literature

308d

<p>Ye think thon wes the end?<br>Yon meetin in the wuids<br>When Thracian Orpheus heard the drum, the cries,<br>The whud o the bacchantes’ thrangan feet…</p><p>—“Orpheus”, by Tom Scott (1918–1995), born <a href="/tags/otd/" rel="tag">#OTD</a>, 6 June<br>Published in A KIST O SKINKLAN THINGS</p><p>1/3</p><p><a href="https://asls.org.uk/publications/books/volumes/a-kist-o-skinlan-things/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/volumes/a-kist-o-skinlan-things/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/volumes/a-kist-o-skinlan-things/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/scots/" rel="tag">#Scots</a> <a href="/tags/scotslanguage/" rel="tag">#Scotslanguage</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a> <a href="/tags/mythology/" rel="tag">#Mythology</a> <a href="/tags/greekmythology/" rel="tag">#GreekMythology</a></p>

Tom Scott
Orpheus

Ye think thon wes the end?
Yon meetin in the wuids
When Thracian Orpheus heard the drum, the cries,
The whud o the bacchantes’ thrangan feet
And, seik in saul,
Mad to be jyned for aye to his Eurydikee,
Strung his harp
And gaed to meet them wi a sang.
Ye think thon wes the end?

Na. Eftir the thrang breeled on, red
Fingert, bluidie-mawed, the riven limbs
Quiveran aye amang the mairtyred gress,
There wes a lull
And throu it syne a roun
And syne as muckle’s a moan
And syne a voice,
Yon voice o his
That quietit the forest and its fowk,
That reconcilit lion and lamb,
Ordert the rain,
Spoke frae the grund
And threept in the greitan tree
‘Euridikee! Euridikee!’

And at the name
A ferlie thing wes duin.
Thir broken bits o bodie, bits o bane,
Brisket, gash, airm and droukit hair
Cam thegither as gin some will
Mair nor the merely real
Had wrocht on them.
And on yon slauchtert grund was formed
Orpheus anew,
Orpheus the singer, Orpheus the makar,
Orpheus cleansed o the auld despair.
And by the halie tree
In the leaman licht o the wuid,
Squired by a houlet, a hawk and a doo,
Wes his Euridikee.

They say he made a new sang,
A nobler nor the auld,
And sings it aye in the great haa o the warld.

They say it will nevir end.

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318d

<p>‘A steamy wrestle’: Guardian article inspires play on Shakespeare and Marlowe collaboration</p><p>Exclusive: Born With Teeth by Liz Duffy Adams, coming to West End, imagines rival dramatists working together</p><p>By Dalya Alberge</p><p><a href="https://www.theguardian.com/culture/2025/may/26/guardian-article-inspires-rsc-play-shakespeare-marlowe" rel="nofollow" class="ellipsis" title="www.theguardian.com/culture/2025/may/26/guardian-article-inspires-rsc-play-shakespeare-marlowe"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/culture/20</span><span class="invisible">25/may/26/guardian-article-inspires-rsc-play-shakespeare-marlowe</span></a></p><p>Shakespeare and Marlowe at PG:<br><a href="https://www.gutenberg.org/ebooks/author/65" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/65"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/65</span></a><br><a href="https://www.gutenberg.org/ebooks/author/410" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/410"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/410</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/literarycriticism/" rel="tag">#literarycriticism</a></p>

William Shakespeare by John Taylor.

Shakespeare is depicted with a high forehead, dark eyes, and a trimmed moustache and goatee. His dark, curled hair is shoulder-length, and he wears a black doublet with a soft white collar and a gold earring in his left ear—a detail that adds a touch of artistic flair and Elizabethan style.

https://en.wikipedia.org/wiki/William_Shakespeare#/media/File:William_Shakespeare_by_John_Taylor,_edited.jpg

Anonymous portrait, possibly of Marlowe, at Corpus Christi College, Cambridge.

It depicts a young man, thought by some scholars to be Marlowe, at the age of 21, wearing a richly patterned black doublet embroidered with gold thread in a swirling vine motif—typical of late 16th-century fashion.

The subject has dark, curled hair, a fine complexion, and a direct, confident gaze.

Above the figure, a Latin inscription reads: "Quod me nutrit me destruit" (“That which nourishes me destroys me”)—a phrase associated with dangerous intellect and intense passion, further fueling speculation that the portrait may represent Marlowe.

https://en.wikipedia.org/wiki/Christopher_Marlowe#/media/File:Christopher_Marlowe.jpg

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318d

<p>You told me the brightest flowers grow on sand.</p><p>By the breakwater, a frayed nest of fishers’ rope<br>twined into a bouquet: pale blue, green, teal,<br>and peach; a twisted tale of what growth is…</p><p>—Jane McKie, “Rope”<br>Published in nobody remembers the birdman: New Writing Scotland 40 (ASL, 2022)</p><p><a href="https://asls.org.uk/publications/books/newwriting/nws40/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/newwriting/nws40/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/newwriting/nws40/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Jane McKie
ROPE

You told me the brightest flowers grow on sand.

By the breakwater, a frayed nest of fishers’ rope
twined into a bouquet: pale blue, green, teal,
and peach; a twisted tale of what growth is.
But you are right – they are flowers in the way
of any weathered thing, unpicking itself,
or hollowing itself into something eye-catching,
essential: a split egg of rock, a breaking wave.

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318d

<p>Robert Burns & Black Lives</p><p>24 June, Alloway. Free – booking recommended</p><p>Clark McGinn examines Burns’s connections to the transatlantic slave trade, highlighting the paradoxes & moral conflicts during the poet’s time. He does not shy away from uncomfortable truths, presenting a nuanced portrait that challenges readers to reconcile Burns’s literary genius with the ethical ambiguities of his time.</p><p><a href="https://www.eventbrite.co.uk/e/highlight-talk-clark-mcginn-on-burns-and-black-lives-tickets-1354716606839" rel="nofollow" class="ellipsis" title="www.eventbrite.co.uk/e/highlight-talk-clark-mcginn-on-burns-and-black-lives-tickets-1354716606839"><span class="invisible">https://</span><span class="ellipsis">www.eventbrite.co.uk/e/highlig</span><span class="invisible">ht-talk-clark-mcginn-on-burns-and-black-lives-tickets-1354716606839</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/transatlanticslavetrade/" rel="tag">#TransatlanticSlaveTrade</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a></p>

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318d

<p>The Wrong Side and The Right Side (of History) - Albert Camus On Being 'Human and Simple' </p><p>By Paul Sorene</p><p><a href="https://flashbak.com/albert-camus-the-wrong-side-and-the-right-side-475865/?utm_source=rss&utm_medium=rss&utm_campaign=albert-camus-the-wrong-side-and-the-right-side" rel="nofollow" class="ellipsis" title="flashbak.com/albert-camus-the-wrong-side-and-the-right-side-475865/?utm_source=rss&utm_medium=rss&utm_campaign=albert-camus-the-wrong-side-and-the-right-side"><span class="invisible">https://</span><span class="ellipsis">flashbak.com/albert-camus-the-</span><span class="invisible">wrong-side-and-the-right-side-475865/?utm_source=rss&utm_medium=rss&utm_campaign=albert-camus-the-wrong-side-and-the-right-side</span></a></p><p>More information:<br><a href="https://en.wikipedia.org/wiki/Albert_Camus" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Albert_Camus"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Albert_C</span><span class="invisible">amus</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/history/" rel="tag">#history</a></p>

Albert Camus, Nobel prize winner, half-length portrait, seated at desk, facing left, smoking cigarette.

https://en.wikipedia.org/wiki/Albert_Camus#/media/File:Albert_Camus,_gagnant_de_prix_Nobel,_portrait_en_buste,_pos%C3%A9_au_bureau,_faisant_face_%C3%A0_gauche,_cigarette_de_tabagisme.jpg

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318d

<p>Behind the Scenes Tour at the Mitchell Library<br>14 June, Mitchell Library, Glasgow. Free, ticketed</p><p>An exclusive guided tour of the Mitchell Library – one of Europe’s largest public libraries. Dawn Vallance, Principal Librarian at the Mitchell Library, will lead a tour of the vast back stacks of the Mitchell, not usually accessible to the public.</p><p><a href="https://www.eventbrite.co.uk/e/behind-the-scenes-tour-at-the-mitchell-library-tickets-1374282378589" rel="nofollow" class="ellipsis" title="www.eventbrite.co.uk/e/behind-the-scenes-tour-at-the-mitchell-library-tickets-1374282378589"><span class="invisible">https://</span><span class="ellipsis">www.eventbrite.co.uk/e/behind-</span><span class="invisible">the-scenes-tour-at-the-mitchell-library-tickets-1374282378589</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/libraries/" rel="tag">#libraries</a> <a href="/tags/architecture/" rel="tag">#architecture</a> <a href="/tags/history/" rel="tag">#history</a> <a href="/tags/glasgow/" rel="tag">#Glasgow</a> <a href="/tags/mitchelllibrary/" rel="tag">#MitchellLibrary</a></p>

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318d

<p>Moscow is milling with watermelons.<br>Everything breathes a boundless freedom.<br>And it blows with unbridled fierceness<br>from the breathless melonvendors…</p><p>“Commended as a Russian translator… for his rendering of Mayakovsky into Scots, Morgan gets the muscles of the English language working with similar vigour in his treatment of Voznesensky”</p><p>—Carol Rumens on Edwin Morgan’s translation of Andrei Voznesensky</p><p><a href="https://www.theguardian.com/books/2025/may/26/poem-of-the-week-selling-watermelons-by-andrei-voznesensky-translated-by-edwin-morgan" rel="nofollow" class="ellipsis" title="www.theguardian.com/books/2025/may/26/poem-of-the-week-selling-watermelons-by-andrei-voznesensky-translated-by-edwin-morgan"><span class="invisible">https://</span><span class="ellipsis">www.theguardian.com/books/2025</span><span class="invisible">/may/26/poem-of-the-week-selling-watermelons-by-andrei-voznesensky-translated-by-edwin-morgan</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/translation/" rel="tag">#translation</a> <a href="/tags/russian/" rel="tag">#Russian</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

Selling Watermelons
by Andrei Voznesensky
translated by Edwin Morgan

Moscow is milling with watermelons.
Everything breathes a boundless freedom.
And it blows with unbridled fierceness
from the breathless melonvendors.

Stalls. Din. Girls’ headscarves.
They laugh. Change bangs down. Knives —

and a choice sample slice.
— Take one, chief, for a long life!
Who’s for a melon?
Freshly split! —

And just as tasty and just as juicy are
the capbands of policemen
and the ranks of motor-scooters.
The September air is fresh and keen
and resonant as a watermelon.

And just as joyfully on its own tack
as the city-limit melon-multitudes,
the earth swings in its great string-bag
of meridians and latitudes!

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306d

<p>This week; the sermon is salt<br>and the taste of it as song. A clean, cold burn</p><p>quickens the blood…</p><p>—A.M. Havinden, “Sea Chapel”<br>published in Break in Case of Silence: New Writing Scotland 39 (ASL, 2021)</p><p><a href="https://asls.org.uk/publications/books/newwriting/nws39/" rel="nofollow" class="ellipsis" title="asls.org.uk/publications/books/newwriting/nws39/"><span class="invisible">https://</span><span class="ellipsis">asls.org.uk/publications/books</span><span class="invisible">/newwriting/nws39/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a></p>

A. M. Havinden
Sea Chapel

This week; the sermon is salt
and the taste of it as song. A clean, cold burn

quickens the blood. Unseen, underfoot,
deep notes of wrack and weed wind

ankles. We raise our voices
in bright blasphemy, in shock and defiance

a hymn of human-scale endurance,
how great and small we are;

how outrageously alone; how far
we’ve come, suddenly, from shore.

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302d

<p>We are all Mrs Dalloway now</p><p>For Virginia Woolf, stream of consciousness was a method. Now, it’s a way of life.</p><p>By George Monaghan</p><p><a href="https://www.newstatesman.com/culture/books/2025/06/we-are-all-mrs-dalloway-now" rel="nofollow" class="ellipsis" title="www.newstatesman.com/culture/books/2025/06/we-are-all-mrs-dalloway-now"><span class="invisible">https://</span><span class="ellipsis">www.newstatesman.com/culture/b</span><span class="invisible">ooks/2025/06/we-are-all-mrs-dalloway-now</span></a></p><p>Mrs. Dalloway at PG:<br><a href="https://www.gutenberg.org/ebooks/71865" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/71865</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

First edition dust jacket of Mrs. Dalloway, 1925; cover art by Vanessa Bell.

https://en.wikipedia.org/wiki/Mrs_Dalloway#/media/File:Mrs._Dalloway_cover.jpg

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305d

<p>Why H.G. Wells’ “The Time Machine” Is a Timely Warning to the World</p><p>Wells turned the future around in his novel.</p><p><a href="https://www.thecollector.com/hg-wells-time-machine-eternal-timeliness/" rel="nofollow" class="ellipsis" title="www.thecollector.com/hg-wells-time-machine-eternal-timeliness/"><span class="invisible">https://</span><span class="ellipsis">www.thecollector.com/hg-wells-</span><span class="invisible">time-machine-eternal-timeliness/</span></a></p><p>Books by H. G. Wells at PG</p><p><a href="https://www.gutenberg.org/ebooks/search/?query=h.+g.+wells" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/search/?query=h.+g.+wells"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/searc</span><span class="invisible">h/?query=h.+g.+wells</span></a></p><p>Looking Backward, 2000 to 1887 by Edward Bellamy at PG</p><p><a href="https://www.gutenberg.org/ebooks/624" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/624</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/sciencefiction/" rel="tag">#sciencefiction</a></p>

Cover of The Time Machine by H. G. Wells with a sphinx.

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317d

<p><a href="/tags/otd/" rel="tag">#OTD</a> The Irish writer and poet Thomas Moore was born in 1779. He was "widely regarded in the late Georgian era as Ireland's "national bard."</p><p><a href="https://en.wikipedia.org/wiki/Thomas_Moore" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/Thomas_Moore"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/Thomas_M</span><span class="invisible">oore</span></a></p><p>Thomas Moore at PG</p><p><a href="https://www.gutenberg.org/ebooks/author/2185" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/author/2185"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/autho</span><span class="invisible">r/2185</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Painting of Thomas Moore by Thomas Lawrence.

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295d

<p>Pink sand and sandpipers pink in the setting<br>sun and pink granite and the pink swirl<br>of green waves…</p><p>—“Camas Tuath”, by poet, playwright & novelist Tom Buchan (1931–1995) – born <a href="/tags/otd/" rel="tag">#OTD</a>, 19 June</p><p><a href="https://www.scottishpoetrylibrary.org.uk/poem/camas-tuath/" rel="nofollow" class="ellipsis" title="www.scottishpoetrylibrary.org.uk/poem/camas-tuath/"><span class="invisible">https://</span><span class="ellipsis">www.scottishpoetrylibrary.org.</span><span class="invisible">uk/poem/camas-tuath/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/20thcentury/" rel="tag">#20thcentury</a></p>

Camas Tuath
Tom Buchan

Pink sand and sandpipers pink in the setting
sun and pink granite and the pink swirl
of green waves: no mediterranean relics
here, no ruined amphitheatres, no amphorae,

no half-submerged statuary – only the
children’s wet sand-pies and a standing
stone, a druidic lingam standing for nothing
anyone knows about nowadays, a stony

finger, green with years, specific of an idea
which was no doubt straight, strong and complex
once, but is now obliterated by the hysterical
cries of children and the birds’ pink squealing.

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317d

<p>Into perplexity: as an itch chased round<br>an oxter or early man in the cave mouth<br>watching rain-drifts pour from beyond</p><p>his understanding…</p><p>—“The Beautiful”, by Roddy Lumsden (1966–2020) – born <a href="/tags/otd/" rel="tag">#OTD</a>, 28 May. A 🎂 🧵<br>Published in POETRY magazine, Dec 2008</p><p>1/5</p><p><a href="https://www.poetryfoundation.org/poetrymagazine/poems/51938/the-beautiful" rel="nofollow" class="ellipsis" title="www.poetryfoundation.org/poetrymagazine/poems/51938/the-beautiful"><span class="invisible">https://</span><span class="ellipsis">www.poetryfoundation.org/poetr</span><span class="invisible">ymagazine/poems/51938/the-beautiful</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/poem/" rel="tag">#poem</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/roddylumsden/" rel="tag">#RoddyLumsden</a></p>

The Beautiful
by Roddy Lumsden

Into perplexity: as an itch chased round
an oxter or early man in the cave mouth
watching rain-drifts pour from beyond

his understanding. Whether to admire
the mere sensation, enough, or hold out
for sweeter ornament, vessels of wonder

born with that ur-charm of symmetry;
lovely ones we ache to prize and praise,
climb into and become because they try

our day-by-day significance: some of us
ugly and most of us plain, walked past
in the drowned streets: pearls of paste,

salted butter, secondary colors. They
drift unapproached, gazed never-selves,
blunt paragons of genetic industry. We

desire them but cannot want such order.
We stand, mouths open, and cannot help
stammering our secrets, nailed to water.

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305d

<p>"Writers are so much braver than any other artist," says Georgia Riordan in our latest newsletter, featuring thoughts from our interns.</p><p>Find out why she thinks so:</p><p><a href="https://newdoorbooks.net/so/7fPTLaOoC?languageTag=en" rel="nofollow" class="ellipsis" title="newdoorbooks.net/so/7fPTLaOoC?languageTag=en"><span class="invisible">https://</span><span class="ellipsis">newdoorbooks.net/so/7fPTLaOoC?</span><span class="invisible">languageTag=en</span></a></p><p><a href="/tags/writingcommunity/" rel="tag">#WritingCommunity</a> <a href="/tags/bookswithheart/" rel="tag">#bookswithheart</a> <a href="/tags/literature/" rel="tag">#Literature</a></p>

(no description)

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304d

<p>CFP: Foreclosure<br>a Special Issue of Key Words: A Journal of Cultural Materialism</p><p>Theorising foreclosure in relation to British cultural production since 1960. The editors seek contributions on literary imagination, questions of genre & form, interpretive practices, & material conditions of cultural production</p><p>Deadline 18 July</p><p>@litstudies </p><p><a href="https://raymondwilliams.co.uk/2025/06/09/call-for-contributors-foreclosure-a-special-issue-of-key-words-a-journal-of-cultural-materialism/" rel="nofollow" class="ellipsis" title="raymondwilliams.co.uk/2025/06/09/call-for-contributors-foreclosure-a-special-issue-of-key-words-a-journal-of-cultural-materialism/"><span class="invisible">https://</span><span class="ellipsis">raymondwilliams.co.uk/2025/06/</span><span class="invisible">09/call-for-contributors-foreclosure-a-special-issue-of-key-words-a-journal-of-cultural-materialism/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/english/" rel="tag">#English</a> <a href="/tags/welsh/" rel="tag">#Welsh</a> <a href="/tags/ulster/" rel="tag">#Ulster</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/literarystudies/" rel="tag">#Literarystudies</a> <a href="/tags/culturalstudies/" rel="tag">#CulturalStudies</a></p>

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316d

<p>Aminatta Forna: Creative Conversations X UBelong<br>16 June, free online</p><p>A conversation with Aminatta Forna, award-winning author of the essay collection THE WINDOW SEAT: Notes from a Life in Motion, & more.</p><p>This event is part of the Building Solidarity & Kinship programme curated by Esraa Husain at the Refugee Festival Scotland 2025, developed in partnership with Creative Conversations and U Belong Glasgow.</p><p><a href="https://www.eventbrite.co.uk/e/aminatta-forna-creative-conversations-x-ubelong-tickets-1387176776079" rel="nofollow" class="ellipsis" title="www.eventbrite.co.uk/e/aminatta-forna-creative-conversations-x-ubelong-tickets-1387176776079"><span class="invisible">https://</span><span class="ellipsis">www.eventbrite.co.uk/e/aminatt</span><span class="invisible">a-forna-creative-conversations-x-ubelong-tickets-1387176776079</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/solidarity/" rel="tag">#solidarity</a> <a href="/tags/kinship/" rel="tag">#kinship</a> <a href="/tags/war/" rel="tag">#war</a> <a href="/tags/trauma/" rel="tag">#trauma</a></p>

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<p>‘Who controls the present controls the past’: What Orwell’s ‘1984’ explains about the twisting of history to control the public</p><p>by Laura Beers</p><p><a href="https://theconversation.com/who-controls-the-present-controls-the-past-what-orwells-1984-explains-about-the-twisting-of-history-to-control-the-public-257798" rel="nofollow" class="ellipsis" title="theconversation.com/who-controls-the-present-controls-the-past-what-orwells-1984-explains-about-the-twisting-of-history-to-control-the-public-257798"><span class="invisible">https://</span><span class="ellipsis">theconversation.com/who-contro</span><span class="invisible">ls-the-present-controls-the-past-what-orwells-1984-explains-about-the-twisting-of-history-to-control-the-public-257798</span></a></p><p>Dystopias at PG:<br><a href="https://www.gutenberg.org/ebooks/subject/3316" rel="nofollow" class="ellipsis" title="www.gutenberg.org/ebooks/subject/3316"><span class="invisible">https://</span><span class="ellipsis">www.gutenberg.org/ebooks/subje</span><span class="invisible">ct/3316</span></a></p><p><a href="/tags/book/" rel="tag">#book</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Picture of George Orwell which appears in an old accreditation for the BNUJ.

Orwell is shown from the shoulders up, facing slightly to his lef. His dark hair is neatly combed back, and he wears a collared shirt, possibly with a tie visible beneath a jacket.

https://en.wikipedia.org/wiki/George_Orwell#/media/File:George_Orwell_press_photo.jpg

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316d

<p>The Long Shadow of Scottish Gothic<br>31 July, Glasgow<br>Tickets £13.44</p><p>From ‘Tam o Shanter’ through Jekyll & Hyde to Alasdair Gray & Muriel Spark, the Gothic has a vicelike grip on the Scottish imagination. Dr Valentina Bold & Prof Liam McIlvanney discuss Liam’s new psychological thriller THE GOOD FATHER, the enduring appeal of Scottish Gothic, & our fascination with the dark side</p><p><a href="https://www.glasgowlife.org.uk/event/1/the-long-shadow-of-scottish-gothic-liam-mcilvanney" rel="nofollow" class="ellipsis" title="www.glasgowlife.org.uk/event/1/the-long-shadow-of-scottish-gothic-liam-mcilvanney"><span class="invisible">https://</span><span class="ellipsis">www.glasgowlife.org.uk/event/1</span><span class="invisible">/the-long-shadow-of-scottish-gothic-liam-mcilvanney</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/gothic/" rel="tag">#gothic</a> <a href="/tags/robertburns/" rel="tag">#RobertBurns</a> <a href="/tags/robertlouisstevenson/" rel="tag">#RobertLouisStevenson</a> <a href="/tags/alasdairgray/" rel="tag">#AlasdairGray</a> <a href="/tags/murielspark/" rel="tag">#MurielSpark</a></p>

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<p>33 Colorized Photos From The Harlem Renaissance That Capture This Transformative Era</p><p>The Harlem Renaissance lasted from 1910 to 1930.</p><p>By Austin Harvey </p><p><a href="https://allthatsinteresting.com/harlem-renaissance-colorizations" rel="nofollow" class="ellipsis" title="allthatsinteresting.com/harlem-renaissance-colorizations"><span class="invisible">https://</span><span class="ellipsis">allthatsinteresting.com/harlem</span><span class="invisible">-renaissance-colorizations</span></a></p><p>At PG: "Fire!!: A Quarterly Devoted to the Younger Negro Artists, Volume 1, Number 1" is a collection of works from some of the most influential artists of the Harlem Renaissance. Unfortunately, only one issue was ever published. </p><p><a href="https://www.gutenberg.org/ebooks/71448" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/71448</a></p><p><a href="/tags/culture/" rel="tag">#culture</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/art/" rel="tag">#art</a></p>

Cover of Fire!! by Aaron Douglas

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<p>Finding Your Way Into Writing Fiction as J.R.R. Tolkien’s Grandson</p><p>Simon Tolkien on the Double-Edged Sword of a Mighty Literary Inheritance</p><p><a href="https://lithub.com/finding-your-way-into-writing-fiction-as-j-r-r-tolkiens-grandson/" rel="nofollow" class="ellipsis" title="lithub.com/finding-your-way-into-writing-fiction-as-j-r-r-tolkiens-grandson/"><span class="invisible">https://</span><span class="ellipsis">lithub.com/finding-your-way-in</span><span class="invisible">to-writing-fiction-as-j-r-r-tolkiens-grandson/</span></a></p><p>More information:<br><a href="https://en.wikipedia.org/wiki/J._R._R._Tolkien" rel="nofollow" class="ellipsis" title="en.wikipedia.org/wiki/J._R._R._Tolkien"><span class="invisible">https://</span><span class="ellipsis">en.wikipedia.org/wiki/J._R._R.</span><span class="invisible">_Tolkien</span></a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

Photograph of J. R. R. Tolkien in the 1920s on leaving Leeds University.

Tolkien appears clean-shaven, and neatly dressed in formal, early 20th-century attire. He typically wears a suit and tie.

Unknown photo studio commissioned by Tolkien's students 1925/6 (private communication from Catherine McIlwaine, Tolkien Archivist, Bodleian Library) - Epistle of Dude, Photos from the lives of C.S. Lewis and J.R.R. Tolkien, probably originally sourced from John Garth, Tolkien and the Great War.

https://en.wikipedia.org/wiki/J._R._R._Tolkien#/media/File:J._R._R._Tolkien,_ca._1925.jpg

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304d

<p>“It didn’t occur to me for about five or six years after leaving school that literature was something I could be involved in. Then I discovered it was possible to write stories myself…”</p><p>—an extract from James Kelman on “Elitism & English Literature”, from a book I’m currently typesetting</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/workingclass/" rel="tag">#workingclass</a> <a href="/tags/writers/" rel="tag">#writers</a> <a href="/tags/writing/" rel="tag">#writing</a> <a href="/tags/jameskelman/" rel="tag">#JamesKelman</a> <a href="/tags/elitism/" rel="tag">#elitism</a></p>

It didn’t occur to me for about five or six years after leaving school that literature was something I could be involved in. Then I discovered it was possible to write stories myself, I just had to go out and buy a couple of reliable ball-point pens and a good-sized notebook. I could even write stories about ordinary people if I wanted to. There wasn’t anybody going to stop me by using physical force. After that I found out there were other people in this country also doing such things, and there were other people who had been doing such things for a couple of hundred years. It was just that nobody in any of the positions of power in society had got round to telling me.

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<p>Kerri Andrews & Merryn Glover in conversation about Nan Shepherd<br>11 June, Pitlochry Festival Theatre – £3</p><p>Authors Dr Kerri Andrews & Merryn Glover discuss how Nan Shepherd has inspired their own walking & writing, followed by a book-signing & the matinee performance of Nan Shepherd: Naked & Unashamed</p><p><a href="https://www.pitlochryfestivaltheatre.com/whats-on/merryn-glover-and-kerri-andrews-in-conversation/" rel="nofollow" class="ellipsis" title="www.pitlochryfestivaltheatre.com/whats-on/merryn-glover-and-kerri-andrews-in-conversation/"><span class="invisible">https://</span><span class="ellipsis">www.pitlochryfestivaltheatre.c</span><span class="invisible">om/whats-on/merryn-glover-and-kerri-andrews-in-conversation/</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/nanshepherd/" rel="tag">#NanShepherd</a> <a href="/tags/walking/" rel="tag">#walking</a> <a href="/tags/hillwalking/" rel="tag">#hillwalking</a> <a href="/tags/womenwriters/" rel="tag">#womenwriters</a></p>

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<p>Helen Craik (1751–1825), Gothic novelist & friend of Robert Burns, died 200 years ago <a href="/tags/otd/" rel="tag">#OTD</a>, 11 June. Craik published 5 novels but no poetry. In 1919, excerpts of her poems appeared in a newspaper, but the source – a notebook Craik presented to a family friend – disappeared…</p><p>1/6</p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/18thcentury/" rel="tag">#18thcentury</a> <a href="/tags/romanticism/" rel="tag">#romanticism</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/gothic/" rel="tag">#Gothic</a> <a href="/tags/womenwriters/" rel="tag">#WomenWriters</a> <a href="/tags/manuscripts/" rel="tag">#manuscripts</a></p>

A manuscript page, headed

Poems
by
A LADY

Underneath is a paragraph in ornate copperplate handwriting (it's from Laurence Sterne’s A Sentimental Journey through France and Italy, by Mr Yorick, vol. II):

Dear sensibility! source inexhausted of all that’s precious in our Joys, or costly in our sorrows! thou chainest thy martyr down upon his bed of straw—and ’tis thou who lifts him up to Heaven—Eternal fountain of our feelings, ’tis here I trace thee.—

Below is a drawing of a curly-haired cherub's face, with wings made of looping pen-strokes.

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<p>Cents and Sensibility by Sandra Cisneros</p><p>How does a woman writer make her own money? How does she find the time to write? </p><p><a href="https://www.theparisreview.org/blog/2025/06/10/cents-and-sensibility/" rel="nofollow" class="ellipsis" title="www.theparisreview.org/blog/2025/06/10/cents-and-sensibility/"><span class="invisible">https://</span><span class="ellipsis">www.theparisreview.org/blog/20</span><span class="invisible">25/06/10/cents-and-sensibility/</span></a></p><p>Sense and Sensibilty at PG:<br><a href="https://www.gutenberg.org/ebooks/161" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/161</a><br><a href="https://www.gutenberg.org/ebooks/21839" rel="nofollow"><span class="invisible">https://</span>www.gutenberg.org/ebooks/21839</a></p><p><a href="/tags/books/" rel="tag">#books</a> <a href="/tags/literature/" rel="tag">#literature</a></p>

In ch. 9 of Sense and Sensibility (Jane Austen Novel) Willoughby comes to Marianne rescue, and carries her home.

The picture depicts a dramatic and emotionally charged moment from Chapter 9 of Sense and Sensibility. In the scene, John Willoughby, a dashing young man with a commanding presence, is shown mid-action, carrying Marianne in his arms with care and urgency. His expression is intense yet gentle. Marianne, in a flowing Regency dress, appears pale and vulnerable, her arm loosely around his shoulder.

https://upload.wikimedia.org/wikipedia/commons/e/ee/Sands-brock-06.jpg

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<p>Afro-Scottish Poetry Event 2025<br>25 July, Glasgow. Tickets £0–£10</p><p>A multicultural evening of poetry, music, & storytelling that celebrates African & Scottish identities through powerful performances. Created & curated by Chisom Okoronkwo with U Belong Glasgow</p><p><a href="https://www.eventbrite.co.uk/e/afro-scottish-poetry-event-2025-tickets-1396145632169" rel="nofollow" class="ellipsis" title="www.eventbrite.co.uk/e/afro-scottish-poetry-event-2025-tickets-1396145632169"><span class="invisible">https://</span><span class="ellipsis">www.eventbrite.co.uk/e/afro-sc</span><span class="invisible">ottish-poetry-event-2025-tickets-1396145632169</span></a></p><p><a href="/tags/scottish/" rel="tag">#Scottish</a> <a href="/tags/literature/" rel="tag">#literature</a> <a href="/tags/african/" rel="tag">#African</a> <a href="/tags/poetry/" rel="tag">#poetry</a> <a href="/tags/storytelling/" rel="tag">#storytelling</a> <a href="/tags/performance/" rel="tag">#performance</a> <a href="/tags/identity/" rel="tag">#identity</a> <a href="/tags/glasgow/" rel="tag">#Glasgow</a></p>

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