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Matthew Hedley Stoppard

Matthew Hedley Stoppard was born in Derbyshire in 1985. After a brief career as a journalist, he now works as a librarian, and lives in Leeds with his wife and two sons.

Recordings of Matthew’s poetry include Insect Eucharist and Other Poems (2012) and the spoken-word album Runt County (2014), both available from Adult Teeth Recordings. On the page, his poetry has appeared in Magma, Iota, Cake, The Morning Star, A Complicated Way of Being Ignored (Grist, 2012) and Holding Your Hand Through Hard Times (Osset Originals, 2014).

Matthew's debut collection of poetry, A Family Behind Glass, was published by Valley Press in May 2013, and was included in the Guardian's Readers' Books of the Year. His next publication was Cinema Stories, a collaboration with fellow Leeds-based poet James Nash. Launched at the Leeds International Film Festival in November 2015, this collection celebrates the cinematic heritage of Leeds, and the experience of cinema-going in general.


Cinema Stories

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Before the Second World War, there were around seventy cinemas operating in Leeds. Now, though some remain open, most of these ‘forgotten temples’ have been repurposed or demolished.

Since 2014, Leeds-based poets James Nash and Matthew Hedley Stoppard have been visiting the sites of legendary picture-houses, and documenting their current status with two inimitable, unmistakable poetic voices – whilst also considering the remarkable shared (yet personal) experience that is cinema-going.

So sit down on a spring-loaded chair, grab some popcorn, and enjoy one of the most original, evocative poetry collections since the invention of technicolour...

A Family Behind Glass

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A Family Behind Glass is the first collection of poetry by Matthew Hedley Stoppard, painting a vivid picture of a 1990s childhood (complete with miniature waistcoats and rusting swing-sets), then taking us through to the present-day realities of the poet's life as a father to his own family.

With a particularly English literary sensibility, every line crackles with half-forgotten but instantly recognisable characters, images and locations, somehow evoking a nostalgia for the here-and-now - and everything that is 'behind glass', just beyond our reach.

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