Non Fiction

This cover shows two illustrated dragonflies swopping over a sandy background. The text reads: Duneland: A Year in Kenfig, Kristian Evans

Duneland

A Year in Kenfig

Kristian Evans

Category: Non Fiction, Places

Number of pages: 192

ISBN: 9781911752035

Publication date: April 27, 2026

Price: £12.99

“A beautiful hypnotic piece of writing.” – Richard Gwyn

This is the place I call Duneland…

Situated between the Ogwr Estuary and the Port Talbot Steelworks, the Kenfig dunes are a unique landscape, once part of Tir Iarll, the Earl’s Land, now pierced by the M4, but shrouded in myth and history. Kristian Evans has been deeply immersed there for most of his life. In Duneland, he marks the passing of the year in this extraordinary place, celebrating its fascinating biodiversity and reflecting on our evolving relationship with the natural world. He takes us on a journey between past and present, from the world of the Mabinogi and a buried Norman town, to stories of working-class lives and the impact of industry, exploring what it’s like to live in a wild edgeland where the horizons are always shifting.

Photo of Kristian Evans. Light is hitting his face from the right and he is wearing a cream knitted jumper.
Kristian Evans

Kristian Evans is a writer and editor from Kenfig in south Wales, interested in ecological philosophy, modes of dwelling, liminality, and Welsh history and culture. He is the author of the poetry chapbook Unleaving (HappenStance, 2015) and the non-fiction chapbook Otherworlds (with Zoë Brigley, Broken Sleep, 2021) and has written several texts for performance. A keen amateur naturalist and walker, he writes a semi-regular column for Sustainable Wales, “A Kenfig Journal,” and is co-editor (with Zoë Brigley) of 100 Poems to Save the Earth. He was shortlisted for Michael Marks UK Environmental Poet of the Year 2023.

Author profile

“In Duneland, Kristian Evans explores a little-known corner of Wales, rich in mythology and folklore, which he celebrates with the same sharp eye and lucid turn of phrase he brings to evoking its flora and fauna. The result is a beautiful, hypnotic piece of writing… that sings like a rare bird deeply conscious of its own precarity in these uncertain times.”

Richard Gwyn