In the penultimate interview in our Writers at Work series, we spoke to the artist and translator Esyllt Angharad Lewis, about her evolving and multi-disciplinary creative practice, and the different forms and languages she weaves into her work.

Tell us about your writing life. When did it start? What does it look like now?

It started from painting not being able to hold my grief. I used to draw pictures to process the wobbles of things and people happening to me, but losing a close friend made me just need to write words down. I wrote a poem about her, for me, for no one else, and it came like a pool of butter. I then recorded myself reading it aloud for me, for no one else, and that was the beginning. I realised I had to express things with my actual speaking voice, and that’s when I started to think about rhythm, about iterations, about pauses, and started rubbing two languages up against each other; Art & Writing, Welsh & English.

“You should take your practice seriously, but you shouldn’t take yourself too seriously.”

What kind of writing excites you most?

Things that are teetering on some kind of edge, just out of reach. Things that make no sense and complete sense, ideas collapsing into each other like new friends on a sofa. Something that’s pushing language and your brain on a bit further on than they thought they could go.

What are you working on right now?

I’m working on speculative, nostalgic, immediate fragments of writing and image-making for a video, publication and performance piece which will revisit my primary school’s video re-enactment of the Rebecca Riots in the Swansea area, titled BECA 2000. It will be part of an exhibition at Mostyn Gallery opening in June.

I’ve just finished editing Clare Potter’s first Welsh Language poetry collection Nôl Iaith out with Cyhoeddiadau’r Stamp this summer. I’m also slowly working on my own first publication of experimental writing, poems and drawings, out tbc…

Image via Esyllt Lewis

Where do you write?

In my head without knowing it. Between conversations with friends, overhearing stuff on the bus, when I’m not looking at my phone, when I’m waiting. Gaps are important to me – I fill them too quickly, but that’s where I give my thoughts permission to swim.

When do you write?

When I can’t speak or have spoken too much, or when I’m sliding down the edge of being really flippin happy.

And… why do you write?

To figure out the things I struggle to say out loud, and then say them out loud.

“I really hope it prompts more genuinely creative and experimental translation in Wales.”

Is there a book or author that has influenced you?

Bad Behaviour by Mary Gaitskill is a sharp kiss. Hoffwn i allu sgwennu rhywbeth fel’na’n Gymraeg.

Tell us about something you are really proud of.

Adapting Anthony Shapland’s novel Lan Stâr (A Room Above a Shop), into Cymraeg. Working with Anthony and his vision has been an epiphany. It’s been the best experience of my career! I really hope it prompts more genuinely creative and experimental translation in Wales.

What’s the best advice you’ve been given as a writer developing your practice?

You should take your practice seriously, but you shouldn’t take yourself too seriously.  

There are so many ways to have a creative career. What would life as a ‘working’ writer look like for you?

The ability to express myself on my own terms. Adeiladu a chynnal cymuned.

Writers at Work is a creative development programme for Welsh writers at Hay Festival, with the support of Literature Wales and Folding Rock, funded by Arts Council of Wales.

Offering a fully-programmed ten days of creative development opportunities, Hay Festival Writers at Work allows the selected writers to engage in Festival events, attend workshops with publishers, agents and, crucially, with established international artists.

Check out some of our recommended events for this year’s Hay Festival here, including showcase readings from the 2025 Writers at Work cohort.