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A Good Enough Love
In this collection, Owen Gallagher explores the notion of a good enough love' in all its forms. In Fusion', a young Sikh and Muslim couple must be content to swap seats and relish each other's heat, and in Testes', a man whose testicles have been removed utters, "All I longed for was to be held." Owen Gallagher was born in Glasgow. He lives in London, where he works as a schoolteacher.
Tea with the Taliban
Owen Gallagher's third collection of poems is a book about tribes, real and imagined - the warring tribes to which we all belong. It's a journey to dystopia, from the Gorbals in the 1950s to contemporary Palestine, a close study of our need to belong to something bigger than ourselves, the shared identities whose 'anthems, arms and flags' are stock
Clydebuilt
'Ah'll show yoo anuther Glesca,' announces Owen Gallagher in 'Thi Unoffishal Toorist Guide Oootside Glesca Central', not the 'bleached version' of history books and tourist brochures. 'Clydebuilt' is a book about growing up in the Gorbals in the 1950s and 1960s - poverty, pawnshops and sectarianism, carbolic soap and lice, Saturday morning at the pictures, violent teachers, razor-gangs and blacklists. It's a book about language - Glaswegian dialect, Latin and the Church's 'tabernacle of language'. And it's a book about Red Clydeside, a city of dreamers, fighters, singers and rebels.
The Complete Gallagher Brothers Series
A New Contemporary Romance series from NYT Bestselling Author Carrie Ann Ryan. The Gallagher Brothers are bearded, broody, single, and inked—and perfectly happy that way. When one of the four of them finds love in the most unexpected of ways, its time for the remaining three to figure out what they want. The Gallagher Brothers series is a spin off of the Montgomery Ink series and just as hot, angst-filled, and emotional as the Montgomerys. Only these three guys have been through their own hells and want nothing to do with happy ever afters…or so they think.
Sat Guru Snowman
In this collection Owen Gallagher's evocative poems weave in and out of Southall, Glasgow and Donegal, making connections between people, beyonf language and customs, drawing out their common history.
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Reclaiming Critical Remix Video
Remix is now considered by many to be a form of derivative work, but such generalizations have resulted in numerous non-commercial remixes being wrongfully accused of copyright infringement. Gallagher argues, however, that remix is a fundamentally transformative practice. The assumption that cultural works should be considered a form of private property is called into question in the digital age; thus, he proposes an alternative system to balance the economic interests of cultural producers with the ability of the public to engage with a growing intellectual commons of cultural works. Multimodal analyses of both remixed and non-remixed intertextual work, with a particular focus on examples of critical remix video, fuel the discussion, synthesizing a number of investigative methods including semiotic, rhetorical and ideological analysis.
