The classic study of the English-language writing of Wales in the first half of the twentieth century by Glyn Jones, drawing on his personal acquaintance with writers like Dylan Thomas, Idris Davies and Caradoc Evans. Tony Brown had the opportunity to discuss the book with Glyn Jones before his death in 1995 and has had access to Glyn Jones's own proposed revisions and to manuscript drafts. This first paperback edition therefore includes some up-dating of the text and a new bibliography. Glyn Jones's first-hand knowledge of the writers, coupled with his shrewdness of critical comments, established the book as an invaluable study of this generation of Welsh writers. At the same time the autobiographical, first chapter in which Glyn Jones examines his own life and literary career - the boy who goes from a Welsh-speaking home in Merthyr, loses his Welsh as a result of his English-language education and cultural changes in industrial Merthyr, takes a job teaching in the slums of Cardiff, re-discovers as an adult the Welsh language and its rich literary tradition and becomes, in a full awareness of that tradition, one of Wales's major English-language writers of fiction and poetry - provides a "case study" of the cultural shifts which resulted in the emergence of a distinctive English-language literature in Wales in the early decades of the twentieth century.

Mining bilong dispela stori: Exploring the power imbalance between English and Tok Pisin, Twin Tongues transforms the English Language into a character who encounters her own foreignness in Papua New Guinea. This text struggles with the ethics of appropriation, language use and second language teaching, questioning the subjective position of the author, the teacher, the speaker of English. The poetry scrapes away the veneer of objectivity assumed by historical descriptions of Tok Pisin. Twin Tongues tests the flexibility of language, and asks, "What does language sound like to unfamiliar ears? And what is English anyway?" "A deeply engrossing collection."--Broken Pencil

First published in 1968, The Dragon Has Two Tongues was the first book-length study of the English-language literature of Wales. Glyn Jones (1905–95) was one of Wales’s major English-language writers of fiction and poetry, and the book includes chapters dealing with the work of Dylan Thomas, Caradoc Evans, Jack Jones, Gwyn Thomas and Idris Davies, all of whom the author knew personally. This first-hand knowledge of the writers, coupled with the shrewdness of Glyn Jones’s critical comments, established The Dragon Has Two Tongues as a classic and invaluable study of this generation of Welsh writers. It also contains Glyn Jones’s own autobiographical reflections on his life and literary career, his loss and rediscovery of the Welsh language, and the cultural shifts that resulted in the emergence of a distinctive English-language literature in Wales in the early decades of the twentieth century. This edition of The Dragon Has Two Tongues was edited by Tony Brown, who discussed the book with Glyn Jones before his death in 1995 with unique access to the author’s proposed revisions and manuscript drafts, and it was first published by the University of Wales Press in 2001.

With an introduction by Meg Rosoff William Golding's final novel, left in draft at his death, tells the story of a priestess of Apollo. Arieka is one of the last to prophesy at Delphi, in the shadowy years when the Romans were securing their grip on the tribes and cities of Greece. The plain, unloved daughter of a local grandee, she is rescued from the contempt and neglect of her family by her Delphic role. Her ambiguous attitude to the god and her belief in him seem to move in parallel with the decline of the god himself - but things are more complicated than they appear. 'A remarkable work ... A compelling storyteller as well as a clear-eyed philosopher of the dangerous puzzles of being human.' The Times 'A wonderful central character. The story stretches out as clean and dry and clear as the beach in Lord of the Flies.' Independent 'Feline, deadpan and at moments hilarious.' Observer