Alba Literaria a History of Scottish Literature

Home , Christopher Whyte, Duncan Glen, Tom Hubbard, William Ross (poet)

ALBA LITERARIA A HISTORY OF SCOTTISH LITERATURE

edited and introduced by Marco Fazzini

AMOS EDIZIONI

Calibano 8 The publisher acknowledges a subsidy from the 'Dipartimento di Studi Linguistici e Letterari Europei e Postcoloniali' of the University of Ca' Foscari (Venice) towards the publication of this volume.

The publisher and the author also acknowledge financial assistance from the Royal Society of Edinburgh towards the project and the research carried out in Edinburgh in 2001. ALBA LITERARIA

A HISTORY OF SCOTTISH LITERATURE

Edited and introduced by M a rco Fazzini

AMOS EDIZIONI First published 2005 by Amos Edizioni s.a.s. of Michele Toniolo and C.

Printed in Italy by cooperativa Litografica COM

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ISBN 88-87670-12-9 Table of Contents

x i i i Alba Literaria and the New Canon: An Introduction MARCO FAZZINI x x i i i Acknowledgments

Alba Literaria

3 Michael the Wandering Scot: 'P reziosissimo fra i miei Maestri' TOM HUBBARD

9 Barbour's Brus: Epic Poetry and the National Resistance of the Admirable Warrior King DERRICK MCCLURE

19 The Wallace R.D.S. JACK

3 3 Robert Henryson R.D.S. JACK

45 Dunbar's The Goldyn Ta rg e and The Question of the 'Auctoritates' STEFANIA D'AGATA D'OTTAVI

6 5 The Poetry of Gavin Douglas: Memory, Past Tr a d i t i o n and Its Renewal ANNA TORTI 8 3 The Poetry of Sir David Lyndsay: Reforming the Nation KEVIN MCGINLEY

99 A New Critical Cartography: pre and post-Union Scottish Renaissance SARAH M. DUNNIGAN

121 Alexander MacDonald, William Ross and Duncan Macintyre: Gaelic Poetry in the Eighteenth Century

DERICK THOMSON

133 Allan Ramsay FRANCO BUFFONI

145 Robert Fergusson FRANCO BUFFONI

165 Traditional Gaelic Women's Songs WILLIAM GILLIES

179 James Boswell DAVID W. PURDIE

193 Ossian and James Macpherson VALENTINA BOLD

205 Robert Burns: Poet of the People G. ROSS ROY

229 James Hogg VALENTINA BOLD

245 The Scottish-North-American Diaspora: N i n e t e e n t h - Century Poets Across the Atlantic G. ROSS ROY 263 Thomas Pringle TONY VOSS

287 Lady Anne Barn a rd's Autobiographical Te x t s : A n Author Effaced MARGARET LENTA

303 Women Writers in Early Nineteenth-Century Edinburgh PAM PERKINS

313 G e o rge Gordon Byron, Scotland and Europe: An Antithetical M i n d TOM HUBBARD

325 Thomas Carlyle's Myth of Order in 'An Occasional Discourse on the Nigger Question': Re-clothing 'T h e G u a rd i a n's Life and Duties' CRISTINA OSSATO

343 Walter Scott the Novelist: History in the Bones VALENTINA POGGI

355 The Quaint Old World of John Galt VALENTINA POGGI

367 R.L. Stevenson as Theorist and Popular Author: The Art of Writing and the Pleasure of Reading RICHARD AMBROSINI

387 John Davidson: 'The Great Poet is Always a Man Apart' GIOIA ANGELETTI

403 James Thomson ('B . V.') : The Predicament of a Scot in London GIOIA ANGELETTI 421 Scots as a Literary Medium 1870-2000: 'I saw a ro s e come loupin oot' COLIN MILTON

473 The Scottish Renaissance ALAN RIACH

487 Seeking for Continuities in MacDiarm i d's Poetry: Overcoming Fragmentation CHRISTOPHER WHYTE

505 The Place of Edwin Muir SEAMUS HEANEY

519 James Leslie Mitchell/Lewis Grassic Gibbon: The Challenge of a Kaleidoscopic Identity CARLA SASSI

533 The Poetry of Robert Garioch: M o re Ambition than Reduction CHRISTOPHER WHYTE

553 Norman MacCaig: The Poetry of Experience ALAN RIACH

565 The Gaelic Poetry of George Campbell Hay: D e f e n c e from Recent Strictures CHRISTOPHER WHYTE

577 Dialects, Orality and the Poetry of Tom Leonard : In the Beginning Was the Sound COLIN MILTON

611 Edwin Morg a n's Sonnets From Scotland: To w a rds a Republican Poetics COLIN NICHOLSON 625 Sorley MacLean's Gaelic Oeuvre : Writing in a Dying Tongue WILLIAM GILLIES

641 The Poetry of Derick Thomson IAN MACDONALD

661 Truth and Fiction in the English Poetry of Iain Crichton Smith: Unfinished Tapestry CAROL GOW

675 The Poetry and the Fiction of George Mackay Bro w n : An Orkney Tapestry MASSIMILIANO MORINI - VALENTINA POGGI

687 Liz Lochhead's Poetry and Drama: In Her Own Voice? MASSIMILIANO MORINI

701 Kenneth White: A Transcendental Scot TONY MCMANUS

717 Douglas Dunn's Poetry: A Barbarian In-between Cultures MARCO FAZZINI

731 The Novels of Alasdair Gray: Subversions of Narrative Authority J.C. BITTENBENDER

749 New Scottish Poetry: John Burnside, Robert Crawford , C.A. Duffy, W.N. Herbert, Kathleen Jamie, Jackie Kay and Don Paterson LILIAS FRASER

763 New Scottish Drama: The Repertoire of the Tr a v e r s e Theatre, Edinburgh ADRIENNE SCULLION 783 New Scottish Prose: Speaking, Breathing, Bullfighting in the Novels of Janice Galloway and A.L. Kennedy PAOLA SPLENDORE

795 Contributors

805 Index MARCO FAZZINI Alba Literaria and the New Canon: An Introduction

If the Scottish nation has widely been associated with its football or rugby re p resentatives playing abroad, with tartanry or with that E d i n b u rgh folk military show known as the Tattoo, it has been questionable until some years ago how a nation without a Parliament can be a credible nation, and how Scottish literature can get rid of the 'British', or better still, 'English' labels attached to it by the United Kingdom literary politics. For centuries, at least since 1707 when the Scottish Parliament was absorbed into the London institutions, the ambiguities generated by such terms as 'English' or 'British' have obfuscated the particularity of more than one marginalized culture. Scottish literature, like Welsh, Irish, and any other non-canonical literary productions outside England, has been neglected because of its supposed provincial or barbaro u s condition.1 This is the reason why all the attempts to define the situation of 'minor' cultures, or the oppositional acts made against the Canon supported by the Centre, have tended towards the destruc- tion of a 'major' literature, and a 'major' language from within.2 According to Robert Crawford, Scottish literature 'o ffers the longest continuing example of a substantial body of literature produced by a culture pressurized by the threat of English cultural dom- i n a t i o n'.3 The critic also points out that Scottish universities, as main- s t ream channels of higher education, helped to promote English studies, attempting 's u p p ression of native tradition in a process of cultural conversion that was thought of as a move from the bar- b a rous Scottish to the polite British'.4 So, while on the one hand the i n t e rnal colony of Scotland has helped to provide the basis of English studies around the world, on the other it has constructed a new strategy of opposition involving not only Welsh and Irish but xiv MARCO FAZZINI also Caribbean, Canadian, African, American and Australian litera- t u re s .5 Noting that the discussion of Scottish nationality and culture is not included in one of the most popular books about post-colonial theory, Colin Nicholson underlines how this fact should not pre- vent us from either acknowledging the historical truism of English domination upon Scottish languages, or ignoring the possible links existing among the literary productions of Scotland, Ireland, Wa l e s , South Africa, Nigeria, Kenya, Australia and the Caribbean islands.6 Alba Literaria is the first history of Scottish literature planned and produced outside Scotland. It is made up of 48 essays written on single authors or single aspects of the Scottish literary production, dating from medieval times to some of the latest writers working nowadays in the country (or, partly, outside it); yet, the volume and its chapters do not want to be exhaustive in any way. Each contribution to the volume insists on some of the key works or key authors of Scottish literary history, and it focuses on particular aspects of those works or writers, so as to analyse the fracture zones where the Canon and its linearity is questioned or subverted. This means that the reader will not be able to read the usual pre- sentation of biographical details, succession of works and their contextualization. Only a partial view of that writer, or of his or her p roduction, or of the period or problem under focus is off e re d here; at the same time, each chapter wants to be representative of some of the core problems attached to a 'm i n o r' and 'c o l o n i s e d' country such as Scotland: the loss of national identity, the schizo- phrenic contradictions linked to its multi-linguistic reality, the psy- chic and cultural anxiety determined by its 'm a rg i n a l i z a t i o n', the tragedies of the Scottish Clearances and Diaspora, the contamina- tions and the divergences between the English and the Scottish canons, the role played, through various centuries, by translation. No general bibliography is offered in the volume; yet each essay lists a partial bibliographical note (made of primary and secondary sources on the topic or period) meant to be the starting point for further researches and readings. This kind of decentred discussion of the Scottish canon welcomes, at times, a counter-discursive or post-colonial approach, and it seems to be particularly useful to read and study writers such as Douglas Dunn, Edwin Morg a n , Hugh MacDiarmid, Thomas Pringle, and even some of the tradi- ALBA LITERARIA AND THE NEW CANON xv tional authors of the recent and distant past, such as Michael Scot, Robert Henryson, Blind Harry, or Gavin Douglas. All the collaborators are, obviously, experts on their topics, and their inclusion in Alba Literaria is an acknowledgement of both their dedication to their fields of re s e a rch and of the innovative contribution of several of their ideas about the non-English, and non-British peculiarities of the Scottish canon. It is still a controver- sial matter if writers such as Thomas Pringle, or George Gordon Byron or Thomas Carlyle have any right to appear under such a literary and national label; or if Lady Anne Barnard's notebooks, or the women's Gaelic songs can face the high results of Wa l t e r Scott's prose books, or of Burns' compositions written with musical and poetic aims. Yet, this perfectly suits the literary agenda pur- sued by intellectuals, writers and academics working during the last 50 years in the various Scottish fields: literature, folk tradition, politics and music. And it is no surprise, for example, that any reader of folk traditions or any fan of Scottish music has now access to a huge collection of folk material at the University of Edinburgh, where Hamish Henderson, and others after him have worked since the end of the last war, leaving poetical and musical documents which are still to be investigated in their larger mean- ings. From a strictly literary point of view, The National Library of Scotland represents a brilliant mine where one can delve for years, studying and re s e a rching not only on the mapping (both carto- graphic and literary) of that national heritage through the centuries, but also and mostly on an alternative canon which is partly con- tained in letters, manuscripts, rare editions of art-books. This is the reason why the re-definition of the Scottish canon which Alba Literaria proposes in each of its contributions can re- locate and subvert the old centre, so that the energy of the new lit- e r a t u res written in English can make 'new centres out of old peripheries'.7 After the experience, under MacDiarmid's guidance, of that phase that is generally defined as the Scottish Renaissance, or denial of the privilege of 'English', with the consequent re-introduction of the use of the Scots language, English has been later appropriated and renovated from within through a slow process of contamination operated by the writers belonging to the First and Second Wave of the Scottish Renaissance. MacDiarmid himself, in xvi MARCO FAZZINI the late 1920s and early 1930s, after his theorization for the renovated role of the Scots language, proposed some general directions for the manipulation of the colonizer's language and the emer- gence of a new phase in which the local, barbarian and peripheral Scottish accent and language could build a bridge towards the other post-colonial literatures in English. Concentrating on a literary production which covers nearly seven centuries, and discussing, in various ways and through diverse a p p roaches, the diff e rent strategies through which a sense of cultural identity is created by counter- e x e rcising power and self-constitution, Alba Literaria is not only concerned with the many 'e n g l i s h e s' b o rn after the collapse of the British Empire but with the more general collision of the many facets of Otherness those languages have b rought into play in a near and distant past. When linguistic disloca- tion and literary hybridity are involved, the counter-discourse of the m a rginalized Other proposes the rejection of the organic wholeness of the imperial discourse for the re-constitution of a national identity. To look at Scotland in terms of a counter-discursive theory means not only to place the country within the general discussion about the m a rginalization of the peripheral literatures written in the English language, but to observe how the Empire has been condemned to collapse because of the introduction of a large number of new and subversive voices inside its system. The literatures in English that Riach speaks about, and which have been introduced, not without a certain ideological debate in some universities,8 have imposed new aesthetic values and a new literary project for a future of oppositional criticism, in order to learn not just 'the overt thematic declarations of anti-colonial resistance in ' 'e x - c e n t r i c' ' post-colonial writing, but also the counter-discursive investments of post-colonial figuration on the level of genre and mode'.9 It seems undeniable that in contemporary Scotland we face an era in which we must pay attention to the question of multiculturalism because Scottish literature(s) contains one of the most hetero g e- neous productions coming out of the ex-Empire, and one which can p roperly be defined as multilingual and syncretic, being written in Scots, Gaelic, and English respectively. Looking for a model for Scotland, Angus Calder observes that since Scottish culture is remarkably diverse within a relatively small area, 'any suggestion ALBA LITERARIA AND THE NEW CANON xvii that it has ever been or should be ''r a c i a l l y'' homogeneous can only be dismissed with contempt. Like Russian culture, it is marked by a f i e rce sense of diff e rence, but this is not diff e rence from sharply dis- tinct tartars and Catholics but more elusive divergence from English people close in many ways, delimited by a border which has always been more like a revolving door than a portcullis'.1 0 The flexibility of the border has been both a weakness and a s t rength for Scotland. The transformation and the adaptation of Scottish literature to its multi-linguistic realities have contributed to the shaping of an ambiguous character which Hugh MacDiarm i d defined by using G. Gregory Smith's phrase 'Caledonian Antisyzygy'. Noting that in his or her literature the Scot presents a contradictory character which reflects the 's t ress of foreign influence and native division, almost a zigzag of contradictions', Smith admits that two sides of the matter must be considered when studying the oxy- m o ronic restlessness of the local culture .1 1 Both seem to refer to the idea of a Scottish mixture of contraries, a diversity-in-unity which opens itself to the multifarious influences deriving from a variety of heritages. However, beyond every kind of polarization of opposites, it seems that MacDiarm i d's model for twentieth century Scottish cul- t u re more clearly responds to the post-colonial idea of a hybridized dynamic creativity. From this point of view, MacDiarm i d's words go beyond a mere reconciliation or clash of contraries when he underlines that 'the abiding myth of our people' is re p resented by the syn- thesis of East and West, multi-linguistic interests, intern a t i o n a l i s m , w o r l d - c o n s c i o u s n e s s .1 2 What MacDiarmid longs for is the re c u p e r a- tion not only of Scots culture but of the hidden Celtic heritage of the Highlands in order to underline the hybrid character of his national identity and confront it with other international realities. Bhabha's p roposal of the existence of a 'third space', an interstice opening up new possibilities for literary and sociological aims, seems to have most to offer to those interested not just in the Caledonian Antisyzygy combination of opposites but in MacDiarm i d's pro- gramme of a polyphonic comprehensiveness which could include Scots, Gaelic, English, Russian, Italian, and other influences. The foundation of any individual identity for many of the writers examined in this volume rests less on a closure than on an open- ness to the contradictory textures of the world and of language in xviii MARCO FAZZINI particular, leaving both writers and readers in a world where para- dox might be a relevant basis of one's being. Here the ambiguities of the World become the ambiguities of the Word so that this half- way position within language and identity subverts not only any authoritarian and institutionalised discourse but also the hegemony of the Subject. Crossing the borders of a national and cultural exclusivity, as we can clearly see in Lenta's essay on Lady Anne Barnard, in Tony Voss's contribution on Thomas Pringle or in all the diaspora poets discussed by G. Ross Roy or, again, in the inter- nationality of the medieval poet Michael Scot or in an innovator such as MacDiarmid, means to do without any kind of linguistic and perceptive appropriation of reality, so that translation can become an all-important tool of literary and intellectual struggle. Supported by both MacDiarmid and Muir in the twentieth century, translation has represented an essential part of the contemporary Scottish writer's work, especially in the last 50 years. For Bhabha, the notion of hybridity comes out of the genealogy of difference and the idea of translation. Both help the attainment of the aware- ness of multiculturalism as a denial of essentialism and originary/original culture. The hybrid for Bhabha also avoids the simplistic dichotomies ruler/ruled, coloniser/colonised so that from two original moments a third entity emerges. This 'third space' helps to displace 'the histories that constitute it, and sets up new s t r u c t u res of authority, new political initiatives, which are inade- quately understood through received wisdom'.13 B h a b h a's 'third space' is reflected in McCare y's description of the 'third tiger',1 4 that half-way condition reserved for both poetry and translation when writing has much to do with the trans-national and supra-national character of the writer's median state. It is this bal- anced position which can subvert the two original moments fro m which, as Bhabha says, the third emerges. Translation is one of the possible means to approach the Other, responding to the call of a kind of elective affinity and refusing the authority of the standard- ized language and the canonized prescriptions imposed by the C e n t re. In Scotland, a similar process of abrogation has given way to the First Wave of the Scottish Renaissance, and the appropriation of the coloniser's language and culture has given impulse to the so- called Second Wave, perf o rming that disruptive role which has ALBA LITERARIA AND THE NEW CANON xix achieved the imposition of an ex-centric vision of contemporary lit- e r a t u re. As a direct consequence of the process of abrogation that M a c D i a rmid inaugurated in the 1920s with his 'Synthetic Scots', B h a b h a's 'third space' e m e rges from the interstice created by the fric- tion of two contrasting cultures. As the authors of The Empire Wr i t e s B a c k point out, there is no hope 'that cultural practices can re t u rn to some ' 'p u re' ' and unsullied cultural condition, and that such practices themselves, such as the use of vernacular terms or grammatical f o rms in English literature, can embody such an authenticity'.1 5 W h e re, as Wilson Harris – a writer of Scottish origins – notes in the last page of his novel The Palace of the Peacock, an alchemic m i x t u re of opposites engenders a 's t a r red peacock who was instantly transported to know and to hug to himself his true invisible otherness and opposition, his true alien spiritual love without cruelty and confusion in the blindness and frustration of desire',1 6 t h e re is still the possibility of enjoying the enriching reality of syncretic discours- es: here the subject can confront its alterity and speak a language which re-establishes not only a national identity but a sense of com- pleteness in local languages, history and place.

SELECTED BIBLIOGRAPHY: 2000-2005

Anderson, Carol, and Christianson, Aileen, Scottish Wo m e n's Fiction 1920 to 1960s: Journeys into Being, East Linton: Tuckwell Press, 2000. Angeletti, Gioia, Eccentric Scotland: Three Victorian Poets, Bologna: Clueb, 2004. Bell, Eleanor, Questioning Scotland: Literature, Nationalism, Postmodernism, London: Palgrave Macmillan, 2004. Bell, Eleanor, and Miller, Gavin, Scotland in Theory: Reflection on Culture and Literature, Amsterdam and New York: Rodopi, 2004. Carruthers, Gerard, Goldie, David, and Renfrew, Alastair eds., Beyond Scotland: New Contexts for Twentieth-century Scottish Literature, Amsterdam and New York: Rodopi, 2004. Cavecchi, Mariacristina, Rose, Marg a ret, and Soncini, Sara eds. , Caledonia Dreaming: la nuova drammaturgia scozzese, Salern o : Oedipus, 2001. Christianson, Aileen, and Lumsden, Alison eds., Contemporary Scottish Women Writers, Edinburgh: Edinburgh University Press, 2000. xx MARCO FAZZINI

Devine, T.M. ed., S c o t l a n d's Shame: Bigotry and Sectarianism in Modern Scotland, Edinburgh and London: Mainstream, 2000. Fazzini Marco, Crossings: Essays on Contemporary Scottish Poetry and Hybridity, Venezia: Supernova, 2000. Findlay, Bill ed., Scots Plays of the Seventies: An Anthology, Dalkeith: Scottish Cultural Press, 2001. G i fford, Douglas, Dunnigan, Sarah, and MacGillivray, Alan, S c o t t i s h L i t e r a t u re in English and Scots, Edinburgh: Edinburgh University P ress, 2002. Görlach, Manfred, A Textual History of Scots, Heidelberg: Winter, 2002. Gray, Alasdair, A Short Survey of Classic Scottish Wr i t i n g, Edinburg h : Canongate, 2001. Hassan, Gerry, and Wa rhurst, Chris eds., Anatomy of the New Scotland: Power, Influence and Change, Edinburgh and London: M a i n s t ream, 2002. Kirk, John, and Baoill, Dónall P Ó eds., Language Links: The Languages of Scotland and Ire l a n d, Belfast: Cló Ollscoil na Banríona/Queen’s University Belfast, 2001. Leigh March, Cristie, Rewriting Scotland, Manchester: Manchester University Press, 2002. Macaulay, Ronald K.S., Extremely Common Eloquence: Constructing Scottish Identity Through Narrative, Amsterdam and New Yo r k : Rodopi, 2005. Marinelli, Sara, Corpografie femminili: gli sconfinamenti della scrittura in tre autrici scozzesi, Napoli: Liguori, 2004. Poggi Ghigi, Valentina, and Rose, Marg a ret, A Theatre That Matters: Twentieth-Century Scottish Drama and Theatre, Milano: Unicopli, 2000. P r i l l i n g e r, Horst, Family and the Scottish Working-Class Novel 1984- 1994, Frankfurt am Main and Oxford: Peter Lang, 2000. Sassi, Carla, 'Imagined Scotlands': saggi sulla letteratura scozzese, Trieste: Edizioni Parnaso, 2002. Sassi, Carla, Why Scottish Literature Matters, E d i n b u rgh: Saltire Society, 2005. Van Heijnsbergen, Theo, and Royan, Nicola eds., L i t e r a t u re, Letters and the Canonical in Early Modern Scotland, East Linton: Tu c k w e l l , 2002. Whyte, Christopher, M o d e rn Scottish Poetry, Edinburgh: Edinburg h University Press, 2004. ALBA LITERARIA AND THE NEW CANON xxi

NOTES

1 See Craig Beveridge and Ronald Turnbull, 'Inferiorism', Cencrastus, vol. 8, Spring 1982, pp. 4-5. 2 See Gilles Deleuze and Félix Guattari, 'What is Minor Literature?', in Russell Ferguson, Martha Gever, Trinh T. Minh-ha, Cornel West eds., Out There: Marginalization and Contemporary Culture s, New Yo r k : The New Museum of Contemporary Art, 1990, p. 59 and p. 67. 3 Robert Crawford, Devolving English Literature, Oxford: Oxford University Press, 1992, p. 8. See also John E. Schwarz, 'The Scottish National Party: Non-violent Separatism and Theories of Vi o l e n c e', in I.K. Feierabend et al. eds., A n g e r, Violence and Politics, London: Prentice-Hall, 1972, pp. 325-341. 4 Robert Crawford, op. cit., p. 22. 5 See the following articles: Alan Riach, 'Tradition and the New Alliance: Scotland and the Caribbean', in Raoul Granqvist ed., Major Minorities: English Literatures in Tr a n s i t, Amsterdam and Atlanta: Rodopi, 1993, pp. 9-17; Manfred Görlach, Englishes: Studies in Varieties of English 1 9 8 4 - 1 9 8 8, Amsterdam and Philadelphia: John Benjamin’s Publishing Company, 1991, pp. 69-89; Susan Bassnett, 'Comparative Identities in Post-colonial Wo r l d', in Comparative Literature: A Critical Intro d u c t i o n, Oxford (UK) and Cambridge (Mass.): Blackwell, 1983, pp. 70-91. 6 Colin Nicholson, Poem, Purpose and Place, Edinburgh: Polygon, 1992, p. xix. 7 See Marshall Wa l k e r, 'The Age of Periphery: An Ex-paranoiac's Thoughts on the Literary Canon', Scotlands, vol. 2, no. 1, 1995, p. 20. 8 See Helen Ti ffin, ' ' 'Lie Back and Think of England' ': Post-Colonial L i t e r a t u res and the Academy', in Hena Maes-Jelinek, Kirsten Holst Petersen and Anna Rutherford eds., A Shaping of Connections: Commonwealth Literary Studies – Then and Now, Sydney: Dangaro o P ress, 1989, pp. 116-126. With regard to the study of Scottish literature a b road, see the following articles: Isabel Carrera Suàrez, 'Scottish Studies in Spanish Universities', Scottish Literary Journ a l, vol. 16, no.1, May 1989, pp. 59-64; Valentina Poggi, 'Scottish Studies in Italy', Scottish Literary J o u rn a l, vol. 17, no. 1, May 1990, pp. 85-90; Alan Riach, 'Scottish Studies in New Zealand', Scottish Literary Journ a l, vol. 18, no. 2, November 1991, pp. 63-70; Alan Riach, 'Scottish Studies in Australia: An Interim Report', Scottish Literary Journ a l, vol. 20, no. 1, May 1993, pp. 49-61. 9 Stephen Slemon, 'Monuments of Empire: Allegory/Counter- d i s- course/Post-colonial Writing', Kunapipi, vol. 9, no. 3, 1987, p. 14. xxii MARCO FAZZINI

10 Angus Calder, 'A Descriptive Model of Scottish Culture', Scotlands, vol. 2, no. 1, 1995, p. 6. 1 1 G. Gregory Smith, Scottish Literature: Character and Influence, London: Macmillan, 1919, pp. 1-9. For a critical appreciation of G. G regory Smith's proposal of a 'Caledonian Antisyzygy' for Scottish L i t e r a t u re see W.N. Herbert, 'The Significance of Gregory Smith', in W.N. Herbert and Richard Price eds., G a i rfish: Discovery, Bridge of Weir: Gairfish, 1991, pp. 16-27. 1 2 Hugh MacDiarmid, Lucky Poet, London: Jonathan Cape, 1972, p. 187. 1 3 Homi Bhabha, 'The Third Space', in Jonathan Rutherford ed., Identity, Community, Culture, Diff e re n c e, London: Lawrence and Wishart, 1990, p. 211. 14 Peter McCarey, 'Edwin Morgan the Translator', in Robert Crawford and Hamish Whyte eds., About Edwin Morgan, Edinburgh: Edinburgh University Press, 1990, pp. 97-98. See also Edwin Morgan's use of the phrase 'third tiger' in his paper, delivered at Glasgow University on 3rd June 1988, called 'The Third Tiger: The Translator as Communicative Creator'. 1 5 Bill Ashcroft, Gareth Griffiths, and Helen Ti ffin eds., The Empire Writes Back: Theory and Practice in Post-colonial Literatures, London: Routledge, 1989, pp. 41-42. 16 Wilson Harris, The Palace of the Peacock, London: Faber & Faber, 1960, p. 116. xxiii

ACKNOWLEDGMENTS

Above all I should like to thank all the collaborators for having pro- vided the kind of competence and support that is not easily found. My greatest debt is to some of my friends, such as Va l e r i e Gillies, Christopher Whyte, Ronnie Jack, Edwin Morgan, Douglas Dunn and G. Ross Roy, because their response to my idea of deal- ing with Scottish works and writers and analysing the fracture zones where the Canon and its linearity is questioned or subverted was particularly encouraging. For help of various kinds I am also grateful to William Gillies, Roberta Cimarosti, Michele Toniolo, Anna Lukianowicz, Arm a n d o Pajalich, and to the following institutions: The Edinburgh Institute for Advanced Studies in the Humanities, The School of English at the University of Edinburgh, The National Library of Scotland, The Edinburgh University Library, The Royal Society of Edinburgh, the Studies in Scottish Literature j o u rnal, The University of Columbia (South Carolina) and the Rare Book Collection of the Thomas Cooper Library, the Department of Modern Languages at the University of Macerata, and the Department of European and Post- colonial Studies at the University of Ca' Foscari (Venice).

ALBA LITERARIA

TOM HUBBARD Michael the Wandering Scot: 'Preziosissimo fra i miei Maestri'

Licet autem scientia animae sit gravis et periculosa [omni inquisitori tamen aliqua hic dicemus de ipsa ut de nostro et alieno, sicut deus [auctor omnium et singulorum gratiam concedet nobis, nec ad nostri laudem, [sed ad honorem dei et ad utilitatem scolarium modernorum in hac arte astronomiae.

Although the theory of the soul is difficult and dangerous [for every researcher, nevertheless we shall say something here about the soul, [as about something familiar to us and to everyone else, as far as God, [the creator of every single thing, will grant us his grace, not to our own praise, [but to the honour of God and for the use of modern scholars in this art of astrology.1

In this volume the reader will encounter many examples of Scottish writers who lived and worked overseas, enriching and enriched by the cultures in which they found themselves. Mediterranean and central Europe; north America; the South Pacific islands; these are among the most prominent destinations of the Scottish literary 'diaspora', to cite the term favoured by G.Ross Roy in the following pages. Alternatively, there is the phrase 'wandering Scot', which has established itself as something of a popular idiom: conveniently, the earliest celebrated literary example bears his nationality in his surname.

Contributors

RICHARD AMBROSINI, Professor of English Literature, teaches at the Faculty of Political Science of the University of Roma Tre. He has written two books on Joseph Conrad – Conrad's Fiction as Critical D i s c o u r s e (1991), and I n t roduzione a Conrad (1991) – and one on R.L. Stevenson, R. L. Stevenson: la poetica del ro m a n z o (2001). To g e t h e r with Richard Dury he co-edited a collection of essays, R. L. Stevenson, Writer of Boundaries (2005). He has written a book on the teaching of English poetry, Il piacere della poesia inglese (2000), co-edited with P i e ro Boitani, Ulisse: archeologia dell'uomo modern o (1998), and published essays on a variety of subjects, including Chaucer, Shakespeare , William Cowper, Coleridge, and Canadian literature. He has translated and edited, among other novels, An Outcast of the Islands ( 1 9 9 4 ) , Tre a s u re Island (1996), and The Secret Agent ( 1 9 9 6 ) . GI O I A AN G E L E T T I gained her PhD in Scottish Literature at the University of Glasgow and is presently a Research Fellow at the University of Bologna, where she has taught courses on Romantic and Vi c t o r i a n British Poetry and on English Language. Her re s e a rch interests have recently turned to Romantic British theatre and drama (in particular by women) and to translation studies. She has published articles, re v i e w s and translations in various books, periodicals and anthologies. Her most recent publication is Eccentric Scotland: Three Victorian Poets. James Thomson ('B.V.'), John Davidson and James Young Geddes ( 2 0 0 4 ) . CH R I S T O P H E R BI T T E N B E N D E R is Associate Professor of English at E a s t e rn University in St. Davids, Pennsylvania where he teaches Twentieth-century British literature. He specializes in modern Scottish and Irish literature and has published articles on Robert Burns, James Kelman, and Robert Crawford. His other areas of academic interest include Bakhtinian theory and censorship studies. 796 Contributors

VA L E N T I N A BO L D is head of Scottish Studies at the University of Glasgow's Crichton Campus, and Director of the Crichton Tourism R e s e a rch Centre. Her publications include a CD-rom, co-edited with Tom McKean, Northern Folk (1999) and an anthology of the shorter works of Lewis Grassic Gibbon, Smeddum (2001). She has published widely on Scottish literature and culture, and forthcoming work includes a study of nineteenth-century autodidactic poetry in Scotland, Nature's Making: James Hogg and the Autodidacts. FR A N C O BU F F O N I lives in Rome. He is Professor of Literary Criticism and Comparative Literature at the University of Cassino. Some of his poetry books are: Suora Carmelitana e altri racconti in versi ( 1 9 9 7 ) ; Songs of Spring ( 1 9 9 9); Il Profilo del Rosa (2000); The Shadow of Mount Rosa (2002). As a translator he edited I Poeti Romantici Inglesi (2005), La trilogia delle Ballate dell'Ottocento inglese ( 2 0 0 5 ) . As a journalist he collaborates with several newspapers and radio p rogrammes and he is the editor of the journal Testo a fro n t e, dedi- cated to the theory and the practise of literary translation. STEFANIA D'AGATA D'OTTAVI is Professor of English Literature at the University of Macerata. She has worked on Blake, on the Victorian Novel (Charlotte Bronte, Thomas Hardy), on Shakespeare and on Renaissance Utopias (Thomas More, Francis Bacon). Her main i n t e rest, however, is Medieval English Literature. To Geoff re y Chaucer's dream poems she has devoted a monograph (Il sogno e il libro. La 'mise en abyme' nei poemi onirici di Chaucer, 1992). She has completed the first Italian verse translation of Langland's poem Piers Plowman and has extensively studied the Medieval theatre (The York Plays). She is currently working on Chaucer's Tro i l u s and Criseyde and on the poems of the Gawain-Poet. She is a member of The New Chaucer Society, of The Medieval Academy of America, and of the Society for Germanic Linguistics. SA R A H M. DU N N I G A N graduated from the Universities of Glasgow and E d i n b u rgh and she is Lecturer in English Literature at the University of Edinburgh. She is the author of E ros and Poetry at the Courts of Mary Queen of Scots and James VI (2002), and of articles on Medieval and Renaissance Scottish literature, Renaissance women's writing, and twentieth-century Scottish women's writing. She is also co-editor of Scottish Literature (2002), and of A Flame in the M e a rns. Lewis Grassic Gibbon: A Centenary Celebration ( 2 0 0 3 ) . Contributors 797

MA R C O FA Z Z I N I is a poet, critic and academic. He took a PhD at the University of Ca' Foscari, Venice, followed by further study at the universities of Edinburgh and Natal, Durban. After teaching at the University of Macerata, he is now at the University of Ca' F o s c a r i w h e re he teaches English and Post-colonial Literature. He has translated selections from the poetry of Douglas Livingstone, Philip Larkin, Norman MacCaig, Hugh MacDiarmid, Douglas Dunn and Charles Tomlinson, and co-edited and translated Poeti della Scozia c o n t e m p o r a n e a (1992) with Carla Sassi, and Poeti sudafricani del N o v e c e n t o (1994) with Armando Pajalich. His most recent publications include: C rossings: Essays on Contemporary Scottish Poetry and H y b r i d i t y (2000), L ' a c robata della memoria: quattro saggi sul primo G e o ff rey Hill (2002), and Tr a d u r re, paradiso dei poeti ( 2 0 0 5 ) . LILIAS FRASER took a PhD at the University of St Andrews in 2003, writing a work on contemporary Scottish poetry. Now she works at the Scottish Poetry Library in Edinburgh. WI L L I A M GI L L I E S is Professor of Celtic at the University of Edinburg h . His Gaelic interests include both early and contemporary literature . For the Medieval period his re s e a rch has centred mainly on the Book of the Dean of Lismore, from which he has published a number of poetical texts, and on the Red and Black Books of C l a n r a n a l d . CAROL GOW is a Lecturer in Media and Creative Writing at Dundee College. She wrote her PhD on Iain Crichton Smith's poetry in English and published extracts in The Scottish Literary Journal of an extensive interview conducted with him at that time in his home in Taynuilt. Her publications include the book Mirror and Marble: The Poetry of Iain Crichton Smith (1992). She has also published critical essays on a range of contemporary Scottish poets including Norman McCaig, Liz Lochhead, George Mackay Bro w n and Edwin Morgan. She regularly reviews contemporary poetry and writes a monthly personal column on education for The Times Educational Supplement (Scotland). SE A M U S HE A N E Y was born in County Derry in Northern Ire l a n d . Death of a Naturalist, his first book, appeared in 1966, and since then he has published poetry, criticism and translations which have established him as one of the leading poets of his generation. In 798 Contributors

1995 he was awarded the Nobel Prize for Literature. He received the Whitbread Book of the Year for The Spirit Level (1996) and Beowulf (1999). Electric Light, his most recent collection of poems, appeared in 2001. TOM HUBBARD is an Honorary Research Fellow in the Department of Scottish Literature, University of Glasgow (2004-2007). Fro m 2004 to 2005 he initiated compilation of the new Bibliography of the Scottish Book Trade (BSBT). From 2000 to 2004 he was editor of BOSLIT (Bibliography of Scottish Literature in Translation). A widely published and translated poet and literary scholar, he is the author or editor of several books including Seeking Mr Hyde (1995), and The Integrative Vision: Poetry and the Visual Arts in B a u d e l a i re, Rilke, and MacDiarmid (1997). He is editor of T h e New Makars (1991), Poetry from Switzerland (2002), and co-editor, with Duncan Glen, of Stevenson's Scotland (2003). His most recent poetry collections are two pamphlets, Scottish Faust (2004) and From Soda Fountain to Moonshine Mountain (2004). He is currently completing working on the Scottish poet T. S. Law (1916-1997), on the medieval polymath (and legendary 'wizard') Michael Scot, and on the reception of Walter Scott's poetry in Europe. R.D.S. JA C K is Professor Emeritus at the University of Edinburgh. He held the chair of Scottish and Medieval Literature from 1987-2004. He has published widely on Scottish Literature in all periods with special emphasis on the Renaissance, the eighteenth century vernacular revival and Victorian drama. His interest in the links between Scottish and European Literature is mirro red in the two monographs The Scottish Influence on Italian Literature (1972) and Scottish Literature's Debt to Italy (1986), as well as in his continued involvement with the online database The Bibliography of Scottish L i t e r a t u re in Translation. He is currently working on studies of Burns and Barrie as well as editing (with Tom Hubbard) a collection of essays entitled Scotland in Europe. MA R G A R E T LE N TA was born and grew up in the north of England. After leaving Britain, she taught in Nigeria and Kenya, and since 1973 has worked at the University of Natal (now the University of KwaZulu-Natal), Durban, where she is now an Honorary Researc h Associate and Professor Emeritus. Her re s e a rch interests in the last few years have been in the autobiographical writings of Lady Anne Contributors 799

B a rnard, J.M. Coetzee's fiction and criticism and, in the recent past, the novels of the Botswana author Unity Dow. Her recent publications include: The Cape Diaries of Lady Anne Barn a rd, 1799-1800 (1999), edited with Basil Le Cordeur, 'Choosing Diff e rence: South African Jewish Wr i t e r s' (2001), 'A u t rebiography: J.M. Coetzee's Autobiographical Wr i t i n g' (2003), 'White South African and Latter- d a y Bohemian: Two Editions of Herman Charles Bosman' ( 2 0 0 3 ) , 'Postcolonialism in an Anti-colonial State: Unity Dow and Modern B o t s w a n a' ( 2 0 0 4 ) . DERRICK MCCLURE is Senior Lecturer of English at the University of Aberdeen. He is the author of Why Scots Matters (1997), Scots and Its Literature (1995), Scotland o Gael an Lawlander ( 1 9 9 6 ) , Language, Poetry and Nationhood ( 2 0 0 0 ), Doric: The Dialect of North-East Scotland (2002), and numerous articles and papers. Chairman of the Forum for Research in the Languages of Scotland and Ulster, he is also editor of Scottish Language. In 2002 he was awarded an MBE for services to Scottish Culture. IAN MACDONALD is from North Uist in the Western Isles of Scotland and is Director of Comhairle nan Leabhraichean (the Gaelic Books Council), based in Glasgow. He has edited many books and translated several others, among them Am Mabinogi (1984), the first Gaelic version of the famous Welsh tales. With Boyd Robertson, he compiled the Teach Yourself Gaelic English Dictionary in 2004. KEVIN MCGINLEY is a graduate of Glasgow and Edinburgh universities. His thesis was on the Scholastic background to the poetry of Robert Henryson. He has published a number of articles on Scottish literature and was jt. editor (with R.D.S. Jack) of the volume Of The Lion and Of Unicorn, an essay collection in honour of John MacQueen. TONY MACMANUS was an inspirational teacher, writer and musician who studied the work of Kenneth White in French and English, and gave lectures and published many articles on that work and on other subjects. He was curator of the White World exhibition for the National Library of Scotland in 1996, which has since toured extensively in Scotland and France. He founded the Scottish Centre for Geopoetics in January 1995, becoming its first director and securing its future before his untimely death in 2002. 800 Contributors

COLIN MILTON is Associate Director of the Elphinstone Institute at the University of Aberdeen. The Institute, which he helped to set up, is a research centre for work on all aspects of the vernacular c u l t u re of North-East and North Scotland. A native speaker of North-East Scots, one of Dr Milton's main research interests is the expressive uses of lowland Scots in both the oral and print traditions – and in the cultural significance of non-standard language varieties generally. He teaches Ethnology and Folklore at the Elphinstone Institute, with an emphasis on Scottish lowland traditions. He has published on the history and present situation of vernacular writing in Scots, and on various aspects of the Scottish literary tradition in the period from the eighteenth to the twenty-first century. MA S S I M I L I A N O MO R I N I has a PhD in English and American Studies. He has taught university courses on translation theory and practice. His re s e a rching interests include fantasy literature (Le parole di Tolkien, 1999), contemporary British poetry (Poeti inglesi del secon- do Novecento, 2001), and the theory, history, and practice of translation (Manuale di traduzioni dall'i n g l e s e, 2002, edited with Romana Zacchi). Among his forthcoming publications, Tu d o r Translation in Theory and Practice, to be published by Ashgate, and La traduzione: teorie/strumenti/pratiche. He is also a literary translator. CO L I N NI C H O L S O N is Professor of Eighteenth-century and Modern Literature at Edinburgh University, where his teaching includes an Honours course in Modern and Contemporary Scottish Poetry. During the 1990s he was the editor of the British Journal of Canadian Studies, during which time he edited collections of essays on Marg a ret Laurence (1992) and on Marg a ret Atwood (1994). In 1992 he edited a collection of essays on the Highland writer Iain Crichton Smith, followed in 1994 by Writing and the Rise of Finance, a study of early Eighteenth-century English Satire. In 2002 his monograph on Edwin Morgan's poetry was published, and he is currently working on a handbook for contemporary Scottish poetry. CR I S T I N A OS S AT O obtained her PhD in English Studies at the University of Pisa in 1998. After publishing several essays on English Victorianism and American Transcendentalism in the nine- Contributors 801 teenth century in various journals such as Annali di Ca' Foscari, Rivista di Studi Vittoriani, Merope, Strumenti Critici and Rivista di Studi Americani, she published the poems 'Tr u t h', 'L i f e', 'Black/White', 'Warp and Woof' in Revista Atenea of the University of Puerto Rico in 2000. Her first book of literary criticism, Sartor Resartus, ovvero la creazione di un Nuovo Mito came out in 2001. In 2004 she was awarded a literary prize for the poem 'Obbedienza' by the Premio Letterario Nazionale S. Egidio. Her first collection of poems, Foglie d'argento, has just been published. PAM PERKINS teaches Eighteenth-century and Romantic Literature at the University of Manitoba in Winnipeg, Canada. Her main area of re s e a rch is late Eighteenth-century Fiction and Wo m e n's Wr i t i n g , and she has edited, for Broadview Press, Elizabeth Hamilton's Translations of the Letters of a Hindoo Rajah and Robert Bage's Hermsprong. She has also published articles on a number of writers of this period, including Jane Austen, Mary Wo l l s t o n e c r a f t , Frances Burney, and Anne Grant. Her current research project is a book-length study of the professional careers of several Edinburgh women writers who were working in decades around the beginning of the nineteenth century. VA L E N T I N A PO G G I, born in Modena, graduated in 1960 at the University of Bologna and took an MA at Cornell University in 1962. Apart from a few years at Pescara, Ferrara and Padua, she has taught English Literature (and from 1991 through 1998 also Scottish L i t e r a t u re) at the University of Bologna since the early seventies. Her books and essays range from Shakespeare, Elizabethan drama and Metaphysical poetry to Richardson, Dickens, and other Vi c t o r i a n s . She has dealt with most significant Twentieth-century Scottish novel- ists in Voci da un paese lontano (1992), as well as written essays on James Hogg, Marg a ret Oliphant, Elspeth Davie, and her favourite G e o rge Mackay Brown. She has also published her translation of stories by the two latter and by Gibbon, MacColla, Mitchson, Friel, Gray, Kesson and Owens, in the collection Scozia contro l u c e ( 1 9 9 5 ) . DAV I D W. PU R D I E is a Physician and Consultant to the Edinburg h Osteoporosis Centre. Past President of the Boswell Society, he has a particular interest in the literature of the late eighteenth century. He is a fellow of the Society of Antiquaries of Scotland. 802 Contributors

AL A N RI A C H is a poet, critic and academic. Formerly of the University of Waikato, New Zealand, he is now Head of the Department of Scottish Literature at the University of Glasgow. He is General Editor of the Carcanet Pre s s Collected Works of Hugh MacDiarm i d, and co- editor of MacDiarm i d's New Selected Letters. As a poet he has published First & Last Songs (1995) and C l e a r a n c e s ( 2 0 0 1 ) . G. RO S S RO Y started teaching at the University of South Carolina in 1966. He founded Studies in Scottish Literature, a scholarly journ a l , in July 1968. He was awarded an honorary degree from the University of Edinburgh in 2002 for his work regarding Robert B u rns. He is also an honorary president of the Burns Wo r l d Federation and is a member of the Atlanta Burns Club. The G. Ross Roy Collection of Robert Burns, Burnsiana & Scottish Poetry, which consists of approximately 15,000 volumes of which nearly 5,000 are on Burns, was acquired by the University of South Carolina in 1989. CA R L A SA S S I is Associate Professor of English Literature at the University of Verona. Her main fields of research are Post-colonial Studies and Scottish Literature. Her publications include: Un'arancia panlinguistica. Espressione, comunicazione e gioco in A Clockwork Orange di Anthony Burgess (1987), Poeti della Scozia c o n t e m p o r a n e a (edited with Marco Fazzini), L ' i n g l e s e ( 1 9 9 5 ) , Imagined Scotlands. Saggi sulla letteratura scozzese (2002), and Why Scottish Literature Matters (forthcoming). AD R I E N N E SC U L L I O N teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow where her re s e a rc h and teaching interests focus on Scottish theatre and drama (from the eighteenth century to the post-devolution context) and cultural policy. PA O L A SP L E N D O R E is Professor of English Literature at the University of Roma Tre. She has written extensively on contemporary English, Indian and South African authors (B.S. Johnson, Vi rginia Wo o l f , Doris Lessing, Anita Desai, J.M. Coetzee, etc.). Her publications include the volume Il ritorno del narratore. Voci e strategie del romanzo inglese contemporaneo (1991), contributions to Storia della letteratura inglese edited by Paolo Bertinetti (2000) and to Wr i t i n g Mothers and Daughters, edited by A. Giorgio (2002), and translations (Raymond Williams, J.M. Coetzee, Jackie Kay, Ingrid de Kok, etc). Recently, she has translated a choice of Sujata Bhatt's poetry (2005). Contributors 803

DE R I C K TH O M S O N (Ruaraidh MacThomais) is a Gaelic poet and w r i t e r. Born in Stornoway in 1921, he was educated at the Nicolson Institute, Stornoway; Aberdeen University; Cambridge University and University College of North Wales, Bangor. He taught at Edinburgh, Glasgow and Aberdeen universities before returning to Glasgow as Professor of Celtic in 1963. He founded and was editor of the Gaelic magazine Gairm from 1952 onwards. He was Chairman of the Gaelic Books Council 1968-1991; President Scottish Gaelic Texts Society; former member of Scottish Arts Council and was the first recipient of the Ossian Prize in 1974. Thomson was Chairman of the Scottish National Party's Gaelic Committee in the Seventies. Author of numerous books including An Introduction to Gaelic Poetry, The Companion to Gaelic Poetry, European Poetry in Gaelic, and collections of Gaelic poetry, including his collected poems Creachadh na Clarsaidh (The Plundering of the Harp). AN N A TO RT I is Professor of English Literature at the University of Perugia, where she also serves as Vice-Rector. She has contributed articles on various aspects of English and Scottish medieval narrative, on Tudor drama, as well as on topics of English linguistics. Her publications include The Glass of Form: Mirroring Structure s from Chaucer to Skelton and the Introduction to the Italian translation of Robert Henryson's Testament of Cresseid (1998). She has co- edited with Piero Boitani nine volumes of the 'J . A . W. B e n n e t t Memorial Lectures' held in Perugia. She is a former Trustee and a member of the New Chaucer Society, a member of IAUPE (International Association of University Professors of English) and a Life Member of Clare Hall College, Cambridge. TO N Y VO S S taught at the University of Natal, Durban, until December 1995, when he re t i red to Sydney. He has extensively written on South African and English literature, including seminal essays on Thomas Pringle, San poetry, Shakespeare, and Joyce. CHRISTOPHER WHYTE is a poet, novelist, critic and academic. He has d e g rees from Cambridge and Perugia, and a PhD from the University of Glasgow. He was Reader in Scottish Literature at the University of Glasgow. He has published widely in the field of Scottish poetry and fiction, with particular emphasis on the eighteenth and nineteenth centuries. He has edited An Aghaidh na 804 Contributors

Siorraidheachd/In the Face of Eternity: Eight Gaelic Poets ( 1 9 9 1 ) and Dàin do Eimhir by Sorley Maclean (2002). As a novelist, he has published five novels with Gollancz, the most recent being The Cloud Machinery (2000). His poetry has been collected in the volume: Myth: Poems in Gaelic with English Translation (1991). AMOS EDIZIONI S.A.S. DI MICHELE TONIOLO E C. VIA SAN DAMIANO, 11 30174 VENEZIA MESTRE (ITALIA) TEL. E FAX: +39 041 98 99 80 CELL. 333 64 57 682 www.amosedizioni.it e-mail: [email protected]