DOCSLIB.ORG

A Scots Quair

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Scots Quair OpenLearn Works Unit 19: Literature – prose by Alan Riach Copyright © 2019 The Open University 2 of 29 https://www.open.edu/openlearncreate/course/view.php?id=4190 Thursday 9 January 2020 Contents Introduction 4 19. Introductory handsel 5 19.1 Examples of prose fiction written in Scots 8 19.2 Lewis Grassic Gibbon and A Scots Quair 15 19.3 The predicament of the Scottish writer 17 19.4 Literary prose fiction in Scots from 1900 to new millenium 21 19.5 What I have learned 25 Further research 26 References 27 Acknowledgements 28 3 of 29 https://www.open.edu/openlearncreate/course/view.php?id=4190 Thursday 9 January 2020 Introduction Introduction In this unit, you will learn about prose in the Scots language. There are innumerable documents in Scots dealing with matters of court, law, diplomacy and (in modern times, what we would call) cultural criticism. Since this unit deals with literary prose, you will focus on prose fiction, both short stories and novels. Prose fiction has been written in Scots for centuries but the most crucial era for this literature is in that period where oral culture, and written, print-generated culture, overlap. It is tempting to think that one superseded the other, but this is simply not true. Everyone tells stories verbally, even today. The art of storytelling comes from ancient times and precedes writing, but when song- and story-collectors began their work seriously and transformed their collected material into written and then printed work, they co-existed with prose-fiction, continuing in the oral tradition, as you have learned in unit 13. One of the great twentieth-century collectors, Hamish Henderson, referred to this as ‘the carrying stream’ and it complements our sense of written prose in Scots. The historical significance of this period, mainly from the 18th into the 19th centuries and continuing, is that at its start, it coincided with the English language claiming an increasing authority in the context of the British Empire. Scots as a written and printed language was eclipsed in some crucial respects by English. It wasn’t superseded or killed off, instead Scots speech maintained a vital currency of communication even while the English language took the central position of authority in the narrative prose of most published works. You are going to study two crucial examples that seem to run counter to this general truth: Walter Scott’s Wandering Willie’s Tale and Robert Louis Stevenson’s Thrawn Janet. Then you are going to consider the major breakthrough made by Lewis Grassic Gibbon in the 1930s in his trilogy of novels collected as A Scots Quair: Sunset Song, Cloud Howe and Grey Granite. You are going to weigh the counter-arguments for writing in English and Scots proposed by Edwin Muir and Hugh MacDiarmid in their confrontation in 1936 and its consequence in 1940. Then finally, you will look at the situation as it has developed since the 1980s to the 21st century. There are four aspects you will explore closely as listed below. Important details to take notes on throughout this unit: ● the narrator and the narrative: who utters the words in the Scots language and what is the authority of her or his narrative ● the the relation between storytelling/the short story and the novel as forms of prose literary fiction ● the relation between English and Scots in literary prose fiction and how has it changed from the 18th century till now ● changes in the 1930s and the lasting effect these have had on literary prose fiction since then. Activity 1 Before commencing your study of this unit, you may wish to jot down some thoughts on the important details we suggest you take notes on throughout this unit. You could write down what you already know about each of these points, as well as any assumption or question you might have. 4 of 29 https://www.open.edu/openlearncreate/course/view.php?id=4190 Thursday 9 January 2020 19. Introductory handsel Provide your answer... 19. Introductory handsel A Scots word and example sentence to learn: Quair Definition: a set of twenty-four sheets of writing paper (Sc. 1818 Sawers). Comb. quair-book, a book consisting of a single quire of paper so folded as to make 16 pages, a kind of exercise book ○ Example sentence: “Afore Agyness Deyn, Scotland saa Vivien Heilbon play Chris Guthrie oan the telly in aa three books o Gibbon’s A Scots Quair” ○ English translation: “Before Agyness Deyn, Scotland saw Vivien Heilbon play Chris Guthrie on the TV in all three books of Gibbon’s A Scots Quair.” Activity 2 Click to hear the sentence above read by a Scots speaker. You can then make your own recording and play it back to check your pronunciation. Voice Recorder is not available in this format. Go to the Dictionary of the Scots Language for a full definition of the word 5 of 29 https://www.open.edu/openlearncreate/course/view.php?id=4190 Thursday 9 January 2020 19. Introductory handsel Language Links The word ‘quair’ is a Scots term for a book, literally, a ‘quire’ (that is, 24 sheets of writing paper folded to make 16 pages). The dictionary link to the word notes its use in the 18th century as well as its further meaning – more generally as a literally work, as in the much older poem by James I, The Kingis Quair (c.1423). Dictionary definitions can give you documented historical references, but since this section is about literature, allow the powers of implication to hold sway for a moment and think of the significance Lewis Grassic Gibbon gives in his work to the voices of women and men – in their daily practice, in gossip, raised in song or whispered in terms of endearment, expletive in anger, joined in concurrence of ideals, isolated and lonely in their exclusion from the normative pressures of conservative society... Is it possible that he chose the word as the title for the trilogy partly at least for its resonance with the word, ‘choir’? I don’t mean to challenge etymological accuracy here, only to suggest that a bound number of sheets of paper on which are written or printed words representing speech might be thought of as a choir of human voices rather than only as a collection of signs made from wood and ink. Whatever the linguistic history, the idea is germane to Grassic Gibbon’s achievement, as you shall see. Related word: Smeddum Definition: 3. Spirit, mettle, energy, drive, spunk, vigorous common sense and resourcefulness ○ Example sentence: “He’s no ill aff fir smeddum…” ○ English translation: “He’s not ill off for spirit…” Activity 3 Click to hear the sentence above read by a Scots speaker. You can then make your own recording and play it back to check your pronunciation. Voice Recorder is not available in this format. Go to the Dictionary of the Scots Language for a full definition of the word 6 of 29 https://www.open.edu/openlearncreate/course/view.php?id=4190 Thursday 9 January 2020 19. Introductory handsel ‘Interior of Crofter’s Cottage, Caithness’ 7 of 29 https://www.open.edu/openlearncreate/course/view.php?id=4190 Thursday 9 January 2020 19.1 Examples of prose fiction written in Scots 19.1 Examples of prose fiction written in Scots This section will focus on two stories, Walter Scott’s Wandering Willie’s Tale and Robert Louis Stevenson’s Thrawn Janet. The section will consider the ways in which Scots language is used in relation to English in the stories, how the stories themselves balance aspects of the supernatural and the material or earthly world. They will explore questions of who the narrator is and who the narrative is addressed to, and finally what legacy the stories imply for their own narrators and for subsequent readers. This last question prompts consideration of the relation between storytelling and extended prose fiction, novels. The Scots language in these two stories is used to particular effect, not only to generate a quality of strangeness or mystery but also to give a sense of vocal immediacy or authenticity. This is a paradox: one aspect of its use as written, printed language exploits its unfamiliarity: to those accustomed to seeing the English language on the page, then Scots may seem odd or difficult; the other aspect exploits the colloquial intimacy of Scots language and implies that the speakers of these stories are talking ‘naturally’. We know that all literature is artifice – all the arts employ design or intention, structure and method – but the relation between writing and speech is a palpable presence in these stories. How does this work? What effect does it have? You will answer these questions through exploring the two stories in some detail. Activity 4 One of the most helpful essays on the art of storytelling and its distinction from the art of the novel is The Storyteller: Reflections on the Works of Nikolai Leskov (1936) by Walter Benjamin. You will read parts of this short essay in this activity, as it will form one of the cornerstones of this unit. Read Benjamin’s essay, focusing mainly on sections I–V, and then match the beginnings of the sentences with the appropriate ending according to Benjamin’s text. We have done the first example for you: Mankind is losing… /… the ability to exchange experiences. …differs least from the speech of the many nameless storytellers. …with the lore of the past, as it best reveals itself to natives of a place. …contains, openly or covertly, something useful.
Load more

Recommended publications
  • Critical Works on James Leslie Mitchell/ Lewis Grassic Gibbon a Bibliography by William K Malcolm the Grassic Gibbon Centre Regu
    Critical Works on James Leslie Mitchell/ Lewis Grassic Gibbon A Bibliography by William K Malcolm The Grassic Gibbon Centre regularly updates the following bibliography of writings about James Leslie Mitchell/ Lewis Grassic Gibbon. The Centre is keen to learn of additions or alterations to be made to the database and would greatly appreciate further details of sources of significant references. The Centre also aims to build up an archive of criticism; photocopies of new or missing items would again be greatly appreciated. The database was originally created in August, 2000 and remains the copyright of The Grassic Gibbon Centre. The foundations for the bibliography were laid by a series of articles published in The Bibliotheck, particularly the ground-breaking inventory published by Geoffrey Wagner in 1956. The articles concerned are : Wagner, Geoffrey, ‘James Leslie Mitchell/Lewis Grassic Gibbon’, in The Bibliotheck, 1, no.1, 1956, pp.3-21 Aitken, W R, ‘Further Notes on the Bibliography of James Leslie Mitchell/Lewis Grassic Gibbon’, in The Bibliotheck, 1, no.2, 1957, pp.34-35 Young, Douglas F, ‘James Leslie Mitchell/Lewis Grassic Gibbon: A Chronological Checklist: Additions I’, in The Bibliotheck, 5, no.5, 1969, pp.169-173 Kidd, James, ‘James Leslie Mitchell/Lewis Grassic Gibbon: A Chronological Checklist: Additions II’, in The Bibliotheck, 5, no.5, 1969, pp.174-7 Malcolm, William K, ‘James Leslie Mitchell/Lewis Grassic Gibbon Checklist:Additions III’, in The Bibliotheck, 11, no.6, 1983, pp.149-156 An up to date collation of primary and
    [Show full text]
  • Explored Through the Revision of Place in Jackie Kay's Fiere, Kathleen Jamie's the Tree House A
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Repetition as Revision: Explored through the Revision of Place in Jackie Kay’s Fiere, Kathleen Jamie’s The Tree House, and Crane, a Creative Composition by Lynn Davidson A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New Zealand Lynn Davidson 2015 Abstract This thesis examines anaphora, parallelism, and repetends, and asks if and how these techniques of repetition allow for negotiation among meanings, contexts and possibilities in contemporary poetry. The thesis is comprised of two sections, creative and critical, with a seventy percent creative and thirty percent critical split. The critical study is based on a close analysis of anaphora and parallelism in Jackie Kay’s Fiere (2010) and repetends in Kathleen Jamie’s The Tree House (2004), while repetition is explored creatively through Crane, an original collection of poetry shaped and informed by the critical research. Crane uses techniques of formal repetition to enquire into cultural and emotional links to place, and the impact of return journeys to significant places on a reimagining of place and self. There are five sections in Crane, each of which uses repetition slightly differently to engage with questions of movement between places. The collection uses repetition to explore how ‘going back’ can be a powerful part of the process of revising identity and integrating change.
    [Show full text]
  • Full Bibliography (PDF)
    SOMHAIRLE MACGILL-EAIN BIBLIOGRAPHY POETICAL WORKS 1940 MacLean, S. and Garioch, Robert. 17 Poems for 6d. Edinburgh: Chalmers Press, 1940. MacLean, S. and Garioch, Robert. Seventeen Poems for Sixpence [second issue with corrections]. Edinburgh: Chalmers Press, 1940. 1943 MacLean, S. Dàin do Eimhir agus Dàin Eile. Glasgow: William MacLellan, 1943. 1971 MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. London: Victor Gollancz, 1971. MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. (Northern House Pamphlet Poets, 15). Newcastle upon Tyne: Northern House, 1971. 1977 MacLean, S. Reothairt is Contraigh: Taghadh de Dhàin 1932-72 /Spring tide and Neap tide: Selected Poems 1932-72. Edinburgh: Canongate, 1977. 1987 MacLean, S. Poems 1932-82. Philadelphia: Iona Foundation, 1987. 1989 MacLean, S. O Choille gu Bearradh / From Wood to Ridge: Collected Poems in Gaelic and English. Manchester: Carcanet, 1989. 1991 MacLean, S. O Choille gu Bearradh/ From Wood to Ridge: Collected Poems in Gaelic and English. London: Vintage, 1991. 1999 MacLean, S. Eimhir. Stornoway: Acair, 1999. MacLean, S. O Choille gu Bearradh/From Wood to Ridge: Collected Poems in Gaelic and in English translation. Manchester and Edinburgh: Carcanet/Birlinn, 1999. 2002 MacLean, S. Dàin do Eimhir/Poems to Eimhir, ed. Christopher Whyte. Glasgow: Association of Scottish Literary Studies, 2002. MacLean, S. Hallaig, translated by Seamus Heaney. Sleat: Urras Shomhairle, 2002. PROSE WRITINGS 1 1945 MacLean, S. ‘Bliain Shearlais – 1745’, Comar (Nollaig 1945). 1947 MacLean, S. ‘Aspects of Gaelic Poetry’ in Scottish Art and Letters, No. 3 (1947), 37. 1953 MacLean, S. ‘Am misgear agus an cluaran: A Drunk Man looks at the Thistle, by Hugh MacDiarmid’ in Gairm 6 (Winter 1953), 148.
    [Show full text]
  • Artymiuk, Anne
    UHI Thesis - pdf download summary Today's No Ground to Stand Upon A Study of the Life and Poetry of George Campbell Hay Artymiuk, Anne DOCTOR OF PHILOSOPHY (AWARDED BY OU/ABERDEEN) Award date: 2019 Awarding institution: The University of Edinburgh Link URL to thesis in UHI Research Database General rights and useage policy Copyright,IP and moral rights for the publications made accessible in the UHI Research Database are retained by the author, users must recognise and abide by the legal requirements associated with these rights. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement, or without prior permission from the author. Users may download and print one copy of any thesis from the UHI Research Database for the not-for-profit purpose of private study or research on the condition that: 1) The full text is not changed in any way 2) If citing, a bibliographic link is made to the metadata record on the the UHI Research Database 3) You may not further distribute the material or use it for any profit-making activity or commercial gain 4) You may freely distribute the URL identifying the publication in the UHI Research Database Take down policy If you believe that any data within this document represents a breach of copyright, confidence or data protection please contact us at [email protected] providing details; we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 ‘Today’s No Ground to Stand Upon’: a Study of the Life and Poetry of George Campbell Hay Anne Artymiuk M.A.
    [Show full text]
  • Hugh Macdiarmid and Sorley Maclean: Modern Makars, Men of Letters
    Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters by Susan Ruth Wilson B.A., University of Toronto, 1986 M.A., University of Victoria, 1994 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of English © Susan Ruth Wilson, 2007 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Supervisory Committee Dr. Iain Higgins_(English)__________________________________________ _ Supervisor Dr. Tom Cleary_(English)____________________________________________ Departmental Member Dr. Eric Miller__(English)__________________________________________ __ Departmental Member Dr. Paul Wood_ (History)________________________________________ ____ Outside Member Dr. Ann Dooley_ (Celtic Studies) __________________________________ External Examiner ABSTRACT This dissertation, Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters, transcribes and annotates 76 letters (65 hitherto unpublished), between MacDiarmid and MacLean. Four additional letters written by MacDiarmid’s second wife, Valda Grieve, to Sorley MacLean have also been included as they shed further light on the relationship which evolved between the two poets over the course of almost fifty years of friendship. These letters from Valda were archived with the unpublished correspondence from MacDiarmid which the Gaelic poet preserved. The critical introduction to the letters examines the significance of these poets’ literary collaboration in relation to the Scottish Renaissance and the Gaelic Literary Revival in Scotland, both movements following Ezra Pound’s Modernist maxim, “Make it new.” The first chapter, “Forging a Friendship”, situates the development of the men’s relationship in iii terms of each writer’s literary career, MacDiarmid already having achieved fame through his early lyrics and with the 1926 publication of A Drunk Man Looks at the Thistle when they first met.
    [Show full text]
  • Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Patrick G
    Studies in Scottish Literature Volume 40 | Issue 1 Article 18 11-15-2014 Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Patrick G. Scott University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the African History Commons, and the Literature in English, British Isles Commons Recommended Citation Scott, Patrick G. (2014) "Hamish Henderson and Nelson Mandela: Notes for “Rivonia”," Studies in Scottish Literature: Vol. 40: Iss. 1, 215–223. Available at: https://scholarcommons.sc.edu/ssl/vol40/iss1/18 This Notes/Documents is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Cover Page Footnote Patrick Scott, "Hamish Henderson and Nelson Mandela: Notes for 'Rivonia'," Studies in Scottish Literature, 40 (2014): 215--223 This notes/documents is available in Studies in Scottish Literature: https://scholarcommons.sc.edu/ssl/vol40/iss1/18 HAMISH HENDERSON AND NELSON MANDELA: NOTES FOR “RIVONIA” Patrick Scott In this, the first volume of Studies in Scottish Literature since the death of President Nelson Mandela, it seems appropriate to include Hamish Henderson’s notes for his song “Rivonia,” written following the conviction of Mandela and seven co-defendants in the Rivonia trials of 1963-64. The notes are reproduced here by permission of the Estate of Hamish Henderson, both as documenting Henderson’s longtime commit- ment to international human rights and as a memorial to Mandela’s impact in Scotland.
    [Show full text]
  • Imagining Scotland
    Imagining Scotland National Self-Depiction in Sir Walter Scott's Waverley , Lewis Grassic Gibbon's Sunset Song , Irvine Welsh's Trainspotting and Alasdair Gray's Lanark Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg vorgelegt von Christian Kucznierz Mühlfeldstr. 12 93083 Obertraubling 2008 Regensburg 2009 Erstgutachter: Prof. Dr. Rainer Emig Zweitgutachter: PD Dr. Anne-Julia Zwierlein Acknowledgements In the six years it took to finish this study, I was working simultaneously on my professional career outside of the university. It was Prof. Dr. Rainer Emig's constant encouragement which helped me not to lose sight of the aim I was pursuing in all those years. I would like to thank him for giving me the chance to start my dissertation, for his support, his valuable advice and the fact that I could call on him at any time. Furthermore, I would like to thank PD Dr. Anne-Julia Zwierlein, who on rather short notice agreed to supervise my work, and whose ideas helped to give my thesis the necessary final touches. I would also like to thank my wife, Sandra, and my family, who have been patient enough to understand that my weekends, holidays and evenings after work were mostly busy – and that my mind much too often strayed from important issues. Without their support and understanding, this thesis would never have come into existence. Obertraubling, 2009 Table of Contents page 1. How does Scotland imagine itself? 5 2. Imagi-Nation: Literature and Self-Depiction 8 2.1. The Printed Word, Community and Identity 9 2.2.
    [Show full text]
  • LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
    Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands­ Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye.
    [Show full text]
  • The Complete Macdiarmid
    Studies in Scottish Literature Volume 18 | Issue 1 Article 13 1983 The ompletC e MacDiarmid Ruth McQuillan Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation McQuillan, Ruth (1983) "The ompC lete MacDiarmid," Studies in Scottish Literature: Vol. 18: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol18/iss1/13 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Ruth McQuillan The Complete MacDiarmid My first reaction on buying Hugh MacDiarmid's Complete Poems 1 at Christmas 1978 for what now seems the incredibly low price of £15 was one of disappointment. Disappointment first that Dr. Aitken, whom the poet long ago appointed as his "bibliographer and rembrancer," and whom he had chosen to edit in company with Michael Grieve the definitive edition of his published work, had included no bibliographical notes. And secondly disappointment because of the technical defects of Martin Brian & O'Keefe's production. The title-page is creased in the binding (though I am assured other early purchasers were luckier than I); ink is regret­ tably scarce on several pages of the Sangschaw poems, and again in sections of In Memoriam ,James Joyoe; and the type­ setting of the page-heading "Hitherto Uncollected Poems" is not well or spaced. And yet the fly leaf bears the proud boast: "Printed in Scotland by Robert MacLehose & Co.
    [Show full text]
  • Scotland Number Three Poetry Scotland 'Edited by MAURICE LINDSAY Third Collection - July 1946 PUBLISHED by WILLIAM MACLELLAN
    Poetry Scotland Number Three Poetry Scotland 'Edited by MAURICE LINDSAY Third Collection - July 1946 PUBLISHED BY WILLIAM MACLELLAN. 240 HOPE STREET, GLASGOW Contents Editorial Letter • page 3 Introduction by ERIC LINKLATER - page 5 NORMAN McCAIG WILLIAM JEFFREY Quadrilles—Jig Time 11 To George Bannatyne 37 Albatross 12 Lark in the Air 12 STEWART C. HOOD Genetics 38 SYDNEY GOODSIR SMITH Love 38 Pompeii . 13 God's Mills Grind on Lethe 38 Loch Leven 13 (From the German of Erich Fried) Hamewith 13 KEITH DOUGLAS ADAM DRINAN Leukothea 39 To Fame 14 These Grasses, Ancient Enemies 40 Love Song 15 The Last Wolf 16 SEUMAS C. STEWART GEORGE BRTJCE The Salmon 41 A Man of Inconsequent Build 17 SYDNEY D. TREMAYNE ROBERT GARIOCH Comfort me now, my Love 41 A Ballad of Robbie Burns 19 G. S. FRASER McAlister 21 The Black Cherub 42 HUGH MACDIARMID WILLIAM J. TAIT Listening to a Skylark 22 Rondel 44 Nearer, My God, To Thee 23 (From the French of Villon.) Boon Companions 23 Of My First Love 23 SHAUN FITZSIMON Easter Bells 44 RUTHVEN TODD The Two Minutes Silence 45 Six Winters 24 Easter 1945 24 TOM SCOTT ALBERT MACKIE ToX 46 Weary Atlas 25 D. G. MACRAE She lauch'd and Skirled 25 From Fifth Century, A..D. 46 (From the German of Heine) EDWIN MUIR DOUGLAS YOUNG Song of Sorrow 47 To a Friend on a Campaign 26 The Window 47 For a Wife in Jizzen 27 Sodger's Sang i the Aist 27 HAMISH HENDERSON The Bairns' Slauchter o Bethlehem 28 Dialogue of the Angel and the v (Frae the German o Erich Fried) Dead Boy 48 (From the Italian of Corrado Govoni) W.
    [Show full text]
  • Polygon New Titles 2020
    POLYGON NEW TITLES 2020 | www.polygonbooks.co.uk SALES CONTACTS SCOTLAND ENGLAND and WALES IRELAND Seol Ltd Compass IPS Brookside Publishing Services West Newington House GW Business Centre 16 Priory Hall Office Park 10 Newington Road Great West House Stillorgan Edinburgh EH9 1QS Great West Road Co. Dublin Ireland Tel: +44 (0)131 668 1473 Brentford, Middlesex Phone (off): +353 (0)1 2784225 [email protected] TW8 9DF Phone (mob): +353 86 225 2380 Tel: +44 (0)20 8326 5696 [email protected] Polygon, an imprint of Birlinn Ltd, publishes new, vibrant fiction, poetry, music, current affairs and classic literature from world-renowned writers as well as strong, emerging voices. The list is AUSTRALIA UNITED STATES CANADA & NEW ZEALAND Casemate Georgetown Publications rooted in Scotland but publishes voices from and for the world’s stage. New South Books 2114 Darby Road 34 Armstrong Avenue c/o Alliance Dist. Services Havertown, Georgetown In Summer / Autumn 2020 Polygon will publish Denzil Meyrick’s eighth crime novel in the 9 Pioneer Avenue PA 19083 ON L7G 4R9 D.C.I series (more than 1 million books sold in this series so far) and a stand-alone novella, a Tuggerah NSW 2259 USA CANADA Australia Tel: (+1) 610 853 9131 Tel: (+1) 905 873 8498 stunning debut from Jenny Lecoat which has sold for a six-figure sum to HarperCollins US, the Tel: (+61) 2 4390 1391 [email protected] [email protected] first in a new mystery series from Sandra Ireland, a Highland-set thriller from Douglas Skelton [email protected] and a delightful new novel from Isla Dewar.
    [Show full text]
  • Scottish Poetry, 1945-2010. In: Larrisy, E
    Riach, A. (2016) Scottish poetry, 1945-2010. In: Larrisy, E. (ed.) The Cambridge Companion to British Poetry, 1945-2010. Series: Cambridge companions to literature. Cambridge University Press: Cambridge, pp. 148- 162. ISBN 9781107462847 (doi:10.1017/CCO9781316111314.011) This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/117644/ Deposited on: 27 January 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk ‘Scottish Poetry 1945-2010’ Alan Riach, from British Literature since 1945, ed. Edward Larrissey (Cambridge University Press, 2016) After the Second World War, poetry in Scotland required regeneration. The Scottish Renaissance of the 1920s and 1930s had been a major force of revitalisation, led by Hugh MacDiarmid (C.M. Grieve, 1892-1978), aligning poetry, literature and all the arts in Scotland with renewed political ambition for an independent nation. After the war, MacDiarmid was still a major force among the new generation of poets, but the younger men and women would not follow his lead in any direct sense, and in any case, MacDiarmid had nothing but disdain for disciples. The prevailing imperative among the major poets who began publishing in the late 1940s, 1950s and 1960s was not one of nationalism but of individual voice, language and, crucially, location. Each had their own favoured terrain in different parts of Scotland, a geography of the imagination that made singular use of co-ordinate points drawn from their places of birth or upbringing, their societies and languages.
    [Show full text]