‘Where is the Welsh short story going? Wherever Rob Mimpriss takes it.’ John O’Donoghue. Pugnacious Little Trolls, a new collection of short stories published by Cockatrice Books. ‘bathed in white fire in every sense... Borges would happily own them.’ Gee Williams on Pugnacious Little Trolls, a new collection of short stories published by Cockatrice Books. ‘a work of great beauty and subtle force… a fine, distinctive voice.’ Jim Perrin on Pugnacious Little Trolls, a new collection of short stories published by Cockatrice Books. Books: Fiction. ‘Dark, complex, pensively eloquent’ (Sophie Baggott, New Welsh Review) — Reasoning, For His Warriors and Prayer at the End, three short-story collections now published by Cockatrice Books. 10th May 2021: Following Richard Suchorzewski’s vow to ‘return to terrify’ the functional parties of Wales, I would like to announce that I will return to terrify the Nobel Prize for Literature committee. Books: Fiction. ‘Heaving with loss, regret and familial bonds.’ Annexe Magazine on ‘Gemini,’ a short story in Prayer at the End, published by Cockatrice Books. Books: Translations. ‘Lucid, skilful, and above all, of enormous timely relevance’ (Jim Perrin). Rob Mimpriss’s new translation of Morgan Llwyd’s allegorical masterpiece, A Book of Three Birds. ‘There is nothing ostentatious about his writing: most of his characters lead unremarkable, even humdrum, lives; there are few dramatic plot developments... And yet the best of these pieces express something important...’ Brian George, The Short Review. ‘These stories are a rare kind of joy. Even when they approach moments of discontent and danger they bring an optimism founded in human relationships. This is a wonderful collection.’ Prof. Graëme Harper, editor, New Writing. Books: Translations. ‘An invaluable translation.’ Angharad Price on Hallowe’en in the Cwm, the short stories of Glasynys, translated by Rob Mimpriss. ‘Humour and pity often arise from the characters’ inability to understand themselves and those close to them. In suggesting the truth and the self-deception Mimpriss not only engages our sympathy but makes us question our assumptions about ourselves.’ Caroline Clark, gwales.com ‘Quietly written, contemplative... whose powerhouse is the depth of its moral reflection.’ Siân Preece, Rhys Davies Competition on ‘Hamilton Park,’ published in Prayer at the End. ‘an immaculate collection.’ Nigel Jarrett, twice winner of the Rhys Davies Award, on Prayer at the End, a collection of short stories by Rob Mimpriss published by Cockatrice Books. ‘Through the stealthy movements of his prose, Rob Mimpriss enacts the quiet enigma of people’s lives and relationships. The result is an understated fiction of compelling intensity.’ Prof M Wynn Thomas. The story is called ‘Valiant’ in the collection, For His Warriors. I recommend it. Highly. It feels to me already like a classic.’ Fiona Owen, editor, Scintilla. A quiet writer with a loud voice... I’ll be listening for more.’ Michael Nobbs, gwales.com on Reasoning: Twenty Stories, published by Cockatrice Books. Books: Fiction. ‘In the most seemingly unremarkable of Rob Mimpriss’s pieces there is a skill, and a mystery and elusiveness to that skill, which other short-story writers might envy.’ Gee Williams. Books: Anthologies. ‘Industry in the Country of the Blind,’ new fiction in Land of Change, radical prose from Wales edited by Gemma Howell and forthcoming from Culture Matters. Books: Anthologies: ‘this exemplary collaboration’ (Philip Gross). Dangerous Asylums, an anthology of fiction by leading Welsh writers, inspired by Denbigh Mental Hospital, edited by Rob Mimpriss.

Image and reportage from Belfast Telegraph

Image of Nigel Farage in front of his notorious ‘Breaking Point’ poster, depicting the UK as threatened by a deluge of immigrants from Europe. Commenters were quick to point out its visual resemblance to propaganda used by the Nazis (see Heather Stewart and Rowena Mason, ‘Nigel Farage's anti-migrant poster reported to police.’ The Guardian, 16th June 2016), while Andy Wigmore, who ran UKIP’s Leave.EU campaign, freely admitted to being inspired by the Nazis’ propaganda machine (see Rob Merrick, ‘Leading Brexit campaigner praised “very clever” Nazi and Isis propaganda techniques.’ The Independent, 17th April 2018).

Image and reportage from North Wales Live

Image and reportage from Wales Online

Image and reportage from The Independent

Image and reportage from Cardiff Journalism

Image and reportage from Cardiff Journalism

Image and reportage from Belfast Telegraph

Image and reportage from The Mirror

Image and reportage from Lancashire Live

Image and reportage from The London Economic

Image and reportage from Nation Cymru

Image and reportage from The Guardian

Image and reportage from The Metro

Image and reportage from The Metro. Displayed in the centre of the image is the flag of the British Union of Fascists.

Image and reportage from Sky News

The reader will note the graffiti, not in Welsh or Gaelic but exclusively in English, being reported in the Celtic nations, where the British nationalist demands for a single nation, a single state and a single language, ein Reich, ein Volk, ein Führer, are challenged by the existence of the Celtic identities.

‘The innoculation of most Europeans against the original fascism by its public shaming in 1945 is necessarily temporary. The taboos of 1945 have necessarily faded with the disappearance of the eye-witness generation. In any event, a fascism of the future... need not resemble classical fascism perfectly in its outward signs and symbols... For example, while a new fascism would necessarily diabolise some enemy, both internal and external, the enemy would not necessarily be Jews. An authentically popular American fascism would be pious, antiblack, and, since September 11, 2001, anti-Islamic as well; in Western Europe, secular and, in these days, more likely anti-Islamic than anti-Semitic; in Russia and Eastern Europe, religious, anti-Semitic, Slavophile, and anti-Western. New fascisms would probably prefer the mainstream patriotic dress of their own place and time to alien swastikas or fasces. The British moralist George Orwell noted in the 1930s that an authentic British fascism would come reassuringly clad in sober English dress.’

Robert Paxton, The Anatomy of Fascism. Harmondsworth: Penguin, 2004.