Corinne Fowler – författare

Brought to you by Penguin.The countryside is almost sacred to many Britons. There is a depth of feeling about rural places, the moors and lochs, valleys and mountains, cottages and country houses. Yet the British countryside, so integral to our national identity, is rarely seen as having anything to do with British colonialism. In Our Island Stories, historian Corinne Fowler brings rural life and colonial rule together with transformative results. Through ten country walks with varied companions, Fowler combines local and global history, connecting the Cotswolds to Calcutta, Dolgellau to Virginia, and Grasmere to Canton.Empire transformed rural lives: whether in Welsh sheep farms or Cornish copper mines, it offered both opportunity and exploitation. Fowler shows how the booming profits of overseas colonial activities directly contributed to enclosure, land clearances and dispossession. These histories, usually considered apart, continue to link the lives of their descendants now.To give an honest account, to offer both affection and criticism, is a matter of respect: we should not knowingly tell half a history. This new knowledge of our island stories, once gained, can only deepen Britons'' relationship with their beloved landscape.©2023 Corinne Fowler (P)2023 Penguin Audio

Despite the recent increase in scholarly activity regarding travel writing and the accompanying proliferation of publications relating to the form, its ethical dimensions have yet to be theorized with sufficient rigour.

Drawing from the disciplines of anthropology, linguistics, literary studies and modern languages, the contributors in this volume apply themselves to a number of key theoretical questions pertaining to travel writing and ethics, ranging from travel-as-commoditization to encounters with minority languages under threat. Taken collectively, the essays assess key critical legacies from parallel disciplines to the debate so far, such as anthropological theory and postcolonial criticism. Also considered, and of equal significance, are the ethical implications of the form’s parallel genres of writing, such as ethnography and journalism. As some of the contributors argue, innovations in these genres have important implications for the act of theorizing travel writing itself and the mode and spirit in which it continues to be conducted. In the light of such innovations, how might ethical theory maintain its critical edge?

Despite the recent increase in scholarly activity regarding travel writing and the accompanying proliferation of publications relating to the form, its ethical dimensions have yet to be theorized with sufficient rigour.

Drawing from the disciplines of anthropology, linguistics, literary studies and modern languages, the contributors in this volume apply themselves to a number of key theoretical questions pertaining to travel writing and ethics, ranging from travel-as-commoditization to encounters with minority languages under threat. Taken collectively, the essays assess key critical legacies from parallel disciplines to the debate so far, such as anthropological theory and postcolonial criticism. Also considered, and of equal significance, are the ethical implications of the form’s parallel genres of writing, such as ethnography and journalism. As some of the contributors argue, innovations in these genres have important implications for the act of theorizing travel writing itself and the mode and spirit in which it continues to be conducted. In the light of such innovations, how might ethical theory maintain its critical edge?

Colonial Countryside is a book of commissioned poems and short stories produced by ten global majority writers featuring National Trust houses with significant colonial histories. This includes properties whose owners engaged in the slavery business, in colonial administration or who were involved with the East India Company or British rule in India.

Historians have accompanied these pieces with commentaries detailing the evidence upon which each creative commission was based. The book ends with a photo essay by the project’s commissioned photographer, Ingrid Pollard, the Turner Prize shortlisted artist who has pioneered critical interventions into the supposed whiteness of the British countryside.