Sunday, 16 November 2025

On Writing Memoir about Growing up in Leicester in the 1960s

By Sharon Tyers


The Leicester Seamstress


My mother was a sock linker in a hosiery factory in Leicester for forty years. Sometimes she called herself an overlocker. As a child I had no idea what that meant and all I knew about socks was that she brought home the rejects from the factory floor, the ones that didn’t pass muster, for me to wear. As a result, when I was writing her story, there were many challenges along the way.

Firstly, the hosiery industry in Leicester doesn’t exist anymore but when I was growing up it was proud to say it was "a city that clothed the world." How was I to capture those times when the factories had disappeared from sight? Secondly, by the time I decided to write my mother’s story she was incapacitated and bedridden in the final throes of vascular dementia and had no voice – she could not share her memories with me. Thirdly, the moral dilemma as to whether I had the right to write about my mother’s life caused me much unrest and sleepless nights.

My first decision was to return to the city of my birth, which I left in 1979 at the age of nineteen, and retrace my steps, but that too was beset with problems. Leicester Market, a favourite haunt, where mum would drag me from stall to stall filling her shopping bag with unwashed potatoes, wet lettuces and muddy carrots, was being dug up. Huge, faceless, white boards hid its faded glory and bulldozers drowned out the shouts of the few remaining stall holders. Mum’s factory, where she started work on her fourteenth birthday in 1946, had been converted into student accommodation and was ironically called The Hosiery Factory. The chimney was still there, though, and I stood outside and imagined it smoking when mum arrived and disappeared through the enormous gates to spend the next forty years of her life. Her life may not have been glamorous but I would swear as I stood there, I could hear the giggles she shared with the other women.

Indeed, on Facebook, when I posted a picture of The Leicester Seamstress, who stands on the corner of Hotel Street, over 700 local people came forward to share their love of what she represented – the ordinary hard-working hosiery operator. I knew then I had to continue to write about not only my mother’s life but their recollections too.

So, I kept walking through the past, from Newarke where the Midland Red bus used to drop us off, through the Magazine arch and up into St Martin’s, where we never knew we were walking over the bones of Richard III who would be found thirty years later. Most importantly, I needed to stand in Fox Lane, that shortcut we took between Marks and Lewis’s where the strongman in a thin vest lifted weights for the entertainment of the shoppers and the accordion player squeezed out Lady of Spain.


Fox Lane, Leicester, 1965


These may not be the most sophisticated research methods employed by writers but I was there, you see, and I’ve realised the pictures are still in my head even if they are not still on the streets of Leicester. I completed my book in June of this year and called it The Wrong Socks.


About the author
Sharon Tyers taught English for many years at The Blue Coat School in Liverpool and now lives in North Wales where her first book, Linen and Rooks, is set. An essay, The Lost Dens of Leicester, was published by Little Toller/The Clearing in August 2025, again about her Leicester childhood. She is currently writing After the Fair, the untold story of Susan Henchard, from Hardy’s The Mayor of Casterbridge. She gives talks in libraries and bookshops and campaigns for better oratory skills in schools. She misses Leicester. Her website is here

Sunday, 9 November 2025

Rennie Parker, "Daughters of the Last Campaign"



Rennie Parker is a poet and FE worker, living in Lincolnshire. She has published several collections with Shoestring Press, her latest one being Balloons and Stripey Trousers.

She grew up in Leeds, and worked in tourism before researching a PhD at Birmingham Uni. Since then, she has worked in community arts and museums, taught literature, published criticism as well as poetry, and takes part in regional bookfairs and events. 



About Daughters of the Last Campaign, by Rennie Parker
The race to the South Pole, 1909 – 1911. What if a female expedition had really gone ahead? Meet Lady Helena the obsessive leader, her not-too-bright companion Gloria … and a third expeditioneer from (no!) a lower social class. Meanwhile, a modern-day researcher attempts to make sense of it all, hindered by a bitter descendant and a raft of eccentric enthusiasts. There is, of course, a re-enactment society who are going to deliver a LARP weekend, and an unwilling research supervisor who dislikes his supervisee; not to mention Major "Blaze" Fender-Bowen, who takes time out from his next TV series to speak with our contemporary heroine. What a shame the photographs from 1910 are so bad; is it possible that the whole expedition was a gigantic hoax? Join the intrepid Elizabeth Winsome Gardiner as she hauls a sledge across the white continent, acting as diarist, scientist, cook, and navigator. 

You can read more about Daughters of the Last Campaign on the author's website here. Below, you can read an excerpt from the novel. 


From Daughters of the Last Campaign
[Our 3-woman team is about to journey South. However, the paying-guest member, EWG, was recruited in a hurry thanks to a funding crisis.]

- Here you are. Compass, solar compass, chronometer, theodolite, sextant, map of the continent, Hansard’s Directory of Navigational Techniques, and a planar alidade.

- A what?

          I stood there astonished, holding out an irregular pile of scientific instruments which she had clattered into my arms.

- But, Lady Helena. The problem is –

          Gloria barged in with:

- And don’t forget the sledge meter; that’s the big bicycle wheel thingy on the end.

- But Lady Helena –

- Oh don’t look so glum, Dr. Gardiner. There will be plenty of opportunities for your medical pursuits. You can do all your scientific gubbins when we’re out there; it won’t be all typing and dictation, you know.

- But, Lady Helena. I am not a scientist. That is what I’ve been trying to say.

- But you’re a doctor. You said so.

- I am a musicologist. Doctor of Music. Didn’t you get my references?

          While Lady H. considered this important statement, Gloria said:

- Not medical then. Not one of those useful doctors.

- No. I’m an early music specialist. Sumer is icumen in, lhude syng cuccu.

- But you went to Newnham!

- Girton.

- And the Royal College.

- Royal College of Music. The RCM.

- So you’re not medical then.

- No. Whatever gave you that idea.

          There was a long pause. Seagulls cried overhead, and I heard the anchor rattling up on its chain.

- Oh bugger. I think I’ve made a terrible mistake.

          She turned towards me with a horrified expression, but before she could say anything, there was a raucous blast from the funnel. The deck underneath me began to slant and ride; then I suddenly found we were slipping away from the jetty, and a length of dirty green water was separating us from the land I loved. Only one question remained. What on earth was a planar alidade?


Saturday, 8 November 2025

Constantine, "Tales of the Charnwood"

Congratulations to University of Leicester MA Creative Writing graduate Constantine on the publication of his new book of short stories!



Constantine is an autistic author and father. He achieved a first-class B.A. at Middlesex University in 2017 and completed his Master's Degree at the University of Leicester in 2022. Between the two degrees he wrote four episodes of the Children's T.V. show Pablo and has written and published the picture book Tiya and the Minotaur and The Cats of Charnwood Forest and its sequel Jötunheim. He runs the not-for-profit publishers Coalville Community Publishers CIC, which concentrates on the central Midlands, and Midlands generally. 



About Tales of the Charnwood, by Constantine
Tales of the Charnwood is eight bedtime stories about life on the Charnwood as recounted by a Vixen to her cubs. The book is set in the universe of The Cats of Charnwood Forest

You can read more about Tales of the Charnwood on the publisher's website here. Below, you can read a complete short story from the collection. 


From Tales of the Charnwood

Chapter Four: Badgers. 

The following evening, Vixen sat at the mouth of the den watching her cubs play for a few safe pre-dawn hours. She noticed that some of her darling children were teasing the smallest cub.  Every family has someone who is the smallest, just as someone must be the biggest. Being a fox of the Charnwood, Vixen knew right from wrong and made plans to teach her cubs the difference. 

She had a good store of stories at her command and soon remembered one that would suffice. 

The story of the Friendly Badger. 

Once her cubs had come back inside and had finished suckling, she began. 

"Now, dear ones, I will tell you a story of a Badger. Some Badgers are okay in their own way, some have even been known to share a den with a fox and even be on talking terms; however, these are few and far between. 

"Generally speaking, Badgers are grumpy and aggressive and quite scary, even when they’re on friendly terms, except for one. This is the story of the Friendly Badger." 

*** 

A long time ago in the quiet of the forest, a litter of Badgers was born.  As with every family, there was a biggest and a smallest; but while the smallest had a small body, he had the biggest heart. 

He wasn’t so good at the rough-and-tumble games his siblings liked to play. He much preferred to sniff flowers, watch the stars, or talk to any creatures he happened to meet. 

His own brothers and sisters were the first to tease him for his size and poor skill in wrestling contests. So, bit by bit, he started to avoid his siblings. Feeling lonely, he tried to make friends with the other night-time forest dwellers.    

One night, he met a fox going about its business.   

"Hello," said the Friendly Badger, "how are you?"   

"Are you talking to me?" said the fox. 

"Yes," said the Friendly Badger, "I’m hoping we can be friends."   

The fox laughed at him. 

"You can’t be a real Badger. Real Badgers aren’t friendly. You must be a rat with white stripes."  

And from that night on every time the fox saw him, he would delight in saying something cruel.   

On another night, the Badger came across a bat darting from tree to tree eating tiny insects.   

"Hello," said the Friendly Badger, "how are you?"   

"Are you talking to me?" said the bat.   

"Yes," said the Friendly Badger, "I’m hoping we can be friends."   

"Is this some sort of joke?" laughed the bat. "You’re more like a stripy bunny rabbit."   

And from that day on, whenever the bat saw the Friendly Badger, he would laugh at him and make up new insults.  

The Friendly Badger started to feel that maybe nobody would like him. Then, one evening, sitting on his own watching the stars, he heard a snuffling in the bushes. A moment later, a head appeared under the lower leaves; it was a young hedgehog.   

"Hello," said the hedgehog, "what sort of creature are you?"  

"I’m a badger," said the Friendly Badger. "Would you like to be friends?"  

"Oh yes," said the hedgehog. "Do you like hide-and-seek?" 

"Yes," said the Friendly Badger, "it’s one of my favourite games, but I’ve never had anyone to play with."   

In no time at all, the pair were playing merrily and agreed to meet up the following night.    

The next evening, when the Friendly Badger arrived at the meeting place, he was surrounded by a crowd of adult Hedgehogs, their spines quivering with anger. They shouted at him and chased him away, warning that they would hurt him if he came near their children again.   

Every creature the Friendly Badger met hurt and rejected him. He didn’t understand why. He meant no harm to anyone, and yet everyone hurt him. 

That autumn, he dug a new home (which for Badgers is called a sett) just for himself and went to sleep dreaming about all the horrible things people had said to him.   

Now, when animals like Badgers hibernate, they often grow, and when he emerged in the spring, he had gone from being the smallest to one of the biggest Badgers the Charnwood had ever seen.   

He was no longer the "Friendly Badger."   

In the long winter, dreaming of all the horrid things those other creatures had said and done to him, his heart had frozen and would never thaw again. He sought out everyone who used to tease and bully him, and, one by one ... he ate them.   

But even then, when those who had teased him were gone, and no creature dared come near, the horrible names stayed with him. He spent the rest of his days lonely, sad, and angry.   

***   

"You see, children," said the Vixen, pausing just long enough to make her cubs uncomfortable. "When you bully someone, everybody loses." 


Friday, 7 November 2025

John Schad, "Walter Benjamin's Ark: A Departure in Biography"

 


John Schad is Professor of Modern Literature at University of Lancaster. His books include: Someone Called Derrida. An Oxford Mystery (Sussex, 2007); The Late Walter Benjamin. A False Novel (Bloomsbury, 2012); Paris Bride. A Modernist Life (Punctum, 2020); Derrida | Benjamin. Two Plays for the Stage (Palgrave, 2021), co-authored with Fred Dalmasso; and Walter Benjamin’s Ark. A Departure in Biography (UCL Press, 2025). He has had two retrospectives published, Hostage of the Word (2013) and John Schad in Conversation (2015), has read his work on BBC Radio 3’s The Verb and at various festivals, and his plays have been performed at The Oxford Playhouse, Watford Palace Theatre, HowTheLight GetsIn, and the Sheldonian Theatre, Oxford. His next book, he says, is Eng. Lit. -- A Phantom History



About Walter's Benjamin's Ark, by John Schad
On July 10th 1940, amidst fear of Nazi invasion, HMT Dunera, a so-called "hell-ship" left England. On board were a few British soldiers guarding over two-thousand interned male Enemy Aliens – mostly Germans. Many of the internees had, until arrest, lived peaceably in England for some time. Now, though, they were herded together, below deck, and with all hatches sealed. 

Some of the internees were passionate Nazis, most were Jewish refugees. And among them was Stefan Benjamin, the estranged child of the German-Jewish intellectual, Walter Benjamin. Stefan was not, though, the only "name" aboard, there also being one man called Kafka, another called Freud, yet another called Wittgenstein, still another called Karl Marx, and three called Wilde.

After surviving a U-boat attack, the ship headed south, and far from Europe. And, with no word as to how the world and its War was going, fights broke out, one sad man jumped overboard, lectures were organised, questions were asked, and both fathers and women (killed and un-killed) were dreamt of. 

Cue Walter Benjamin’s Ark which, just like those aboard, swears, prays, and (above all) quotes wildly as she goes. And, all the while, she is hell-bent on learning why we are here, who is here, and where are we heading. New world? Next world? Or (dear God) the end of the world? 

On September 6, 1940, HMT Dunera finally docked in Sydney.

You can read more about Walter Benjamin's Ark on the publisher's website here. Below, you can read an excerpt from the opening of the book. 


From Walter Benjamin's Ark

10 July 1940

No. No. This was not what S. had hoped. Not of Merry England, not the dark. Not at all. Not the pandemonium, not the bayonets, not the barbed wire. Not even the oil-painted face of the waters. The deep. 

But what, thought S., could be said of it all? What indeed? Words, like the day, were failing him. If he had still possessed the gift of tongues, as granted his child-self, his dwarf-self, he surely would have had the words, words adequate to the situation, words equal to this new dark house of his. With such a gift, he might, for instance, have looked about and remarked, It is totally unwindowed.* 

           S. stumbled. 

           Or inquired, How does the house see? 

           S. tripped. 

           Or perhaps he might have said, The sun is ill today.  

           S. staggered.  

           Or even, My whole ear is laughed full of headache. 

           The blind house swayed.  

  

*

           [Since] expatriation, my son has not been able to find his balance. 

           (Walter Benjamin)

*


(*All italicised words attributed to S. are from Benjamin’s transcription of Stefan’s infant utterances). 

Wednesday, 5 November 2025

Peter Kalu, "Act Normal"



Pete Kalu recently received the Society of Authors Travelling Scholarship Award 2024 for his "impressively experimental, thoughtful and challenging" writing. His memoir-essay mashup, Act Normal, was published in October 2025 by Hope Road. He is also the author of the novel One Drop (Andersen, 2022). His short stories can be found in Book of Manchester (Comma Press, 2024), Colonial Countryside (Peepal Tree, 2024), Collision (Comma Press, 2023), Glimpse (Peepal Tree, 2023). Instagram: @petekalu



About Act Normal, by Peter Kalu
In this polemical and poetic collection of 250 mini-essays, personal history becomes a lens for cultural critique. Through fragments and feeling, it asks what we remember, what we forget, and who gets to tell the story. Unflinching and yet tender, these  vignettes are a fierce yet joyous meditation on Black memory, identity, and resistance. Merging memoir, reflections and observations in the style of Annie Ernaux’s Exteriors, Act Normal challenges erasure, mourns what was lost, and dreams of what could be. This is a lyrical reckoning with history, silence, and the radical act of speaking back.

You can read more about Act Normal on the publisher's website here. Below, you can read a short sample from the book. 


From Act Normal

Watermelon

I have great difficulty eating watermelon in front of white people. Throughout my childhood white people invested so much time and energy in their literature making us into these eye-rolling, big-grinning picaninny idiots who chomped on the big green and red fruits that I boycotted them for decades. Then I met someone from Iran, and they loved watermelon and didn’t carry my cultural baggage. They were mad for it. Watermelon was in their fridge, on their kitchen counters, in their dreams and all over their late-night cravings. I was tempted. In my mind, I resisted. So much weight and volume, so little taste, those slithery pips that require spitting out making it an outdoor fruit rather than a dining room fruit, the crazy prices, the ecological damage of growing those things which drink litres and litres of water, the mess, the stickiness, the perfumy smell … My mind went on and on, but my stomach rumbled and I gave in. Now I eat watermelon clandestinely. I only buy it from black stores. I only eat it around Global Majority people. My daughters eat watermelon unproblematically. "Deal with your issues, Dad," they tell me, "Deal with your issues." 


Monday, 3 November 2025

Gerri Kimber, "Katherine Mansfield: A Hidden Life"



Dr Gerri Kimber is Visiting Professor in the Department of English at the University of Northampton. She is the author or co-editor of over 40 books and has contributed chapters to many other volumes. She has published widely in numerous journals, notably for the Times Literary Supplement and the Los Angeles Review of Books. She was President of the Katherine Mansfield Society for ten years (2010–2020). Gerri has made a number of media appearances on national radio and television in both the UK and New Zealand and has been invited as a keynote speaker all over the world. In 2014 she was runner-up for the title of UK New Zealander of the Year for her services to New Zealand culture. Her new biography Katherine Mansfield: A Hidden Life has just been published by Reaktion Books.



About Katherine Mansfield: A Hidden Life, by Gerri Kimber 
Katherine Mansfield has not been short of biographers since her death in 1923, but this latest biography offers a new focus, where the complicated bond between Mansfield and her husband, John Middleton Murry, is fully revealed for the first time, demonstrating how it was far from the loving relationship superficially portrayed in most of their letters, when Mansfield tended to obscure what she was actually feeling. As time went by, and their literary fame grew, both she and Murry became more acutely aware of posterity and publication – as evidenced in Murry’s bowdlerised early editions of Mansfield’s letters. In addition, there was another complication in their relationship, overlooked by most biographers until now, and that is the covert, long-term bond between Mansfield and the editor of the New Age, A. R. Orage, which, as this biography reveals, truly came to define her life – both artistic and personal – and her death.

In transcribing Mansfield’s letters for the Edinburgh edition, I had already come to a deep-seated understanding of the amount of dissembling in her missives to Murry: outwardly loving, she remained inwardly tormented by the fact that there never was a couple less suited to each other than they were, as Leonard Woolf so astutely recognised. At no point in their relationship did Murry ever truly step up to the mark. But one man nearly always did – Orage. Sadly, Orage famously never kept letters. We only have one from Mansfield to him still in existence, plus the short draft of one more. Nevertheless, my suspicions were confirmed when I made contact with Orage scholar John Wood, who had written extensive notes on the subject but never published them, and who so generously allowed me to make use of his research for this biography. 

What we uncovered together was a deep-seated relationship, both sexual and intellectual, which supported Mansfield throughout her adult life, and which left regrets on both sides – especially the realisation that because of their personal circumstances, neither of them were able to fully explore that relationship. But if any proof were needed of Orage’s significance for Mansfield, they need only look to the last year of her life, and especially those precious few weeks spent together at Gurdjieff’s "Institute for the Harmonious Development of Man" in Fontainebleau-Avon. This biography traces that relationship, from its earliest beginnings, through frustrations and outward aloofness, to various rapprochements and covert liaisons, finally wending its complicated and thwarted route to its ultimate conclusion, in a way that has never been revealed before. In uncovering the true extent of Orage’s influence on Mansfield, and not just in 1910–11 as was previously thought, it will be impossible for future biographers to ignore what was possibly the most significant relationship of her entire life. 

You can read more about Katherine Mansfield: A Hidden Life on the publisher's website here. Below, you can read an excerpt from the biography. 


From Katherine Mansfield: A Hidden Life
The year 1919 marked the beginning of the last four years of Mansfield’s life (though she didn’t know it) – the most successful in terms of her professional career, the most harrowing in terms of her health and the most complex in terms of her relationship with Murry. The sheer number of letters sent attests to the long periods the couple were to spend apart during these last tumultuous years, as the two things Mansfield longed for more than anything (apart from good health) – a stable home life and her man by her side – drifted continually out of reach. Indeed, they were the things she most envied about her literary friend and rival, Virginia. In a letter to Virginia in April 1919 she had written, "A husband, a home, a great many books & a passion for writing – are very nice things to possess all at once." But later that year she would write to Murry, "That's one thing I shall grudge Virginia all her days – that she & Leonard were together," and ten days later, 2How I envy Virginia; no wonder she can write. There is always in her writing a calm freedom of expression as though she were at peace – her roof over her – her own possessions round her – and her man somewhere within call." Just two months later, remembering her utter distress a few weeks previously, she wrote again to Murry: "I used to feel like Virginia but she had Leonard. I had no-one." And it is just this sense of isolation – a lone warrior battling ill-health – together with a complicated, frequently disappointing marriage, that are the overriding features of the remainder of this biography.


Sunday, 2 November 2025

Tara Singh, "✹Fr⚘gm∞nts⊗"


Picture by The Mollusc Dimension @squidhorsecomics


Tara Singh (they/them) is a queer, neurodivergent poet and occasional facilitator, born in Nairobi and raised in Nottingham. Their writing explores the Indian diasporic experience, queerness, gender identity, intergenerational trauma, mental illness, and disability.



About Fr⚘gm∞nts⊗, by Tara Singh

My debut pamphlet, ✹Fr⚘gm∞nts⊗ (Five Leaves, 2025), emerged from several years of engagement with Internal Family Systems (IFS) therapy, a psychotherapeutic model that conceptualises the self as composed of multiple "parts." Working through trauma within this framework, I began to visualise my internal system through emojis, each representing a particular survival response:

🦔 = fawn

🌋 = fight

🎭 = flight

❄️ = freeze

🌝 = befriend

These symbols became a creative shorthand for understanding emotional states and behavioural patterns. I often find it difficult to answer the everyday question, "How are you?"—but I can describe, in detail, how each of these parts feels and interacts.

Much of this exploration took place in collaboration with my therapist, through shared Google Docs in which the different parts of me "spoke" and received responses. These dialogues became both therapeutic and creative, allowing a multiplicity of voices to coexist on the page.

When I began composing Fr⚘gm∞nts⊗, I realised that each section of the pamphlet was being authored by a different part. The chapters correspond directly to the IFS framework:

🦔 = fawn ⚘

🌋 = fight ✹

🎭 = flight ∞

❄️ = freeze ⊗

🌝 = befriend 〇

In this sense, the pamphlet can be read as a polyphonic work—one written collaboratively by all five internal voices. The cover, perhaps, should credit the full IFS team: 🦔🌋🎭❄️🌝.

Below, you can read a couple of poems from Fr⚘gm∞nts⊗You can read more about the collection on the publisher's website here


From Fr⚘gm∞nts⊗

part of that world 

look at this house
it is not neat to end up with a girl who
doesn't seem to have a collection
of anything to make complete

there is no trove or treasure
no wonders or cavern
looking around you'd think
no child lives here at all

I'm the first there are no others
my scales are emerald satin
my hair is lush fire-red
I made a wish because I thought

I wanted to be where the people are
one day the girl decides
to take me to that place
what's it called? the bathroom

I'm ready to dance & swim but
she perches me on the edge of ugly coral
I want to ask Matey all my questions
he's gruff & unfriendly

I watch the bath being filled with
what do you call them? bubbles
they're flat
I wait for an invitation to play

the father comes in the girl seems
to forget I'm there I try to shut my eyes
then I remember my eyelids are plastic
the father leaves the girl seems to

forget what happened
she gets into her nightie
I try to say something but
I remember I'm not real

(taken from "freeze" chapter❄️⊗)


The Summer Holiday I Decide to Fight

His elbows have jigsaw bends so
he can punch in a weak plastic way
a boy in Derby sold him to me for £1.99

Brother's vest, clammy eggs in tigger cup
gulp don't throw up burpee 1 2 3
Papa's pullup bar until dizzy

The Undertaker punches stones
I punch dried kala chana, my notebook
holds predictions good guys & bad

I make boy cousins fight, I always win
Baldish is the first to say fists clenched
"boys & girls shouldn't play this way"

neck flushed he points at my chest
"you need to get a bra" I lob the Undertaker
over the fence into bushes next door

My new notebook measures me
every day how many calories I take in
& how much I burn away

(taken from "fight" chapter 🌋✹)