Abstract
In 1943, in Lucky Poet, Hugh MacDiarmid wrote of ‘the young scientist and artist, Mr Ivan T. Sanderson, author of those fine books, Animal Treasure and Caribbean Treasure’, who ranked, according to MacDiarmid, ‘as one of the greatest Scottish writers, and personalities, to-day’. With reference to Caribbean Treasure, MacDiarmid continued, although it
deals with a scientific expedition to Trinidad, Haiti, Surinam, and Curacoa, I feel that he is really writing all the time about his native Edinburgh, and that when he describes a grison (a kind of weasel) as ‘circumambulating an obstacle by pouring round it, like a train’, whence he mistook it at first for a snake, or writes of a cave in which he flashed his torch on a circle of land-crabs who ‘dropped their tall periscopic eyes, and waved their huge pincers in front of them — a few blew bubbles that hissed and squeaked in the silence’, or tells us of the three-fingered sloth, the absurdity of its subhuman face only less absurd than its three blunt, stumpy, insensitive paws, or of the pigmy ant-eater whose eyes on capture filled with tears, though if you were sentimental enough to be taken in by that, it produced its highly effective armament, ‘claws as dense, tough, and sharp as a gaff’, he is not describing the strange fauna he found round the Saramanca, Coppename, Surinam, and Parva rivers, but giving masterly word-pictures of many of the types of citizens of his native Edinburgh to-day, and wish that he would come back to Scotland here and continue his work, along lines not unlike the ‘Mass Observation’ activities of Tom Harris[s]on and Charles Madge and their colleagues.1
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Notes
Hugh MacDiarmid, Lucky Poet: A Self-Study in Literature and Political Ideas (London: Methuen & Co., 1943; repr. ed. Alan Riach, Manchester: Carcanet Press, 1994), p. 352.
Marshall Walker, The Literature of the United States of America (London: Macmillan, 1983), p. 132.
Stephen Rodefer, ‘Plastic Sutures’, in Four Lectures (Berkeley: The Figures, 1982), p. 53.
Tom Normand, The Modern Scot: Modernism and Nationalism in Scottish Art 1928–1955 (Aldershot and Brookfield, Vermont: Ashgate Publishing, 2000), p. 1.
Ezra Pound, letter to William Soutar, Chapman 53, Vol. 10, No. 4 (Summer 1988), p. 30.
Hugh MacDiarmid, Contemporary Scottish Studies, ed. Alan Riach (Manchester: Carcanet Press, 1995), p. 210.
Catherine Kerrigan, ed., An Anthology of Scottish Women Poets (Edinburgh University Press, 1991). Muriel Stuart was Scottish only by name — her birth, background and upbringing were English and her poetry was fairly typical of good English women’s poetry of her day, and not particularly ‘modernist’ at all.
The major source for this section is John Purser, Scotland’s Music: A History of the Traditional and Classical Music of Scotland from Earliest Times to the Present Day (Edinburgh: Mainstream, 1992). I have also made use of booklet notes from a number of CDs, many new performances having been recorded in the fertile wake of Purser’s work: these are listed in the Discogrophy.
William Sweeney, in Booklet notes for CD Cappella Nova: Twentieth Century Scottish Choral Music (Glasgow: Linn Products, 1994), p. 10.
See also Cedric Thorpe Davie, Scotland’s Music (Edinburgh: William Blackwood, 1980)
Maurice Lindsay, Francis George Scott and the Scottish Renaissance (Edinburgh: Paul Harris, 1980)
Malcolm MacDonald, Ronald Stevenson: A Musical Biography (Edinburgh: National Library of Scotland, 1989)
Sir Arnold Bax, Farewell, My Youth: An Autobiography (London: Longmans, Green & Co., 1943).
The major source here is Duncan MacMillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990). But Tom Normand’s study of Scottish culture and the Modem Movement focuses more closely on MacDiarmid’s relationship with William MacCance and J.D. Fergusson, the importance of the idea of Celtic identity in Scottish art and the general thrust of political, literary and artistic work in the period 1928–1955.
Tom Normand, The Modern Scot: Modernism and Nationalism in Scottish Art 1928–1955 (Aldershot and Brookfield, Vermont: Ashgate Publishing, 2000).
Important sources are T.J. Honeyman, Three Scottish Colourists: S.J. Peploe, F.C.B. Cadell, Leslie Hunter (first published 1950; Edinburgh: Paul Harris Publishing, 1977)
T.J. Honeyman, Art and Audacity (London: Collins, 1971)
Roger Bilcliffe, The Glasgow Boys (London: John Murray, 1987)
Roger Bilcliffe, The Scottish Colourists (London: John Murray, 1989)
Jude Burkhauser, ed., ‘Glasgow Girls’: Women in Art and Design 1880–1920 (Edinburgh: Canongate, 1990).
Margaret Morris, The Art of J.D. Fergusson (Glasgow and London: Blackie, 1974), p. 44.
Cordelia Oliver, Joan Eardley, RSA (Edinburgh: Mainstream, 1988), p. 32.
Iain Gale, ‘Artist’s Brief Life Lived in the Moment’, Scotland on Sunday, 13 October 2002, p. 8.
John Berger, ‘A Story for Aesop’, in Keeping a Rendezvous (New York: Vintage Books, 1991), pp. 53–81 (p. 68).
William Johnstone, Points in Time: An Autobiography (London: Barrie & Jenkins, 1980), p. 72.
G.P. Insh, Scotland and the Modern World (Edinburgh and London: W. & A.K. Johnston, 1932).
Edwin Morgan, ‘Some Figures Behind MacDiarmid’, Cencrastus, 40 (Summer 1991), pp. 14–19.
Cited in Hubert Kennedy, ‘Introduction’, in John Henry Mackay, ed., The Hustler: The Story of a Nameless Love from Friedrich Street, trans. Hubert Kennedy (Boston: Alyson Publications, 1985), p. 9.
Toni Davidson, ed., And Thus Will I Freely Sing: An Anthology of Gay and Lesbian Writing from Scotland (Edinburgh: Polygon, 1989).
Richard Strauss, Orchestral Songs. Felicity Lott, Scottish National Orchestra, Neeme Jarvi (Chandos CHAN 9054, 1992). The English version here is by Alan Riach.
Edwin Morgan, ‘Scotland and the World’, Chapman, No. 95 (2000), pp. 2–15. (Also published in PN Review.)
William Lithgow, The Totall Discourse of The Rare Adventures & Painefull Perergrinations of long Nineteene Yeares Travayles from Scotland to the most famous Kingdomes in Europe, Asia and Africa (Glasgow: James MacLehose & Sons, 1906), p. 100.
Hugh MacDiarmid, A Drunk Man Looks at the Thistle, 11.141–144, in Selected Poems, ed. Alan Riach and Michael Grieve (Harmondsworth: Penguin Books, 1994), p. 30.
Paula Burnett, ed., The Penguin Book of Caribbean Verse in English (Harmondsworth: Penguin Books, 1986), p. 104.
Michael Scott, Tom Cringle’s Log (London: J.M. Dent, Everyman’s Library, 1969)
introduction by Richard Armstrong, P.V. James Robertson, Joseph Knight (London: Fourth Estate, 2003).
Morgan, op. cit., pp. 10–14. Helen & Pat Adam, San Francisco’s Burning (Berkeley, California: Oannes, 1963).
Lorna Moon, The Collected Works, ed. Glenda Norquay (Edinburgh: Black & White Publishing, 2002).
Queen Victoria, Leaves from the Journal of Our Life in the Highlands (London: Smith, Elder & Co., 1869), p. 87.
See Chris Dolan, ‘Plots on the Landscape’ (an article about his BBC Radio Scotland series, The Edge of the World), The Sunday Herald, 25 February 2001, p. 7.
Jules Verne, The Underground City or The Black Indies (Sometimes Called The Child of the Cavern) [or, Strange Doings Underground], trans. W.H.G. Kingston (London: S. Low, Marston, Searle and Rivington, 1877. Available online from Project Gutenberg, website http://promo.net/pg/).
See also Peter Haining, The Jules Verne Companion (New York: Baronet Publishing Company, 1978), pp. 14, 25.
Bram Stoker, Dracula, ed. Glennis Byron (Peterborough, Ontario: Broadview Press, 1997); The Bram Stoker Bedside Companion: 10 Stories by the Author of Dracula, ed. Charles Osborne (London: Victor Gollancz, 1973); The Mystery of the Sea (Guernsey, Channel Islands: Sutton Publishing, 1997). See also Barbara Belford, Bram Stoker: A Biography of the Author of Dracula (London: Weidenfield & Nicolson, 1996).
Bernard Kodjo [sic] Laing, ‘Jaw’, in Scottish Poetry 4, ed. George Bruce, Maurice Lindsay and Edwin Morgan (Edinburgh: Edinburgh University Press, 1969), pp. 59–69. And Woman of the Aeroplanes (London: Heinemann, 1988). Both this and Search, Sweet Country were published by Picador.
Kole Omotoso, The Edifice (London: Heinemann, 1971; repr. 1978).
Les A. Murray, ‘The Bonnie Disproportion’, in Persistence in Folly: Selected Prose Writings (London, Sydney and Melbourne: Angus & Robertson, Sirius Books, 1984), pp. 61–85 (p. 82).
Les. A. Murray, ‘Their Cities, Their Universities’, in Collected Poems (Port Melbourne, Victoria, Australia: William Heinemann, 1997), pp. 94–97.
Les A. Murray interviewed by Iain Sharp, Landfall, 42, 2 (June 1988), p. 160.
Chris Wallace-Crabbe, ‘The Last Ride’, in For Crying Out Loud (Oxford: Oxford University Press, 1990), pp. 48–49.
Eric McCormack, The Paradise Motel (London: Bloomsbury, 1989); The Mysterium (London: Viking Penguin, 1992).
Carlos Drummond de Andrade, ‘Residue’, in Travelling in the Family: Selected Poems, ed. and trans. Thomas Colchie and Mark Strand with Elizabeth Bishop and Gregory Rabassa (Hopewell, New Jersey: The Ecco Press, 1986), pp. 58–60 (p. 58).
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© 2005 Alan Riach
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Riach, A. (2005). The International Brigade: Modernism and the Scottish Renaissance. In: Representing Scotland in Literature, Popular Culture and Iconography. Palgrave Macmillan, London. https://doi.org/10.1057/9780230554962_7
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