New Welsh Reader 132: Metamorphosis
By Yvonne Reddick and Vanessa Winship
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About this ebook
European female-led literature with an emphasis on place in prose, the narrative voice in fiction, diversity in poetry and beauty and imagination in photography. This anthology takes the theme of metamorphosis, and presents a feature-length profile of trans pioneer and travel author Jan Morris; the stunning photographs, by the multiple internat
Yvonne Reddick
Yvonne Reddick is the author of poetry pamphlet Translating Mountains (Seren, 2017), winner of the Mslexia Women's Pamphlet Competition, and Spikenard (Laureate's Choice, Smith
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New Welsh Reader 132 - Yvonne Reddick
Contents
IMPRINT
ICE
ALL THE WORLD IN A WELSH HAYLOFT
Dawn Chorus, Vesper Flights
AN EDEN
THE SUMMER OF NADIA COMĂNECI
OUTWARD BOUND
ARROWS
DAYS OF 1998
I AM UNLEARNING
LET’S PRETEND
BOULEVARD SAINT-LAURENT
WORD WOUND
VERY CLEAR AND DETAILED IN THE ODD BRILLIANT LIGHT
IMPRINT
New Welsh Reader
New Welsh Review Ltd
PO Box 170, Aberystwyth, SY23 1WZ
Telephone: 01970 628410
www.newwelshreview.com
Editor: Gwen Davies
editor@newwelshreview.com
Administration & Finance Officer: Bronwen Williams
admin@newwelshreview.com
Marketing & Publicity Officer: Edie Franklin
marketing@newwelshreview.com
Management Board: Ali Anwar, Gwen Davies (Director), Andrew Green (Director, Chair), Ruth Killick, David Michael (Treasurer), Matthew Francis, Emily Blewitt (Poetry Subs Editor, Vice-Chair)
Aberystwyth University Partnership: TK Quentin
Sponsor of the New Welsh Writing Awards: RS Powell
Design: Ingleby Davies Design
Host: Aberystwyth University
Main images: Front cover photograph of Jan Morris © MR Thomas; contents page, front inside cover & back cover photographs: Vanessa Winship (from Snow, Deadbeat Club, 2022).
With special thanks to Creative Wales (a Welsh Government initiative) for a Cost-of-Living Emergency Fund.
© The New Welsh Review Ltd and the authors
ISBN: 9781913830212
ISSN: 09542116
Views expressed in NWR are the authors’ own and do not necessarily reflect the opinions of either editor or board.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, recorded or otherwise, without the permission of the publisher, the New Welsh Review Ltd.
The New Welsh Review Ltd publishes with the financial support of the Books Council of Wales, and is hosted by Aberystwyth University’s Department of English & Creative Writing. The New Welsh Review Ltd was established in 1988 by Academi (now Literature Wales) and the Association for Welsh Writing in English. New Welsh Reader is New Welsh Review’s print (and digital) magazine for creative work. We also publish monthly roundups of online content, including reviews, comment and poetry, and at least one book annually on the New Welsh Rarebyte imprint, run a writing competition (New Welsh Writing Awards), and improve diversity in the UK publishing industry by hosting student work placements.
Mae croeso ichi ohebu â’r golygydd yn Gymraeg
Patrons: Belinda Humfrey, Owen Sheers
Patrons: Belinda Humfrey, Owen Sheers
ICE
STORY BY JEM POSTER
PHOTOGRAPHS BY VANESSA WINSHIP
As I drive out of town the wind is rising, whipping the powdery snow from the roadside shrubs and sending it whirling across the blacktop. I know what I’m looking for but I see the sign a moment too late. The surface is treacherous. I let the car slow to walking pace before I brake.
I reverse carefully and draw up level with the turning, a rutted track shadowed by conifers. The signboard hangs on two chains from a crude wooden frame. Brody, sculptor – just that, the letters bleached and peeling. I hear the chains creak as the wind catches the board.
The frozen grasses brush the underbody as I drive up the track. A flicker of anxiety – what if I ground the car out here, if I can’t get it back to the road? – and then the track veers left and opens out on to a paved yard.
On the far side of the yard a long, low building. Rough board walls, sheet metal roof, the remains of a porch framing the door. Nailed to the boards, in the space between two of the windows, a tattered Confederate flag; above it a carved wooden eagle with its tail fanned and its wings outspread. A battered pickup is parked with its nose to the wall. I pull in alongside it, grab my camera bag and get out.
No sound but the wind. The snow around the doorway unprinted. If it wasn’t for the smoke pluming from the stovepipe I’d think the place was deserted. I look out beyond the building to the piled clouds edged with sunlight and feel the old thrill – the vertiginous sense of possibility as I step away from my own life and close in on someone else’s.
The door opens. I can just make out the man’s bulk in the shadows. For a moment he hangs back, looking out, and then he steps forward to the threshold.
He’s perfect. I visualise his gaunt, creased face lit from the side – natural light if I can set things up before it fades. He’ll be hunched over his work, his lank hair falling forward, his hands guiding the tool. It’s all there in my mind’s eye, down to the thin flake of wood curling off the blade.
‘Mr Brody?’
‘Brody. Just Brody. What do you want?’
‘I’m Anna. Anna Markham. I’m a photographer. I wonder if you’d be willing to let me sit in on your work for an hour or so. I just want a few shots. I won’t be in your way.’
‘I’m not working today.’ He leans against the door-jamb, folds his arms across his chest. ‘Who sent you?’
‘The receptionist at the motel gave me your name. Told me where to find you.’
‘I don’t mean that. I mean who’s this for? A newspaper?’
‘It’s a commission from a publisher. There’ll be a