Northenden was mentioned as Norwordine in the Domesday Book of 1086; its name came from Anglo-Saxon Norþ-worþign = "north enclosure". It was then a small farming community with a manor house and woodland. Another theory is that the name means "northern dale or valley", presumably because it was near the River Mersey.[4] In later times Northenden was sometimes called Northen. There was a weir on the Mersey there in the 14th century (where Mill Lane stands now) and a mill was set up to grind corn. The mill belonged to the Tatton family of Wythenshawe Hall, but was demolished in the 1960s. As Northenden is on a major (and very old) crossing place of the Mersey on the "Salt Road" from Cheshire to Manchester, it prospered in medieval times. The ford was an important way into and out of and into Manchester (now Ford Lane), as there was no bridge over the Mersey between Sale and Stockport, until in 1745 Bonnie Prince Charlie's army built a troop-bridge out of big poplar tree trunks where the B5095 (Manchester Road, Didsbury) now crosses the Mersey, south of Didsbury, in his abortive attempt to seize the crown of England. The Northenden ford was unusual because its northern and southern ends were not opposite each other, but people using the ford had to wade about 500 feet along the riverbed. The Simon's Bridge was built at the ford in 1901 to help access to Poor's Field, and the rent from this field was used by the church to buy blankets and clothes for the needy. Distance from Manchester enabled Northenden to avoid the Industrial Revolution in the 19th century. The nearest it came to industrialisation was a cottage industry in flax spinning.

Looking Back at Northenden (Looking back series)

Deakin, Derick

History

Willow Publishing

The Lost Rivers of Manchester

Geoffrey Ashworth

Around Manchester Guide

Peter Haddington

The ' 'Scottish'' 1963-1989

Sports & Outdoors

Dickinson, John

Sandham, Tommy

Miscellaneous

This book (ISBN: 978-0-9934440-8-1; 202 pages, Second Edition, Nov 2022) develops a Socinian interpretation of the prologue of John. It shows that John uses types and intertexts from the Hebrew Scriptures to describe Jesus as 'the Word' of a new creation. It questions whether there is an 'incarnation' in the prologue and as such it represents a challenge to church ideas about Christ.

John 1: 1-18

Andrew Perry

Poetry collection by Quenton Baker. Baker is a poet and educator from Seattle. His current focus is the fact of blackness in American society. His work has appeared in Vinyl, Apogee, Poetry Northwest, The James Franco Review, Cura and in the anthologies Measure for Measure: An Anthology of Poetic Meters and It Was Written: Poetry Inspired by Hip-Hop. Baker has an MFA in Poetry from the University of Southern Maine and is a two-time Pushcart Prize nominee. He is a 2015-2016 Made at Hugo House fellow and the recipient of the 2016 James W. Ray Venture Project Award. He is also the author of the chapbook Diglossic in the Second America from Punch Press. This Glittering Republic is his first full-length collection.

This Glittering Republic

Literature & Fiction

Baker, Quenton

Poetry

Lucinda Roy is an Alumni Distinguished Professor in Creative Writing at Virginia Tech where she teaches in the MFA program. Her awards include the Eighth Mountain Poetry Prize for The Humming Birds, a Discover Great New Writers selection from Barnes and Noble for her novel Lady Moses, and the Baxter Hathaway Poetry Prize for her slave narrative "Needlework." She received the Newsmaker of the Year award from the Virginia Press Women in recognition of her memoir No Right to Remain Silent: What We've Learned from the Tragedy at Virginia Tech. Her work has appeared in numerous publications and anthologies.

Fabric

Lucinda Roy

Short story collection by Sahar Mustafah, David Friedman Award for Best Fiction. 2016 Grand Prize Winner for Prose, Willow Books Literature Awards. 
“The native and immigrant Palestinians in Sahar Mustafah’s Code of the West live in a world where the threat of violence is part of their existence. Some of these characters exist within their own ethnic enclave, while others travel beyond to unexpected locations. What deeply resonates are the ways Mustafah captures the textures of her characters’ lives, the atmosphere of their homes and families, certain quiet scenes where some unexpected connection or depth of feeling enters, and we are reminded of Chekhov’s observation that heartbreak or great changes can arrive at the most ordinary of moments.” ~David Mura, author of Turning Japanese: Memoirs of a Sansei and Famous Suicides of the Japanese Empire (a novel)

Code of the West

Mustafah, Sahar

United States

Using his beloved pastime of baseball as an allegory, poet Gustavo Adolfo Aybar debuts a tour de force meditation on the battle for the soul of the Dominican Republic. Alabanza...and one said with a Spanish tongue: let me play; we have no field here. And the other said with an African tongue, I will let you play. Baseball is all we have. --from We Seek Asylum

We Seek Asylum (Willow Books Grand Prize)

Aybar, Gustavo

Poetry collection by Sokunthary Svay, Khmer writer and musician from the Bronx, New York. She and her family were refugees from Cambodia who survived the genocidal Khmer Rouge regime. 
“Sokunthary Svay’s Apsara in New York is truly like no other poetry collection I’ve read. Transnational and pan-ethnic in scope, the book begins in a refugee camp in Thailand, settles in the Bronx and, driven by memory and desire, returns to the Cambodian cities of Phnom Penh, Battambang, and Takeo. The poet is both fierce and tender, street-smartand thoughtful, maternal and filial, political and haunted. With No Others, Svay emerges as a powerful new voice in Cambodian-American poetry.”
Bunkong Tuon, author of Gruel and associate professor of English, Union College

Apsara in New York

Svay, Sokunthary

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