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This is the sixth book in a series that features Major Abel Jones, Welshman, British army and American Civil War veteran and investigator extraordinaire. As ever, Major Jones is directly commissioned by Abraham Lincoln and in this instance his mission is to investigate the murder of Susan Peabody, a Northern abolitionist, in New Orleans in 1863.
Owen Parry`s works have been described elsewhere as "well-researched entertainments" and it is difficult to resist his vivid depiction of war-torn New Orleans. The city is imbued with an atmosphere of decadence, mystery and intrigue which acts as a perfect foil for Major Jones' swashbuckling adventures.
Perhaps the most interesting feature of these books is the character of Jones himself. Jones is in many ways a stereotypical 19th century Welsh Methodist, albeit with an almost superhuman gift for self-preservation. He is aloof, self-righteous, judgemental and pompous almost to the point of arrogance. He never misses a chance to air his prejudices, particularly where the Irish are concerned. But for all that he is a likeable character who frequently fails to live up to his own very high standards and is entirely capable of self-criticism.
This book is a first class entertainment for the lover of historical fiction and an ideal companion for a long journey.
Owen Parry is a nom-de-plume of Ralph Peters who writes about political and military matters under his own name. Whatever one may think of the political opinions expressed in his more serious works, it is undeniable that he is a fine writer of historical adventures. It is also difficult not to sympathise with the sentiments expressed in the dedication to "Faded Coat of Blue" ( 2002 ),one of the earlier Abel jones mysteries:-
" To the Welsh, Scots, and Irish who built America while the English weren`t looking"
Faded Coat of Blue 2002
‘It began last Autumn. I was asked by school authority to do some research work and all of a sudden, the topic of the history of our city, that has been suffering so much recently came to my mind. But what new things can we write about if there is so much information? We started our pursuit for new facts that were not translated into Russian.’ explained Liliya.
‘We were surfing the Net when we came across the part of Colin Thomas's video about his work to create the film about Hughsovka. We got interested at once!’ she continued.
Having recieved information about Colin himself and after realising it would be impossible to obtain his book on their city given the current situation in Ukraine, Liliya was put into contact with him via Susan Edwards at the Glamorgan Archive. The archives at Glamorgan had an extensive section on Hughesovka/Stalino/Donetsk.
‘Myself, along with my student Polina Pavlolva, contacted Colin and collected the information and Polina assembled the research.’ said Liliya.
‘When we received the letter from Colin, we got excited at once! We are currently reading his book and thinking about the second part of our research work.’
Dreaming a City by Colin Thomas is the history of one Ukraine town, a microcosm of Russia. Hughesovka (later Stalino and Donetsk) was a mining and steel town founded in the 1870s by Welsh entrepreneur John Hughes and seventy Welsh workers.
The book traces the town's shifts from patriarchal beginnings through the Russian revolutions, Bolshevism, Stalinism, Nazi occupation and the collapse of Communism and 1990s' rising Ukraine nationalism, to Ukraine post-independence.
Difficulties with crossing the border and sending parcels and packages to Liliya at her Kharkov address meant that she had to recieve a digital copy of the book.
‘The situation in Donetsk has improved a little but still we have military men in the streets and no peace treaty.’ said Liliya.
‘I read about what has happened to Donetsk with great sadness.’ added Colin Thomas.
‘Colin’s work is very important for our region’ said Liliya ‘If we don’t know our past we will not have a future. In the past information about the origin of Donetsk has been concealed and reduced to maybe 2-3 lines in a school textbook. A lot of common people didn’t think what city they lived in.’
‘Even today we still have a lot of work to tell people the truth about the origin of their city. As a teacher, I am going to prepare some tests based on Colin’s book and will include in my work to popularize our history!’ she continued.
Dreaming a City is a mixture of Russian and Welsh social and political history; travel journalism, as well as a tribute to Welsh historian Gwyn Alf Williams. Probing important themes such as capitalism and communism; internationalism and nationalism, in addition to freedom and exploitation, the author uses the city as a metaphor to explore a retreat from political idealism, and the nature of hope and disillusion.
Dreaming a City by Colin Thomas (£9.95, Y Lolfa) is available now.
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Advance Event Notice
The Three Tenors - 2016 Ontario Welsh Festival, Ottowa
Friday April 22-24th 2016, @ Lord Elgin Hotel in Ottawa, Ontario, Canada
AmeriCymru: Hi Aled and many thanks for agreeing to this interview. Care to tell us a little about your history and background of the Three Welsh Tenors?
Aled: The Three Welsh Tenors (Tri Tenor Cymru) first came together in 2009 to sing as a trio for Celtfest in the Cardiff International Arena as part of a line-up of stars to entertain rugby fans prior to a Wales versus New Zealand match. Since receiving a standing ovation for their performance that day, they have performed together at several major festivals in Wales, corporate events and concerts and have appeared on radio and television programmes. The trio now comprises Aled Hall, Aled Wyn Davies and Rhys Meirion. All three of us are professional tenors, with solo careers in our own rights. We have contrasting voices and unique personalities which complement each other as we perform classics from opera, musicals, Welsh songs and hymns, contemporary compositions and medleys. The Three Welsh Tenors have set Wales on fire over the past seven years and the heat from that fire is now felt throughout Britain to North America, Canada and beyond.
I (Aled Wyn Davies), the new member of the trio, although a sheep farmer from day to day started my career as a folk-singer, but after winning all the important prizes in folk-singing at the Llangollen International Eisteddfod in 1999 and the National Eisteddfod of Wales in 2001, I broadened my horizons as a tenor soloist. One of my greatest achievements so far is that I have won the national tenor solo competition three times in succession in 2004, 2005 and 2006, then I won the ultimate accolade at the Swansea National Eisteddfod of Wales in 2006 – the famous Blue Riband vocal prize. I have had considerable success at all of our major eisteddfodau including “Singer of the Year” at the Llangollen International Eisteddfod in 2005 and the prestigious Blue Riband at the Cardigan Musical Festival in July 2006.
AmeriCymru: This is not your first visit to Canada or the US? Care to tell us something about your previous experiences and performances in the 'Americas'?
Aled: I have been lucky enough to perform as a soloist on three occasions at the Welsh church in Los Angeles and at the North American Festival of Wales twice, once in Chicago in 2008 and again in 2011 at Cleveland, Ohio. I also sang in concerts in Toronto and Ottawa in 2009.
In 1997, Rhys Meirion sang as a soloist with the Dunvant choir tour to Florida. In 2014, he was invited to perform at Carnegie Hall in the US premiere of Karl Jenkins’ The Bards of Wales to celebrate the composer’s 70th birthday. Both Rhys Meirion and Aled Hall took part in the NAFOW, Toronto, in 2013 and have also performed in Los Angeles and Seattle.
AmeriCymru: What will you be performing at the Ontario Welsh Festival? Any sneak previews?
Aled: I am very proud to say that we will be performing our first new song recorded together on my latest album called Erwau’r Daith which will be available to buy at the festival . Our brand new song called Y Goleuni, written by Caradog Williams, our fabulous resident accompanist, describes the lives of miners in south Wales and how they struggled against their circumstances by attempting to improve their education and broaden their horizons through building miners’ institutes. We are also looking forward to performing a bit of everything; from opera favourites, English classics to popular Welsh songs and hymns – we perform music to suit every taste and occasion. We might also throw in a rugby medley in the Noson Lawen on Friday night!
AmeriCymru: What can you tell us a little about your latest album Tarantella?
Aled: Tarantella is the second album by The Three Welsh Tenors. Tarantella was released in 2014, before I joined the line-up. The album contains a vast array of songs and provides a combination of the traditional and new, the popular and classical. Many of the songs on the album will be performed in both Ottawa and the USA.
AmeriCymru: What's next for the Three Welsh Tenors? Any new albums or tours coming up?
Aled: Hopefully, in the near future, a new album is on the cards and maybe another tour or two to other cities in Canada and the USA, perhaps – we’re open to offers!
AmeriCymru: Any final message for the members and readers of AmeriCymru?
Aled: Following the fantastic welcome we received at the NAFOW in 2013, we’re looking forward to performing once more among friends. It is a tremendous honour to be invited to sing in Canada and the USA and we would like to thank the valued members and readers of AmeriCymru for their continuous friendship and support. Diolch yn fawr.
Here are a few links of some of our songs and performances which are available to watch on YouTube:
Dylan's Great Poem opens for submissions on Thursday 28 April at 9.00 am and invites anyone aged between 7 and 25 years old, living anywhere in the world, to submit up to four lines of poetry written in English or Welsh. From these, 100 lines will be chosen to create the Great Poem.
The theme for this year’s competition is ‘hands’, after the Dylan Thomas poem ‘The Hand That Signed The Paper.’
Entries need to be sent via the Developing Dylan 100 website before 12.00 noon on Thursday 5 May .
This year, we have joined forces with Foyle Young Poets of the Year Award. Selected entrants to Dylan’s Great Poem, who are between 11 and 17 years of age, and living in Wales, will be invited to a poetry writing masterclass to work on entries to the Poetry Society competition.
Dylan’s Great Poem will be edited by Rufus Mufasa and clare e. potter, and will be published online and performed on #DylanDay.
For resources, see: http://www.literaturewales.org/dylans-great-poem/
To submit lines visit the Developing Dylan website .
For more information contact Literature Wales:
07846484274 / mabananajones@gmail.com
Follow online #GreatPoem #DylanDay @DyddDylanDay
Glyn German has drawn together the latest scholarship to present a highly informative chronological survey of Welsh history. Readers who turn to it as a handy work of reference will soon find themselves hooked by the fascinating story it has to tell. Covering all aspects of welsh life, including the many contributions which the people of Wales have made in the wider world, it is an excellent introduction to a long and rich history."
Professor Dafydd Johnston, University of Wales Center for Advanced, Welsh and Celtic Studies
Glyn German lived most of his life in Brittany. He received his secondary education at the Lycee Chaptal in Quimper, Finistere and obtained a Bachelor of Arts in History from the University of Western Brittany.
While visiting the San Rafael (CA) area I became aware that the local Civic Center was designed by internationally acclaimed Welsh American architect, Frank Lloyd Wright. I simply had to get a few snaps! I have posted them below. They're not very good because I don't know the area and it appears to be difficult to get a good vantage point. The last shot on this page (of the interior) is from Wiki Images.
From the Wikipedia :- Marin County Civic Center
"The Marin County Civic Center, designed by Frank Lloyd Wright, is located in San Rafael, California, United States. Groundbreaking for the Civic Center Administration Building took place in 1960, after Wright's death and under the watch of Wright's protégé, Aaron Green; it was completed in 1962. The Hall of Justice was begun in 1966 and completed in 1969. Veterans Memorial Auditorium opened in 1971, and the Exhibit Hall opened in 1976.
Located away from the former county seat in downtown San Rafael, the expansive complex stretches across two valleys just east of US 101. Its pink stucco walls, blue roof and scalloped balconies are distinctive. The smaller wing is the county administration building and the larger the Hall of Justice, joined by a round structure on a small hill that houses a county library.
A battle between factions of the Marin County Board of Supervisors played out through the selection of the site and the architect, the financing of the project, and its eventual completion. The Marin County Civic Center is a state and National Historic Landmark."
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About David Barry :- David Barry (born 30 April 1943) is a Welsh actor. He is best known for his role as Frankie Abott, (the gum-chewing mother's boy who was convinced he was extremely tough), in the LWT sitcom Please Sir! and the spin-off series The Fenn Street Gang, He has appeared in several films, notably two TV spin-off movies - Please Sir! and George and Mildred. David is now an author with two novels and an autobiography under his belt, Each Man Kills , Flashback and Willie The Actor.
About Flashback :- "David Barry's autobiography spans almost five decades of theatre, film and television experience. As a 14 year old he toured Europe with Sir Laurence Olivier and Vivien Leigh in one of the most prestigious post-war theatre tours. Vivien Leigh took a shine to him and he saw both sides of her close up. One minute she was sweetness and light, and the next she became a screaming harridan as she publicly berated Sir Laurence. In his early twenties, he starred as Frankie Abbott in the hit television sitcoms Please, Sir! and Fenn Street Gang, and those days are recounted with great humour. Hilarious events unfold as he describes working with dodgy producers and touring with argumentative actors. His is a story that covers everything from the pitfalls of working in live television to performing with hard drinking actors. 'Imagine yourself travelling - as a member of the company - with a train-load of top stars to the great cities of Europe.'" Daily Express.
Filming Owain Glyndwr ( an excerpt from 'Flashback', reproduced by kind permission of the author )
Made for television back in the 1980s, Owain, Prince of Wales, was shot back-to-back, a Welsh language version for showing on S4C, and an English version for Channel 4. The production company was English, as was the director, James Hill, and the brief they had been given by S4C was that they wanted bilingual actors who had never appeared in Pobl Y Cwm the Welsh language television soap opera. I had never appeared in the programme, and I speak a little bit of Welsh, having been brought up by fluent Welsh-speaking parents in North Wales, so my agent suggested me to the casting director who was based in London. Normally, if an actor is not known to a particular director or producer, the actor is required to interview or audition for the part. But they were finding it difficult to cast some of the smaller roles in this costume drama, because most Welsh speaking actors had presumably appeared in the Welsh soap opera at some stage. So I was accepted for the role of Second Soldier merely on the recommendation of my agent.
When the two bulky scripts dropped onto my doormat a few days later, I immediately read the English version with interest. There was no point in trying to read the Welsh version, as I had lived in England since my early teens and my Welsh was now very basic. But I knew I could cope with learning six lines, which was all my part amounted to.
I had often thought this great Welsh hero was a good subject for an exciting historical drama. But as I slowly turned the pages, mouth agape, I became more and more disappointed. Whoever had written this, or conceived of the idea, seemed to be trying to create a family adventure along the lines of the old Fifties and Sixties series Ivanhoe, William Tell and Robin Hood. There was even a corny scene in the script, straight out of a John Ford western, where the hero exits a castle on horseback, along with his sidekick Rhodri, who spots one of Henry IVs snipers up a tree, about to kill Owain with an arrow. Rhodri fires one from the hip and fells the sniping archer, whereupon our hero salutes his friend and thanks him. Diolch, Rhodri. And how do you do a John Wayne drawl in Welsh?
Halfway through the script, desperately disappointed, I gave up reading it, and only bothered reading my own characters lines. I knew this particular film was going to be a sad, bad experience, but little did I know of the farcical events that lay in store for me.
A week later I caught the Holyhead train from Euston Station, and had been instructed to get off at Llandudno Junction, where a film unit car would meet me to transport me to my hotel ready for filming on the following day. It was there I met Martin Gower, the actor who would be playing First Soldier. Our characters seemed to be the comedy relief, a sort of double-act of two inept soldiers who end up being pushed into the river by Owain and his merry men in this travesty of a historical epic.
During the drive along the beautiful Conwy Valley we got to know each other, and I discovered that Martins upbringing was similar to my own, having moved to England when he was quite young, with a Welsh tongue that was terribly rusty. But we thought we could cope with our six lines each, especially if we helped each other out in the hotel that evening.
Most of the cast and crew stayed in hotels in Betwys-y-Coed, but Martin and I were quartered in a beautiful country manor hotel at Dolwyddelan, about four miles from Betwys. As it was unusually perfect weather, we became rain cover. Most of our scenes were interiors, so we were kept on stand-by in case it should rain. It meant that in those pre mobile phone days we couldnt leave the hotel and had to hang around all day, eating and drinking. It was such a hardship, tucking into a salmon freshly caught in the nearby salmon leap by one of the waiters.
When they eventually decided to use us in a scene, we were picked up by Mr Jones the Taxi who was ferrying many of the cast here and there. As we headed for the production office at Llanrwst, where the make-up department and wardrobe were based, Mr Jones told us that he had been involved in many films, most notably The Inn of the Sixth Happiness which had been shot in the Snowdonia region, where they built an entire Chinese village on the hillside near Beddgelert. Mr Jones reminisced about the halcyon days of chauffeuring Ingrid Bergman around the Welsh mountains, when films were films and they were well organised. Not like this lot, he opined. This lot dont seem to know what they are doing.
And to prove him right, when we got to the Llanrwst production office, one of the runners was gabbling into his walkie-talkie about some lost portable toilets, which should have gone to the current location, but which had gone in the opposite direction, and loads of actors and crew were now clutching the cheeks of their backsides tightly.
When I was kitted out in my chain-mail, I went to make-up, and was reminded that perhaps I had only been cast because I fitted the brief no Pobl Y Cwm appearances and a smattering of Welsh but was actually miscast. I was supposed to be a tough soldier, one of Henry IVs mercenaries, about to rape a fair, local maiden until rescued by Owain. The make-up girl stared with concentration at my face and declared, You look like Noddy. You look so cute. How am I going to make you look tough?
I suggested a scar, but in my balaclava-like helmet there wasnt really much room left on my face. I continued to look cute.
As soon as we were ready, one of the unit cars drove us to one of the locations, the impressive Gwydir Castle, a 15th century fortified manor house less than two miles from Llanrwst. As the film had at least been blessed by sunny weather, exteriors were being filmed in the courtyard of the castle. At first glance, a film set can be misleadingly impressive in a costume drama, and you almost believe for a moment that you are stepping back in time. Until you notice all the technical paraphernalia, or an actor in doublet and hose smoking a cigarette or tucking in to a bacon butty.
As soon as we arrived on the set, we became acquainted with some of the other actors, and noticed a strange atmosphere, almost as if the cast were method actors and resented the English production company and crew. We soon discovered the reason for this when we were told by one of the actors that he had approached the director just before they were due to shoot the Welsh version of a scene, and asked if he could change a couple of lines, as they were tongue twisters. But the director, apparently pushed for time, had said dismissively that he wasnt too bothered about the Welsh version and could they just get on with it. Of course, word of this spread like wildfire throughout the cast, creating a lot of resentment. Some of the actors had re-christened the production company Mickey Llygoden Films.
When the director heard this, and asked what it meant, he wasnt pleased when he discovered Llygoden translated to mouse.
Also staying at our hotel up in the hills was Dafydd, the location caterer, with whom we drank in the evenings; which probably explains our preferential treatment on the set at lunchtimes, when we were offered a surreptitious livener in our orange juice.
Dafydd, had an assistant, Tom, who helped with the cooking in the chuck wagon. One morning I noticed Dafydd was struggling on his own. I asked him what had happened to Tom. Looking over his shoulder and lowering his voice, Dafydd replied, Tom had to go back to Caernarfon to sign on.
Outside our hotel was a small station. The railway ran from Blaenau Ffestiniog via Betwys-y-Coud to Llandudno Junction, and one night the three of us decided to go to Betwys-y-Coed by train, and drink with some of the other actors and crew at their hotel. We would have to share a taxi back, and I had Mr Joness number on a scrap of paper. Just before midnight it looked as if the bar was shutting, so I went and telephoned Mr Jones to order our taxi. His number rang and rang and rang. I thought he must have been busy working, as it was now pub turning-out time. But when I returned to the bar, and told the barman that there was no reply from Mr Jones the Taxi, he looked at his watch and said, Oh, you wont get Mr Jones now. He takes tablets.
So we walked. The following day, feeling a bit jaded, as soon as lunchtime came around, Dafydd stuck another livener in our orange juice.
I never did see the end result of our film and my tough soldier performance. But a friend saw it, and I was told I looked rather sweet.
Usually, when actors work in a large budget made-for-television film, over the years they receive small cheques for repeats or sales abroad. I dont think I ever received a residual cheque for Owain, Prince of Wales, so presumably, and deservedly, it sank without trace.
Perhaps one day some screenwriter and film company will do justice to the Owain Glyndwr story, a great tale of intrigue, politics, double-dealing, love and war. Of course, as almost everyone knows, Glyndwr vanished, and nobody knows what became of the man. It was almost as if he deliberately created his own legend status. And there is no evidence that he was betrayed or assassinated, so a film ending remains open to interpretation. Now theres an intriguing thought, and its just given me an idea!
Filming Owain Glyndwr was an extract from David Barrys autobiography Flashback, in which he writes about a childhood in North Wales, and touring to theatres in Cardiff, Swansea, Porthcawl and Llandudno. Flashback is available from www.amazon.com price $14.95.
'WHAT'S SHE LIKE WHEN YOU'RE NOT WATCHING' - THE THEME OF NEW NOVEL BY ACCLAIMED SCREENWRITER
By Ceri Shaw, 2016-03-25
Investigating Mr Wakefield by acclaimed writer Rob Gittins, follows Jack Connolly, a war photographer whose career went into freefall after he manipulated the image of a dead soldier to make it appear the soldier died a hero’s death. The deception cost him his job, the trust of his peers and his career. It taught Jack an all-important lesson, only one thing matters and that’s truth. No matter how unpalatable.
He soon becomes obsessed by a nineteenth-century short story, Wakefield by Nathaniel Hawthorne. Wakefield tells the story of a man who, one day - and in Hawthorne’s own words - decides to absent himself from his wife. He hopes to assess how much she loves him by gauging the extent of her desperation at his apparent disappearance.
Jack attempts to recreate in fact the events of this fiction and gradually infiltrates the private spaces of his partner’s life by the use of surveillance technology attempting to capture her private conversations and record her emotional responses to the tests he puts her through. His obsession inevitably spirals out of control, inexorably leading to the destruction of his relationship and his life.
Unsettling and culturally significant, Investigating Mr Wakefield digs into issues of trust and loss at the most intimate and disturbing of levels.
‘While the hero of Investigating Mr Wakefield clearly takes matters to an extreme, the theme of the novel can resonate with almost anyone.’ explained Rob Gittins.
‘Many people, at one time or another, have probably wondered what a wife, husband or partner are like when they’re not watching. This novel explores the dangers waiting to ensnare those who try to find out.’ he added.
This is Rob Gittins’ fourth novel. His previous novels received high critical acclaim, including The Poet and the Private Eye (2014) which was praised as a ‘compelling novel that values truth above what is simply true – at the same time as declaring that death really does have no dominion.’ by T. James Jones, former Archdruid and translator of Under Milk Wood, and Gimme Shelter (2013), commended as ‘Visceral, strongly visual and beautifully structured’ by Andrew Taylor, Crime Writers’ Association Cartier Diamond Dagger Winner.
Rob Gittins is the longest serving scriptwriter on EastEnders having written over 250 episodes of the programme. In recognition of his work on EastEnders, Rob received an Outstanding Achievement Award at the 2015 British Soap Awards. He has also scripted for Casualty, The Bill, Emmerdale, Soldier, Soldier and Heartbeat and has won many other awards for his work including the Gold Drama Medal at the New York International Radio Festival.
Rob was Script Executive and Writer on Stella starring Ruth Jones (Gavin and Stacey) and was executive Producer and co-lead writer on Crash, a drama series for BBC Wales. Rob has written over twenty original radio plays for BBC Radio 4 and over one hundred episodes of The Archers.
Rob’s short film Sacrifice, was released theatrically and Rob’s feature film, Blue Monday has just completed principal photography.
Investigating Mr Wakefield by Rob Gittins (£8.99, Y Lolfa) is out now.
New Welsh Writing Awards 2016: University of South Wales Prize for Travel Writing call for entries - deadline 3 April
By AmeriCymru, 2016-03-19
There are just two weeks left to enter the New Welsh Writing Awards 2016: University of South Wales Prize for Travel Writing. The prize celebrates the best short form travel writing from writers based in the UK and Ireland and those based worldwide who have been educated in Wales. The word length is 5,000-30,000 and the closing date is midnight 3 April. Entry is free.
First Prize:
• £1,000 cash, e-publication by New Welsh Review on their New Welsh Rarebyte imprint in 2016
• a positive critique over lunch with leading literary agent Cathryn Summerhayes at WME
Second Prize:
• a weeklong residential course in 2016 of the winner’s choice at Tŷ Newydd Writing Centre
Third prize:
• a weekend stay at Gladstone’s Library
All three winners will also receive a one-year subscription to New Welsh Review. In addition New Welsh Review will consider the highly commended and shortlisted nominees for publication in a forthcoming edition of its creative magazine New Welsh Reader with an associated standard fee.
Find out more at http://www.newwelshwritingawards.com/ and you can watch our call for entries video here: https://vimeo.com/152185256
In addition to the writing prize, New Welsh Review is giving readers a chance to nominate their favourite travel books in their Best Travel Book Poll.
Find out more here: http://www.newwelshwritingawards.com/best-travel-book-poll/
To nominate your favourite travel book email us at marketing@newwelshreview , tweet us @NewWelshReview using the hashtag #NewWelshAwards or add a comment on Facebook.com/NewWelshReview. Deadline for nominations is midnight 3 April 2016.
We will reveal the longlist on 20 April and will be inviting the public to vote for the shortlist and winner which will be revealed on 1 June and 7 July respectively.
However, it’s not just those familiar terms that are explored here. Alongside oddities like “icelider” for a “custard slice” are loans from Welsh like “dirân” for “past its best”, and geographically-isolated strange pronunciations such as “hool” for “whole”. Fans of writer Rachel Trezise’s literary codifications of Valleys’ underlife speech will also be happy to discover her coining of “gorrw”, “gerrin!” and “egsackly” have been approved by linguistic specialists.
Literary critic Meic Stephens praised the volume, citing it as ‘A timely and useful book that will, I hope, give back to the Valleys people some of the confidence and pride they so badly need’.
Liz Jones of Planet magazine added, ‘This is an important and long overdue work on a neglected part of Welsh culture.’
Author Robert Lewis is an impressive linguist, fluent in a dozen languages and dialects, including Afrikaans, Breton and Urdu. He said,
‘I was born and raised in the Swansea Valley and grew up hearing western forms of Wenglish and Gwenhwyseg, the south-eastern dialect of Welsh.’
‘Writing this book has let me combine my personal background with an academic interest in how people speak. Wenglish has a lot of playful touches including a Wenglish version of Goldilocks!’ he added.
Robert studied Modern and Medieval Languages at Cambridge, where he became particularly interested in dialects. He worked most recently as Head of Research at Visit Wales.
"Wenglish – The Dialect of the South Wales Valleys is out now (£9.99, Y Lolfa).
