The Boy From The Coach

Matthew G. Rees on AmeriCymru

Read our interview with Matthew G. Rees here

Not to be confused with the recent, wildly acclaimed Welsh language horror movie of the same name ( Y Gwledd ), this is Matthew G. Rees' third published anthology of short stories. You will find reviews of his other works here The Keyhole and here Smoke House & Other Stories

We have expressed the opinion that Matthew G. Rees is a major new talent elsewhere and this new collection confirms our estimation. The Feast is a deliciously dark and frequently amusing collection that leaves one in no doubt that Rees is a writer at the top of his game and destined for popularity and acclaim.

In so far as this collection has a theme, the author outlines it in his brief introductory note:-

" This collection of stories created itself over the course of two years in which I found that I seemed to be writing short fiction that possessed a connective tissue ."

The nature of this 'connective tissue' becomes clearer when we consider the accompanying quotation from Shakespeare:-

" Things sweet to taste prove in digestion sour. " William Shakespeare Richard II 

Indeed there is an element of - be careful what you wish for - in most of these tales. In 'The Twilight Maiden' we are introduced to Guiseppe Dellucci, an Italian restaurateur in search of a delicious legendary variety of tomato which only grows in the vicinity of the remote village of Collina Rossa. The atmosphere of suspense and thinly veiled threat are skilfully crafted until Guiseppe is finally inducted into the mystery of the fabled tomato plant.

These stories are set in a variety of locations and in 'Stone Cold' we meet Candice Canyons, an exotic dancer at The Southern Peaches Go-Go Club, somewhere in the American south. She dreams of a better life and opportunity presents itself in the form of Seymour Thrayle, an aged wealthy landowner who frequents the Club. His obsession with, and desire for, peach tarts leads to a  grim and humorous denouement.

In 'Fungal' the protagonist is distracted by a store front sign which reads:-

SELF-SUFFICIENCY

Enquire within

Having nearly exhausted a fortune he had inherited from his family he decided that there would be no harm in inquiring. Needless to say his life is changed forever in the most unexpected of ways.

If you are not acquainted with the work of Matthew G' Rees this collection provides an excellent introduction. His tales have the capacity to simultaneously delight and disturb and always stay in your thoughts for some time after reading. The Feast by Matthew G' Rees is AmeriCymru's selection for Book of the Month January 2022.

Mae’r arlunydd, cyflwynydd, bardd ac awdur Siôn Tomos Owen yn cyhoeddi ail gyfrol o straeon am fyw yn y Rhondda’r wythnos hon. Mae  Y Fawr a’r Fach 2: Mwy o Straeon o’r Rhondda  yn rhan o’r gyfres Amdani, ac mae llyfr Siôn yn addas ar gyfer dysgwyr lefel Sylfaen.  

Mae Siôn yn wyneb cyfarwydd i wylwyr S4C, diolch i  Pobol y Rhondda , cyfres oedd yn mynd ar daith trwy Gwm Rhondda, ac roedd ei gyfrol gyntaf o straeon ffraeth am ei blentyndod a’i arddegau yn boblogaidd iawn.  

Meddai Siôn Tomos Owen:

“Pan sgwennes i’r gyfrol gyntaf nôl yn 2018 ges i lawer o hwyl ond ges i drafferth yn dewis pa storïau i’w cynnwys, ac o’n i’n gwybod byse rhaid i mi sgwennu ail lyfr rhywbryd! Ac ar ôl magu fy mhlant yn y cwm hefyd, mae gen i hyd yn oed mwy o straeon doniol i’w rhannu.  

“Mae’r ymateb i’r gyfrol gyntaf wedi bod yn wych a dwi wedi siarad a gwneud ffrindiau gyda chymaint o ddysgwyr Cymraeg sydd wedi darllen fy llyfr – pobl o Brighton i Lithuania, Gwlad Pwyl a hyd yn oed Santa Barbara yng Nghaliffornia! Ac mae pawb yn dweud eu bod nhw’n mwynhau’r ffaith bod yna gartwnau yn cyd-fynd gyda’r straeon hefyd, sy’n gwneud i fi wenu.”  

Cafodd Siôn Tomos Owen ei eni a’i fagu yn y Rhondda, ac mae e’n byw yno o hyd. Mae’r ail gyfrol yma yn dweud ei hanes yn tyfu’n ddyn a dod yn dad, ac am y lle mae’n ei garu – y Rhondda.  

Mae lluniau du a gwyn Siôn yn cyd-fynd â phob un o’r 18 stori fer. Mae geirfa ar bob tudalen a rhestr eirfa yng nghefn y llyfr.  

Meddai Siôn Tomos Owen:

“Un o fy hoff bethau am deithio yw cwrdd â phobl newydd ac mae’r niferoedd dwi wedi cwrdd â nhw yn ddiweddar sy’n dysgu Cymraeg mor galonogol. Yn ddiweddar, mae teulu ffrind fy merch wedi newid iaith y tŷ i’r Gymraeg ar ôl dysgu’r iaith – rwy’n sgwrsio gyda’r fam ar y ffordd wrth fynd â fy merch i’r ysgol bob dydd. Mae’r profiad yn gwneud i mi eisiau ysgrifennu mwy o lyfrau i ddysgwyr oherwydd y cynnydd yn y nifer o bobl sy’n dysgu ac mae brwdfrydedd dysgwyr i siarad Cymraeg yn anhygoel!”  

Lansiwyd cyfres Amdani yn 2018, prosiect a welodd gweisg Cymru yn cydweithio gyda’r Ganolfan Dysgu Cymraeg Genedlaethol a Chyngor Llyfrau Cymru i ddatblygu a chyhoeddi llyfrau darllen cyffrous yn arbennig at gyfer oedolion sy’n dysgu Cymraeg. Erbyn heddiw mae yna dros 40 o gyfrolau i gyd.  

Mae cyfres Amdani eisoes yn boblogaidd ac wedi meithrin darllenwyr brwd. Y gobaith yw y bydd llyfrau fel straeon Siôn Tomos Owen yn annog darllenwyr hen a newydd i ddatblygu eu Cymraeg.

Bydd straeon  Y Fawr a’r Fach 2  yn cael eu darllen bob diwrnod ar Faes D yn yr Eisteddfod Genedlaethol am 2 o’r gloch.

Mae  Y Fawr a’r Fach 2: Mwy o Straeon o’r Rhondda  gan Siôn Tomos Owen ar gael nawr (£6.99, Y Lolfa).

This week sees an updated 5 ^th  edition of a collection of Welsh folk stories republished.  Welsh Folk Tales  by Robin Gwyndaf (Y Lolfa) was originally published by the National Museum of Wales in 1989 and is an important record of the folk narrative tradition in Wales.  

The 2024 edition has been dedicated to the author’s late wife, Eleri Gwyndaf, who sadly died in 2023.  

For a period of over twenty years, Robin Gwyndaf interviewed over 2,500 informants, around 400 of them on tape. This material, both written – in books and journals – and oral testimony of around 600 hours of recordings, “gives the reader a vivid glimpse of that long and creative tradition,” as Colin Ford, Director of the National Museum of Wales, says in his foreword to the third edition in 1995.  

Welsh Folk Tales  records 63 stories from all over Wales, including ‘The islands of saints’ from Ynys Enlli, ‘The eagles of Snowdon’ from Caernarfonshire, ‘Owain Glyndŵr and the Abbot of Valle Crucis’ from Denbighshire and ‘The death of “Llywelyn our Last Prince”’ from Brecknockshire. It describes the legends and traditions and places them in their historical and social context. It also refers to the types and classification, the themes, function and meaning, as well as the value of the tales themselves. Pronunciation of Welsh words and placenames also features.  

Dr Robin Gwyndaf says:

“The need to present the history of Wales in an interesting and meaningful manner to all the inhabitants of the country and beyond, whatever their age or language, has never been more crucial. My hope is that this volume, in Welsh and English, will be a small contribution towards fulfilling a dream. It is my dream that all the people of Wales, and Welsh people living abroad – and, yes, the inhabitants of Britain also – come to appreciate the wealth of our inheritance as a nation – our native language, our literature and our culture. An intrinsic part of that vibrant, wide-ranging culture is our folk tales and folk traditions.”  

Only necessary changes have been made to the text, and the wonderful illustrations, now in colour, by artist Margaret D. Jones, who is now 105 years old, still shine in the volume. Margaret Jones was commissioned by the National Museum of Wales in 1988 to illustrate a map featuring the folk tales and traditions of Wales, to be published at the same time as the first edition of the book. Both the book and the A2 poster has been out of print for around 10 years, but will be available again this May for £9.99 each.  

The book:  Welsh Folk Tales  by Robin Gwyndaf (£9.99, Y Lolfa) is available now.  

The A2 poster: Welsh Folk Tales by artist Margaret D. Jones, and Robin Gwyndaf, researcher and designer, (£9.99, Y Lolfa) is available now.

This week sees the extraordinary book  Pity the Swagman: The Australian Odyssey of a Victorian Diarist  by Bethan Phillips republished. Described by the late Jan Morris as “a truly fascinating book”,  Pity the Swagman  is a classic that has been out of print for over twenty years. 

The book is the biography of Joseph Jenkins (1818-98) who was a successful farmer in Tregaron in west Wales. Without warning, aged 50, he left his farm and family to travel Australia and live as an itinerant farm labourer. His diaries returned to Wales with him and were kept by one of his daughters for over 70 years, until a chance encounter between the author and Joseph Jenkins’ great-grand-daughter. 

In his Preface to the book, Dr R. Brinley Jones, then President of the National Library of Wales, describes it as “a very moving human story” and Bethan Phillips’ work as both “readable and scholarly”.

The diary illustrates both the state of Welsh rural society at the time – with social and financial inequality between the poor and the gentry - and the corruption in parliamentary elections. The hardships endured by early migrants to Australia and the travails of the Aborigines are described, as well as the fate of the Kelly Gang. 

In her Foreword, written in 2002, Bethan Phillips says:

“The diaries reveal him as a man seeking to exorcise his own demons by attempting to escape from them, but they also reveal him as an astute observer of the people and occurrences impacting on his own eventful life. His dogged determination in keeping a daily journal, often under the most difficult of circumstances and in the most unpropitious surroundings, has given us a uniquely valuable historical record of life in the nineteenth century.” 

Bethan Phillips’ spent 15 years studying the original diaries, which covered a period of 58 years, skilfully choosing extracts from them. She also spoke to Joseph Jenkins’ descendants, still living in Ceredigion, hearing family stories, and reading further writings, including his poetry, which won prizes. She also followed Joseph Jenkins’ footsteps in Australia, which was filmed for a documentary for the BBC. 

Joseph Jenkins’ diary spanned 58 years and is celebrated as one of the richest sources of information about life in rural Australia.  Pity the Swagman  is an in-depth, authoritative study of rural life in the nineteenth century and is studied on the school curriculum in Australia. 

Pity the Swagman  by Bethan Phillips (£16.99, Y Lolfa) is available now.

Jac  by Sam Adams (Y Lolfa) is a novel of boyhood novel set in a south Wales Valley during the Second World War (1939-1945).

Described as “a lyrical and beautifully crafted story of growing up in the Valleys in the shadow of World War II” by poet, essayist and editor John Barnie, the novel follows Jac, a young boy at the start of the story, as he grows in awareness of the world beyond his home and family.

Author Sam Adams says:

“I wrote the novel to recall a lost age – wartime and the era of coal production in south Wales; the realities of the time. I also wanted to explore and commemorate the first steps in life outside the home, first friends and first boyhood adventures.”

The novel explores how war affected everything, including the play of children.

“The novel is semi-biographical, as I was a boy during the Second World War and grew up in a mining valley in south Wales. I have tried to recapture a time and a place which I know well,” said Sam Adams. 

Jac   by Sam Adams is available now (£9.99, Y Lolfa).

AmeriCymru: Hi Sue and many thanks for agreeing to this interview. Care to introduce yourself and your work for our readers? 

Sue: Hello! It’s a pleasure to be here. ‘Here’ for me is near Porthmadog in North Wales. However, I lived near Aberystwyth in Mid-Wales until I was ten years old, and then lived on Anglesey (Ynys Môn) until my early twenties. 

I currently work as a proofreader and editor of English, and as a Welsh-to-English literary translator. But I didn’t start off that way! 

After school I trained as a cartographer, and then worked drawing maps by hand (that’s how old I am) for various local authorities. I went to university as a mature student, but that still didn’t get me any closer to doing what I do now – my degree is in a science subject. 

By my mid-forties I had some health issues that meant that working from home and at my own pace would be better for me than working in an office, which is what I was doing at the time. I decided to retrain as a proofreader and work freelance, which is what I do now. 

AmeriCymru: What is your Welsh language background? 

Sue: I grew up in Wales, but within a monoglot English family that was culturally English and (mostly) English language social settings. I had to do compulsory Welsh at school, but back when I was at school there wasn’t the same emphasis on the language as there is now, and I failed my Welsh O Level exam at 16. And that was that, or so I thought then. 

After realising that I’d need Welsh to work in the public sector in North Wales, and after many evening classes, I got my Welsh O Level at twenty-seven years of age. I secured a job with the Snowdonia National Park (now Eryri National Park), which meant I moved to live in a very culturally Welsh area. More adult Welsh classes, and just being sunk in a Welsh community, means that I’m now a fluent speaker and comprehender, a reasonably fluent reader, and an adequate writer of emails. 

AmeriCymru: How did you become involved in translation work? 

Sue: Through my proofreading work I was in contact with publishing houses in Wales, and was asked by Myrddin ap Dafydd at the publisher Gwasg Carreg Gwalch to translate poetry selections for a bilingual book called  Hud a Lledrith Llŷn / Llŷn a Magical Place  into English. My Welsh reading skills were still quite shaky at this point. (As an aside: I later learned that being asked to translate literature is quite rare; mostly translators pitch books they think would work in translation to publishers.) 

Since then, I’ve translated another thirteen books for Gwasg Carreg Gwalch, including eight novels for older children. Through doing this my reading skills have improved. I also took the basic Welsh-to-English translation test to qualify for membership of the Cymdeithas Cyfieithwyr Cymru (the association of Welsh translators and interpreters), although I’m no longer a member. 

In 2020 I was the recipient of a mentoring award that was jointly funded by Literature Wales, Wales Literature Exchange, and the UK’s National Centre for Writing. This helped me to expand into translating adult literary fiction, and the outcome is my first translation of a novel for adults,  This House , which was published by 3TimesRebel Press in March 2024. (AmeriCymru readers may be pleased to see that it’s available as an ebook from Amazon.) 

Sian Northey is the author of the original novel, which is called  Yn y Tŷ Hwn . She and I are busy on the promotional trail at the moment as a bit of a double act

.

AmeriCymru: Where is the best place to go online for anyone seeking a wide selection of Welsh language children's books? 

Sue: The  Gwales  website, which is part of the Books Council for Wales, is a good place to start. Go to ‘Browse by Category’ and you’ll get a list divided into fiction and non-fiction, and by age groupings. However, you should be aware that some of the books listed are adaptations into Welsh of English books, such as those by David Walliams. 

AmeriCymru: You have translated many Welsh language children's books. Any favorites that you would particularly like to mention? 

Sue: The children’s books I’ve translated are by Myrddin ap Dafydd. They are all rollicking adventure stories, as well as providing a fun way of teaching aspects of Welsh history (and other lessons). I think he has done an especially good job with  The Moon is Red ,  Faster than the Swords  and  Fleeing the Fascists . All the novels are exciting, but what these three have in common is particularly gripping scenes of physical jeopardy. 

I also learned a lot by translating them and several of them introduced me to unfamiliar parts of Wales. I try and make a point of visiting the locations where the stories are set. I do this in my own time, of course, and this has made for some interesting trips. I also feel that it helps with the translation process if I have the lie of the land in my head. (Remember, I’m a geographer and cartographer at heart!). 

AmeriCymru: Are you working on any translation projects at the moment? 

Sue: I have just started on my next children’s novel translation for Gwasg Carreg Gwalch. The Welsh version will be out in May – just in time for the Urdd National Eisteddfod – with the title  Rhedyn, Merlyn y Mawn . I guess the English version will be published later this year, or early next. 

Not a current project, but I’d like to translate another of Sian Northey’s novels:  Perthyn . But I guess we need to see how successful  This House  turns out to be before I can consider pitching  Perthyn . I blogged about my year of being mentored while writing  This House , and about the subsequent search for a publisher. If you wish to see whether my  Perthyn  dream comes to fruition, I’m still posting on that  blog  every six months or so. 

AmeriCymru: Any final message for the readers and members of AmeriCymru? 

Sue: If you read any of my translations, I hope you enjoy them!

Our first translation from Welsh comes out this March. The fair trade independent publisher 3TimesRebel Press is excited to announce the publication of This House . It is the sixth fiction title in our groundbreaking and debate-sparking catalogue of works in translation written exclusively by women in minority languages. This House is written by Sian Northey and translated by Susan Walton. It is a novel that comes out of a booming Welsh literary scene, as attested by last year’s Yoto Carnegie medal being awarded for a translation of a Welsh YA novel.

Out 21 March 2024

Grief, solitude, and the inner call to be freed from her past are the threads that beautifully and tightly intertwine in this novel.

Anna has lived alone for decades. She is cocooned by, and marooned in, an isolated cottage called Nant yr Aur in the Welsh mountains. The arrival of Siôn, a young man who seems strangely at home in the house, leads to an unpicking of Anna’s past.

As Anna’s relationship with Siôn develops, her perspective on the solidity of her past shifts. Uncertainty, distortion, illusion and subtle betrayal are gradually exposed. Ultimately, a quietly devastating revelation changes the lives of both Siôn and Anna.

Sian Northey writes with economy and precision, setting out what the life of a middle-aged woman with an emotionally complicated past feels like from the inside.

'Astute, understated, compassionate. Sian Northey gently unpicks the threads of love and memory that bind us to place and to each other. A beautiful, glowing gem of a novel, now brought to a wider audience by Susan Walton's wonderful translation.'

Angharad Price, Welsh academic and novelist.

Sian Northey has been a full-time writer for the last fourteen years. Almost all her work is written and published in Welsh. She is the author of three novels for adults, one poetry collection, three short story collections, several scripts, and numerous children’s and teens’ novels. Her novels are Yn y Tŷ Hwn (Gwasg Gomer, 2011), Rhyd y Gro (Gwasg Gomer, 2016), and Perthyn (Gwasg Gomer, 2019). In 2022 she co-edited the bilingual poetry anthology A470: Poems for the Road/Cerddi'r Ffordd (Arachne Press, 2022).

Sian Northey is also a literary translator. She translated into Welsh the memoir The Journey is Home by John Sam Jones, and Alys Conran’s debut novel, Pigeon , which in its original English won the Wales Book of the Year Award in 2017. Both books were published in English and Welsh by Parthian Books in 2021 and 2016, respectively. She recently translated the award-winning The Last Firefox by Lee Newbery (Penguin Random House, 2022) under the title Y Llwynog Tân Olaf (Firefly Press, 2022).

Susan Walton has been commissioned to translate books from Welsh to English for the publishing house Gwasg Carreg Gwalch since 2009. She has had fourteen translated books published, including eight novels for older children/young adults. During 2020 Susan was mentored under the Literature Wales scheme as an emerging literary translator. This House is her first translation of adult fiction.

ABOUT 3TIMESREBEL PRESS

Based in Dundee, Scotland, and founded by Bibiana Mas, 3TimesRebel Press is an independent publisher like no other, looking to shake up the publishing world and contemporary society.

Challenging the mainstream by being rebel in three ways, 3TimesRebel Press exclusively publish books that are: written in minority languages originally; written by women; and finally written to inspire deep, challenging conversations.

As a pioneering fair-trade publisher, 3TimesRebel Press work to achieve equitable agreements with their authors, translators, illustrators and partners. Their books are locally printed in the UK using responsibly sourced paper, minimising carbon footprint and following environmentally friendly standards. This House is its first plastic-free publication.

3TimesRebel Press are keen to preserve an artisanal feel and meticulous attention to detail in everything they do. Their books are beautifully designed by award-winning master in typography Enric Jardí, and each has a visually striking cover created by a nominated artist.

Website : 3TimesRebel.com | X : @3TimesRebel | Instagram : @3TimesRebel

Bydd ein cyfieithiad cyntaf o'r Gymraeg yn ymddangos fis Mawrth eleni. Mae'r cyhoeddwr annibynnol marchnad deg 3TimesRebel wedi gwirioni eu bod yn cyhoeddi This House. Hwn fydd y chweched gyfrol ffuglen yn ein catalog arloesol sydd wedi ennyn cryn drafodaeth – cyfieithiadau Saesneg o lyfrau wedi'u hysgrifennu gan ferched mewn ieithoedd lleiafrifol. Ysgrifennwyd This House gan Sian Northey ac mae wedi cael ei gyfieithu gan Susan Walton. Fel y tystia llwyddiant The Blue Book of Nebo yn ennill gwobr Yoto Carnegie mae'r byd yn barod am gyfieithiadau o lyfrau Cymraeg.

Dyddiad cyhoeddi 21 Mawrth 2024

Galar, unigedd, ac angen menyw i gael ei rhyddhau oddi wrth ei gorffennol yw'r llinynnau sydd yn plethu yn dynn a chelfydd yn y nofel hon.

Mae Anna wedi byw ar ei phen ei hun ers degawdau. Caiff ei gwarchod, a'i hynysu, gan Nant yr Aur, ei chartref anghysbell. Yna mae Siôn yn ymddangos, dyn ifanc sydd fel petai'n od o gartrefol yn y tŷ, ac mae hynny'n arwain at ddatod gwead gorffennol Anna.

Wrth i berthynas Anna a Siôn ddatblygu, sylweddola nad yw ei gorffennol mor gadarn ag y dychmygai. Bob yn dipyn datgelir ansicrwydd, twyll a brad tawel. Yn y diwedd mae datguddiad distaw ddinistriol yn newid bywydau Siôn ac Anna.

Mae Sian Northey yn awdur eithriadol gynnil, ac yn cyflwyno bywyd mewnol menyw ganol oed sydd â gorffennol emosiynol gymhleth.

Craff, cynnil a thawel angerddol. Perl o nofel sy'n datod edefynnau cariad a'r cofion sy'n ein clymu wrth le ac i'n gilydd. A braf yw gweld dawn arbennig Sian Northey yn cyrraedd cynulleidfa ehangach trwy gyfieithiad meistrolgar Susan Walton.

Angharad Price

Bu Sian Northey yn awdur llawn amser ers bron i bymtheg mlynedd bellach. Mae wedi cyhoeddi tair nofel i oedolion, un casgliad o gerddi, tri chasgliad o straeon byrion, a sawl llyfr i blant. Mae hefyd yn sgriptio a golygu. Ei nofelau yw Yn y Tŷ Hwn (Gwasg Gomer, 2011), Rhyd y Gro (Gwasg Gomer, 2016), a Perthyn (Gwasg Gomer, 2019). Yn 2022 cyd-olygodd, gyda Ness Owen, A470:Poems for the Road/Cerddi'r Ffordd (Arachne Press, 2022).

Ond mae Sian hefyd yn gyfieithydd llenyddol ei hun. Cyfieithodd gofiant John Sam Jones, The Journey is Home , a nofel gyntaf Alys Conran, Pigeon , i'r Gymraeg o dan y teitlau Y Daith Ydi Adra a Pijin . Yn y Saesneg gwreiddiol enillodd Pigeon Lyfr y Flwyddyn yn 2017 a bu cynhyrchiad llwyfan dwyieithog llwyddiannus. Cyhoeddwyd y llyfrau hyn, yn Saesneg ac yn Gymraeg, gan Parthian. Yn ddiweddar cyfieithodd The Last Firefox gan Lee Newbery (Penguin Random House, 2022) o dan y teitl Y Llwynog Tân Olaf (Firefly Press, 2022). Mae The Last Firefox wedi ennill sawl gwobr.

Mae Susan Walton wedi bod yn cael ei chomisiynu i gyfieithu llyfrau o'r Gymraeg i Saesneg ar gyfer Gwasg Carreg Gwalch ers 2009. Bellach mae tri ar ddeg o lyfrau a gyfieithwyd ganddi wedi'u cyhoeddi, gan gynnwys saith nofel ar gyfer plant hŷn neu oedolion ifanc. Yn ystod 2020 derbyniodd Susan fentoriaeth dan nawdd cynllun Llenyddiaeth Cymru ar gyfer cyfieithwyr llenyddol newydd. Dyma'r tro cyntaf iddi gyfieithu nofel lenyddol ar gyfer oedolion.

GWYBODAETH AM WASG 3TIMESREBEL

Lleolir y wasg yn Dundee yn yr Alban a chafodd ei sefydlu gan Bibiana Mas. Mae 3TimesRebel yn gyhoeddwr annibynnol unigryw a'r nod yw gweddnewid y byd cyhoeddi a chymdeithas.

Gan herio'r prif-ffrwd trwy fod yn rebel mewn tair ffordd mae pob llyfr sy'n cael ei gyhoeddi gan 3TimesRebel wedi'i ysgrifennu yn wreiddiol mewn iaith leiafrifol, wedi'i ysgrifennu gan fenyw, ac yn olaf wedi'i ysgrifennu i ysbrydoli sgyrsiau dwfn a heriol.

Fel cyhoeddwr marchnad deg blaengar mae 3TimesRebel yn ymdrechu i gael cytundebau teg gyda'i awduron, cyfieithwyr, darlunwyr a phartneriaid. Mae'r llyfrau yn cael eu hargraffu yn lleol yn y DU gan ddefnyddio papur wedi'i gaffael yn gydwybodol, gan wneud yr ôl troed carbon mor fach â phosib a chan gadw at safonau amgylcheddol gyfeillgar. This House fydd y llyfr cyntaf iddynt lwyddo i'w gynhyrchu heb unrhyw blastig yn y clawr hyd yn oed, peth sydd yn anghyffredin iawn.

Mae 3TimesRebel yn awyddus i'r llyfrau gael eu cynhyrchu yn grefftus a chan roi sylw gofalu i'r manylion ym mhob ffordd. Creir dyluniad hardd y llyfrau gan y teipograffydd arobryn Enric Jardí, ac mae clawr trawiadol pob un wedi'i greu gan artist penodol.

Website : 3TimesRebel.com | X : @3TimesRebel | Instagram : @3TimesRebel

I have often been exasperated by the way booksellers classify my books. They tend to work to set parameters and the Reso can easily fit into several categories, so in some book listings it appears as fiction, young adult, in others as general fiction. I've even seen it in a section on social issues, young people!

In truth, all of these are technically correct. Others would be equally appropriate such as : fiction: Wales, fiction: historical (it is disconcerting to realise that what appears to you as your short life to date, is now generally considered as an historical timespan!) fiction:the sixties.

Unfortunately the way a book is classified can also have an impact on sales because readers tend to concentrate on the sections they know and will never find books in other sections, unless by recommendations. This is what makes recommendations so powerful and valuable. Thank you so much to all those people who took the trouble to write something on a website about how they enjoyed the books, it is biggest compliment you can pay to an author and keeps me positive and writing.

A back handed compliment which really frustrates me is the reader who tells me that they enjoyed the book immensely, and that they have passed it round the family and everyone enjoyed it immensely as well! I'm not looking to make my fortune from writing, so few people do, but I would like some recompense for the hundreds of hours spent researching, writing, re-drafting and publishing the books. If you love a book, any book, try and encourage the author a little more by buying a couple of copies for birthday or Christmas presents.

Regarding making my fortune from writing, a few statistics will soon disabuse that notion. If you take all the fiction books published in the UK in a single year it amounts to almost a million. The average number of copies sold per book is 18! That means from JK Rowling, who sells millions, down to me who sells a few less, 18 is the number of copies that the average book sells.

There are few fortunes to be made in publishing your writing - so it is best to write because you enjoy doing so or because you think you have something important to say about humanity. I am in the first camp.

The top selling books tend to come from established writers with agents, big publishing houses and massive marketing budgets. There are also the best sellers from 'celebrities' ghost written for them to give them another income stream and promoted shamelessly on television chat shows. Not that I'm bitter!

For the rest of us, it is rather like the lottery... you have to be in it to win it, but the chance of making a living, let alone a fortune from writing, is very remote indeed. I console myself with the thought that when I die, something will live on beyond me and will consistently fail to provide an income stream for the beneficiaries of my Will.

Having originally gone through a publisher to have a professional endorsement of my writing, I made the decision to self-publish through a company called Lightning Source, part of the Ingram Group. This allowed me to cut costs and to take out the publisher from the trough. Even so, I receive about 1.40 in pounds sterling for every book I sell, the rest is accounted for from set up and production costs.

There is a line of reasoning that suggests you should set the book cost level as low as possible so as to maximise sales. 5 pounds is often seen as a critical price point for fiction books, which is why so many retail at 4.99. However, this assumes that you have a budget to promote your book so that it can compete in the crowded 4.99 market. I don't have a marketing budget. I am in the Catch 22 situation of knowing that to maximise book sales I need to market the book but I can't market the book until I have generated enough sales to justify a marketing budget, which I can't do until... round and round it goes!

That leaves this blog and sites such as Linked In on which to promote the books. The secret here is to segment the market by exploiting the different categories a book will appear in. My books are timebound to the sixties, the seventies and the eighties respectively so I would do well to find niche markets for such writing. Similarly my books have a Welsh setting and there are active Welsh communities overseas to which my writing is recounting their youth, or making a wider cultural connection.

In this context, no-one has been more helpful than Ceri Shaw and the team at Americymru and Eto magazine for bringing my work to a large expatriate community in the United States and Canada. The Welsh appear to be great networkers so that the Americymru connection has led to Australian, New Zealand and South African sales - just leaving the Patagonian market to crack!

There is support for Welsh writers in the form of bursaries and writing camps under the auspices of Literature Wales, but these, quite rightly, focus on writers writing in Wales and debut authors. I wish I had known that when starting out on my debut book!

For the most part this has been a dismal article of trials and tribulations, so I feel I muse end on a positive note. Nothing quite prepares you to have people share their memories with you and tell you that you brought back to life things half-remembered or forgotten.

My favourite reader comment was from a Principal of a Welsh primary school. He could not have pleased me more when he said, 'I see a lot of young Dylan Thomas in your writing.' I assumed he was referring to stylistic qualities and not plagiarism!

Hi all, Beryl Richards here.. As you know I live in South Wales, in the heavily industrialised town of Port Talbot. I have long been interested in Welsh history, but the early Bronze and Iron age, I sort of dismissed as being a 'long way off' and probably not relevant to me or where I live. I had seen pictures of iron a forts or enclosures but in no way were they associated in my mind with smokey ol' Port Talbot. Which in a roundabout way brings me to the subject of my new novel which has a working title of 'The Mountain', and the thought process which led to writing it.

I picked up in a second hand bookstall a copy of a slim volume entitled “Antiquities of Margam Mountain” which immediately aroused my attention. It is written by a gentleman called Bill Howells and sponsored by the Llynfi Valley Historial Society. It is a very interesting book illustrated with some airial photos of the mountain and some taken by the author. There are illustrations of prehistoric tracks burial mounds ancient farms and forts all over the mountain. The realisation suddenly dawned on me that outside my own front door were the vestiges of an advanced urban society. Further research led me to another book written in the thirties by Cyril and Ailen Fox entitled “Forts and Farms of Margam Mountain' documenting the same information that Bill Howells so graphically highlighted with new technology.

A frail little book called Tir Iarll (The Earls Land) which I again found in a thrift store seems to have been published as a child's textbook on local customs also gave some account of the site of Margam Mountain, I wrote to the Glamorgan and Gwent Archaeological Trust on various statements in this book but some of it was discredited as Iolo Morgannwg's (a self styled Bard of Glamorgan) rantings. Apart from the old Ordnance Survey maps which confirm a lot of the evidence I have found for Iron age inhabitation on Margam, this is about the only written evidence I have been able to find on this subject. But the actual site speaks for itself.

There is no direct evidence of the Roman influence on Margam Mountain. The Glamorgan and Gwent Archaeological Society give no credence to this. As the site has not been excavated there is according to them no direct evidence that the Romans trod Margam Mountain. However other sources state that the Romans had a presence there and some indications of this can be found in the old place names such as Mynydd Ty Talwyn, and further west at Rhyd Blaen y Cwm. One of the locations is named Cwm Lladfa, Valley of the Slaughter where it is claimed that the last battle between the Romans and the Silurians was fought locally.

There is physical evidence of a Roman Fort at Neath (Nidum) and remnants of what is known as marching camps is strewn across the uplands. The Old Ordnance Survey Maps indicate some of these geographical features as scenes of battle fought between the local tribesmen and the Romans. As there is not yet archaeological evidence of any of this we can only wait until the whole mountain is excavated properly. Its all shrouded in Celtic mist!!!!

The Silurian tribes or familial groupings range from Eastern Wales down as far as Loughor in the West. A well organised rural/urban system stretched across these hills. It was thought by many early historians, that the iron age celts did not have the ability to build such a complex system of roads/tracks settlements on the mountain tops and the thinking was that they were Roman. But archaeological excavation has proven that these were Bronze/iron age sites built and engineered by the indigenous population, who also had codes of religion law making and customs particularly their own. The term 'forts' is a label for the many enclosures found scattered across the West Walian hills and also throughout the British Isles. Many of these enclosures were of obvious strategic importance and could also have been used as enclosures for cattle and people in times of strife.

Much emphasis was placed on the oral memory of history and of healing techniques by the Druids, who had a great influence over Celtic Society. They were priests, law givers, healers and were often used to negotiate in times of war between two or more rival clans. The Celts loved to fight and argue, today this takes place on the Rugby field. Celtic myth propagated by the Victorians portrays them as blood thirsty human sacrifice fiends. Human sacrifice,was practiced but to a much lesser degree than the popular celtic hocus pocus will have us believe. Although they used the innards sometimes of animals for divination (ugh!!!)

Celtic dress was flamboyant and colourful. Men would wear homespun trousers, a simple tunic and sometimes a cloak held by an ornamental pin, the more decorative indicated a higher social status. Women wore a long robe which was also homespun and dresses were secured with a sort of a celtic safety pin, very often beautifully decorated. They loved jewellery and ornaments. The ruling classes often wore huge intricately decorated gold torques and arm rings. They loved colour, bangles rings and much of what has been internationally excavated such as the golden cauldrons found at various locations place them in the realms of high art, and not the ignorant savage portrayed by the Romans. (Early racism??). Tribal chieftains and kings were often elected by the clan. Often there was a familial line from which they were elected.

There were many festivals held at the quarters of the year, which also acted as an agricultural calender were used to foretell the advent of winter, summer, autumn. Festivals such as midscummer and the advent of winter played a huge part not only in the gathering of crops but fertility rites, the drinking of wine of which they were very fond and the really spooky time when it was said that the veil between the dead and the living was the tiniest, today celebrated as Halloween.

The Silures were a tribe which lived in familial and village groupings in South Wales and fought off Roman occupation for some 25 years longer than in other parts of Britain. The Romans recognised them as worthy opponents. Their method of guerilla warfare locally continued until early medeavil times as was documented in the annals of Kenfig Castle, now covered by sand, but thats another story!

I am trying to answer the question of the underestimation of the Silurians. They seems to have had a quite sophisticated urban society with laws and customs which did not die easily with the onslaught of roman occupation. The remains on Margam Mountain which as I have mentioned contained the traditional enclosures or hill forts at strategic points along the hilltops, have not been archaeologically excavated but further east there are many sites which have yielded a definite identity, which did not seem to have been undermined by Romanisation. The end seems to have come unfortunately with the advent of Christianity when the Celtic identity was melded into what we now recognise as the Celtic Church with numerous monasteries, and hermitages being established along the South Wales coast and also inland.

I like to think that the spirit of the Celts remains in the gritty character of Port Talbot as it exists today. The realisation that such a society existed here has prompted me to write another novel which is a work in progress.

Every so often I get fascinated by something I read, or an aspect of local history of which I was not aware (which are many) prompted me to write a novel entitled 'Golconda' which is in part based on the facts about the early copper industry based in Castell Nedd (Neath) West Glamorgan. The story concerns a young American woman named Holly Darby who attempts to find her Welsh roots. I created a real stinker of a villain named Edward Hawksworth who seduced, cheated and plotted his way to achieve wealth. Holly and her friend (with benefits) trace the story from Castell to the states of her Welsh heritage. I have endeavoured to draw on a number of historical facts and blend them in to this story, in order for Holly to find closure in what can sometimes be quite a fast paced but rather sad story.