Bøger udgivet af Cinnamon Press

Three troubled people, driven by loneliness, vanity and revenge, dash to the Scottish Highlands, where their lives become mysteriously entwined around a reading group in the Inverness public library. We've all done it-gone after one thing and found entirely another-but never as surprisingly as Henry, Peter & Elena. It's Friday, 18th February 2000, and they're in for an unsettling weekend among the book stacks of the library, on the blizzard-bound streets of Inverness, in the recesses of the Loch Craggan Hotel, and on the treacherous mountain above."A laugh-out-loud treat. A magic mix of comedy and wry observation by a writer who is really on her game."- Ron McMillan, author of Yin Yang Tattoo and Don't Think Twice"Bobbie Darbyshire captures the art of good storytelling. A book you can't easily put down. Very entertaining."- Reader, I Read It blog

In Crown of Thorns G W Colkitto presents a playful yet erudite take on sonnets and not sonnets. Layered with references that are used to hold a mirror to the self, and with an astute focus on the business of writing poetry itself, this is a deft, intelligent, witty collection. This award-winning pamphlet is delivered with the lightness of touch we've come to recognise from a poet who constantly extends his reach.

In this award-winning pamphlet, Anne Bateman takes us on journeys, both geographical and emotional. The images in Tattvas are vivid and resonant. There's a strong sense of connections, whether to land or people, communicated with phrases that make us hold our breath as we read. And there is a formal openness to the work that lets in space for us to accompany the author and make our own journeys. An effective and accomplished sequence from the author of My Body Remembers.

Set in a future that may not be too distant, the ice caps have melted and the Atlantic Conveyor of warm water from the tropics to the North Atlantic has collapsed, plunging North America and Europe into a new ice age.Famine, death and conflict stalk the frozen continents, but in the city-state of Banda, one Assault Corps lieutenant questions the totalitarian regime, making himself vulnerable just as he meets and falls in love with Galathea, the embodiment of warmth and beauty absent from their society. As they begin to explore the forbidden past together, Banda braces for the next attack... Ambitious and prophetic, this new edition of John Barnie's verse novel, Ice, is increasingly urgent as scientist's debate the possible catastrophe that global warming and human intransigence threaten to unleash. And in the midst of disaster, it asks what it means to be human and how or whether we can retain humanity in the most extreme of circumstances. Powerful and lyrical, Ice chills to the heart, yet there is beauty here, and love, if only humanity will choose it."Ice is a global warning, a chilling prediction of the fate of humanity should we continue abusing the earth at the current rate."-Claire Powell, Poetry Wales"If the poem is trying to tell us anything, it is that we invite in Death (which achieves an almost medieval personification in the poem), not Life when we violate our contract with nature and bury our natural human impulses under a layer of self-generated permafrost. It's an argument with which we may be familiar but this beautifully realised poetic fable clinches it with the resources of a poet who has achieved his most impressive piece of work so far."-Nicholas Murray, New Welsh Review

Elizabeth I has died. Science promises light where superstition offered shadows. Mared believes the old ways still have power but her father - minister, soldier, physician and Master of Cynvael - thinks his eldest daughter should be more like her sister Lizzie, a biddable advocate of this coming age of reason.When Mared uncovers dark arts as well as dark secrets in her father's life, she must join with Lizzie to find truth... and to act.Reworking the legend of Huw Llwyd, The Sisters of Cynvael blends myth and social commentary in a gripping feast of language and invention.

Acutely observed, incisive and precise, The Remaining Men sees Martin Figura combining precision, wit and compassion to produce a collection that is linguistically dexterous and deeply effective.

Embodiment, the second issue of Kith Review, brings you poetry from Bonnie Thurston, Jan Villarrubia, Mick Evans, Patricia Helen Wooldridge, Sue Lewis, Jan Fortune, Yvonne Baker, Sue Proffitt, Kate Gough, John Sewell, Kate Noakes, Susan Elsley, Barry Smith, Gail Webb, Leslie Tate, Phil Madden and Angela Arnold; essays from Helen May Williams, Omar Sabbagh, and Jan Fortune; and fiction from Isabelle Llasera, Mark Godfrey and Adam Craig.The new issue explores embodiment, our place within ourselves and within the broader landscape, ecology, self reflection, and our interaction with our images of the physical world.Kith Review is a thoughtful space for nurturing connection. Through stories, poetry, art and essays that change the stories we live by, Kith Review aims to be contemplative, radical, nurturing and challenging. Here you will find writing that is imaginative, inventive and questioning. Here you will meet writers who are exploring what it means to live in this moment.Kith welcomes readers who want to linger, listen and connect-it is enough.

Welcome-welcome-welcome-welcome to Being Young! And to the inner life and internet ragepage of Natasha [Redacted]. Her first name is all you're getting: there are too many haters, trolls and stupid adults out there.Iffen you understand me then you've picked up the rhythm of my heartbeat and maybe you're a friend. But that means you're a potential danger too, if you get too close and you know too much-be careful.Original, compelling and moving, Natasha [Redacted] is a coming of age story that charts the costs of trying to survive in the poisonous jungle that is 'growing up'.Family breakdown, friends who turn out to be anything but friends, parents and their love interests who want bland conformity above all else, internet wars and real-world violence populate Natasha's 'ragepage'.We see Natasha through her self-appraising 'sleevenotes', penned some time after the events that she describes.At the end of it all, has she grown up?If you've ever loved music with a matchless passion, wanted to form a band and play a gig on the Moon, you could be the friend that Natasha is waiting for.Read on...Andrew Dutton has been writing since the early 2000s and has previously published an e-book of short stories, A Mirror. His work frequently explores life at 'the bottom of the pile', reflecting a long career helping people in financial hardship and debt. Born in Newcastle-under-Lyme, he now lives in Derbyshire and draws inspiration and comfort from books, music, cats-and long country walks with his partner and their beloved Labrador. Andrew's previous novels, Nocturne: Wayman's Sky, The Crossword Solver, The Beauty of Chell Street and My Life in Receipts are also published by Cinnamon Press.

A riveting memoir that is as much a history of a time and a place as it is a personal exploration.

These vital vignettes of a post-War Bedfordshire childhood are delivered to us through rich recurrences and strange isolations of character. - Mario Petrucci

Blending Victorian romance and drama with a compelling supernatural story, The Sound of Gematria is an engaging debut novel not to be missed.

Vibrant and exciting retelling of the ancient myth of Culhwch and Olwen from a renowned oral storyteller.

A daughter uncovers the truth behind her mother's life in a kibbutz on the bank of the River Jordan in the 1970s.

Extraordinary coming of selfhood novel that finds strength in the stories we hold close and the people we holder closer.

Galvanised by a health scare, Felix Walton overturns his life to remake himself after a forty-two-year marriage.

In eleven beautifully observed stories, told with intelligent and textured prose, we travel far and wide to disparate places and distinctive cultures.Whether the protagonists are dealing with migration or climate change, acts of terrorism or the intricacies of family relationships, each story turns on a moment that touches the human condition, connecting us to a single encounter.With a finger on the political and cultural pulse, Ultramarine is a generous, finely-tuned collection for the times we live in.

Memory, time, love and loss weave through all of G W Colkitto's poems with a resonance that moves us fluidly from yearning to insight. The master of seeing connections, Shake the Kaleidoscope finds Colkitto taking a view across the whole of life: non-linear, sometimes fragmentary, imbued with whimsy and humour, but above all permeable to the scars and triumphs of loss and love. As the poems range back and forth across the years, one memory provoking another, it is not only the whole of the poet's life laid out in the pieces of glass to be endlessly rearranged, but the whole of the human condition. Whether examining interior moments or negotiations with the world of work; whether writing astute commentary on political and social inequalities, or simply savouring those small moments of deep joy provoked by the simplest of things, Colkitto holds up a mirror to life-his own, and ours.Shake the Kaleidoscope is a major work from an accomplished poet: lucid, accessible, profound.GW Colkitto is a widely published poet, short story writer and novelist from Paisley. He won the Scottish Writers Short Story Competition, in 2011, and the Poetry Competition in 2012. His poetry collection, The Year of the Loch, was published by Diehard Press, in 2017; a second collection, Waitin tae Meet wi the Deil was published by Diehard 2018; and he published the pamphlet, Clyde: my river, with Cinnamon Press in 2022. He is also the creator of Sebastian Symes, Victorian Detective.

Linguistically dexterous, scintillating with intelligence and wit, and balancing incisive observation with deep compassion, the short fictions in Y Knots draw us into the lives of characters we feel completely involved with. Here we have a hall of mirrors in which the writer mines his soul for images that reflect the story. But in interrogating the self, what Omar Sabbagh produces is an engaging array of unique perspectives on all our souls.If, as Sabbagh writes, writing is always a performance and projection of a self, then Y Knots is the performance of a self breath-takingly prodigious and heterodox. That Sabbagh is able to weave this self into characters whose tussles leap off the page so compellingly shows a master at work.- Peter Salmon, author of An Event, Perhaps: A Biography of Jacques Derrida¿¿¿Y Knots hold the Hanging Gardens of Babylon teleported into the tired aridity of a postmodern mind. The lushness of Sabbagh's characters and settings is nurtured with such loving drip-irrigation precision that you'll find yourself enamored with both his beauties and his beasts. - Svetlana Lavochkina, novelist, poet, translatorIntelligent and passionate, these stories are singularities that make all the difference. Sabbagh seems to be, as he describes one of his characters, 'an inexorably-thinking man', but there is a certain rawness and playfulness to the stories which makes the philosophical grounding often quite hilarious. Sabbagh is also a unique chronicler of the Middle East and globalization.- Adnan Mahmutovic, author of At the Feet of Mothers¿

In all of Robin Thomas's work there is a subtlety and wit so contained that it invites re-reading. It takes full immersion to savour the linguistic dexterity and intelligence at work, to appreciate that humour often belies the absolute seriousness of life. In reminded of something, this balance is particularly delicate and the poignancy superbly controlled and utterly affecting. With a yearning that can only come of love and loss, the poems use the simplest of metaphors in the most lucid language to convey memories and emotions so complex and heart-breaking that they are almost beyond the scope of words-a collection that is profoundly moving and exquisitely realised.Praise for Robin Thomas's previous workPoems are like rooms. One might feel safe in such a room and, at first sight, the poems of Robin Thomas employ an architecture which is reassuring. [...] Yet walls shake and windows crack and the 'homely' formal qualities of these well-made poems belie a mystery, a strangeness, a reckoning.- Julian StannardRobin Thomas's is a fragile world, whose unexpected strengths derive from his elastic, unsentimental grasp of reality. It's not surprising that I find myself smiling with recognition as I read Robin Thomas's view of the universe ... after all, ambiguity and contradiction are embedded in comedy of the most serious kind.- Janice DempseyOccasionally I seize upon a single poem sent to me, or discovered by accident, and rejoice in its particular oddness or specialness or combination of the two. Robin Thomas's poetry evokes this response with its extraordinary quirkiness, combination of wild and everyday wisdom, the way the clues are always in the margins, chuckling as they wait to be found or found out. Thomas is the master of irony and juxtaposition, never obvious, always surprising.- Wendy KleinRobin Thomas completed the MA in Writing Poetry at Kingston University in 2012. He has had poems published in a number of journals including Acuman, Agenda, Envoi, Orbis, Brittle Star, Poetry Salzburg, Poetry Scotland, Pennine Platform, The High Window, South, Stand, Rialto and The Interpreter's House. He has been shortlisted for the Buzzwords, Bridport and Bath Poetry Café prizes and is represented in several anthologies. His pamphlet, A Fury of Yellow, was published by Eyewear in 2016. His debut collection, Momentary Turmoil, was published in 2018, followed by A Distant Hum in 2021, both by Cinnamon. Dempsey and Windle published his Cafferty pamphlet in 2021 and his collection Weather on the Moon was published by Two Rivers Press in 2022. Robin also had a Flash Fiction Novella-Margot and the Strange Objects-published by Adhoc Publishing in 2022.

Never for the faint-hearted, Dunes of Cwm Rheidol sees John Barnie at the height of his powers, writing poetry that is heart-breaking and true.

A poetry collection exploring spirituality in the contemporary world.

Charting a life spent lost in numbers, is My Life in Receipts a memoir? Too fictionalised. A novella? Too close to the truth. All too recognisable? YES!From chanting times-tables and unlearning old money to discovering the sinking schoolroom 'Maths Feeling' that ends a child's ambitions to be a 'scientist'. From the promissory note of student days to the hard times of the dole giro. From the exuberance of the first wage packet to the pleasures and limits of being able to pay your way... My Life in Receipts plunges you into the world of bags full of threatening letters, intimidating bailiffs, bankruptcy, eviction-even imprisonment.Revealing the lives of people in a perpetual cost of living crisis, and the work of those who help them fight to reclaim their lives, this is a dark, original and tragi-comic exploration of the past, the future, money, debt: whether to flee, whether to fight. There are some victories, some routs-and, along the way, thoughts on electronic train tickets too.Andrew Dutton will make you laugh out loud, scream with righteous anger and, most of all, make you think.Andrew Dutton has been writing since the early 2000s and has previously self-published an e-book of short stories, A Mirror.His work frequently explores life at 'the bottom of the pile', reflecting a long career helping people in financial hardship and debt.Born in Newcastle-under-Lyme, he now lives in Derbyshire and draws inspiration and comfort from books, music, cats, and long country walks with his partner and their beloved Labrador.Andrew's debut novel, Nocturne: Wayman's Sky, and two other novels, The Crossword Solver, and The Beauty of Chell Street are also published by Cinnamon Press.

A fictional pot-pourri in prose and poetry, Say I am Merry explores love and loss and the way the stories of one generation are handed to the next. A poignant, ambitious and compelling debut.

"We need more writers with bite. We have lived in the flatlands too long," writes John Barnie in one of his 'observations' ('Art in the Flatlands'). And bite he delivers.Ranging across politics, history, culture, ecological disaster, the meaning of truth, poetry, what we mean by identity and more... Barnie shares a window onto the world that is both erudite and particular. Leaning towards pessimism in a darkening world, these observations are often provocative, not from any bullish desire to antagonise, but as the result of mining a rationalist line of thought with an honesty and consistency that is applied as much to the author as to his subjects. There is a clarity here that some may find uncomfortable, but the aim is always dialogue above agreement; intellectual engagement above cheap solutions and sentimentality.Barnie asks us to think, consider and dig deeper, but most of all he asks that we "...live richly among our secondary self-created meanings, while recognising them for what they are. To face without flinching the nullity of the great void." ('Varieties of Meaning')Tsunami Days is a vital collection of essays for those prepared to engage with its unflinching observations.John Barnie is a poet and essayist from Abergavenny, Gwent. John was the editor of Planet, The Welsh Internationalist from 1990-2006. His collections of essays, The King of Ashes, won a Welsh Arts Council Prize for Literature in 1990. His collection Trouble in Heaven was on the Wales Book of the Year 2008 Long List. His most recent collections are A Report to Alpha Centauri (Cinnamon Press), Afterlives (Leaf by Leaf) and the forthcoming Dunes of Cwm Rheidol (Cinnamon Press)..

Out in the Field immerses us deeply in a compulsion to be outside-here we draw inspiration from landscape, birds, weather; here we step outside ourselves, and allow our perspective to shift...Drawn into the fields through Patricia Helen Wooldridge's meticulous observation, our minds breathe alongside the poet's. Within the spell of these pages we find ourselves in a world with a different notion of time and change. We find ourselves in the moment.A maven of attention, Wooldridge's acute reflections make each seasonal shift fresh, each creature and plant precious and beautiful, each encounter with the natural environment unexpected. And, as we open ourselves to this world through these poems, our humanity and passion for this ailing and extraordinary planet can only be enlarged, compelling the reader in turn out into the field.Patricia Helen Wooldridge lives in Hampshire and is inspired by walking, bird watching and working on her allotment. She studied English Literature at London University and has a doctorate in creative writing. In the past she has taught English in schools and more recently creative writing to undergraduate students. Her work has been placed in a variety of poetry competitions and has appeared in poetry journals and competition anthologies. Her collection, Sea Poetics, won the Cinnamon Press Debut Poetry Collection Prize in 2017, and her pamphlet, Being, was published in 2021. Her poem, 'I Stop Wearing the Mini-skirt, 1972' was commended in the 2013 National Poetry prize and used to develop a workshop guide by poet, Jane Yeh, for the The Poetry Society.

From its tentative first word ('perhaps') to the final phrase, realising 'here is no journey / only attending to stones- / like a story told yet again / by an old friend', the reader is immersed in a woodland that is alive with quiet yet profound epiphanies-the way we live and die; the way we might weave narratives that change our stories. In this liminal place, which is both a real woodland and an internal space, we learn that 'What matters is the silence that encircles you...' And we find in that silence a liturgy of the natural world we too often forget we are part of.

Lucid, linguistically dextrous, and woven through with Welsh phrases, and words and passages in French, this exquisitely observed sequence of haiku and haibun was written during lockdown, though only refers to Covid elliptically. There is nothing obvious here-instead there are connections-with nature, with relationships, with what is lost and what is saved.

The willingness to take risks with form and to push the reader's expectations of what a poem might be make E A Griffiths' poetry immediately distinctive. Here we find lyrical poems that are tiny, elliptical, often heart-breaking and utterly located in a sense of place that is at once home and yet the terrain of struggle. Drawing on Welsh tradition and the complexity that spins from needing to learn your native language so that even when it becomes fluent it never becomes the language of dream, the collection also opens a dialogue with concrete poetry. It's a move that allows words to fragment, names to partially mirror themselves, breath to expand the possibilities of the poem on the page. The concrete poetry in this collection is as serious as a funeral, or electric shock therapy, yet it is also playful, generous and expansive. Moving between the concrete and the lyrical, Concrete Sea is a cohesive, tightly-written debut that invites us to feel into the experiences of the poems, emerging with the sense of another's heart-print.

It's winter, 1553. A small Italian hill town is under siege... In this narrative of uncommon endurance Alex Josephy inhabits place and people with lively precision. Told in the voices of women, including a chorus, a nearby mountain and the fortress herself, the uniting voice of the pamphlet is a 'girl', through whose eyes we see the minute details of life under immense stress and feel the nuances of loss, hunger and uncertainty. Again Behold the Stars is an intense immersion into a lockdown that challenges all the senses, one utterly different from the modern experience of lockdown during the Covid pandemic, yet also hauntingly resonant with it. Most vitally, the empathy evoked reaches us across almost five centuries, making us care in the present.

How do we come home in a strange land? Moving to a remote forest hamlet in a new country in the midst of a pandemic, the only way to connect is to take the time to linger, listen and observe-to be with the land that is becoming home. From this observations a series of haiku arise, following the Japanese system of 24 seasons divided into 72 micro-seasons and interspersed with eight lyric poems that travel around the Celtic wheel of the year. And so a forest garden and its surrounding Finistère woodland slowly reveals itself, weaving together the lunar and solar, melding the Celtic shape of the year with the increments of the Japanese solar terms, each one unveiling a new aspect of change. Charting a life unmoored from the familiar, but permeable to the new the poems find their place at 'the end of the world', as the Romans called Finistère, but also in Penn-ar-Bed, the Breton name which is both the end and start of the world. Most endings are also beginnings and here in these precise, exquisitely observed poems, we find ourselves both unsettled and settling, exploring what it means to hold together being adrift and belonging; cycles and transformation and how we find a beginning at the end of the world.