By Tony Brown
Glyn Jones used to be one of many exceptional first new release of Welsh writers in English which integrated Dylan Thomas, Rhys Davies and Idris Davies. an incredible determine at the Welsh literary scene for nearly sixty years, Glyn Jones’s brief tales are between his best achievements; of his first assortment, The Blue mattress (1937), Edward Garnett wrote, ‘Glyn Jones is a genius ... his tales have a wierd ingenious caliber approximately them not like something else’. This quantity is the 1st to collect all Glyn Jones’s brief tales and contains ‘I was once born within the Ystrad Valley’, a protracted tale approximately an armed uprising within the south Wales valleys, right here republished for the 1st time because the Nineteen Thirties. Set usually both within the scruffy streets of his boyhood Merthyr or within the luxuriant Carmarthenshire nation-state, the tales express the wealthy number of tone that characterizes Glyn Jones’s fiction. conscious about the ache and discomfort on this planet round him, Jones is usually deeply conscious of the mysterious and sensuous great thing about the flora and fauna and to the resilience and humour of standard, fallible humans. through flip comedian, sensuous, gruesome, even unreal, the tales might be deeply relocating of their compassion. Set in Wales, they're common of their humanity.
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Extra info for Collected Stories of Glyn Jones
6d, to add to his £30 advance; in addition Faber paid four guineas to publish 'Wil Thomas' in their 1937 anthology, Welsh Short Stories. Donats, no money was forthcoming and the project foundered. . . . [I]n his company a wild throwing over of traces was unlikely. . . . Then turn round and say we in Wales are on the side of Socialism, the people. Rhys Davies likes it very much. (August 1937) The first issue had included Jones's poem 'Scene' along with poems by Vernon Watkins, Idris Davies, and Rhys himself; it had opened with Dylan Thomas's 'Prologue to an Adventure', about which, to Jones's delight, the Western Mail received letters of protest, while a member of the BBC staff, a former London magistrate, told one bookseller that the piece warranted prosecution (letter to Rhys, August/September 1937).
Because the working class, most of them, care nothing for art. (Journal, May 1936) 49 These tensions and these longings, clearly, contribute to Glyn Jones's construction of working people, particularly the working men, in the short stories which he was writing in these years. This is the thing I should like to see remaining – the kindliness of the poor. These are the things I would like to see coming – the revolutionary mind to the workers, responsible state ownership, the classless society.
Or mere poet a superb story writer'. . . In the Observer (31 December 1944), Alan PryceJones found the volume 'outstanding'. She too noted the presence of two worlds, that of fable and that of the real world but pointed out that the author never seems to have his feet wholly on the ground: 'There is some sense of another world in all the stories'. In fact it is a genuinely experimental work, using a variety of narrative techniques, including such Welsh devices as dyfalu (the piling up of figurative effects).