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The Ghost Of John Nisbet: Hugh Macdiarmid’S First Published Work, Alan Riach
The Ghost Of John Nisbet: Hugh Macdiarmid’S First Published Work, Alan Riach
Studies in Scottish Literature
Discusses the first published item, a short play, signed with the name 'Hugh M'acDiamid', and sets in its biographical and historical context just after the First World War and in the literary context of 1922 and international modernism, in 1922, viewing it as 'an encapsulation of its moment, and most importantly as an elegiac tribute to a friend,' arguing that 'Performing "Nisbet" as a play intimates the drama of fractured modernist selfhood implicit in the written text,' and concluding that it should be seen 'in the whole national context of Scotland finding a way towards a reconstruction of itself, a …
Macdiarmid The Spaceman: Extraterrestrial Space In Hugh Macdiarmid’S Poetry From Sangschaw To A Drunk Man Looks At The Thistle, Michael H. Whitworth
Macdiarmid The Spaceman: Extraterrestrial Space In Hugh Macdiarmid’S Poetry From Sangschaw To A Drunk Man Looks At The Thistle, Michael H. Whitworth
Studies in Scottish Literature
Looking at Hugh MacDiarmid’s Sangschaw (1925), Penny Wheep (1926), and A Drunk Man Looks at the Thistle (1926), this article considers MacDiarmid’s use of science, particularly astronomy, in the 1920s. It traces known and possible sources for his scientific knowledge in books and periodicals, especially The New Age. It examines the image of light travelling through space, found in popular astronomy works by Felix Eberty and Camille Flammarion. It also compares his conception of the earth as a moving object in space with that found in poems by Thomas Hardy.
‘To “Meddle Wi’ The Thistle”’: C. M. Grieve’S Scottish Chapbook, The Little Magazine, And The Dilemmas Of Scottish Modernism, Scott Lyall
Studies in Scottish Literature
Examines C. M. Grieve’s (Hugh MacDiarmid’s) most important journal enterprise, The Scottish Chapbook, which critics have assumed marks the beginning of a modernist Scottish renaissance. Against this view, this article argues that the range of contributions to the Chapbook were generally not modernist in their formal characteristics, many recalling the Victorian or fin-de-siècle periods. While the Chapbook’s brief lifespan (1922–23) was typical for modernist little magazines, the dilemmas encountered by Grieve’s periodical – restricted finances, lack of avant-garde contributors – are explained here as a side-effect of ‘localist modernism’, a concept defined by Eric B. White.