Kate Roberts

Kate Roberts (1891-1984) was born on the 13th of February, 1891 in Rhosgadfan, Caernarfonshire.


Known as ‘Brenhines ein Llên’ (Queen of our Literature), Kate published novels such as Traed Mewn Cyffion (Feet in Chains) in 1936, which depicted poverty and the hardships of women in the slate quarries in North Wales. She was also known for short stories such as in the collection ‘Ffair Gaeaf a storïau eraill’ (’Winter Fair and other stories’), published in 1937.

Through her political activism with Plaid Cymru, she met Morris T. Williams, who she married in 1928. They bought the Gwasg Gee publishing house in Denbigh by 1935, which published books, pamphlets and Y Faner (The Banner). Kate and Morris both were close to the editor of Y Faner, E. Prosser Rhys, a poet who broke ground in 1924 by winning in the Eisteddfod with ‘Atgof’, which depicted heterosexual sex, masturbation and gay sex. Morris and Prosser’s relationship was particularly close, and they are thought to have had an affair. 

Morris died in 1946 (Prosser Rhys in 1945) but Kate continued at the press for another decade. Her later short stories reflected her isolation and her autobiography was published in 1960. Kate is also known for her politics, carrying on a correspondence with the Welsh Nationalist Saunders Lewis for 40 years and herself contributing to Y Faner. Kate retired to Denbigh and died in 1985, at the age of 94.

The image of Kate Roberts is that of a powerhouse of a Welsh novelist, writer and political campaigner, but also of a lonely and childless widow later in life. This image is sadder if her husband was gay, had an affair, and died from his alcoholism in his 40s. The traditional images of Kate Roberts can be challenged, however. Morris’s sudden death was devastating - in an interview with Lewis Valentine, Kate told him how her world had fell to pieces, leading to write of ‘the struggle of a woman’s soul’ in Stryd y Glep (Gossip Row). The affair, however, she understood.

Kate’s own literature has more recently been analysed as itself having examples of homoerotic writing between women. Relationships between women can be intense, erotic, such as in the 1929 short story ‘Nadolig’ (’Christmas’), which explores a relationship between two teachers with coded queer subtext, and the 1972 short story ‘Y Trysor’ (’The Treasure’). Not only did lesbian relationships seem to appear in her short stories (similarly to the writer Margiad Evans, who is thought to be bisexual, who Kate also corresponded with) but in Alan Llwyd’s biography, he writes that her letters to Morris hint at her own feelings for women:

“Yr oedd gwraig y cigydd lle’r arhoswn yn un o’r merched harddaf y disgynnodd fy llygaid arni erioed. Dynes lled dal, heb fod yn rhy dew nac yn rhy denau, gwellt gwineu - real chestnut a thuedd at donnau ynddo. Croen fel alabaster a’r gwddf harddaf a welais erioed - llygaid heb fod yn rhy brydferth ond yn garedig. Yr oedd yn hynod gartrefol ei ffordd - Cymraes iawn. Bore trannoeth, hebryngai’r mab fi mewn cerbyd i Gastellnedd - cychwyn tua 7.15a.m. a hithau’n oer. Mynnodd y wraig roi clustog o’r ty odanaf, a lapiodd rug am fy nhraed, rug arall am fy nghorff, a rhoes glamp o gusan ar fy ngwefus. Nid oedd dim a roes fwy o bleser imi. Os byth ysgrifennaf fy atgofion, bydd y weithred hon yno, a’r noson ar lan afon Ddyfi.”

“The butcher’s wife where we stayed was one of the most beautiful girls I have ever laid eyes on. A broad, tall woman, not too fat or too thin, brown(?) hair - real chestnut, with a tendency to waves. Skin like alabaster and the most beautiful neck I’ve ever seen - eyes not too beautiful but kind. She was very homely - a real Welshwoman. The next morning, the son escorted me in a vehicle to Neath - starting at 7a.m. and it cold. The wife insisted on putting a cushion from the house under me, wrapped a rug around my feet, and another on my body, and put a clamp of a kiss on my lips. There was nothing that gave me more pleasure. If I ever write my memoir, this deed will be there, and that night on the banks of river Dyfi.”

The implication is she was aware of Morris’s homosexuality before they married and felt comfortable her own sexuality to him, and, as she was in love with Morris, was bisexual. This interpretation of her writing, both personal and published, was treated as controversial however - the ‘sensational’ ‘claim’ of the biography, rather just one part of Llwyd’s portrayal of Kate’s life. The queer readings of her writing already existed and certainly are not so far-fetched or shocking. Kate’s history does not generally include her queerness, so have these interpretations been entirely dismissed as unbelievable?

Through her writing and her personal life, if not through her own sexuality, Kate Roberts certainly is a part of the LGBT+ history of Wales - she already is a part of the LGBT+ literature of Wales. So what makes a historically queer view of Kate Roberts so far unacceptable? For some, it’s still to unbelievable that figures in Welsh history may be queer - for others, too disrespectful to repeat that ‘Brenhines Ein Llên’ was attracted to women. The image of her is respectable, does same-sex attraction not fit in with that? Or does same-sex attraction not fit in with her Welshness even?

It is however not a slur on her legacy to believe her to be queer. When it’s treated as such, by ignoring the queer interpretation, by not speaking of it (like we for so long did not speak about queer people in our society, through shame) - it sends the message to LGBT+ people in Welsh society today that a Welsh identity and LGBT+ identity are still mutually exclusive. This puts Welsh LGBT+ people in the position of needing to choose between the two identities, needing to compartmentalize these two parts of themselves. That Welsh historical figures, Welsh heroes even, could have been queer validates our identities  - when even the possibility is dismissed, Welsh LGBT+ people are dismissed. When LGBT+ people do exist in our history, when Kate Roberts (such a Welsh figure) is a part of a Welsh LGBT+ history, this needs to be recognised, to recognise that Welsh LGBT+ people are a permanent part of Wales, and even of Welsh-speaking Wales.

Sources:-‘“A queer kind of fancy”: Women, Same-sex Desire and Nation in Welsh Literature’ by Kirsti Bohata in Huw Osborne ed. Queer Wales.
- ‘Coded Sexualities and Outside Views’ by Gwen Davies.
- Kate Roberts (Writers of Wales) by Katie Gramich.
- Kate: Cofiant Kate by Alan Llwyd.
- ‘From Huw Arwystli to Siôn Eirian: Representative Examples of Cadi/Queer Life from Medieval to Twentieth-Century Welsh Literature,’ by Mihangel Morgan in Queer Wales.
- ‘Cultural Translations: A Comparative Political Study of Kate Roberts and Virginia Woolf,’ PhD thesis by Francesca Rhydderch.