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'Some are bemused, some boys think the whole thing is ridiculous. But for me, the rich, mellifluous word-music of Dylan Thomas spills into my drab winter morning like sunshine. In that moment, I learn the power of the spoken word.'
'My friend’s untimely death galvanised me: I went on an Arvon course, primed by the book she had told me to read, my head stuffed with the English Civil War. As I sat at Lumb Bank, I saw a man sailing away from England. He trailed destruction... '
'I found myself trying to get into a prison, past a guard who looked me up on Wikipedia to check that I was really a poet. Inside, I read poems about growing up in the Welsh Valleys, translated into Italian for an audience of grinning prisoners.'
Nicola Baldwin reflects on her time as Royal Literary Fund Fellow at the University of Greenwich, and how the legacy of Floyer Sydenham – the destitute author whose fate inspired the foundation of the RLF – lives on.

Jonathan Edwards speaks with John Greening about Welsh tradition and the impact of Welsh nationalism in poetry, writing about family in the context of truth and fiction, the impact of winning a major poetry prize and the Bic 4-way pen as the most essential tool in his creative process.


Penny Boxall seeks inspiration at Laurence Sterne’s Shandy Hall, wondering how to move forward as a writer after the loss of her mother and her previous creative rituals.

Jonathan Edwards considers the poet WH Davies, whose extensive body of work forms a bridge between two worlds - the natural beauty of South Wales, and the gritty reality of early 20th century London and its poverty.

Ruth Dugdall visits some famous writing spaces – from J. K. Rowling’s Edinburgh café to Dylan Thomas’s shed – and asks what a writer’s chosen workplace can reveal about their life and art.
'I have prints of white flowers by Georgia O’Keefe, and Hannah McVicar; a set of wooden angel wings from one of my closest friends. I only have books that are useful or inspirational to the writing process, and my own published works are here. '
'Writing requires commitment, concentration, conviction and occasional boredom. It’s a combination of those that propels the creative process. In order to have all of these when I settle down to write, it’s best for me to be in a solitary environment.'
Neil Rollinson explores the relationship between writing and alcohol and considers some famous writers who found their muse – and sometimes their nemesis – at the bottom of a bottle.
'All of my favourite writers are Dylan Thomas. I say this because his writing is so varied. There are so many of him. I love his comic prose; the incredible sonic and formal ambition and achievement of his poems.'
'I was writing anti-poems, non-poems, un-poems. I was working so hard at writing them. It's a terrible thing: a poet who's not writing poems is an ailing creature, wailing through the night. A catastrophe for everyone around them.'
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