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'How will nature writing change now, along with our lives? I've been thinking about the Romantic concept of the sublime and how it connotes terror as well as beauty. I didn't understand how this combination could exist until I saw footage of a tsunami.'
'What issues from my pen is like a kind of linear stalagmite; the essential sediment of its sentences built up, at least in part, from the slow drip, drip of advice from teachers, editors, reviewers, friends, and family.'
Menna van Praag reflects on how her desire to please others suppressed her authenticity both on and off the page and how an essay by the poet Mary Oliver finally inspired her to stop.
'Good nature poetry is about looking, but it's also about having the right vocabulary, which most of us townies are losing. It's worth reading a few poets who really know about trees and flowers.'
Chris Arthur reflects on what the essay form means to him, and why one doesn’t have to have an academic background in literature in order to be a practitioner.

John Siddique speaks with Frances Byrnes about his troubled childhood, how literature provided him with a proxy family, and the power of colours in his own writing.

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