Karin Altenberg and our host Julia Copus discuss ‘Face to Face’ and ‘Solitude (I)’ by the late Swedish poet Tomas Tranströmer, both translated by Robin Robertson.
Emily Berry and our host Julia Copus discuss the often overlooked poetry of Wuthering Heights author Emily Brontë, focusing on ‘I’ll Come When Thou Art Saddest’, in 'Poetry Break'.
Rebecca Watts and our host Julia Copus discuss ‘My Grandmother’s Love Letters’ by twentieth century American poet Hart Crane, in Poetry Break.
Julia Copus speaks with Ann Morgan about building a varied writing career, the need to be brave, creating a new poetic form and the days when the words won’t come.
John Greening and our host Julia Copus discuss two favourite classic poems by Edward Thomas, ‘The Owl’ and ‘Adlestrop’, in Poetry Break.
Kathryn Maris and our host Julia Copus discuss two favourite classic poems by Thomas Hardy, ‘The Convergence of the Twain’ and ‘The Voice’, in Poetry Break.
Rebecca Goss and our host Julia Copus discuss two classic poems, 'Bath' by Amy Lowell and 'Sea Love' by Charlotte Mew, in another instalment of our special ‘Poetry Break’ series.
Bethan Roberts explores the varying ways in which truth has transmuted into fiction in her novels, the different nature of truth in fiction versus truth in historical research, and how far she’s prepared to go when inhabiting characters who are also real people.
Lawrence Sail considers the balance between recognising things and discovering them, as experienced during the creative writing process, particularly in poetry.
Jane Feaver and our host Julia Copus discuss two classic poems by John Clare in another instalment of our special ‘Poetry Break’ series.
Ian McMillan and our host Julia Copus discuss three classic poems by Robert Frost in another instalment of our special ‘Poetry Break’ series.
Tim Pears explores the double bind that professional authors find themselves in when teaching creative writing, and the unteachable essentials of style and the ‘strangeness’ that reveals the world anew.
Andrew Cowan considers the history of university Creative Writing courses in the UK, their roots in the longer-established English Composition and Creative Writing strands in the US, and the way in which Creative Writing can be vocational even beyond the confines of professional authorship.