Matthew Francis – författare

Depersonalization and Creative Writing: Unreal City explores the common psychological symptom of depersonalization, its influence on literature and the insights it can provide into the writing process.Depersonalization is a distressing symptom in which sufferers feel detached from their own selves and the world. Often associated with psychological disorders, it can also affect healthy people at times of stress. Beginning with a first-hand account of the experience, the book goes on to argue that many well-known literary texts, including Camus’s The Outsider and Sartre’s Nausea, evoke a similar psychological state. It shows how a concept of depersonalized writing can be found in the work of literary theorists from widely different traditions, including T.S. Eliot, Roland Barthes and Viktor Shklovsky. Finally, it maintains that creative writers can make use of the lessons learned from a study of depersonalization to arrive at a deeper understanding of writing.Given this knowledge, the controversial writing teacher’s maxim show, don’t tell, so often misapplied or misunderstood, can be repurposed as a practical instruction for taking students’ writing to a new level of sophistication and wisdom.

Depersonalization and Creative Writing: Unreal City explores the common psychological symptom of depersonalization, its influence on literature and the insights it can provide into the writing process.Depersonalization is a distressing symptom in which sufferers feel detached from their own selves and the world. Often associated with psychological disorders, it can also affect healthy people at times of stress. Beginning with a first-hand account of the experience, the book goes on to argue that many well-known literary texts, including Camus’s The Outsider and Sartre’s Nausea, evoke a similar psychological state. It shows how a concept of depersonalized writing can be found in the work of literary theorists from widely different traditions, including T.S. Eliot, Roland Barthes and Viktor Shklovsky. Finally, it maintains that creative writers can make use of the lessons learned from a study of depersonalization to arrive at a deeper understanding of writing.Given this knowledge, the controversial writing teacher’s maxim show, don’t tell, so often misapplied or misunderstood, can be repurposed as a practical instruction for taking students’ writing to a new level of sophistication and wisdom.

'I first read a W. S. Graham poem in 1949. It sent a shiver down my spine. Forty-five years later nothing has changed. His song is unique and his work an inspiration.' Harold Pinter. From his first publications in the early 1940s, to his final works of the late 1970s, W. S. Graham has given us a poetry of intense power and inquisitive vision - a body of work regarded by many as among the best Romantic poetry of the twentieth century. This New Collected Poems, edited by poet and Graham-scholar Matthew Francis and with a foreword by Douglas Dunn, offers the broadest picture yet of Graham's work.

Like his acclaimed Mandeville (2008), Matthew Francis's fourth Faber collection explores a world of marvels, real and fantastic. A man takes off for the moon in an engine drawn by geese, a poltergeist moves into a remote Welsh village, and a party of seventeenth-century Englishmen encounter the wonders of Russia - sledges, vodka, skating and Easter eggs. The scientist Robert Boyle basks in the newly discovered radiance of phosphorus (the noctiluca of the title) and the theme of light in darkness is taken up by the more personal poems in the book: phoneboxes, streetlamps, moonlight. The joys of the world and of the imagination find their equivalent in Francis's joy in the possibilities of language: 'A basket of snow for the Empress / with a poem ofmodest triumph: / I made this out of what does not last.'

Shortlisted for the Ted Hughes Award for New Work in Poetry 'Here at the turn of the leaf a horseman is ridingthrough the space between one world and another . . .' The Mabinogi is the Welsh national epic, a collection of prose tales of war and enchantment, adventure and romance, which have long fascinated readers all over the world. Matthew Francis's retelling of the first four stories (the Four Branches of the Mabinogi) is the first to situate it in poetry, and captures the magic and strangeness of this medieval Celtic world: a baby is kidnapped by a monstrous claw, a giant wades across the Irish Sea to do battle, a wizard makes a woman out of flowers, only to find she is less biddable than he expected. Permeating the whole sequence is a delight in the power of the imagination to transform human experience into works of tragedy, comedy and wonder.The Mabinogi is an important contribution to the storytelling of the British Isles.'I have waited a life for this book: our ancient British tales re-told, in English, by a poet, as they were in their original Welsh. This is more than translation. It picks up the harp and sings.' Gillian Clarke

One hundred years after his birth, W. S. Graham's words seem more awake than ever. His subtle exploration of the paradoxes of language, his passionate conviction of the importance of art and the love he expresses for the people and landscapes of his native Clydeside and adopted home of Cornwall attract more readers each year. In startlingly original poems, he celebrates family and friendship and probes the limits of our understanding of the world and our place in it. Graham's New Collected Poems (2004) marked a crucial point in the growth of his reputation, bringing together for the first time all the poems of his seven collections as well as some of the unpublished material that had come to light since his death in 1986. Now, as we honour his centenary, this New Selected Poems presents his best and most characteristic: from his epic seafaring masterpiece 'The Nightfishing' to the quirky metaphysics of 'Implements in their Places', as well as a selection of his early neo-romantic poems, which Graham himself believed were essential to a full understanding of his oeuvre, and some remarkable uncollected work. There is no better way to make the acquaintance of one of the greatest British poets of the twentieth century.

Matthew Francis's latest collection celebrates the richness of nature and of our responses to it. The pleasures of summer are emblazoned in the colourful wings and evocative names of butterflies, while a nocturnal encounter with an earwig becomes a joyous incantation to the 'witchy-beetle, forkin-robin' of dialect. Francis's love of history, embodied in his acclaimed Mandeville and The Mabinogi, gives rise to a sequence based on Robert Hooke's microscopic observations. There are tributes to the poets Basho, Dafydd ap Gwilym and W. S. Graham, to fireworks, apple varieties and hot toddies. And, in a moving elegy for a friend killed in a parachute accident, Francis shows us a vertiginous vision of a world where even the dead 'sleep on the wing'.

Delightful new versions of a great Welsh medieval poet's lyrics - intimate, urgent and timelessDafydd ap Gwilym, Wales's greatest poet, explored love, desire and the natural world with startling frankness and virtuoso wit. In a sequence freely adapted from Dafydd's work, Matthew Francis brings him to life for the modern English-speaking reader: as he waits in the woods for his lover, ogles the girls in church or causes chaos during a midnight assignation. Plants, birds and animals are fondly invoked while weather and the elements - wind, waves, fog and ice - play their part. Passionate in his treatment of sexual themes, Dafydd is equally ready to make fun of his own susceptibility. These delightful poems remain, across the centuries, intimate, urgent and timeless.'Matthew Francis's lively versions of the verses of medieval poet Dafydd ap Gwilym pay skilful tribute to the randiest of bards.' Suzi Feay, Financial Times, Best New Poetry

Delightful new versions of a great Welsh medieval poet's lyrics - intimate, urgent and timelessDafydd ap Gwilym, Wales's greatest poet, explored love, desire and the natural world with startling frankness and virtuoso wit. In a sequence freely adapted from Dafydd's work, Matthew Francis brings him to life for the modern English-speaking reader: as he waits in the woods for his lover, ogles the girls in church or causes chaos during a midnight assignation. Plants, birds and animals are fondly invoked while weather and the elements - wind, waves, fog and ice - play their part. Passionate in his treatment of sexual themes, Dafydd is equally ready to make fun of his own susceptibility. These delightful poems remain, across the centuries, intimate, urgent and timeless.'Matthew Francis's lively versions of the verses of medieval poet Dafydd ap Gwilym pay skilful tribute to the randiest of bards' Suzi Feay, Financial Times, Best New Poetry

Huckleberry Finn's adventurous journey along the Mississippi is captured in this adaptation of Mark Twain's classic novel. It thrives on the use of minimal set and prop devices to illustrate the many locations.

Catherine Morland lives for much of her time in a fantasy world of romance and mystery based on the Gothic novels of her time, the early 1800s. But a stay in Northanger Abbey leads her into a series of misjugdements and a farewell to her Gothic world, only to be dealt a cruel blow in the real one.

This adaptation of Dicken's famous epic novel of the French revolution tells the story of English lawyer Sydney Carton and French aristocrat Charles Darnay, both caught up in the bloodshed of the French Revolution. The dramatization attempts to stay close to the atmosphere of the original text, by utilizing a simple set, with numerous lighting changes and sound effects, minimal props and vivid stage images.

Religions are at their core about creating certainty. But what happens when groups lose control of their destiny? Whether it leads to violence, or to nonviolent innovations, as found in minority religions following the death of their founders or leaders, uncertainty and insecurity can lead to great change in the mission and even teachings of religious groups. This book brings together an international range of contributors to explore the uncertainty faced by new and minority religious movements as well as non-religious fringe groups.The groups considered in the book span a range of religious traditions (Christianity, Buddhism, Hinduism, Islam), old and new spiritual formations such as esotericism, New Age and organized new religious movements, as well as non-religious movements including the straight edge movement and the British Union of Fascists. The chapters deal with a variety of contexts, from the UK and US, to Japan and Egypt, with others discussing global movements. While all the authors deal with twentieth- and twenty-first-century movements and issues, several focus explicitly on historical cases or change over time. This wide-ranging, yet cohesive volume will be of great interest to scholars of minority religious movements and non-religious fringe groups working across religious studies, sociology and social psychology.

This valuable book is the first to bring together theory and policy with analysis and expertise on practices in key areas of the public realm to explore what religious literacy is, why it is needed and what might be done about it. It makes the case for a public realm which is well equipped to engage with the plurality and pervasiveness of religion and belief, whatever the individual’s own stance. It is aimed at academics, policy-makers and practitioners interested in the policy and practice implications of the continuing presence of religion and belief in the public sphere.

This valuable book is the first to bring together theory and policy with analysis and expertise on practices in key areas of the public realm to explore what religious literacy is, why it is needed and what might be done about it. It makes the case for a public realm which is well equipped to engage with the plurality and pervasiveness of religion and belief, whatever the individual’s own stance. It is aimed at academics, policy-makers and practitioners interested in the policy and practice implications of the continuing presence of religion and belief in the public sphere.

Religions are at their core about creating certainty. But what happens when groups lose control of their destiny? Whether it leads to violence, or to nonviolent innovations, as found in minority religions following the death of their founders or leaders, uncertainty and insecurity can lead to great change in the mission and even teachings of religious groups. This book brings together an international range of contributors to explore the uncertainty faced by new and minority religious movements as well as non-religious fringe groups.The groups considered in the book span a range of religious traditions (Christianity, Buddhism, Hinduism, Islam), old and new spiritual formations such as esotericism, New Age and organized new religious movements, as well as non-religious movements including the straight edge movement and the British Union of Fascists. The chapters deal with a variety of contexts, from the UK and US, to Japan and Egypt, with others discussing global movements. While all the authors deal with twentieth- and twenty-first-century movements and issues, several focus explicitly on historical cases or change over time. This wide-ranging, yet cohesive volume will be of great interest to scholars of minority religious movements and non-religious fringe groups working across religious studies, sociology and social psychology.

William Sydney Graham (1918–1986) is increasingly acknowledged as one of the most important British poets of the twentieth century. In playful but profound exercises in self-reflexivity, such as ‘Implements in their Places’ and ‘What is the Language Using Us for?’, he lays down a challenge to his readers which this book takes up. What exactly is he saying about language, and how are his concerns related to the apparently similar ones of postmodern theory? Matthew Francis offers a surprising answer: the theme of language in the poems is inextricable from that of community. Writing, for Graham, must always justify itself in terms of an idealized model of community based on his working-class Clydeside childhood. His work is haunted by guilt: in becoming a writer he felt he had betrayed his family and background. He attempts to assuage this by means of an ingenious metaphor that presents language itself as a community.Francis traces the development of this metaphor from the experimentalism of the early poems through the complexities of Graham’s most ambitious poem, ‘The Nightfishing’, to the subtlety and daring of the late work. Finally, he looks at some intriguing unpublished writings, and shows that their resistance to closure and dalliance with automatism are further attempts to solve this problem. Here as elsewhere, Graham’s brilliant rhetoric and deep insight into language are products of a quest for a mythical linguistic community, ‘where the people are’.