DOCSLIB.ORG

Typography, Illustration and Narration in Three Novels by Alasdair Gray

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Typography, Illustration and Narration in Three Novels by Alasdair Gray Title Page. Typography, Illustration and Narration in Three Novels by Alasdair Gray: Lanark, 1982, Janine and Poor Things. Craig Linwood Bachelor of Arts (Honours) School of Humanities Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy February 2017 Abstract. The impetus of the thesis emerged through an academic interest in how experimental uses of typography and illustration functioned as a method of narration within literature. This was followed by investigations into the use of typography and illustration yielded that while there is a growing field of literary study examining non-linguistic elements within narratives, there are few studies into typography and illustration and how an author utilises and develops them as a method of narration. In light of this, this thesis examines attempts to expand upon the act of narration through the use of typography and illustration in both experimental and common forms. This is focused through Scottish artist Alasdair Gray and three of his novels: Lanark: A Life in Four Books, 1982, Janine and Poor Things. While Gray’s novels are contemporary his use of typography and illustration engages in wider print cultures that facilitated experiment into literature involving the manipulation of typography, illustration and the traditions of narrative. Experimentation in literature from 1650 to 1990, be it through illustration, typography or the composition of narrative, often emerged when printing practice and its product were no longer seen as efficient at communicating to modernising audiences. This act often coincided with larger changes within print cultures that affected laws, politics, the means of distribution, views of design i and methods of distribution. These changes facilitated poets, authors and artists to break with traditions of communication and restrictions to methods of printing to create new forms further inspired by emerging print and audio / visual media, methods of printing production, views toward the composition of artworks and a modernising society. The traditions of print history related to experiment form one area that create the foundations of Gray’s employment of illustration and typography. Traditions of printing history are also an area to build foundations for how to examine the usage drawn from Gray’s work. Similar aspects of standardisation permeate Scottish language history and its literary market. Scottish engagement with Britain, religion and politics as well as the introduction of the printing press had ramifications for the state, nationalism and independence, affecting literary markets, but also drawing new methods of using and thinking about language. Engaged with European print cultures, through literature and non-standard typography, artists explored Scottish identity and how language reflected and represented this, often highlighting the disparity between the use of thought and speech. The examination of aspects of Scottish literature in this manner shows the path of Scottish literary markets, including those for Gray’s work, but also alternative methods for the use of non-standard typography related to characterisation and character speech. This again forms methods through which to explore how narration is expanded through typography and illustration. Gray’s novels emerge from the foundation of earlier print cultures and history, built through Gray’s wide reading, political engagement, his broad art-schooling and his involvement in literary markets. Through the three novels closely studied here, Gray builds and expands upon earlier artistic and literary examples and examined against theories of narration they reveal how typography and illustration are developed as a ii method of narration. Throughout Lanark: A Life in Four Books, typography and illustration serve multiple aspects of narration in the forging of an epic narrative. In 1982, Janine, typography is utilised as a means to render aspects of consciousness that cannot be easily accomplished through traditional methods, while adhering to the narrative limitations of the character’s point of view. In Poor Things both typography and illustration function as a method to represent aspects of printed materials as a means to present multiple points of view and explore the theme of the complex nature of the truth. Ultimately through Alasdair Gray and three of his novels this thesis explores the cultures of printing and application of experimental and common uses of typography and illustration within literature. More importantly it explores how typography and illustration are extended as a method of narration. iii Statement of Originality. This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. (Signed) iv Table of Contents. Abstract:..................................................................................................................................i Statement of Originality:.......................................................................................................iv Table of Contents:.................................................................................................................v List of Figures:......................................................................................................................vii Acknowledgements:...........................................................................................................viii Introduction:........................................................................................................................1 Chapter 1: Early experimentation and print culture in Europe – 1680-1830.....17 • Establishing the Author......................................................................18 • Changing Idea of the Book................................................................23 • Establishing the Reader............................................................................26 • The Life and Opinions of Tristram Shandy, Gentleman......................29 • The Practice of Printing.....................................................................33 • Printing of Illustrations........................................................................42 Chapter 2: 1830 to 1940 Industrial changes to printing, society and art...........51 • Demographics, Conditions of Life and Demand.................................52 • Mass Manufacture in Printing.............................................................57 • Effect of Printing Change...................................................................63 • Traditionalist Views of the State of Printing.........................................66 • New Views of Art – Breaking Structures.............................................70 • Machine Reformers...........................................................................82 • Literary Market and Novels................................................................90 Chapter 3: Contemporary printing and experiment - 1930 to 1990.....................94 • Changes to Printing Practice..............................................................95 • Further Modernisation of Printing and Markets...................................97 • Commercialisation of Printing, Visual Media and Style.......................101 • Mass Manufacturing, Society, Reading and Viewing Habits.............108 • Author's Response to Technology and the Book..............................114 • Printing and Computer Aided Composition......................................123 v • Political and Social Unrest: New View on Art and Design.................124 • Changing Relationship Between Designer, Type and Page..............127 • Alasdair Gray: Typography and Writing............................................130 Chapter 4: Printing Cultures, Scottish society and Alasdair Gray....................132 • Gray as an Artist..............................................................................133 • Gray and Politics.............................................................................136 • The Printing Press: Scottish Language and Literary Markets............137 • 1950s: International and Urbanised Writing.....................................150 Chapter 5: Lanark: A Life in Four Books...........................................................156 • Narrative.........................................................................................157 • Typographical Elements..................................................................159 • The Use of Illustration......................................................................160 • Marginalia.......................................................................................175 • Composition of Lanark's Chapters...................................................181 • General Typographic Use................................................................182 • Representation of Written Material...................................................183 • Tonal Change..................................................................................185 • Aural Effects....................................................................................187 • Italics of Inner Thoughts..................................................................188 • Ellipses...........................................................................................189
Load more

Recommended publications
  • Alasdair Gray and the Postmodern
    ALASDAIR GRAY AND THE POSTMODERN Neil James Rhind PhD in English Literature The University Of Edinburgh 2008 2 DECLARATION I hereby declare that this thesis has been composed by me; that it is entirely my own work, and that it has not been submitted for any other degree or professional qualification except as specified on the title page. Signed: Neil James Rhind 3 CONTENTS Title……………………………………….…………………………………………..1 Declaration……………………………….…………………………………………...2 Contents………………………………………………………………………………3 Abstract………………………………….………………………………..…………..4 Note on Abbreviations…………………………………………………………….….6 1. Alasdair Gray : Sick of Being A Postmodernist……………………………..…….7 2. The Generic Blending of Lanark and the Birth of Postmodern Glasgow…….…..60 3. RHETORIC RULES, OK? : 1982, Janine and selected shorter novels………….122 4. Reforming The Victorians: Poor Things and Postmodern History………………170 5. After Postmodernism? : A History Maker………………………………………….239 6. Conclusion: Reading Postmodernism in Gray…………………………………....303 Endnotes……………………………………………………………………………..320 Works Cited………………………………………………………………………….324 4 ABSTRACT The prominence of the term ‘Postmodernism’ in critical responses to the work of Alasdair Gray has often appeared at odds with Gray’s own writing, both in his commitment to seemingly non-postmodernist concerns and his own repeatedly stated rejection of the label. In order to better understand Gray’s relationship to postmodernism, this thesis begins by outlining Gray’s reservations in this regard. Principally, this is taken as the result of his concerns
    [Show full text]
  • Reciprocity in Experimental Writing, Hypertext Fiction, and Video Games
    UNDERSTANDING INTERACTIVE FICTIONS AS A CONTINUUM: RECIPROCITY IN EXPERIMENTAL WRITING, HYPERTEXT FICTION, AND VIDEO GAMES. A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2015 ELIZABETH BURGESS SCHOOL OF ARTS, LANGUAGES AND CULTURES 2 LIST OF CONTENTS Abstract 3 Declaration 4 Copyright Statement 5 Acknowledgements 6 Introduction 7 Chapter One: Materially Experimental Writing 30 1.1 Introduction.........................................................................................30 1.2 Context: metafiction, realism, telling the truth, and public opinion....36 1.3 Randomness, political implications, and potentiality..........................53 1.4 Instructions..........................................................................................69 1.41 Hopscotch...................................................................................69 1.42 The Unfortunates........................................................................83 1.43 Composition No. 1......................................................................87 1.5 Conclusion...........................................................................................94 Chapter Two: Hypertext Fiction 96 2.1 Introduction.........................................................................................96 2.2 Hypertexts: books that don’t end?......................................................102 2.3 Footnotes and telling the truth............................................................119
    [Show full text]
  • The Characters' Response to Social Structures in Alasdair Gray's Lanark
    Compliance Versus Defiance: The Characters’ Response to Social Structures in Alasdair Gray’s Lanark and 1982 Janine Markéta Gregorová Palacký University, Olomouc, Czech Republic Abstract The article focuses on two novels by Alasdair Gray, Lanark: A Life in Four Books (1981) and 1982 Janine (1984), in particular on the ways in which the characters are influenced by externally imposed social structures and the attitudes they assume in dealing with them. The adverse workings of official institutions, such as education and employment facilities, are received with compliance on the part of the protagonist in 1982 Janine but meet with resistance from both of the two mirror protagonists in Lanark. In the context of the standing of Scotland within the United Kingdom, institutions represent the interests of the powerful English majority rather than the dependent Scottish minority, and therefore any act of rebellion against them is charged with a subversive potential. Besides the political implications, the article explores the social dimensions of the novels and illustrates by means of individual examples the means used by the powerful to exploit the powerless, as well as the strategies the latter employ to defend themselves. Keywords Alasdair Gray; Lanark; 1982 Janine; politics in literature; sexuality; twentieth-century Scottish literature When Alasdair Gray was asked by an interviewer whether the concern with monstrous institutions recurrent in his writing is a “kind of obstreperousness” springing from “a genetic perturbation” of the author, he replied: My approach to institutional dogma and criteria—let’s call it my approach to institutions—reflects their approach to me. Nations, cities, schools, marketing companies, hospitals, police forces have been made by people for the good of people.
    [Show full text]
  • 1 the New Scottish Renaissance? Scott Hames for Peter Boxall And
    The New Scottish Renaissance? Scott Hames for Peter Boxall and Bryan Cheyette (eds), The Oxford History of the Novel in English: Volume 7, British and Irish Fiction Since 1940 (Oxford University Press, 2016) https://global.oup.com/academic/product/the-oxford-history-of-the-novel-in- english-9780198749394?cc=gb&lang=en& In his judicious but untimely survey of the Scottish novel, Francis Russell Hart observed that ‘a distinctive feature of modern Scotland’s literary establishment has been its hostility to, or relative lack of interest in, the novel as a form’ (Hart 1978, p. vii). Poetry was the medium of the nationalist literary renaissance of the 1920s-30s, and its dominant figure, Hugh MacDiarmid, had ‘frankly and influentially expressed the view that the novel is an inferior kind of literary expression, that “prose” is “non- creative”’ (vii.). But from the revivalist perspective the real failing of modern fiction was not generative but recuperative. The territory of the novel was off-limits to cultural revival of MacDiarmid’s kind, being impervious to the willed recovery of latent nationality.1 ‘The trouble with nearly all modern Scottish literature’, he wrote in 1946, is that it deals with the past, with pre-Industrial-Revolution times or with rural areas where ‘the old ways’ to a large extent continue. But as soon as it tackles urban problems and the conditions and prospects of modern life it peters out. This is because we have no writer yet big enough to carry over the independent Scots literary tradition from the bucolic and non-industrialised milieu in which it flourished into the contemporary scene.
    [Show full text]
  • A Brief History of Children's Storybooks
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF VISUAL ARTS AN ORIGINAL STORY WITH RELIEF PRINT ILLUSTRATIONS MARILYN TURNER MCPHERON Fall 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art with honors in Art Reviewed and approved* by the following: Robin Gibson Associate Professor of Art Thesis Supervisor Jerrold Maddox Professor of Art Honors Adviser *Signatures are on file in the Schreyer Honors College ABSTRACT Children’s literature, in the form of picture and storybooks, introduce a child to one of the most important tools needed to succeed in life: the ability to read. With the availability of affordable books in the 18th century, due to the introduction of new mechanization, individuals had the ability to improve their lives and widen their worlds. In the 19th century, writers of fiction began to specialize in literature for children. In the 20th century, books for children, with beautiful, colorful illustrations, became a common gift for children. The relatively rapid progression from moralistic small pamphlets on cheap paper with crude woodcuts to the world of Berenstain Bears, colorful Golden Books, and the tongue-twisters of Dr. Seuss is an intriguing social change. The story of how a storybook moves from an idea to the bookstore shelf is equally fascinating. Combining the history of children’s literature with how a storybook is created inspired me to write and illustrate my own children’s book, ―OH NO, MORE SNOW!‖ i ACKNOWLEDGEMENTS The Schreyer Honors College,
    [Show full text]
  • Contributors to SSL 43:2
    Studies in Scottish Literature Volume 43 | Issue 2 Article 35 12-15-2017 Contributors to SSL 43:2 Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons Recommended Citation (2017) "Contributors to SSL 43:2," Studies in Scottish Literature: Vol. 43: Iss. 2, 364–370. Available at: https://scholarcommons.sc.edu/ssl/vol43/iss2/35 This Back Matter is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. NOTES ON CONTRIBUTORS TO SSL 43:2 Timothy C. Baker is Senior Lecturer in Scottish and Contemporary Literature at the University of Aberdeen. He is the author of George Mackay Brown and the Philosophy of Community (2009) and Contemporary Scottish Gothic: Mourning, Authenticity, and Tradition (2014). Forthcoming projects include a study of the relation between animality, suffering, and language in contemporary fiction and another on gender and space in mid-twentieth-century women’s fiction. Jamie Reid Baxter has long been active in scholarship on, and performance of, Renaissance Scottish drama, poetry and music, with a principal research focus is the interaction of religion, politics and culture in Scotland from the 1540s to the 1640s. He is currently completing an edition of the writings of Elizabeth Melville, Lady Culross. Iain Beavan is Keeper of Rare Books, emeritus, University of Aberdeen, and honorary research fellow, School of Critical Studies, University of Glasgow. He contributed to the Edinburgh History of the Book in Scotland, vols.
    [Show full text]
  • The Illustrated Book Cover Illustrations
    THE ILLUSTRATED BOOK COVER ILLUSTRATIONS: A collection of 18 pronouncements by Buddhist sages accompanied by their pictures. n.p., n.d. Manuscript scroll folded into 42 pages, written on leaves of the bodhi tree. Chinese text, beginning with the date wu-shu of Tao kuang [·i.e. 1838 ] Wooden covers. Picture of Buddhist sage Hsu tung on front cover, accompanied by text of his pronouncement on separate leaf on back cover: "A Buddhist priest asked Buddha, 'How did the Buddha attain the most superior way?' Buddha replied, 'Protect the heart from sins; as one shines a mirror by keeping off dust, one can attain enlightenment.'" --i~ ti_ Hsu tung THE ILLUSTRATED BOOK • An Exhibit: March-May 1991 • Compiled by Alice N. Loranth Cleveland Public Library Fine Arts and Special Collections Department PREFACE The Illustrated Book exhibit was assembled to present an overview of the history of book illustration for a general audience. The plan and scope of the exhibit were developed within the confines of available exhibit space on the third floor of Main Library. Materials were selected from the holdings of Special Collections, supplemented by a few titles chosen from the collections of Fine Arts. Selection of materials was further restrained by concern for the physical well-being of very brittle or valuable items. Many rare items were omitted from the exhibit in order to safeguard them from the detrimental effects of an extended exhibit period. Book illustration is a cooperation of word and picture. At the beginning, writing itself was pictorial, as words were expressed through pictorial representation.
    [Show full text]
  • Illumination Attributed to Flemish Artist Willem Vrelant in the Farnsworth Hours
    Illumination attributed to Flemish artist Willem Vrelant in the Farnsworth Hours. 132 Book Arts a Medieval Manuscripts Georgetown’s largest collection of late medieval and early renaissance documents, the Scheuch Collection, is described in the European History chapter. In addition to that collection, the library possesses nearly a score of early liturgical and theological manuscripts, including some with interesting and sometimes significant miniatures and illumina tion. Those held prior to 1970 are for the most part listed in Seymour de Ricci’s Census or its supplement, but special note should be made of the volume of spiritual opuscules in Old French (gift of John Gooch) and the altus part of the second set of the musical anthology known as the “Scots Psalter” (1586) by Thomas Wode (or Wood) of St. Andrews, possibly from the library of John Gilmary Shea. Also of note are two quite remarkable fifteenth-century manuscripts: one with texts of Bede, Hugh of St. Victor, and others (gift of Ralph A. Hamilton); the other containing works by Henry of Hesse, St. John Chrysostom, and others (gift of John H. Drury). In recent years the collection has Euclid, Elementa geometriae (1482). grown with two important additions: a truly first-rate manuscript, the Farnsworth Hours, probably illuminated in Bruges about 1465 by Willem Vrelant (gift of Mrs. Thomas M. Evans), and a previously unrecorded fifteenth-century Flemish manuscript of the Imitatio Christi in a very nearly contemporary binding (gift of the estate of Louise A. Emling). The relatively small number of complete manuscripts is supplemented, especially for teaching purposes, by a variety of leaves from individual manuscripts dating from the twelfth to the sixteenth century (in part the gifts of Bishop Michael Portier, Frederick Schneider, Mrs.
    [Show full text]
  • (Para)Text in Alasdair Gray's Poor Things
    John Carroll University Carroll Collected Masters Essays Theses, Essays, and Senior Honors Projects Spring 2015 THE DECONSTRUCTION OF (PARA)TEXT IN ALASDAIR GRAY’S POOR THINGS Lila Ibrahim John Carroll University, [email protected] Follow this and additional works at: http://collected.jcu.edu/mastersessays Part of the English Language and Literature Commons Recommended Citation Ibrahim, Lila, "THE DECONSTRUCTION OF (PARA)TEXT IN ALASDAIR GRAY’S POOR THINGS" (2015). Masters Essays. 4. http://collected.jcu.edu/mastersessays/4 This Essay is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Masters Essays by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. THE DECONSTRUCTION OF (PARA)TEXT IN ALASDAIR GRAY’S POOR THINGS An Essay Submitted to the Office of Graduate Studies College of Arts & Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Lila Ibrahim 2015 In “Archive Fever: A Freudian Impression,” Jacques Derrida asserts that the archive is the place “where things commence ” and “where men and gods command ,” the place “where authority [and] social order are exercised” (9). Alasdair Gray’s Poor Things commences with the fictional discovery of potential archival matter and a desire to “preserve evidence of local culture that was being hustled into the past” (Gray vii).1 Wisam Mansour observes that “for ages the archive has been regarded as the major distinguishing feature for the construction of history, especially for those who work in the academic arena” (41).
    [Show full text]
  • Doktori Disszertáció
    Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ Kirchknopf Andrea Recent (Re)workings of (Post-)Victorian Fiction (Posztviktoriánus regényátiratok) Irodalomtudományi Doktori Iskola A Doktori Iskola vezetıje: Dr. Kulcsár Szabó Ernı, egyetemi tanár Modern Angol és Amerikai Irodalom Program A Program vezetıje: Dr. Péter Ágnes, egyetemi tanár A bizottság tagjai és tudományos fokozatuk: Elnök: Dr. Péter Ágnes, CSc, habilitált doktor Külsı bíráló: Dr. Bényei Tamás, DSc, habilitált doktor Belsı bíráló: Dr. Takács Ferenc, PhD Tag: Dr. Rawlinson Zsuzsa, PhD Titkár: Dr. Farkas Ákos, PhD Póttag: Dr. Péteri Éva, PhD Póttag: Dr. Marinovich Sarolta, CSc Témavezetı: Dr. Friedrich Judit, CSc, tanszékvezetı egyetemi docens Budapest, 2011 Recent (Re)workings of (Post-)Victorian Fiction Contents & Explanations Introduction where readers learn what post-Victorian fiction is, why it is important and how it is approached in the following work. 1 Chapter 1. From Victorian to Post-Victorian : Definitions, Terminology, Context 10 1.1 The Meanings of Victorian 12 1.2 Appropriating Victorian : Terming Postmodern Rewrites 17 1.3 Contexts and Critical Discourses of Post-Victorian Fiction 27 The background to post-Victorian rewriting is established, settling basic questions like what to call this type of fiction and in which critical frameworks to discuss it. Chapter 2. Post-Victorian Fiction in its Social and Political Context 44 2.1 The Literary Scene: Authors, Readers, Criticism and the Market 45 2.2 Narratives of Identity in Post-Victorian Fiction 58 The history of post-Victorian fiction of the last thirty years is scrutinised by first exploring the contemporary literary landscape, then analysing novels within the framework of postcolonial and postimperial narratives.
    [Show full text]
  • PDF Article Download
    Alasdair Gray - most prolic, multi- gifted and bibulous of writers Liiz Callder News - Books Thursday, 2nd January 2020 Liz Calder recalls the writer and artist, who has died at the age of 85 Sharp-eyed literary trainspotters may have noticed that Alasdair Gray had more than one UK publisher, and that despite his Scottish nationalism, two of them were London-based. For over a decade he offered some of his works to his first and primary publisher, Canongate, and others to Cape and later to Bloomsbury. It came about this way. In the early '80s I was editing books by the Scottish historian Angus Calder (no relation). He told me of his wildly gifted writer friend Alasdair Gray, whose beloved publisher, the tiny Scottish house of Canongate, founded in 1973 by Stephanie and Angus Wolfe-Murray, was strapped for cash and couldn't afford to offer Alasdair an advance for his next book. Canongate had heroically published his magnum opus, Lanark, in 1981, to universal acclaim, followed by Unlikely Stories, Mostly. Could we at Cape step in and publish his new novel, 1982, Janine? We could. It came out in 1984. In 1987, after I moved from Cape to join others in setting up Bloomsbury, Alasdair decided to share his books between Canongate and Bloomsbury. So it went for the next decade, during which we published Poor Things, Ten Tales, Tall and True, Old Men in Love and others. Alasdair was the most generous of souls as well as the most prolific, hardworking, loyal, multi-gifted and bibulous of writers.
    [Show full text]
  • Costa Book Awards in 2006
    The Book Awards were established by Whitbread in 1971 and encouraged, promoted and celebrated the enjoyment of reading. They became the Costa Book Awards in 2006. There are six awards: • Novel Award, First Novel Award, Biography Award, Poetry Award and Children’s Book Award winners (£5,000 each) • Book of the Year (selected from five winners above): £30,000 • Total prize fund is £55,000. COSTA WINNERS 2006 – present 2019 BOOK OF THE YEAR THE VOLUNTEER Jack Fairweather WH Allen First Novel Award The Confessions of Frannie Langton Sara Collins Viking Novel Award Middle England Jonathan Coe Viking Biography Award The Volunteer Jack Fairweather WH Allen Poetry Award Flèche Mary Jean Chan Faber & Faber Children’s Book Award Asha & the Spirit Bird Jasbinder Bilan Chicken House 2018 BOOK OF THE YEAR THE CUT OUT GIRL Bart van Es Fig Tree Books First Novel Award The Seven Deaths of Evelyn Stuart Turton Bloomsbury Books Hardcastle Novel Award Normal People Sally Rooney Faber & Faber Biography Award The Cut Out Girl Bart van Es Fig Tree Books Poetry Award Assurances J O Morgan Jonathan Cape Children’s Book Award The Skylarks’ War Hilary McKay Macmillan Children’s Books 2017 BOOK OF THE YEAR INSIDE THE WAVE Helen Dunmore Bloodaxe Books First Novel Award Eleanor Oliphant is Completely Fine Gail Honeyman HarperCollins Novel Award Reservoir 13 Jon McGregor 4th Estate Biography Award In the Days of Rain Rebecca Stott 4th Estate Poetry Award Inside the Wave Helen Dunmore Bloodaxe Books Children's Book Award The Explorer Katherine Rundell Bloomsbury Children’s
    [Show full text]