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The rain adding its dreary greyness to the monotonous swishing of the windscreen wipers, joined neon lights bouncing off the surface of the road on this wet November night in a conspiracy highlighting not only the dark loneliness of the fields flashing past but also that other inner longing that went on searching for something different and more stimulating than doing the same things day after day. And so it was, that at a singular moment when he changed, gear and left the roundabout behind that fate and coincidence, intervening as they so often c did to change everything forever, stepped in to bring the car to a stop alongside the solitary, rain-swept figure waiting for a bus.

Schoolboy is Martin Keaveney's fifth book. It follows the novels Delia Meade (2020) and The Mackon Country (2021), a novella, Caravan (2022) and a short story collection, The Rainy Day (2018), all published by Penniless Press. Stage and screen credits include Ireland's national broadcaster RTE and Scripts Ireland Playwriting Festival. He has a PhD in Creative Writing and Textual Studies. Scholarship has been published widely, including at the New Hibernia Review, Canadian Journal of Irish Studies and Estudios Irlandeses. He was awarded the Sparanacht Ui Eithir for his research in 2016. He works with hundreds of creative writers and literary enthusiasts annually (see more at www.martinkeaveney.com).

A farmer ends up in a wheelchair after a car crash that results in his wife's death. His son's relationship to him is complicated by a woman who comes into his life and lives with him for a time. He has conflicted feelings towards her and towards his sister, a nun who works in a hospital in Nebraska.These are exacerbated when he goes to London to work, discovering new sides to himself in the city's freewheeling ambience.This is a novel about generational guilt and the manner in which tribal loyalties change as traumatic events unfold both at home and abroad.

This book contains reviews submitted to the Northern Review of Books website during 2021 and 2022 plus articles previously printed in The Crazy Oik magazine.

Be my servantSoul Gnome in your salamander planet,be Jack the Lad, be Jack in the Green,be Jumping Jack in a quicksilver cosmosof arsenic, ammonia and brimstone. Be mynecrotic juggler, conjure your waxy andpoisonous valency to shape the warlock lightthe simple fear as the unfostered soulsof stillborn children lost betweenHeaven's bulb and the Inferno's flame.PP

A vulgar trip into the mock heroic: an entertainment from the years after the Second World War.

Gus Watt has gotten into a bit of a fix. Over the course of 24 hours he is introduced to the woman of his dreams - twice. He is unable to let either down and negotiates the pressures of both relationships, leading to a series of events more tangled than the hawthorn bushes that surround his caravan in the woods. Caravan is Martin Keaveney's 4th book after The Rainy Day, Delia Meade and The Mackon Country.

This new collection from Mark Ward selects work from his two previous collections Thunder Alley and The Visitor's Book, adding a substantial selection of new poems. Predominantly set in his hometown of Blackburn, it chronicles and collates the overlooked, the ordinary and the remarkable into a rich, compelling sequence of narrative poems.

Then And Us demonstrates how Champion can produce a novel with a natural, very 'real' style, complementing the touchingly brave and awkward not-so-long-ago world of young adulthood battling their own and class-divided emotions. With its setting and tonal range reminding one of Waugh - at times an almost anti-Brideshead Revisited - the dialogue, setting, and characters are so well-placed in their time, and Champion's more usual ideological polemics are nicely tucked into the mouths of the pedagogues, leaving the characters to breath, and speak to us movingly.

This is volume 8 (the last) of Dent's roman fleuve The Caxton Langs.

The Mackon Country is Martin Keaveney's second novel. His debut novel Delia Meade was published in 2020 and followed a short story collection, The Rainy Day in 2018, both published by Penniless Press. Stage and screen credits include Ireland's national broadcaster RTE and Scripts Ireland Playwriting Festival. He has a PhD in Creative Writing and Textual Studies. Scholarship has been published widely, including at the New Hibernia Review, Journal of Franco-Irish Studies and Estudios Irlandeses. He was awarded the Sparanacht Ui Eithir for his research in 2016. He works as a creative writing lecturer/consultant (see more at www.martinkeaveney.com).

Poems about life and landscapes of the Pennine towns of Lancashire

Now the last of Delia Meade's many children have married and moved away, she decides to tidy up the little room under the stairs, known as the Glory-hole. Amongst the forgotten toys, worn-out clothes and dusty boxes of photographs, Delia travels through happy and sad decades of her time at 109, Bog Road.

A series of poems based on the Arthurian legend with illustrations by the author

In this twelfth collection of essays and reviews Jim Burns looks back to the 1930s and the problems faced by some writers of the period. Novelists such as Dawn Powell, Charles Reznikoff, and Tess Slesinger are spotlighted. Two writers, Denys Val Baker and Norman Levine, who lived in St Ives when it was a hotbed of creative activity, have their work analysed, with specific reference to the novels and stories they wrote about the artistic community in the town. More painters are dealt with in essays about John Nash, Modigliani, and the four Scottish Colourists, Peploe, Caddell, Hunter, and Fergusson. The Beats appear in essays about the little magazines that featured them, Gary Snyder, and American expatriates in Mexico in the 1950s. Music has its place in reviews of books about Dave Brubeck and Jazz from Detroit. And there is an evaluation of the pleasures of British music hall and its personalities. Banned writers, a busted bookseller, and events in the histories of Scotland, Ireland, and Wales, not to mention Paris and London, go to complete the picture.

'Ken Champion's Future Tense is a novel of ideas brought to life by a cast of characters struggling in a new world order where Equality under a neo-liberal regime has been codified to an authoritarian extreme in an Orwellian dystopia. Meanwhile, the true master - internationally conglomerate capitalism - lets the puppets tangle their own strings. Champion, ever the master of unappealing male protagonists, leaves room for doubt and a semblance of redemption even if the better times of childhood may be more false dawns. With a strong, contemporary premise taking head-on the prominent controversies of today, this book ought to come with some kind of health-warning.' Phillip Ruthen, Waterloo Press

It's difficult to get away from Paris when writing about art, and several reviews in this collection inevitably refer to the city, though not only for art but also for the cafés, cabarets and other locations where artists and writers met to socialise. Paris wasn't the only place where such activity happened, so London, Berlin, New York, and several other cities also come into view. As a background to what went on artistically in Paris there is a review of a book dealing with the "vice, crime and poverty" which shows that it was all there while the painters and poets and their patrons carried on their conversation. This isn't to single out Paris for its perversities, and the review of writing from nineteenth century Prague shows that prostitution and its perils thrived there. As before, I've taken the liberty of including a handful of short prose pieces. They're not stories, in the strict sense of the word, and perhaps "sketches" best describes them?

These stories put me in mind of Gissing and Richard Yates - who in their very different centuries and countries mercilessly exposed the threadbare materialistic dreams of the middle classes. Neither of those admirable writers was hugely popular, nor ever, in the glib sense, populist, but both were true and powerful storytellers. Dent too is a disabused social critic, moralist and analyst of human nature, someone who castigates snobbery and hypocrisy with sardonic often heart-rending honesty. Dent shares their bitter sense of humour and keen sympathy for all failures and misfits - anyone trapped by blighted relationships and thwarted ambitions.

Brian Kilcoyne finds it difficult to cope with the death of his mother. His father is an alcoholic and he doesn't get on with his brother. He leaves his farm in Loughrea to go to college in Dublin, splitting up with his childhood sweetheart as he does so. They leave their relationship open with the possibility of continuing it in the future. He travels to Europe and America while trying to decide on his future. Romance and diaspora create conflicts in him before he returns to a changed Ireland What's he going to do with his future? Can he re-kindle his relationship with his girlfriend? Is his father going to re-marry? Will small-town mentalities force him to leave Galway again?

In an editorial to issue 9 the magazine's place and purpose was defined: "Voices" we believe has a function to play among the literary journals. It is not a vehicle for established writers. It is a means of dialogue between writer, of working class origin and/or of socialist tendency and the workers and socialists to whom they address themselves.

THE AUTHOR of this book (1907?1944) was perhaps the greatest poet of the Holocaust, a Jewish Catholic convert who fell victim to a mass murder of Jews perpetrated by the regular Hungarian Army under stan-dard orders. The crime took place towards the end of the Second World War when the Allied victory was already obvious. Some of the poems were recovered from the grave. Today, the poems are treasured as some of the most flawless modern additions to their country?s rich poetic heritage. They have gone some way towards teaching tolerance to new generations in the treatment of their racial, religious and ethnic minorities. Unlike many others, Radn?ti had plenty of opportunities to escape forced labour and death at the hands of the Nazis. He was at the height of his literary powers when he chose to enter the storm, eyes open and notebook in hand, deliberately seeking to transform the horror into po-etry.