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Abstract

‘The Magnetic North’ was the promotional slogan devised by the publishers Jonathan Cape and Vintage in the 1990s to advertise new Scottish writing — primarily fiction — by Janice Galloway, A.L. Kennedy, Duncan McLean, Tom Leonard, Alan Warner, Irvine Welsh, Alasdair Gray, James Kelman and Agnes Owens. It was the title given to a small, free anthology of their writing in 1995 and I would like to look briefly at some of this work and try to relate it to matters of language, voice and social identity in this final chapter.1

Keywords

Popular Culture Comic Book Unfinished Business Modern Movement Modernist Poet 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Janice Galloway, A.L. Kennedy, Duncan McLean, Tom Leonard, Alan Warner, Irvine Welsh, Alasdair Gray, James Kelman and Agnes Owens, The Magnetic North (Jonathan Cape/Vintage, n.d. [1990s]).Google Scholar
  2. 2.
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  3. 3.
    John Berger, ‘That Which Is Held’, in Keeping a Rendezvous (New York: Vintage International, 1992), pp. 25–35 (p. 34).Google Scholar
  4. 5.
    A.L. Kennedy, Night Geometry and the Garscadden Trains (London: Phoenix, 1993), p. 34.Google Scholar
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    Tom Leonard, Reports from the Present: Selected Work 1982–1994 (London: Jonathan Cape, 1995).Google Scholar
  10. 12.
    Edwin Morgan, Demon (Glasgow: Mariscat Press, 1999), p. 5. Demon is collected in Cathures: New Poems 1997–2001 (Manchester: Carcanet Press/Mariscat Press, 2002), pp. 91–115 (p. 93).Google Scholar
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    Edwin Morgan, A.D. A Trilogy of Plays on the Life of Christ (Manchester: Carcanet Press, 2000), p. 54.Google Scholar
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    Tacitus, On Britain and Germany, trans. H. Mattingly (Harmondsworth: Penguin, 1965), p. 80.Google Scholar
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    Aneirin, The Gododdin, a version by Desmond O’Grady (Dublin: Dolmen Press, 1977), p. 19.Google Scholar
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    Robert Burns, The Letters, selected and arranged by J. Logic Robertson (London: Walter Scott, The Camelot Series, 1887), p. 68.Google Scholar
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    Elspeth King, ‘Introduction’, in William Hamilton of Gilbertfield, Blind Harry’s Wallace (Edinburgh: Luath Press, 2000), p. xi.Google Scholar
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    George MacDonald, The Marquis of Lossie (London: Everett & Co. [n.d.] 1877), Chapter 28, p. 110.Google Scholar
  22. 23.
    Malcolm MacLean and Christopher Carrell, eds, As an Fhearann/from the land: Clearances, Conflict and Crofting: A Century of Images of the Scottish Highlands (Edinburgh: Mainstream; Stornoway: an Lanntair; Glasgow: Third Eye Centre, 1986), p. 72.Google Scholar
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    T.S. Eliot, The Complete Poems and Plays (London: Faber & Faber, 1977), p. 141.Google Scholar
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    Elspeth Reid and Flora Davidson, The Fortunes of Cynicus (Kirriemuir: Forest Lodge, 1995), p. 98.Google Scholar
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    Edward Dorn, ‘Proclamation/15 May 88’, in Abhorrences (Santa Rosa: Black Sparrow Press, 1990), p. 144.Google Scholar
  26. 27.
    Edwin Morgan, ‘Day’s End’, in Virtual and Other Realities (Manchester: Carcanet Press, 1997), p. 98.Google Scholar
  27. 28.
    John Berger, ‘A Story for Aesop’, in Keeping a Rendezvous (New York: Vintage International, 1992), pp. 53–81 (p. 68).Google Scholar
  28. 29.
    Joseph Conrad, ‘Preface to The Nigger of the “Narcissus”’, in The Norton Anthology of English Literature. Sixth Edition. Volume 2, Gen. Ed. M.H. Abrams (New York and London: W.W. Norton & Co., 1993), pp. 1756–1758 (p. 1757).Google Scholar
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    In the Cantata Profana, the father fails to teach his sons to earn a living at home. He teaches them to hunt, not to farm. For Bartók, whose very homeland disappeared under new and different maps or masks of nationality, the necessity of separation was acute. He was ‘one of Hungary’s greatest sons’ but the knowledge that he was born in 1881 ‘in Nagyszentmiklos, Torontal county, is of limited help, since no such place is to be found on any modern map of the country’. See Hamish Milne, Bartók (London: Omnibus Press, 1982), p. 7. Later in his life, too, exile was a forced choice. Marshall Walker’s text notes: ‘There’s also the irony of accidental prophecy in the Cantata. In 1940, Bartók became a refugee from a Europe poisoned by hunting and killing. “I’d so much like to go home,” he said. But he was never to pass again through a doorway in his own country ...’ Marshall Walker, Béla Bartók (Radio New Zealand, Concert FM, 2001).Google Scholar

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© Alan Riach 2005

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  • Alan Riach

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