I had really loved the storytelling and art work in Storyland and when I found out that there was a sequel coming out covering the early medieval period in a similar fashion I was excited.

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Author

The mix of modern iterations, translated originals and modern commentary providing a smooth and engaging link betwixt past and present. Jeffs has a gift for breathing new life into ancient stories through her lyrical writing, deep research and evocative woodcuts. She connects our mythic history to the landscape with delicacy and humour. Reading Wild feels like being led by the hand through a gnarled, old growth forest, along empty shoreflats, and along the edge of windswept cliffs – and shown how to experience them through medieval eyes. It's a jewel of a book."

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In Wild , Amy Jeffs journeys - on foot and through medieval texts - from landscapes of desolation to hope, offering the reader an insight into a world at once distant and profoundly close to home. The seven chapters, entitled Earth, Ocean, Forest, Beast, Fen, Catastrophe, Paradise, open with fiction and close with reflection. They blend reflections of travels through fen, forest and cave, with retelling of medieval texts that offer rich depictions of the natural world. From the Old English elegies to the englynion and immrama of the Celtic world - stories that largely represent figures whose voices are not generally heard in the corpus of medieval women, outcasts, animals. Amy Jeffs is an art historian specialising in the Middle Ages. In 2019, she gained a PhD in Art History from Corpus Christi College, Cambridge, having studied for earlier degrees at the Courtauld Institute of Art and the University of Cambridge. She is currently a Postdoctoral Fellow at the Paul Mellon Centre for Studies in British Art. Immersive . . . Her stories are arranged across seven chapters - Earth, Ocean, Forest, Beast, Fen, Catastrophe and Paradise. Jeffs, a medieval scholar with her own wild streak, introduces each in confident, forceful tones. She also sings six of her songs, accompanied by early musical instruments. Lucy Paterson, who has one of those warm, low, Old poetry and it's import for medieval society vague for modern uninitiated reader is still full of emotive humanity. Helpful commentaries elucidate on meanings and how the old poetry sheds light on a rich artistic culture in Medieval Britain, the medieval perspectives and understandings reflecting how they perceived the world they inhabit. The RLF fellow told me on Tuesday that enthusiasm and love for a subject seeps through writing- this book is a prime example of that.

In Wild, Amy Jeffs journeys – on foot and through medieval texts – from landscapes of desolation to hope, offering the reader an insight into a world at once distant and profoundly close to home. The seven chapters, entitled Earth, Ocean, Forest, Beast, Fen, Catastrophe, Paradise, open with fiction and close with reflection. They blend reflections of travels through fen, forest and cave, with retelling of medieval texts that offer rich depictions of the natural world. From the Old English elegies to the englynion and immrama of the Celtic world – stories that largely represent figures whose voices are not generally heard in the corpus of medieval literature: women, outcasts, animals. Jeff's uses ancient Medieval Texts (mostly from the Exeter Book) to create some really great short stories all focused around the wilderness of England.During her PhD Amy co-convened a project researching medieval badges and pilgrim souvenirs at the British Museum. She then worked in the British Library's department of Ancient, Medieval and Early Modern manuscripts. Jeffs is the narrator, providing a reading that is suffused with portent and otherworldliness. Listeners miss out on the author’s elegant wood engravings that adorn the print edition, though they gain a series of folksongs, written and performed by Jeffs, each of which adds a thrilling new dimension to these ancient fables. Jeffs teases out nuance, divining moral and metaphorical meaning from each story, and questions ways that this living history of Britain impacts upon our present-day understanding of landscape. The writing throughout is celebratory and evocative." Wild is one of the best books I've read lately, it absolutely surprised and stunned me. It is intelligent, entertaining, sophisticated, informative and thought-provoking. Reading it has sparked my imagination and my interest in the early medieval history of Britain, this fascinating and complex period in time, when Christian, Celtic, Roman and Germanic art, myths, ideas and languages swirled together and created a truly unique combination. I imagine this is the sort of book, Professor Tolkien would have enjoyed reading and I can't wait to read some of the original sources mentioned in it.

From the Old English elegies to the englynion and immrama of the Celtic world – stories that largely represent figures whose voices are not generally heard in the corpus of medieval literature: women, outcasts, animals. In Wild, the writer and medievalist Amy Jeffs blends fact and fiction to “evoke and contextualise [Britain’s] ancient imaginative landscape”. Broadly covering the years 600-1000, a period of “migration, conversion and belief in monsters, demons, angels and omens in the sky”, the book comprises seven themed chapters: Earth, Ocean, Forest, Beast, Fen, Catastrophe and Paradise. Each begins with a short story inspired by objects or texts that have survived from early medieval times, and are rooted in their surroundings, after which Jeffs takes a closer look at the sources. Chapter two a hauntingly melancholic highlight where loneliness stands out for a delicate twist to an epic saga In Wild, Amy Jeffs journeys - on foot and through medieval texts - from landscapes of desolation to hope, offering the reader an insight into a world at once distant and profoundly close to home. The seven chapters, entitled Earth, Fen, Forest, Beast, Ocean, Catastrophe, Paradise, open with fiction and close with reflection. They blend reflections of travels through fen, forest and cave, with retelling of medieval texts that offer rich depictions of the natural world, from the Old English elegies, the Welsh Englynion, the Norse poetic Edda - stories that largely represent figures whose voices are not generally heard in the corpus of medieval literature: women, outcasts, animals. They blend reflections of travels through fen, forest and cave, with retelling of medieval texts that offer rich depictions of the natural world.

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Jason Watkins reads this terrific portrait of London’s Soho between the wars, featuring a long cast of characters including Nellie Coker, a nightclub owner; Frobisher, a police inspector investigating Nellie’s business; and Gwendolen, a young librarian hired to search for some missing girls. The seven chapters, entitled Earth, Ocean, Forest, Beast, Fen, Catastrophe, Paradise, open with fiction and close with reflection.