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The creation of texts preserves culture, literature, myth, and society, and provides invaluable insights into history. Yet we still have much to learn about the history of how those texts were produced and how the production of texts has influenced modern societies, particularly in smaller nations like Wales. The story of publishing in Wales is closely connected to the story of Wales itself. Wales, the Welsh people, and the Welsh language have survived invasion, migration, oppression, revolt, resistance, religious and social upheaval, and economic depression. The books of Wales chronicle this story and the Welsh people's endurance over centuries of challenges. Ancient law-books, medieval manuscripts, legends and myths, secretly printed religious works, poetry, song, social commentary, and modern novels tell a story of a tiny nation, its hardy people, and an enduring literary legacy that has an outsized influence on culture and literature far beyond the Welsh borders.
The creation of texts preserves culture, literature, myth, and society, and provides invaluable insights into history. Yet we still have much to learn about the history of how those texts were produced and how the production of texts has influenced modern societies, particularly in smaller nations like Wales. The story of publishing in Wales is closely connected to the story of Wales itself. Wales, the Welsh people, and the Welsh language have survived invasion, migration, oppression, revolt, resistance, religious and social upheaval, and economic depression. The books of Wales chronicle this story and the Welsh people's endurance over centuries of challenges. Ancient law-books, medieval manuscripts, legends and myths, secretly printed religious works, poetry, song, social commentary, and modern novels tell a story of a tiny nation, its hardy people, and an enduring literary legacy that has an outsized influence on culture and literature far beyond the Welsh borders.
This chapter has eight sections 1. General; 2. Fiction Pre-1945; 3. Fiction Post-1945; 4. Drama Pre-1950; 5. Drama Post-1950; 6. British Poetry Pre-1950; 7. British Poetry Post-1950; 8. Modern Irish Poetry. Section 1 is by Shawna Ross; section 2(a) is by Francesca Bratton; Section 2(b) will resume in 2022; section 2(c) is by Georgina Binnie; section 2(d) is by Andrew Keese; section 2(e) is by Joshua Phillips; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Sophie Stringfellow; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Jack Quin.
This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Michelle Lyons-McFarland; section 2 is by Fiona Milne; section 3 is by Dylan Carver; section 4 is by Kristin M. Distel.
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