Through a combination of oral history and documented sources, the author studies examples of popular protests in nineteenth century Wales.

Pipe Dreams is a zine publication documenting shisha culture in North West London created and co-produced by Zain Dada.  It tells the stories of shisha cafe owners & other Arab businesses- on their experiences of turning an industrialised area of London into a cultural hub for Arab diasporas across the UK. The zine also features an interview with Toronto-based curator, Mitra Fakhrashrafi who researched the impact of a by-law in Toronto which banned shisha in 2015.

This publication formed part of Shubbak Festival 2021 - Europe’s largest biennial festival of contemporary Arab culture. The production team consisted of British–Tunisian photographer Sana Badri, artist and filmmaker Nur Hannah Wan, writers Zain Dada and (and co-produced by) Nabil Al-Kinani, and graphic designer Walid Bouchouchi.

Born in Baghdad in 1945, now living in London, Fawzi Karim is one of the most compelling voices of the exiled generation of Iraqi writers. In the first collection of his poetry to appear in English, his long sequence Plague Lands' is an elegy for the life of a lost city, a chronicle of a journey into exile, haunted by the deep history of an ancient civilisation. Memories of Baghdad's smoke-filled cafés, its alleys and mulberry-shaded squares, the tang of tea, of coffee beans...arak, napthalene, damp straw mats', are recalled with painful intensity. Karim's defiant humanity, rejecting dogma and polemic, makes him a necessary poet for fractured times. Working closely with the author, the poet Anthony Howell has created versions of Plague Lands' and a selection of Karim's shorter poems. Notes on the poems, Elena Lappin's introduction and an afterword by Marius Kociejowsky exploring Karim's life, illuminate the context of the poetry.

The Pulitzer Prize-winning author of Beloved and Jazz now gives us a learned, stylish, and immensely persuasive work of literary criticism that promises to change the way we read American literature even as it opens a new chapter in the American dialogue on race.

Toni Morrison's brilliant discussions of the "Africanist" presence in the fiction of Poe, Melville, Cather, and Hemingway leads to a dramatic reappraisal of the essential characteristics of our literary tradition. She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.

Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

The Spring 2025 issue of Poetry Birmingham Literary Journal comprises over 200 pages of poems, essays, interviews, and reviews edited by Naush Sabah.

Rowland Bagnall reviews Go Figure, Kavita Bhanot on the Idea(l) of Literature, Gerry Cambridge on Anthony Hecht, Caroline Clark on the Moscow nightingale, Fred D’Aguiar on Benjamin Zephaniah and reviewing [...] and Forest of Noise, W. J. Davies interviews Peter Robinson on Roy Fisher, Julie Irigaray on Rimbaud, Gregory Leadbetter reviews Worlds Woven Together, Andrew Neilson on Roddy Lumsden, Clare Pollard on invented creatures, Camille Ralphs interviews Andrew Motion and Michael Hofmann, Jacqueline Saphra on teaching poetry, Alina Stefanescu on the republic of letters, Sarah Westcott on animal hearts, and Jeremy Wikeley reviews Come Here to This Gate.

Poems by Paul atten Ash, Khairani Barokka, Daragh Byrne, Troy Cabida, Gerry Cambridge, Sophia Rubina Charalambous, Courtney Conrad, Meredith MacLeod Davidson, Yanita Georgieva, Cathra Kelliher, Richard Lambert, Gregory Leadbetter, Angela Leighton, Dominic Leonard, Rob McClure, Andrew Hykel Mears, Alex Mepham, Benedict Newbery, Sarah O’Connor, Anita Pati, Hua Qing (translated by Liang Yujing), Tim Relf, Jake Reynolds, Paul Robert, Julie Runacres, Laura Theis, Nadira Clare Wallace, and Rich Ware.

The widely criticised Police and Criminal Evidence Bill would have given the police unprecedented new powers on the streets and in police stations. Although the Bill fell when the 1983 General Election was called, a new Bill is being reintroduced by the government. This book analyses the issues behind the Bill, and the argument that the new powers are needed not to detect crime, but to enable the police to act as a repressive mechanism of social control. The effect will be to legitimise policing by coercion.  

The book provides an insight into the issues related to the occupation of Palestine - the plans of the foreign powers, the role of the regimes in the Middle Eastm the origina and reality of the PLO, the viability of the Pleastinian state, and the solution from Islam.

The Amazing Adventures of Master Storyteller John Row...

John Row has been a professional artist, writer, performer for sixty years.He's been everywhere, man, studying at art school with a teenage Brian Eno, in at the early days of Rock Against Racism, touring with punk and reggae bands, hip hop artists and, more recently, in his mid-seventies and during Covid lockdown, curating the worldstorytellingcafe.com website and directing the Marrakech International Storytelling Festival once the borders were reopened.

Dive into a collision of memories, anecdotes and thoughts drawn from six decades of being at the cutting edge of street poets and alternative lifestyles, giving voice to the unheard and celebrating life in all its diversions and diversities. 

John Row is a force of nature. Take it from the one who knows...

Himself!

Potiki is a novel by New Zealand author Patricia Grace. First published in 1986, the book is a significant work in contemporary Māori literature, and explores themes of cultural identity, land rights, and the impacts of urban development on indigenous communities. It was critically and commercially successful, and received the New Zealand Book Award for Fiction in 1987. It was published during the Māori renaissance, a period of time in which Māori culture and language was experiencing a revitalisation, and academics have described it as being part of that movement. Due to its themes of Māori resistance to colonialisation, the novel was viewed by some critics as political, although Grace has said that her intention was to write about people living ordinary lives. It was also unusual for its time in not including an English glossary of te reo Māori (Māori language) words, on the basis that Grace did not want Māori to be "treated as a foreign language in its own country".