body of work vitally relevant to an Ireland that seemed puzzlingly indifferent to it.
  Thanks to O'Connor's profound love of his country's language and its rich, literary subsoil – 'a literature of which no Irishman need feel ashamed', he once said – these voices from Ireland's past can still be heard. Strikingly modern in tone, they conjoin flesh and spirit, the sacred and the secular, in a way that speaks to humankind.

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  Embers

  Uzma Hussain

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  In ‘Embers’, Uzma Hussain presents a bold and deeply resonant debut collection of poetry that delves into the raw realities of love, loss, and survival. With striking honesty and vulnerability, these verses guide readers through the pain of longing and the quiet resilience that follows heartache, making Embers an unforgettable reading experience.
  Though this is her first book, Uzma’s work carries the emotional depth and maturity of a seasoned poet. Her writing captures the universal struggle of heartbreak and the weight of unspoken pain. ‘Embers’ offers a powerful voice for those seeking meaning and solace in the aftermath of emotional wounds.

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  Maid for Creaming - Dirty...

  Tala Melton

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  Sade found herself an unexpected part of the milk production process when she accompanied her billionaire boss on a visit to one of his farms...

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