Twitter instream card 1900x1600-02.jpg

Following Brexit, the UK government is considering a major change to the UK’s copyright laws that could damage authors’ livelihoods by flooding the UK market with cheap imported editions. This will, potentially, devastate writers’ ability to make a living, cause publishers to adopt a ‘no risk’ policy in taking on new or unknown writers, and signal the end of bookshops as we know them.

 

Many of you will already be aware of this calamitous threat to writers, to the publishing industry and to our bookshops, and may have already written to your MPs; but just in case you haven't, please check out the Save Our Books website. It provides a readymade letter to your MP (to which you can add your own message). 

 

Please follow the link above, write to your MP, and pass on the message. It will take less than five minutes of your time.

 

You can read more about this threat to our livelihoods in the Guardian here.

Upcoming publications

Talking Translation (Parthian - November 2021)

This is Not Who We Are (July 2022)

Talking Translation is an exciting project with Parthian Books looking to showcase the work of translation. 

Parthian Books commissioned writers, editors and organisers to sit down with a translator and delve into every aspect of what they do, looking at old and new releases along the way.

 

Throughout 2021, those interviews and essays will be shared online – freely available for anyone to read. 

All the interviews will then be collated into a collection, to be released in November 2021.

 

The aim is for these conversations to help spark some interest in the important work of translating good stories into new languages – as well as celebrate some of the brilliant books translated over the years.

 

To follow the conversation, go to https://talkingtranslation.org 

Debut Novel

(Publication July 2022)

!8%2520March%25202020-17_edited_edited.j

In 1994, two sixteen-year-old girls exchange an unlikely correspondence during the Rwandan genocide.

 

Twenty years later, Iris has become a mother. Haunted by the fate of her pen friend, she investigates the genocide and uncovers details about the responsibility the French government played in the genocide, comes to suspect her own father's involvement and questions whether her childhood correspondence was a coincidence after all.  

 

As she does, she lends her voice to Victoria who takes us on a journey about guilt, family, and the power of remembering. 

"I set out on a journey, but the geography would not stay still, and I ended up somewhere I hadn't intended going."

Richard Gwyn