Tag Archives: books

Amy Fitzgerald – Freedom to Fly

Amy Fitzgerald

 

Amy’s life journey has thus far taken her down many fascinating pathways including completing her degree in Business Studies, appearing on School around the Corner receiving the Children of Courage Award, meeting many famous and interesting people, but none prouder than working on her own collection of poetry and getting them to print.

She lives with a severe disability, in medical terms ‘Congenital Defect’ but in simple terms she was born without legs from below the knee and without hands from below the elbow. Although this has made things more difficult for her growing up and moving through the various stages in her life, it has definitely not proven to be a barrier for her in achieving anything she sets her heart on. Although her educational background is centred around business, her heart and passion lies most certainly in writing poetry.

Growing up, she never really focused on her disability and it never seemed to bother her but when she reached her mid/late teens it started to concern her more and more. She never spoke about and always played the part in all aspects of my life but inside it hurt to see her sisters, brother and friends having opportunities that seemed only dreams to her. She found a huge sense of self-acceptance through her poetry and finds that she can handle her lot in life a bit easier because of the relationship I have with writing.

In her own words, she says that her poetry has “given me a place I can be totally myself and express my emotions, ideas and memories.”

Speaking about her launch, Amy said that it was the “best night of my life ever!”

Having the opportunity to print and bind her poems with selfpublishbooks.ie has been a dream come true for her. She hopes everyone gets something positive from reading her work, because her message is one of optimism, even through the most difficult of times.

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Delia O’Callaghan – Honeysuckle to Handcuffs

Delia O'Callaghan cover

 

Lettertec was delighted to print, Honeysuckle to Handcuffs, written by Delia O’Callaghan. In 2012 Delia was one of the finalists in the Irish Writers’ Centre Novel Fair competition.

In 2008, while living in Boston, U.S.A.  Delia joined a creative writers’ workshop at the Boston Centre for Adult Education. Taking on board the expert’s advice to write about what she knew, Delia started a novel about an Irish girl living and working illegally in Boston.

The following year, Delia, took a trip back to Ireland, in a disastrous twist of faith which turned her life upside down – she found herself locked up in the San Diego Correctional Facility. Ironically, although Delia’s worst nightmare came to fruition, she now had the new material she desperately needed and Honeysuckle to Handcuffs was born.

 

Books for Delia

When Boston-based Irishwoman Delia O’Callaghan meets Frank, she can’t believe her luck…

 

He’s everything any girl could wish for; rich, charming, handsome and fun. Whisked up into a world of ritzy restaurants and jet set living, it looks like all of Delia’s dreams are set to come true – that is, until US customs catch wind of Delia’s lack of a Green Card when she tries to return to the States after a trip home to Ireland for her sister’s wedding. Frank returns to Boston without Delia, leaving her stranded in Ireland with a big red ‘DENIED ENTRY’ stamp in her passport.

 

Determined to get back to the love of her life, Delia devises a hair-brained scheme: if she can’t get into America a legitimate way, then she’ll do what hundreds of thousands of people do each year: she’ll sneak-in through the Mexican border. What’s the worst that could happen… right? She asks herself, half-heartedly. But when the plan goes wrong. So wrong, in fact that Delia finds herself locked up in the San Diego Correctional Facility with a foul-mouthed, religious, drug-trafficking, yet protective, lesbian cellmate, Teresa. Not to mention Officer Lopez: the six-foot-two prison guard, identifiable as a woman only through her lack of an Adam’s apple. How is Delia going to cope? And will there be a happy ever after?

Honeysuckle to Handcuffs is the hilarious, fish-out-of water true story of one woman’s journey who discovers that over the course of nearly a month in jail and a series of disastrous but comical events that there might be more to life than Rolexes, fancy cocktails and fine dining.

 

The book is to be launched on the 8th of October by Brent Pope in the Bodega, Cork at 7pm.

 

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My Watchmaker’s Time by Joe Clarke

Watchmakers Time A5 CoverHR

Joe Clarke’s first novel, Mirrors Don’t Tell Lies, was almost 6 years in the making having undergone a series of rewrites in the process. His latest publication, My Watchmaker’s Time, followed along in a similar vein although taking a year or so less to complete. This week I had a quick chat with Joe about his new novel from Selfpublishbooks.ie.

“Once finished I had no real ambition to publish either works but subsequently gave in to family promptings,” Joe said, “I felt, at the time, that something as beautiful as the written word, especially in book form, was a fitting legacy and I am very proud of what I have achieved thus far.”

Following on and prior to his early retirement Joe also dabbled with poetry, writing scores of poems along the way.
“I love the simplicity of telling complexed stories in just a few rhyming verses,” Joe admits, “Occasionally I target the humour of topically funny stories via my email inbox or headline banners and make them real. I believe that poetry is as complicated or as simple as the writer cares to make it. I have written poems about life, death, love and hate with more than a sprinkling of adventure thrown in. When I eventually reach the milestone of having written 250 poems I will then seriously consider publishing them in their entirety. Prose versus Poetry is such a tight call for me simply because both play such a huge part in my life. I’d say the one starting with the letter ‘P’ wins hands down.”

 

What was it in this second novel that kept him engaged? “I really enjoyed writing My Watchmaker’s Time as it gave me the opportunity to think outside the box, steering away from the conventional,” he maintains, “The novel is made up of a series of short stories spanning centuries. It revolves around the life of Bryan Barnett, a pretty regular type of guy, who must seek his redemption through a series of tasks set up by a Higher Power. My favourite chapter tells the tale of Abe and Lucy, a pair of young ambitious hopefuls, during the great ‘Californian Gold Rush’ of 1849. Their original naivety in searching for gold saw them swiftly change direction when they accidentally struck rich. Setting up a series of hardware stores throughout the States brought more wealth than they at first had imagined. It’s a gripping story of rags to riches that more than just pulls at the heart strings. Really one to enjoy!”

 

How does My Watchmaker’s Time compare to Mirrors Don’t Tell Lies? Joe pauses on this. “To stand back and compare both books is very difficult to do, given their diversity. Aesthetically, both compare equally well although I will always have a special fondness for my first book, which is understandable, I suppose. I would like to once again thank Selfpublishbooks.ie for making my words come to life in the form of an exquisite book. Special thanks go to Shelley O’Reilly for the fantastic work done in producing such a stunning cover. Huge thanks also to my wife Terry for her support throughout. Without all of your help it would be but just a dream.”

 

So what’s next for Joe? “I am currently working on my third novel, The Case of the Missing Letter, a detective story with many twists and turns. It’s shaping very good at the moment but is still someway from completion. When inspiration isn’t there, you know, it just isn’t there and right now I am in that place, time for golf? I have no doubt that a few weeks away from the computer and on the golf course will do the trick, yet again. Funny old game this writing!”

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Book Promotion Strategies — That Actually Work

What’s the best book promotion strategy you’ve ever seen?

Reddit co-founder Alexis Ohanian took to Reddit to seek promotion advice for his new book, Without Their Permission: How the 21st Century Will Be Made, Not Managed.

He asked the network of loyal readers: “What are some of the smartest things you’ve seen people do to promote a book? … I’d like to make the most out of all this time I have to do some awesome stuff for the fine folks who’d pre-order/buy a copy.”

We’ve collected ten reader responses below to help you plan your own book promotion.

 

Book Promotion Strategies That Actually Worked

1. oguerrieri wrote: “Definitely offer free e-book with purchase of hard copy! Something I wish every book did.”

2. JoanofLorraine wrote: “My favorite example is the writer who opened a storefront in Brooklyn that sold only copies of his own book.”

3. josephflaherty wrote: “The little things Field Notes does, like putting in a themed patch or button goes a long way to making their books feel more like cultural artifacts than indie Moleskines.”

4. HAGOODMANAUTHOR wrote: “Advertising on Reddit has increased my Kindle sales exponentially”

5. josephflaherty added: “Put it in a crazy package: Seth Godin put copies of his books in Milk/Cereal boxes which made them really stand out and feel more like limited edition products than books.”

6. Davytron wrote: “when i worked at a book store, these ladies gave every employee a copy of their cook book. A bunch of us used the recipes and ended up telling customers and family about them. It was very nice but also a clever way to get us to promote their book.”

7. Thestom wrote: “Free book of equal or lesser value with the purchase of the author’s book.”

8. josephflaherty also added: “I’m sure you’ve got the book tour part dialed in, but treating them more like concerts would be fascinating … Would be fun for a tour to host a few local entrepreneurs who have succeeded without permission.”

9. Ms Adler wrote: “doing a discount on ebooks will often get you more readers that may not otherwise purchase a hard copy, and signed first editions are prized by collectors.”

10. Ginroth concluded: “Writing a good book.”

 

Reblogged in full from Jason Boog at Galleycat

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Mirrors Don’t Tell Lies

 

Mirrors Don't Tell Lies A5 Cover

Joe Clarke, golfer, traveller, fisher, has always had a healthy fascination with the written word. His first novel, Mirrors Don’t Tell Lies, has been reprinted this year by Selfpublishbooks.ie and we caught up with the author this week to chat about it.

 

Mirrors Don’t Tell Lies was my first novel,” Joe says, “It caught the bug from talking to another author friend in the States. I set about writing this book almost 5 years ago initially taking 5 months to complete. I have since rewritten it twice adding another 4 months on to this time-frame. With a love for detective movies, crime and the solving of same was always going to be the topic for my book. Pretty much with an open mind, no set agenda, I let my imagination run wild all the time developing the story and introducing characters as it went along. I have changed the original ending adding another chapter in the process.

 

“From my teenage years I had a love for writing although in those days I favoured lyric writing, hoping it would give me my big break but alas it didn’t happen. For a time I also contributed to the Drogheda United match day programme. In the subsequent years following on from my retirement I initially wrote poetry which I still very much love to do.

 

I asked Joe what his favourite part to write was. “Chapter 19,” he says, without a doubt, “when protagonist Tom Doyle who is a much accredited, well-respected retired Scotland Yard detective suddenly gives in to his softer side when he once again, after 5 years, meets up with his only daughter Susan and two grand children Elle and Toby who he knew nothing about.”

 

Sounds intriguing! Joe talked a little about what made him rewrite and reprint this book. “Since I finished the re-write of my first book my family have asked me to publish it but I always felt that the expense simply didn’t justify it. However, when I checked it out I was pleasantly surprised to discover that it wasn’t nearly as expensive as first thought. Having had no prior experience with publishing I adopted a very nervous and cautious approach. Daunting would probably describe the initial phase but with the help and assistance of Sharon, my fears were quickly allayed. As you can imagine it was a big learning curve for me but I must say that I found the whole process a pleasant experience.”

 

I asked Joe what the physical book was like: “The finished product was beyond my expectations and I am obviously most pleased with it.”

 

So what’s next for the mystery writer? “My next publication ‘My Watchmaker’s Time’ is already written and is currently being proofed. I expect to have the final file ready in three weeks and intend to then publish it through Selfpublishishbooks.ie. I then intend to write my third novel but haven’t yet decided on a plot. Watch this space!”

 

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Literary Mixtape: What’s Happening This Week

#10

What do we make of Marcel (Proust)?

#9

More children are using libraries

#8

Self-Publishing 2013 with Catherine Ryan Howard

#7

The Book Thief film adaptation

#6

Sylvia Plath: Reflections on her legacy

#5

The National Emerging Writer Programme

#4

A new look into Jane Austen

#3

On Richard III being found in a Leicester car park.

#2

How much should you budget to self-publish your book?

#1

Get a free copy of Poetry Magazine!

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Going to College as a Mature Student

Going to College as a Mature Student

This week, the team at Selfpublishbooks.ie caught up with Denis Staunton. I asked Denis about himself and what may have prompted him to write Going to College as a Mature Student.

“I am originally from Limerick, now living in Cork, married with four grown-up up children,” said Denis, “I have been involved in education at many different levels and in several different contexts for the past thirty-five years. I have worked in the non-formal education sector as a community youth worker, in the in-formal sector as an adult education co-ordinator and in the third-level sector as a lecturer, researcher and policy formation. I know the Irish education system from both the outside and the inside.

“When I left secondary school I knew what I did not want to do but not what I wanted to do. I did not want to work in an ok kind of job, with ok kind of money, in an ok type of office. I felt there was something better out there waiting for me through education. I discovered a ‘thing’ called Sociology and went to UCD as a mature student to study for a degree in Social Science. I loved the challenge of learning and became a lifelong learner.

“Professionally I have worked as a youth work in the inner city of Dublin; Community worker in Donegal with the Combat Poverty Programme; Training Officer with a Community Development Organisation in Cork and for the past twenty five years in University College Cork (UCC) teaching in the Department of Applied Social Studies, Assistant Director (Academic) in the Centre for Adult Continuing Education and Director of Access.

“I have always studied topics related to my work. For example, I completed my Masters in the area of Burnout and Stress among Youth and Community Workers and my PhD was entitled ‘Was it worth it?: The occupational benefits of getting a degree qualification as a Mature Student.’ ”

Where did he get the idea for this book?

“It arose out of the many interviews I carried out with mature students for my PhD Thesis. Reflecting back on their educational journey through college many mentioned the fact that so
much time and stress could have been avoided  (especially in the first year) if they had known more about the academic cultural expectations and the skills and strategies required to become a competent student.
It took me three years to complete. It was hard work but I adopted a simple strategy: no matter what, do an hour every day and write 200
words. It’s amazing how quickly the words add up and after a year a
‘shape’ begins to appear. Year one was given to reading, researching
and drafting (enjoyable part), Year two focused on structure, clarity
and purpose (the self-doubting part), Year three (the really hard
part) was entirely given to rewriting, rewriting and more rewriting.
Receiving written feedback from ‘critical colleagues and friends’ is
essential during the rewriting phase.”

I was curious to know if Denis always enjoyed education. “Yes, love libraries and books. Always reading – even if pottering
around the house or garden I listen to audio CD’s. This allows me
experiment with all sorts of reading material. If I really like one I
can always get copy of book to read at my leisure or study in detail.”

What books or authors inspired him?

“I am more inspired by ideas and certain organisations. However, since
education is my primary interest I have been influenced by
educationalist such as John Dewey, Paulo Freire, Pierre Boudieu,
Malcolm Knowles and Jack Mezirow to mention but a few. I admire the
work of organisation like UNESCO, Amnesty and One in Four.”

Surely there must have been something in particular about this project that attracted him.

“I most enjoyed researching and writing about working with your brain
(chapter 6). Learning how the adult brain works put me in touch with
new research from a number of scientific fields, such as neuroscience,
cognitive science and developmental psychology. Up to a few years ago,
the prevailing notion was that we were born with all of the brain
cells we were ever going to get, and they steadily eroded in a
depressing journey through adulthood and old age. It is now thought
that throughout life, the adult brain is losing connections at the
same time it is creating new connections in the region of the brain
involved in learning. This notion of creating new connections is
called ‘brain plasticity’, namely, the adult brain has the ability to
change its structure and function in response to experience. This is
really good news for adults who return to study as it shows that
intelligence is not fixed but changes as we learn. The popular phrase
‘use it or lose it’ certainly applies to the adult brain.”

What was it about self-publishing that caught his attention?

“The book I wanted to publish was in the middle between purely academic
focused work, on the one hand, and a non-fiction or fiction book for
the general reader on the other. My book was aimed at a particular
audience and even within the field of education mature students
represent a small percentage. Self-publishing, therefore, was an
obvious option, apart altogether from the financial costs involved in
producing a book as well as any financial rewards.

“I certainly did on-line research but in the end opted for a company
near where I live. From my previous experience of working with
publishers and printers being able to visit the site and get to know
the staff personally helps considerably. Lettertec in Cork ticked all
the boxes for me. I got very helpful advice, practical support and a
professional published finished product.

“It worked for me. I was able to get assistance in editing, graphic
design and production quality. This meant that I could bring a
finished product to the university and to work in partnership with
them in bring it to the target audience.”

What’s next for Dr Staunton?

“Right now I am taking time out to reflect and relax before I
decide my next project.”

And we can’t wait!

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Don’t judge The Bell Jar by its cover

Faber’s new cover for The Bell Jar may be garish, but if it finds a new audience for Sylvia Plath’s novel then who cares?


This post is reblogged in full from The Guardian website and is written by Sam Jordison.

It may have first come out 50 years ago, but The Bell Jar still causes controversy. The anniversary has seen all the old arguments and enmities boiling over again, but this book strikes such a nerve that even a new cover can start a row.

Writing on the LRB blog, Fatema Ahmed pours scorn on Faber’s “silly” 50th anniversary edition, calling it a woefully inappropriate attempt to rebrand the book as chick lit. She quotes the always reliable Twitter feed from Melville House asking: “How is this cover anything but a ‘fuck you’ to women everywhere?” and Andy Pressman, a graphic designer, who derided the new cover as “awesomelycomicallyhistorically inapprop” and said: “And by ‘historically’ I mean ‘incorrect on a scale of which we have few historical precedents’, not ‘That typeface didn’t exist in that era’.”

There is a strong argument against the new design. Ahmed says:

 

“The anniversary edition fits into the depressing trend for treating fiction by women as a genre, which no man could be expected to read and which women will only know is meant for them if they can see a woman on the cover.”

 

I can see where she’s coming from. That is indeed a depressing trend. And the cover does indeed look a bit like those other garish covers that supposedly only appeal to women. While I’m notching up the negatives, there’s also the simple fact that the original cover by Shirley Tucker is a thing of great beauty: a timeless classic that is to the new cover as a single-malt is to tar water.

But, here’s the thing. This latest edition has sold truckloads. The official figures aren’t out yet, but Faber have assured me it’s doing the business. There’s no evidence that this cover has ostracised a potential part of its audience, but there is already some that it has helped the book reach a new generation of readers.

Okay, this is an inexact science, and perhaps those sales should be attributed as much to the 50th anniversary publicity and renewed interest in the author as they are to that garish red cover. But the fact remains that the book is selling – and quite possibly reaching a new audience, as Faber claim is their exact intention. Hannah Griffiths, publisher of paperbacks at Faber, says they were aiming for a more “welcoming package” in the belief that “there is a reader for this novel who could enjoy its brilliance without knowing anything about the poetry, or the broader context of Plath’s work”.

Of course, as soon as anyone picks it up, breaks the spine and reads that first sentence they’ll know they’re in for something different. “It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.” Hardly Sophie Kinsella, is it? I even quite like the idea of someone mistaking the book for a sexy summer beach read and falling headlong into Esther Greenwood’s cruel world.

What’s more, those actually reading the novel – rather than judging the cover – may even see something in that blood red, in the queasy glamour of the 50s model checking her makeup, in the serious face in the mirror. It certainly conjures up a time and place, a sense of nausea and introspection. The novel’s Esther Greenwood would probably mock the new design mercilessly, but that too seems appropriate. Perhaps it’s right that she is at odds with the world in which she finds herself and the way she is presented? Perhaps this new cover isn’t quite so silly after all?

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Interview: Olwyn Hughes, Sylvia Plath’s literary executor

Ted Hughes’s sister tells Sam Jordison how misrepresented she feels the story of her sister-in-law’s death has been


The following post is reblogged entirely from the Guardian online.

I spoke to a number of Plath biographers and friends after speaking to Elizabeth Sigmund (including Al Alvarez, Carl Rollyson and Ronald Hyme). They confirmed the substance of what she said – in particular, that Plath had not wanted The Bell Jar to go out under her own name while her mother was still alive. Elizabeth also produced a scan of the letter from Charles Monteith explaining that Faber was unaware that those were Sylvia’s wishes.

However, since it was almost 50 years after the event, and Faber were consequently unable to supply any further information, it became clear that the only person who really knew about the omission of the dedication to Elizabeth and her husband from the 1966 edition was Olwyn Hughes. Fortunately, she agreed to speak to me and set down her side of the story.

The following conversation comes verbatim, from my notes. I would just like to add that in spite of the force of many of her words, that Olwyn seemed good-humoured and peculiarly charming. It might help if you imagine the following spoken in a warm Yorkshire accent:

I want to ask about the name change on The Bell Jar?
She [Plath] was very worried about it because she thought it was going to upset her mother. It was a nightmare for her, actually. She got quite paranoid about it towards the end. And then she was disappointed when it came out and it didn’t have a very good press.

Sorry, I meant the decision to actually use her name?
The decision to use her name was taken after her death, when everybody really seemed to know it was by her. Her friends all knew. There seemed no point in not publishing under her own name.

I’ve been speaking to Elizabeth Sigmund …
Oh God, have you? I mean gabble, gabble, gabble, gabble … Has she some new stories for you?

She was telling me about the dedication.
She [Plath] dedicated it to Elizabeth and her husband, because she didn’t want the London lot to know – you know, her real friends. She didn’t know Elizabeth very well, you know. Although according to Elizabeth … Anyway, we’ve had enough of Elizabeth … [Goes on to suggest that Elizabeth Sigmund’s accounts of events were not always reliable.] What has she told you?

She was saying she was left off the 1966 edition …
Oh yes, that was a Faber error. She thought that was a terrible plot of Ted’s. I don’t know what that was about. It was just Faber left it off. These things happen in publishing.

She also said that she was sure that Sylvia Plath never wanted it published under her own name.
Well, yes. She didn’t want to upset her mother. What it tells, The Bell Jar, is a watered down version of her own breakdown. And that was also very painful to her – quite apart from the fact that there’s a passage in the book that’s rather unpleasant for her mother to read, about the mother’s snoring or something. Sylvia got very het up about the book because I think it was so self-revelatory. In a way she liked that – and in a way she didn’t.

That’s certainly what I think happened with Ariel – her whole trauma, her father’s death upsurged. I think writing The Bell Jar provoked that … And all that traumatic material that came up in Ariel. I think it caused her a lot of aggro. She was a very agonised lady. She had to battle to live every day – as you might glean from The Bell Jar. When I read it after she died, I just wept.

But people don’t realise. They didn’t then, even. She didn’t always show how troubled she was – but she had no inner calm at all. The Bell Jar deals with the beginnings of the trouble. Then she spent the rest of her life dreading its return.

Oh God.

The nonsense that has continued to be written about the story is shocking to me. Sylvia wasn’t the innocent victim, or half so helpless as she’s been made out to be. You just have to look at some of her poetry. She was just nasty in the last poem about her husband and father [“Daddy”]. She was vicious and I think a bit crazy. I watched her going through her torment and it was agony. But Ted was so taken with her. I don’t know why. I don’t know how she did it … Especially because I don’t think that she could control the negativity in herself. You’ve got to remember the venom that Sylvia dished out.

I don’t think anyone has taken into account how injurious the rubbish that’s been written about her has been. What the feminists don’t take into account was how much psychological trouble she was in. She was a very difficult woman with a very difficult personality. She was horribly unjust both to her mother and to Ted. And I’m sick of reading that he left her for Assia – that’s all you get whenever his name is mentioned. Assia. But Ted didn’t walk out.

It was actually a friend of Assia’s who told Sylvia. She rang her up and thought maybe she was helping her, or wanted to warn her, or something, I don’t know. But this person had no idea how on edge Sylvia was. That she wouldn’t be able to cope with this information. And so when Ted next went down [to their house in Devon] she was in a rage and threw him out.

I wish the newspapers would get it right. He didn’t even know that Sylvia would find out about Assia. He’d done everything he could to be very discreet. It was just one of those things … And of course Sylvia, when she did hear about it, it reminded her of all her terrors about abandonment and everything else. She wouldn’t listen to anything but separation and divorce. But he didn’t leave her for Assia. That’s just not true. He was actually staying on friends’ floors in London until he got a little place by himself. He certainly wasn’t living with Assia.

Oh and she took all the money out of their bank account. She was a monster actually.

So what about changing the byline. How was that decision taken?
What people want after they’re dead. That just goes. And nobody was going to be able to keep the secret about who wrote the book for decades. Besides it was a very good little novel.

She was disappointed when she was alive – she was worried about the Jennifer Dawson’s novel The Ha-Ha – which was similar and got a lot more attention at the time. She hadn’t the calm in her necessary to cope with it.

There was all that martyr talk, even after Ted’s death … in America there were a couple of biographies that were terribly bad. They didn’t take account of the fact that Ted had nursed the bloody woman for seven years. The patience that he had with her!

Of course, I didn’t quite understand or realise that she was quite sick. We didn’t know as much about psychology in those days. But let me tell you about one thing. Ted was meeting an old teacher once – and she just ran off. He had to run out onto the moors after her. She did that in front of his old teacher. Can you imagine? And he lived with it.

And when you read her journals – there were some very dark things in there … And there was a furore when they first came out that they were cut. And a few things were taken out – mainly at the request of her mother, but otherwise he did nothing. But there was this great furore and suggestion that there was an attempt to hide things. But what were the secrets?

Of course, nobody actually read the journals! They were too busy focusing on what they thought wasn’t there. And if they did read it properly they’d have found a very damaged girl. A very mixed-up girl. You just had to look at the dreams she described. Her dreams were bad enough to spoil your own.

I understood then how powerful a grouping the feminists can be. And how it still goes on. This crap. No matter what goes on, you can’t counter it. They just lie, and if they find themselves in the wrong, they just ignore it.

I’m collecting all the press I’ve got and giving it to Pembroke College. There was one thing, by someone from the Guardian that I found really upsetting … Katherine … I can’t remember her name. All that martyr stuff. It was just a few days after Ted died that it came out and I thought aren’t The Guardian ashamed of themselves? [We’re unable to pin down the piece to which she’s referring. There’s an article by Katharine Viner on the Plath diaries from 2000, but this was 18 months after Hughes’ death.]

I don’t have any time for them, really the press. I don’t normally talk to journalists.

I must be very fortunate …
Hmm. Well. I wish you’d print what I actually say. You know I would love to talk to some journalist and they could take me seriously – and actually put down what I say. That would be the first time.

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Print Irish

9A00-Print-Irish-225x300
In this difficult economy, governments are putting ever more emphasis on supporting local business as a means to overall recovery. But that is not the only reason the Print Irish campaign is running.

The Print Irish Objectives

  •  Secure local industry and jobs in the print and packaging sector.
  •  Inform the general public that a product has been printed in Ireland.
  • Combat the issue of print being produced non-domestically.
  • Generate awareness that Irish print is focused on service and quality.
  • Create a value system so customers in Ireland are supportive of the Irish print industry going forward.
  • Promote jobs within the industry and encourage new consumers of print, to support Irish industry.

This campaign is a brand new initiative that aims towards putting a public face on the Irish printing industry. Printing in more recent years has become to be viewed as a somewhat generic service. Little thought is given to the thousands of jobs the printing industry supports and the high quality, good value service provided by a technology driven, high skilled indigenous workforce.

Just as the Intel Inside campaign transformed Intel from yet another semi-conductor manufacturer to a criteria of selection for computer hardware, the Print Irish campaign aims to encourage the Irish marketplace to support their own fellow workers and identify print that has originated on home soil.

What does Print Irish do for the Irish publishing sector?

It unites the Irish printing industry under one common flag. It also contributes to an industry war chest, enabling the Irish print and packaging sector to market itself more effectively and pool its collective resources for the greater good. It carries the Print Irish identity on your goods in order to demonstrate your commitment to Irish goods, services and manufacturing. It clearly differentiates between domestic suppliers of print and non-domestic suppliers of print. More to the point, it enables the 19,000 employees in 700 printing companies throughout Ireland to demonstrate their commitment to those companies who buy Irish print.

How does Selfpublishbooks.ie fit in?

As an independent publisher based in Cork, Ireland, Selfpublishbooks.ie offers a simple and cost effective means for authors to make the leap from file to printed book. With high standards of production and keen attention to detail, Selfpublishbooks.ie guarantees a high-quality product that is reliable, practical and local.

Print quality, print Irish.

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