Tom Sykes, "The Years of Travelling Anxiously"

 

Tom Sykes is the author of seven books. His reportage and travel writing has appeared in New Statesman, The Independent, the Scotsman, New Internationalist and numerous other titles all over the world. He is Associate Professor in Creative Writing and Global Journalism at the University of Portsmouth and a Fellow of the Royal Geographical Society.

About The Years of Travelling Anxiously, by Tom Sykes
Welcome to the topsy-turvy world of the anxious traveller, where panic strikes in the most serene situations, where each time you're convinced that the symptoms are in fact physical and your lungs or heart will stop working, and the only relief is a paramedic telling you that you won't die despite being stuck with them in an ambulance in a smoky Global Southern gridlock.

Over the last twenty years, writer and academic Tom Sykes has been lucky enough to travel all over the world. But his trips have often been marred - if not ruined - by anxiety. Part travelogue, part wellbeing memoir, The Years of Travelling Anxiously recounts jittery visits to Nigeria to get married and undergo IVF treatment, stressful encounters with bigots and bureaucrats in France, the Philippines and the USA, and what can be learned about mental health on the road from a baby with an inspiringly calm attitude to travel.

The Years of Travelling Anxiously tries to solve a lifelong conundrum about the causes and consequences of panic and distress, and in so doing help other anxious travellers, or indeed anyone who gets anxious about anything, wherever they go.

You can read more about The Years of Travelling Anxiously on the publisher's website here. Below, you can read an excerpt from the book. 

From The Years of Travelling Anxiously 
I thought I’d learned. Grown. Don’t we all? We cling to these stories of progress in both society and our personal lives. From birth we’re fed maxims about life getting easier as it goes. Face your fear, conquer your fear. "That which does not kill us, makes us stronger," wrote Nietzsche. I thought I’d spent enough time in the Philippines to have squished all fear of it. After living here plus eight trips over the last thirteen years, I’ve toughed out the heat, the traffic jams, the pollution, two minor car crashes. I’ve been to the places where drug-users were executed by vigilantes. I’ve interviewed an activist who was hounded at home by a soldier who warned them to stop dissing the regime – or die. I stayed cool on all those occasions. 

I thought I’d devised strategies. I’d learned to pass the auto-stalemates by looking out the window and noting graffiti, adverts or the arbitrary poetry of urban breakdown – storm-dislodged hyacinths mantling the Pasig River, kids racing each other through a concrete pipe abandoned diagonally across a Cubao backstreet. If there was nothing to see, I’d read a book or pen my own. Writers shouldn’t be short of material in a mesmerising city like Manila. 

So why now am I in a taxi on Kalayaan Avenue, Quezon City, shaking like machine gun recoil, battling for my breath, launching water down my torrid throat? Why has the soothing inner voice of curiosity – how interesting is this, how fascinating is that – declined into the gravelly tones of paranoia? Will I make my interview on time? Are my questions facile and white and privileged? Do I smell? Why is the hand-fan strapped to the head rest in front of me only multiplying the amount of warm air rather than cooling me down? Will I have enough change for the driver at drop-off? Does the driver know where he’s going? Am I going to die? A Philippine taxi with rear seatbelts is as common as a good film starring Gerard Butler. 

These are rookie worries – or should be. Worrying about these worries only adds to the worry. It’s a self-perpetuating process.  

The MA in Creative Writing at the University of Leicester: What You Can Expect

Our acclaimed MA in Creative Writing is open to applications here. We think it's important to be up-front about what support you and your writing will receive if you embark on the course. So here (below) we've set out as clearly as possible what you can expect from the course, whether you take it full-time or part-time. We believe passionately that Creative Writing can be taught - that it's almost entirely a learnt skill - and that all students who finish this course are, almost inevitably, better writers as a result of the intense study provided by a Master's degree. 

Please do let us know if you have any questions about the MA, by emailing jt265@le.ac.uk. 

What you can expect on the MA in Creative Writing at Leicester:

• Four taught 30-credit semester-long modules: EN 7040 Research Methods in Creative Writing, EN 7041 Styles, EN 7042 Applications, EN 7043 Substances 
• An individually-supervised Dissertation in Creative Writing, from May to September (EN 7044)
• One two-hour workshop per week (usually ten weeks) per 30-credit semester-long taught module (so you have one two-hour workshop per week if you are part-time, two two-hour workshops per week if you are full-time)
• In-depth introductions to two particular forms (e.g. poetry and prose fiction)
• In-depth introductions to two particular themes (these vary year on year, but have included subjects such as Space, Memory, Time, Climate Change, Place, Creative Reading, etc.)
• Workshops on research skills (which might include subjects like using oral histories, archival research, interdisciplinary research, etc.)
• Workshops on aspects of the professional writing world (such as publishing, performance, teaching, etc.)
• Thorough feedback on summative assignments (i.e. formal assessments)
• A supervisor for your Dissertation over Summer, who provides individual supervision and feedback on draft sections
• A personal tutor who oversees your progress, and whom you meet at least twice a semester for an individual tutorial
• Office hours or pre-arranged appointments, in which you can drop in to see tutors (either in person or electronically)
• Detailed handouts, resources and learning materials shared on Blackboard (the virtual learning environment)
• Online electronic reading lists for every module
• Continuous email support

And, on top of these formal aspects of the course, you can also normally expect additional support and resources, such as:

• On-going feedback on formative work-in-progress from peers and staff
• Guest lectures and masterclasses by authors, publishers, editors, agents from outside the university (obviously depending on budget and availability)
• Attendance at other events hosted by the Centre for New Writing, the School of Arts, Media and Communication and the annual Literary Leicester Festival 
• Voluntary attendance at any of the undergraduate lectures in Creative Writing
• Access to online resources, including the Creative Writing at Leicester University Facebook group (on which we post opportunities, jobs, events, news, articles), Everybody’s Reviewing, and the Creative Writing at Leicester blog
• Opportunities to gain experience of participating in a major literary festival (i.e. Literary Leicester)
• Performance opportunities (e.g. at Literary Leicester)
• Postgraduate Creative Writing research seminars
• Connections with professional writing and publishing networks
• Electronic forums on which you can share work with other students
• Advice on publishing, teaching, careers, etc. 
• Participation in a vibrant community of Creative Writing students, graduates, local and national authors.

All about the MA in Creative Writing Dissertation at the University of Leicester

Towards the end of the MA in Creative Writing at the University of Leicester, students concentrate on an individual extended writing project, the Dissertation in Creative Writing. The Dissertation is the students' opportunity to concentrate on a pet major project (e.g. a collection of stories, a poetry collection, a script, an extended extract from a novel, etc.), and develop it with the help of an individual supervisor. This is the students' chance to write what they always wanted to!

The Dissertation usually runs from May to mid-September, after the four taught MA modules have been completed. The Dissertation consists of three stages:

1. In May, students attend the annual Creative Writing Dissertation Day, where they get to share ideas with each other and tutors. Following this, student submit a short proposal about their intended project.

2. Students are then allotted an individual supervisor, who meets with them regularly over Summer, providing feedback and advice on the work in progress. 

3. Students submit their Creative Writing Dissertation in mid-September. 

Over the last few years, we've featured a number of our MA Creative Writing students who have written about their Dissertation experience, so to give a flavour of the (huge) range of different creative possibilities in this respect, we've collected some of these articles (below). There's lots of great writing and research advice here, and some fantastic projects. Do take a look!

If you're interested in either the part-time or full-time MA course in Creative Writing, and would like more information, please do email Jonathan Taylor on jt265@le.ac.uk. You can apply here.

Some Articles by Students about the MA Creative Writing Dissertation on Creative Writing at Leicester. 

Anna O'Sullivan, My MA Creative Dissertation

Mandy Jarvis, Moving on Up: My Creative Writing Dissertation

Tracey Foster, Deep Diving the YA Market: My Creative Writing Dissertation

Kate Durban, The Creative Writing Dissertation

Danni Devenney, Girls Who Play Sports 

Thilsana Gias, Researching and Writing a Historical Dissertation

Rosie Anderson, Managing a Creative Writing Dissertation

Millie Henson, The Call of the Wild in Children's Literature

Tionee Joseph, Mastering the Dissertation

Hilda Hoy (金邦琳), "Mother Tongue"

Hilda Hoy (金邦琳) is a Taiwanese Canadian writer, editor, and translator based in Berlin. In addition to working as a reporter for the Toronto Star and the Prague Post, she has published narrative non-fiction in Roads & Kingdoms, Slate, BBC Travel, and Narratively, as well as a travel guidebook titled The HUNT: Berlin. 

She is currently working on an essay collection exploring the entanglement of identity and language in individuals with backgrounds of migration or displacement. In December 2024, this project saw Hilda serve as writer in residence at the Taiwan Literature Base in Taipei. The diaspora experience and examinations of identity are central themes in her writing.

About Mother Tongue, by Hilda Hoy
In Mother Tongue, Hilda Hoy explores the manifold capacities of language: to shape one’s sense of self, to bring together, to hold apart.

Raised in Taiwan by her Taiwanese mother and Canadian father, bilingual from the beginning, Hoy explores her experience of growing up with otherness, and traces how English became her dominant tongue. After many years living in Canada and Europe, her Chinese-speaking self packed into a box and sealed shut, the repercussions of her loss of Mandarin are thrown into sharp focus when her mother is diagnosed with dementia, and begins losing the ability to speak.

A tender exploration of grief and reconnection, of belonging and self, Mother Tongue is the story of a journey to locate one’s voice between hybrid places.

You can read more about Mother Tongue on the publisher's website here. Below, you can read a short excerpt from the book. 

From Mother Tongue
When my father was at work and my mother had errands to run, we sometimes went into the city by taxi. These journeys followed a pattern. Crooning ballads on the radio, the smell of cigarette smoke and perm solution. The crinkle-haired driver examining us in the rearview mirror, brow scrunched in puzzlement. Zhèxiē háizǐ shì shuí de? Whose children are these?

Wǒ de, my mother would reply. They’re mine.

Crooning ballad on the radio. Cigarette smoke. Exclamations of disbelief. How could a woman like her have such white children? They’re mine, my mother would repeat, her jaw tensing ever so slightly. Or: You’re right, I found them on the street. The driver would laugh, but she did not. I understood every word but said nothing, watching the world go by through glass. It seemed pointless to speak when my face spoke for me, telling the only home I’d ever known that I did not belong.

Books by Students on Creative Writing at Leicester

Over the last few years, BA, MA and PhD students and graduates in Creative Writing at the University of Leicester have had amazing success publishing their books and chapbooks - including novels, short story collections, flash collections, novellas-in-flash, poetry collections, memoirs and works of creative non-fiction. We've featured lots of these on this blog, so we thought it might be a good time to collect some of them together, as a way of celebrating these authors' successes - congratulations to all once again!

You can find out more about our BA in English with Creative Writing here, our BA in Journalism with Creative Writing here, our acclaimed MA in Creative Writing here, and our PhD in Creative Writing here. 

Here (below) you can find links to just some of the books we've featured on this blog by Leicester University BA, MA and PhD students and graduates in Creative Writing over the last few years.

Joe Bedford, A Bad Decade for Good People (novel)

Laura Besley, The Almost Mothers (flash fiction collection)

Laura Besley, Un(Natural) Elements (micro-fiction collection)

Constantine, Alien Boy (children's novel for reluctant readers)

Constantine, And things begin to change ... and other stories (short story collection)

Constantine, Jötunheim (children's novel)

Constantine, Tales of the Charnwood (short story collection)

Constantine, Tiya and the Minotaur (children's novel)

Constantine, The Cats of Charnwood Forest (children's novel)

Laurie Cusack, The Mad Road (short story collection)

Kassie Duke, Word Bath (poetry collection)

Cathy Galvin, Ethnology: A Love Song for Connemara (poetry collection)

Cathy Galvin, Walking the Coventry Ring Road with Lady Godiva (poetry collection)

Tim Hannigan, The Granite Kingdom: A Cornish Journey (travel writing)

Talia Hibbert, Get a Life, Chloe Brown (novel)

Kathy Hoyle, Chasing the Dragon (novella-in-flash)

Sabyn Javeri (ed.), Ways of Being: Creative Non-Fiction by Pakistani Women (edited anthology)

Kevan Manwaring, Writing Ecofiction (textbook)

Cathi Rae, Just This Side of Seaworthy and Other Poems and Rock, Paper, Scissors and Other Poems (poetry collections)

Cathi Rae, Your Cleaner Hates You and Other Poems (poetry collection)

Cathi Rae, Writing Elegies for Dead Men I Didn't Meet (poetry collection)

Anita Sivakumaran, Cold Sun (novel)

Hannah Stevens, In Their Absence (short story collection) 

Paul Taylor-McCartney, Sisters of the Pentacle (YA novel)

Rory Waterman, Come Here to this Gate (poetry collection)

Rory Waterman, Sweet Nothings (poetry collection)

David Wharton, Finer Things (novel)

Cathy Galvin, "Ethnology: A Love Song for Connemara"

Congratulations to Cathy Galvin, University of Leicester PhD Creative Writing student, whose poetry collection Ethnology has just been published by Bloodaxe Books!

Cathy Galvin's debut poetry collection, Ethnology: A Love Song for Connemara, is published by Bloodaxe Books in the UK and Ireland. She has published three previous pamphlets of poetry, Black & Blue (2014), Rough Translation (2016) and Walking the Coventry Ring Road With Lady Godiva (2019). She is widely published as a poet and short story writer and is the recipient of a Hawthornden Fellowship, a Heinrich Böll residency and an Arts Council England DYCP award. As a journalist she has worked as a senior editor for Newsweek and the Sunday Times. She founded the Sunday Times Short Story Award and the short story organisation, the Word Factory. She is the editor of Red, an anthology of new writing published by Waterstones. She is a PhD candidate at the University of Leicester and lives near Bodmin Moor in Cornwall. 

About Ethnology: A Love Song for Connemara, by Cathy Galvin
Ethnology draws on the mystical cry for the dead of Cathy Galvin's Irish-speaking ancestors. Within an epic narrative she reclaims place, people and language and creates a dialogue with the poets, folklorists and ethnologists who have written about the West of Ireland for their own agenda. Loss, and loss of a mother tongue, are carefully explored. 

You can read more about Ethnology on the publisher's website here. Below, you can read two sample poems from the collection. 

From Ethnology

Walls

There’s no anvil, brooch, harrow-pin.

The currach’s broken, walls stand without a roof.

All that’s left: a bureau containing bills,

cards, scarves, a Will.

You’re not in view but I can hear a breath

– the well-made dress and phrase.

My made things broke long ago.

They had little purchase on this world.

The creed, letters I do not read.

Solid seem the things that slip away.

Leaving us bone.

We stake a claim, lay foundations,

build and watch it fall.

Within, the comforts that ease survival.

We cut back wilderness, tame, contain

sycamore, birch, bramble, willow, grass.

All return.

Our walls come down, consolations go.

We do not come back. Take away it all

and what is left is who we are.

Our homes are built to go. 

Coventry Carol

You did not sing in Irish or in English.

Never told me what the English did to your people,

were clear you did not want an Irish husband,

someone who might sing sweetly and leave his wife behind,

become a father like yours who did not feed his own children.

When the Irish began bombing Birmingham,

and a shopkeeper refused to serve me in my Catholic

school uniform, your silence filled my mouth.

Creative Writing in Space

As of September, 2026, the University of Leicester is introducing a new MA programme in Space and Society. Grounded in the arts, humanities, and social sciences, this unique interdisciplinary MA will critically examine how humans have imagined, experienced, and interacted with space across time. It will challenge students to think creatively and analytically about the cultural, political, and ethical dimensions of the new space age. The course will be taught under the aegis of the pioneering Leverhulme Centre for Humanity and Space - a ground-breaking research hub where space exploration meets the arts and humanities. 

The Centre for New Writing at the University of Leicester is involved in both the Leverhulme Centre for Humanity and Space, and the new MA in Space and Society. As part of the new programme, we will be offering an optional module called Creative Writing in Space. This exciting interdisciplinary module will be shared between the MA in Creative Writing and the MA in Space and Society, and will be available to students on both programmes. It will be taught by Dr Jonathan Taylor from Creative Writing and Dr Cheryl Hurkett from Genetic and Genome Biology. You can read more about this new module below. Email jt265@le.ac.uk if you want further information!

ABOUT EN 7923 CREATIVE WRITING IN SPACE

This module sends your Creative Writing into space, on a quest to find new worlds, new concepts, new metaphors – to boldly go where no Creative Writing module has gone before. We believe that the universe is simultaneously a scientific phenomenon and a beautiful work of art – a poem, or a (very long) story. We want you to explore cosmological concepts, the tales told by physicists, the metaphors of popular science, and to produce writing that takes on these concepts, tales, metaphors, that extrapolates futures, pasts and alien worlds from them, or that explodes them, pushing their metaphorical implications towards some kind of absurd singularity. 

On the module, you’ll write speculative fiction, scientific poetry, creative non-fiction, or maybe even just realist fiction that draws on the imagery of space in order to explore human psychology – transferring outer space to inner space, as it were. Ultimately, this is how Creative Writing can talk back to Space Studies: if, on the one hand, the module is about how Creative Writing can draw on scientific concepts, on the other, it is also about what science can learn from the very human stories told by poets, novelists, memoirists. 

No previous experience of Creative Writing is necessary to take this module. The module is shared between students on the MA in Space and Society and students on the MA in Creative Writing programmes at the University of Leicester.