Showing posts with label Corinne Fowler. Show all posts
Showing posts with label Corinne Fowler. Show all posts

Thursday, 2 May 2024

Corinne Fowler, "Our Island Stories"



Corinne Fowler, photo by Osborne Photography


Corinne Fowler is Professor of Colonialism and Heritage in Museum Studies at the University of Leicester. She is co-investigator of the Leverhulme Rural Racism Project, led by Professor Neil Chakraborti at the University’s Centre for Hate Studies. In 2020 Corinne co-authored an audit of peer-reviewed research about National Trust properties’ connections to empire, which encouraged the heritage sector to address its colonial stories and became a major media story. The report won the Museums and Heritage Special Recognition Award, 2022 and the Eastern Eye Community Engagement Award 2023. Corinne directed Colonial Countryside: National Trust Houses Reinterpreted, a child-led history and writing project with Peepal Tree Press with commissioned photographer Ingrid Pollard (2018-2022). Our Island Stories: Country Walks Through Colonial Britain was published on 2 May 2024 by Penguin Allen Lane.



About Our Island Stories: Country Walks Through Colonial Britain
This book of country walks opens up the colonial history of Britain’s rural life and landscapes. The countryside is cherished by many Britons. There is a depth of feeling about rural places, the moors and lochs, valleys and mountains, cottages and country houses. Yet the British countryside, so integral to our national identity, is rarely seen as having anything to do with British colonialism. Where the countryside is celebrated, histories of empire are forgotten. In Our Island Stories, Corinne Fowler brings rural life and colonial rule together with transformative results. Through ten country walks, roaming the island with varied companions, Fowler combines local and global history, connecting the Cotswolds to Calcutta, Dolgellau to Virginia, and Grasmere to Canton.

Empire transformed rural lives for better and for worse: whether in Welsh sheep farms or Cornish copper mines, it offered both opportunity and exploitation. Fowler shows how the booming profits of overseas colonial activities, and the select few who benefited, directly contributed to enclosure, land clearances and dispossession. These histories, usually considered separately, continue to shape lives across Britain today.

To give an honest account, to offer both affection and criticism, is a matter of respect: we should not knowingly tell half a history. This new knowledge of our island stories, once gained, can only deepen Britons' relationship with their beloved landscape.

You can read more about Our Island Stories on the publisher's website here. Below, you can read an excerpt from the introduction to the book. 

 

From Our Island Stories, by Corinne Fowler

From ‘Introduction: A Colonial History of the British Countryside’ 

I took the train to Pangbourne, some 20 miles west of Windsor. Perched at the confluence of the Thames and the River Pang, the settlement is ancient: its name was first recorded in 844 CE. The Pang, which gives the village its name, is a tributary of the Thames, a chalkstream which remains full of life despite the farm fertilizers, pesticides and sewage which pollute the local rivers. Voles still swim in its water meadows, just as they did when Kenneth Grahame used to go boating thereabouts in the early twentieth century. Along with other riverine creatures, the water vole appears as Ratty in Grahame’s much-loved children’s classic The Wind in the Willows, a book which re-enchanted generations of readers with the English countryside: its financial success enabled Grahame to retire to a gable-ended cottage in Pangbourne, where he lived until his death in 1932. 

Crammed with listed buildings and expensive real estate, Pangbourne has long attracted people with money: people in search of this bucolic idyll. In the eighteenth century, wealth flooded into Pangbourne, much of it linked to the East India Company. Founded in 1600 by English merchants to trade between Europe, South Asia and the Far East, it became far more than a trading company. Acquiring its own army, it fought rival East India Companies from the European powers such as France and Holland, competing for the lion’s share of trade in spices, cotton, silk, indigo and saltpetre. The English – later British – East India Company established and defended warehouses, forts and trading posts all over India, including Bombay, Calcutta, Madras and Surat. Over time, it conquered territory, collected taxes and eventually colonized India. When East India Company employees had made their pile and returned home, many headed for the Thames valley – so many, in fact, that it became known as ‘England’s Hindoostan.’ A former governor of Madras lived 3 miles south of Pangbourne, at Englefield; the former governor of Bengal, Warren Hastings, had a residence at Purley Hall, a mile or so from the village. 

I had come to Pangbourne in search of one of these figures, Sir Francis Sykes. I planned to walk the riverside path along the Thames valley to Basildon Park, a landscaped and wooded estate surrounded by a handsome brick and flint wall and, within it, the house that Sykes built: a grand Palladian pile, constructed with the proceeds of his Indian adventures, and now owned by the National Trust. With me would come the historian Sathnam Sanghera, author of the influential Empireland, a personal journey into British colonial history. As we walked, we’d talk about Britain, India and the culture war into which our work had plunged us both.


Wednesday, 7 February 2024

Creative Writing Events, Guest Lectures and Masterclasses Spring 2024

Here is this semester's programme of Creative Writing guest lectures and masterclasses happening this term in the Centre for New Writing at the University of Leicester. All the events are free and open to everyone: students, staff and the public alike. If you'd like to attend one of them, and aren't already registered, please email Jonathan Taylor (jt265@le.ac.uk) for further details.



Centre for New Writing, University of Leicester: Programme of Events Spring 2024

Dave Bradley, "How to Nearly Make It as a Professional TV Writer" (Guest Lecture)
Tuesday 13 February, 11am-12, Bennett Building, room F75a.
This guest lecture is part of the first-year undergraduate module "Introduction to Writing Creatively 2." All are welcome to attend. Please email jt265@le.ac.uk to reserve a place if you are not registered on the module. 

Kit De Waal, "The Journey to Publication" (Masterclass)
Wednesday 20 March, 2-4pm, George Davies Centre, room 1.26.
This masterclass is part of the MA in Creative Writing. All are welcome to attend. Please email jt265@le.ac.uk to reserve a place if you are not on the MA. 

Literary Leicester Festival 2024
Wednesday 20 March to Friday 22 March.
Free and open to all! You can see this year's fantastic line-up of events and book in advance here

Creative Writing Student Showcase
Wednesday 20 March, 5-6pm, Attenborough Film Theatre.
Free and all welcome! As part of Literary Leicester Festival, we're holding our annual showcase event for University of Leicester BA, MA and PhD Creative Writing students to read and perform their poetry, stories and scripts. If you're a student or graduate and would like to get involved, please email Jonathan Taylor (jt265@le.ac.uk) in advance. 

Corinne Fowler, "Country Walks Through Colonial Britain: Combining Historical Research, Nature Writing and Reported Conversation" (Guest Lecture and Masterclass)  
Monday 25 March, 10am-12, Attenborough Building, room 2.02. This workshop is part of the MA in Creative Writing. All are welcome to attend. Please email jt265@le.ac.uk to reserve a place if you are not on the MA.

Barbara Cooke, "Pedagogic Puzzles: Harnessing the Thrill of Discovery in the Creative Writing Classroom" (Guest Workshop)
Wednesday 27 March, 2-4pm, George Davies Centre, room 1.26.
In this workshop, we will experience how the "dopamine hit" that accompanies the solving of literary puzzles can be harnessed for use in Creative Writing. While an established part of literary criticism since Kermode’s "Freud’s Masterplot," the technical skill involved in creating, as opposed to observing, the building and thwarting of readerly satisfaction deserves more attention. We will explore how workshop exercises can help you to promote the thrill and satisfaction of readerly discovery in your work and, most excitingly, to flex your own puzzle-solving and code-cracking abilities. This workshop is part of the MA in Creative Writing. All are welcome to attend. Please email jt265@le.ac.uk to reserve a place if you are not on the MA.

Paul Taylor-McCartney, "Setting Up an Independent Publisher: Hermitage Press" (Guest Lecture)
Tuesday 14 May, 10am-11am, Attenborough Building, room 2.08.
This guest talk is part of the MA in Creative Writing. All are welcome to attend. Please email jt265@le.ac.uk to reserve a place if you are not on the MA. This event is made possible by Literary Leicester Festival. 

Joe Bedford, "From Dissertation to Publication to PhD" (Guest lecture)
Tuesday 14 May, 11.15am-12.15am, Attenborough Building, room 2.08. 
This guest talk is part of the MA in Creative Writing. All are welcome to attend. Please email jt265@le.ac.uk to reserve a place if you are not on the MA. This event is made possible by Literary Leicester Festival. 

Thursday, 20 July 2017

Centre for New Writing Wins Impact Award

By Corinne Fowler



The Centre for New Writing (CNW) has been awarded Best Cultural Impact for its work on literary development. The CNW was established in 2013 as a practical response to the research findings of its founders, particularly in relation to the exclusion of British Black and Asian writers. The aim was to diversify literary voices beyond the metropolitan mainstream.
 
The CNW subsequently raised regional writers’ professional profiles through a series of funded projects: ‘Grassroutes’ (Arts Council), ‘Sole2Soul’ (about Harborough Museum’s shoe exhibit) and ‘Affective Digital Histories' (AHRC, http://affectivedigitalhistories.org.uk/). Our research identified creative commissions as a key support mechanism for promoting  writers outside London. Accordingly, the CNW has commissioned 74 pieces of writing since 2013. Among these are 6 major commissions for the Affective Digital Histories project, performed at The Phoenix, soon afterwards published as a book and accompanying smartphone app called Hidden Stories (2015). Two CNW commissions have won literary awards and another CNW-commissioned work is being made into a film. A further CNW commission is the subject of an article (authored by Corinne Fowler) in The Cambridge Companion to Black British Writing (2016) of which the writer SuAndi states ‘with steadfast determination, champions of the Black British voice … have stepped forward [to] recognise the value of our literature across all genres’.

A central CNW strategy has been to tap into infrastructural support for regional writers by using creative writing to enhance non-Arts research. As the managing director of the spoken word organisation Tilt observes, the Writing and Research initiative ‘makes a case for literature …This is something to be admired (and sustained).’ Some key collaborations include: ‘Women’s Writing in the Midlands’ (using creative writing to raise awareness of 18th women activists) and ‘Life Cycles’ (a commission to help the Diabetes Research Centre combat sedentary behaviour). A further CNW commission, ‘Artificial Intelligence,’ promotes the public benefits of new technologies. The CNW also commissioned a writer to produce a script for a short film, presented by Brett Matulis from Geography, to influence policy-making at the World Conservation Congress, a global environmental forum. In a 2015 survey of the region’s literary scene by The Asian Writer, anonymous respondents said of the CNW: ‘The Centre for New Writing is … leading the country and perhaps the world in its field, presenting a tremendous variety of literary events with an enormous scope and revolutionary discourse.’ Another respondent said: ‘Leicester is practically undergoing a renaissance! It has been galvanised by the Centre for New Writing ... as the centre has supported writers and the overall literary scene both page and stage’”. The free Literary Leicester Festival has been central to this strategy.

The CNW wishes to thank Leicester's literary community, and all its partners, for their consistently brilliant and constructive input.

 
Photos courtesy of Osborne Hollis Photography