Colonial Countryside is a book of commissioned poems and short stories produced by ten global majority writers featuring National Trust houses with significant colonial histories. This includes properties whose owners engaged in the slavery business, in colonial administration or who were involved with the East India Company or British rule in India. Historians have accompanied these pieces with commentaries detailing the evidence upon which each creative commission was based. The book ends with a photo essay by the project’s commissioned photographer, Ingrid Pollard, the Turner Prize shortlisted artist who has pioneered critical interventions into the supposed whiteness of the British countryside. Peter Kalu’s story gives an account of Richard Watt of Speke Hall reflecting on his Jamaican experiences; Karen Onojaife’s story is set in Charlecote Park where a once-favoured Black page finds himself cut adrift; Jacqueline Crooks’ magical realist tale brings together an abused Indian princess and enslaved African employed in the mahogany trade; Ayanna Lloyd Banwo has written about Diego, the Spanish-speaking African who became Drake’s closest confidante; Masuda Snaith’s short story cycle tracks the cross-currents of empire across Lord Curzon’s Kedleston Hall; Maria Thomas’s account of Penrhyn Castle links past and present. It is a gothic tale of history biting back. Malachi’s story features a young Black man who dates a white girl with a taste for country house visiting, including Calke Abbey. Other contributions include poetic meditations on artefacts to be found in country houses. Hannah Lowe reflects on the taste for Chinoiserie, Seni Seneviratne gives voice to the enslaved children trapped within the frames of 18 th century art and Andre Bagoo makes connections between William Blathwayt of Dyrham Park and two stands featuring kneeling African men, brought to the house by his uncle in the seventeenth century.

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, historian 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.

Ten walks through idyllic scenery reveal the countryside's forgotten links to transatlantic slavery and colonialism--a work of accessible history that will transform our understanding of British landscapes and heritage. The green fields, rugged highlands, and rolling hills of England, Scotland, and Wales are commonly associated with adventure, romance, and seclusion as well as literary figures like Jane Austen and William Wordsworth. But in reality, many of these rural places--with their country houses, lakes, and shorelines--were profoundly changed by British colonial activity. Even hamlets and villages were affected by distant colonial events. Taking ten country walks, author Corinne Fowler explores the unique colonial dimensions of British agriculture, copper-mining, landownership, wool-making, coastal trade, and factory work in cotton mills. One route shows the links between English country houses and Indian colonization. Another explores banking history in Southern England and its link to slavery on Louisianan plantations. Other walks uncover the historical impact of sugar profits on the Scottish isles and 18th-century tobacco imports on an English coastal port. The history of these countryside locations--and the people who lived and worked in them--is closely bound up with colonial rule in far-away continents. Accompanying the author on her walks are a fascinating group of people--artists, musicians, and writers--with strong attachments to the landscapes featured in this book and family links to former British colonies like Barbados and Senegal. These companions illuminate the meaning of colonial history in local settings. Crucially, this is not just a history book but a compassionate reflection on the way we respond to sensitive, shared histories which link people across cultures, generations, and political divides.

Postcolonial Manchester offers a radical new perspective on Britain's devolved literary cultures by focusing on Manchester's vibrant, multicultural literary scene. Referencing Avtar Brah's concept of 'diaspora space', the authors argue that Manchester is, and always has been, a quintessentially migrant city to which workers of all nationalities and cultures have been drawn since its origins in the cotton trade and expansion of the British Empire. This colonial legacy - and the inequalities upon which it turns - is a recurrent motif in the texts and poetry performances of the contemporary Mancunian writers featured, many of them members of the city's long-established African, African-Caribbean, Asian, Chinese, Irish and Jewish diasporic communities. By turning the spotlight on Manchester's rich, yet under-represented, literary tradition, this book also argues for the devolution of the canon of English Literature and recognition for contemporary black and Asian literary culture. -- .

Despite the recent increase in scholarly activity regarding travel writing and the accompanying proliferation of publications relating to the form, its ethical dimensions have yet to be theorized with sufficient rigour. Drawing from the disciplines of anthropology, linguistics, literary studies and modern languages, the contributors in this volume apply themselves to a number of key theoretical questions pertaining to travel writing and ethics, ranging from travel-as-commoditization to encounters with minority languages under threat. Taken collectively, the essays assess key critical legacies from parallel disciplines to the debate so far, such as anthropological theory and postcolonial criticism. Also considered, and of equal significance, are the ethical implications of the form's parallel genres of writing, such as ethnography and journalism. As some of the contributors argue, innovations in these genres have important implications for the act of theorizing travel writing itself and the mode and spirit in which it continues to be conducted. In the light of such innovations, how might ethical theory maintain its critical edge?

Despite the recent increase in scholarly activity regarding travel writing and the accompanying proliferation of publications relating to the form, its ethical dimensions have yet to be theorized with sufficient rigour.

Drawing from the disciplines of anthropology, linguistics, literary studies and modern languages, the contributors in this volume apply themselves to a number of key theoretical questions pertaining to travel writing and ethics, ranging from travel-as-commoditization to encounters with minority languages under threat. Taken collectively, the essays assess key critical legacies from parallel disciplines to the debate so far, such as anthropological theory and postcolonial criticism. Also considered, and of equal significance, are the ethical implications of the form s parallel genres of writing, such as ethnography and journalism. As some of the contributors argue, innovations in these genres have important implications for the act of theorizing travel writing itself and the mode and spirit in which it continues to be conducted. In the light of such innovations, how might ethical theory maintain its critical edge?

Throughout the twentieth-century artists have responded to the landscape in emotional, physical and political ways: exploring themes of belonging to the land by interrogating the relationship between landscape history and identity, the enclosure or militarisation of land, to artists creating works that harness or dramatise natural earth processes. As the custodian of the national collection of British art, Tate's climate emergency declaration points to a wider concern and care for the environment that underpins the themes in Radical Landscapes. Structured on three broad thematic sections; 'Trespass', 'Landscape and Identity', and 'Climate Breakdown', there will be around 100 works in total starting from 1900 until today. Focussing on activism and how we value, care for, use and draw meaning from the natural landscape, the book will showcase an array of viewpoints reflecting the diverse perspectives in modern Britain, examining the artists' relationship to the landscape and social history as a stimulus for the imagination as much as action and protest. It presents a radical and outward-facing image of Britain and its diverse peoples and landscapes to the world. These conversations present a rare opportunity to reframe Tate's holdings of landscape art as well as explore how we might commune with nature and collectively work towards a more sustainable and equitable future. Artists include Henry Moore, Peter Kennard, Tacita Dean, Ingrid Pollard, Jeremy Deller, Rose English, Chris Killip, Derek Jarman, Yuri Patterson, Anthea Hamilton and many more.