The vocabulary in this book is simply remarkable. It is so very artsy. I am also glad it's not 1000 pages long. I recomend this book to all. Also if David Franklin reads the review I would very much like to meet you, for you are the man who inspired me to wright THe play Nursinghome Nightmares. Submitted by John Madison Franklin and Bretton Hughes Chatham

He is a man from another time and another place but fairy magic brought Dylan Matheson to Ciorran in the Scottish Highlands decades before the final Jacobite defeat at Culloden. He fell in love with the laird's daughter and after much hardship and many adventures, he married her. Their union produced two children before his precious Cait was murdered by her abusive first spouse.

Dylan has come to realize his home is with Clan Ciorran and he doesn't even want the fairy Sinann to try to return him to his own time. This is just as well because the bumbling fairy believes Dylan is the only one who can prepare the clan for the hard times ahead. Before Dylan can deal with his enemies (both English and Scottish) he must first defeat Morrighan, the Celtic goddess of war who wants to know the future and will use any means at her disposal to force Dylan into giving up that information.

Cross Sharon Kay Penman with Mercedes Lackey and Judith Tarr and readers will understand that the novel SWORD OF KING JAMES is historical romantic fantasy at it's very best. Hearts will go out to the beleaguered hero who still mourns his true love while trying to move the clan in the direction he wants it to go. J. Adrian Lee has created something wondrous with this haunting novel.

Harriet Klausner

I listened to this book on tape rather than reading it and enjoyed it very much. I am currently studying the history, society, clans, geography, etc. of Scotland and found this books not only enjoyable but historically correct and entertaining. I'm always amazed at what society accepted and did not accept in times past. John Stewart was a character whom I grew to care about and admired, in spite of his very human failings at times. He wanted to do what was right and good but all too often found himself caught up in events and compromise that would lead him into danger and intrigue. I feared the ending would not resolve itself happily but when it did, I rejoiced for John! A good read and I can't wait to read more of the many books written by Nigel Tranter.

Wherein our reporter returns to the Scottish island that spawned his familial clan. Kind of a collection of sketches gathered from the months he lived and wandered the isle, chatting, eating and drinking with the locals. Ah yes, and wife and family along for this one; we even get the four daughters' names. Runs out of steam after the first 120 pages. Nowhere near as good as, say, Encounters with the Archdruid or the Pine Barrens or A Sense of Where You Are. Probably worth reading only if you are a McPhee complete-ist - which of course is not a bad thing to be.

My family also originates on Colonsay, and we go back to visit occasionally. We were asked if we were related to John McPhee, because our name is McAfee. We were told that it was a good thing we weren't, because John had given away more secrets than the islanders thought wise. They told us that if he ever returned he would not make it off the ferry onto the dock. This is a great book and should be read and appreciated by all.

The finely detailed observations and vivid turn-of-words which we have come to know so well from McPhee's books on North America and its geological history, is applied here with great skill in this look at the tiny Scottish island of Colonsay and its inhabitants. The small population of under 150 people can trace ancestry to two castes or clans. Most are crofters or farmers. Some are true islanders with family roots going back hundreds of years; others are "incomers". It's not a derogatory term but simply another social distinction. Then there's THE CROFTER AND THE LAIRD. McPhee offers a distillation of this social concoction. "The usual frictions, gossip, and intense social espionage that characterize life in a small town are so grandly magnified...everyone is many things to everyone else, and is encountered daily in a dozen guises. Enmeshed together, the people of the island become one another. Friend and enemy dwell in the same skin."

McPhee deals with his usual areas of interest such as the environmental past of the island, but its the people that fascinate him. Here it's also a little closer to home as Colonsay is the home of McPhee's ancestors. The book is as much a narrative of the strife torn history of clans as it is one Americans' exploration of the "sentimental myth" that he attaches to his Scottish surname. McPhee quickly sees that, rather than myth, the clan is as real to Scots as it ever was. This is only amplified in a feudal and cloistered social setting such as on Colonsay.

The McPhee's (or Macafee, MacPhee, Macheffie, or MacDuffie, as the various septs are known) are part of the ancient clan MacFie. They're Celtic, and the Gaelic origin of the name means "son of the Dark Fairy or Elf". Such fairy-tale-like legends seem incongruous when set against the treacherous and bloody reality of clan history. The McPhee's are a "broken clan", the last chieftan was murdered by the MacDonald's in the 17th century. The MacDonald's however got their comeuppance in the way of the clans. A group of MacDonald's were butchered in their sleep by the Campbell's of Argyll in the Glencoe Massacre of 1692.

And just to show that clan history dies very hard, many Scots, even until today, when pressed just a little bit can usually find something uncharitable to say about my Campbell clan. Time and geographical distance may make the clans of only historical interest to McPhee, myself, and other North Americans with Scots ancestors. In Scotland it's a lot more real and present, and this wonderful book gives us a slice of that life.

Hogg's book was one of many 'Gothic' doppelganger novels produced at the time, as editor Cuddon makes clear in his introduction. What sets 'Sinner' apart is the fierce, unforgiving, saturnine, phlegmatic, terse, Biblical, paganistic, ugly beauty of the vocabulary and phraseology (Hogg was a shepherd and a poet), suited to a narrative lashed with hate, murder, bigotry and terror, whose sheer violence connects it with another shocking Gothic one-off, Lautreamont's 'Maldoror'; the way the 'double' theme of the novel is embedded not just in the plot, but in the rich formal patterning, from character groupings to the religiously and politically divided Scotland of its setting; and the wide literary adventurousness as a whole which, in its proliferation of stories, framing devices, and self-reflexivity create a labyrinthine, elusive, very modern text.

James Hogg's masterpiece, this strange and evocative study of the effects of Calvinist doctrine on the Scottish mind, has slowly edged its way into the canon in the last twenty years largely because it is first and foremost a rattling good read. Like all the great Scottish novelists from Walter Scott to Robert Louis Stevenson to Muriel Spark, Hogg was haunted by the dual promise of Edinburgh both as the refined cosmopolitan Renaissance home of Boswell as well as the fanatically religious city of John Knox. THE PRIVATE MEMOIRS is a response to that dual inheritance, and the novel is filled with doubles and dual structures: two brothers (born on two floors of the same house) vie for filial recognition; one brother duplicates himself when he is visited by a devil figure, Gil-Martin, in his exact semblance; and the story is told in two parts, and one of those is itself doubled. Although the Scots dialect in sections is a real chore to get through, the book is a marvelous frightening read nonetheless, and NYRB has wrapped it all up in a glorious cover featuring a famous Blake illustration. This isn't an easy ghost read, but it is tremendously repaying.

Private Memoirs and Confessions of a Justified sinner is the story of the illigitamate son of a Scottish laird who is convinced by the devil to act on his own spite and rage and commit murder -- but Hogg adds a clever twist (I don't want to spoil anything by saying what it is) that leaves the reader wondering...

One of the great things about this book is that its serious subject matter is balanced by a dose of humor -- I was surprised to find myself giggling through the first fifty pages which tell of the laird's marriage to a reluctantly religious woman.

This is a must-read for anyone interested in nineteenth-century fantasy, but its detailing of the making of a fanatic is still hauntingly relevent today...

Boswell persuaded Johnson, almost age 64, to visit the highlands of Scotland with him in August, 1773. Both Boswell and Johnson wrote small books about it. Johnson's view, both in his letters to Hester Thrale and in this book, was as a social scientist cum historian, taking a clinical examination of the changes that were occurring in Scotland after the Union. Where Boswell's volume (sometimes paired with Johnson's) tends to focus on dialogs with Johnson, Johnson discusses the decaying of the clan structure, emigration, assimilation into the Union... Johnson is very careful as he describes what he sees, carefully measuring distances and relating his observations to historical context.

This review may appear with other editions, but the Oxford edition, edited by Fleeman, is a very thorough and detailed edition for the specialist. For the specialist, it's worth the relatively high price. Fleeman provides detailed notes, and appendices on the the various early editions, cancelled sheets, clans structures, etc. If you are a serious reader of Johnson, as I am, this is the edition to have.

If you are -not- a serious reader, then you would do well to buy the penguin paperback, which combines Johnson's and Boswell's volumes. The two books are fascinating to read in tandem, and it's revealing about Boswell that Johnson doesn't even mention conversations which meant so much to Boswell. In addition, the notes in the Penguin edition (by Peter Levi) are also very helpful.

The -third- part of the story, however -- Johnson's letters to Hester Thrale while J & B were traveling -- are not included in any current edition that I know of. I suspect we will have to wait for an electronic version in order to be able to compare all three resources at once.

This book was my companion on my first trip to Norway, the origin in viking times of the settlement of much of Northern Scotland and the Hebrides. I was curious to know how the region looked in earlier times and, is always the case with the writing of Johnson and Boswell, was happily entertained. If one reads only one travel book then maybe this one is the right one--maybe Lawrence's 'Travels in Italy' is second on my list.

Quite a while back I posted a review of the Oxford edition of Samuel Johnson's writings in which I included a short review of the Penguin edition of the Sctoland journey/journal. Reposting that review to the newest edition of the Oxford book, it occurred to me I ought to place this review where it belongs.

There is little with which one might compare these two wonderful pieces of writing today -- and yet to some extent they are, each in its own way, foundations upon which much of modern writing has been built. Johnson is here, if not at his finest, still nearing an apogee of clarity, lucidity and intellectual rigor. Boswell is making his initial foray into the published first-hand journal, written only half-a-thought out of the public eye, that would eventually lead him to write his enormous and enormously popular Life of Johnson.

Reading the two interlaced is an utter delight -- moving from the formality, grace and power of Johnson to the smaller, more intimate pleasures of Boswell gives one the feeling of having captured, in the adventurous peregrinations of these two inimitable characters, the very breadth and depth of eighteenth century English writing. (I must point out that the Penguin book does not print the two Journals in interlaced fashion, but with a little effort the reader can move between the two so as to get the efect of Johnson and Boswell speaking in turns on the same topology, if not always the same topic...)

To love and admire Johnson, but not appreciate the brilliant, even if much different, stylistic inventions of Boswell seems to me somewhat perverse. Certainly Boswell had his shortcomings, but half the joy of reading and 'knowing' Johnson and his circle comes from appreciating the little peccadilloes and foibles that each displayed in his turn--not the least the Great Cham, Johnson, himself. Having said that I hope I may be allowed one short comment on Frank Lynch's review below. While meaning no disrespect to Frank it seems odd to me that he would note that Johnson does not comment on conversations that Boswell took as very important. Johnson knew of Boswell's journals as they were being written and encouraged Boswell to publish them. Moreover, Johnson was writing a topographical piece and not the more intimate "Travels with the Great Cham" journal that Boswell was writing.

In the long run, that Boswell found these conversations important is what delights us -- his ability to possess and bring weight to the smallness of life contrasts wonderfully with Johnson's ability to enlarge and ennoble life -- and the reflection is an interesting one when we find some of the Great Cham's noble thoughts somewhat bitterly missing the mark while Boswell's little thoughts can roll about one's mind for a very long time.

I cannot think of either of these two men that I don't see Thomas Rowlandson's wonderful caricature of the two walking arm in arm -- the older man a head taller, wagging his finger and pontificating casually and brilliantly on some weighty matter, and the other rolling along beside him smiling with sweet admiration and pride of association. To read Johnson and bypass Boswell, is to find one great treasure and forsake another.

If I must add one small quibble it is that the notes to the Penguin edition seem rather eccentric -- more the product of a dyspeptic travel writer than a Johnsonian scholar.

If you are looking for tragedy and a dark bloody drama then I recommend Macbeth with no reservations whatsoever. On a scale of 1-5, I fell this book deserves a 4.5. Written by the greatest literary figure of all time, Shakespeare mesmorizes the reader with suspense and irony. The Scottish Thane Macbeth is approachd by three witches who attempt and succeed at paying with his head. They tell him he will become king, which he does, alog with the aide of his ambitious wife. Macbeth's honor and integrity is destroyed with the deceit and murders he commits. As the novel progresses, Macbeth's conscience tortures him and makes him weak minded. Clearly the saying "what goes around comes around," is put to use since Macbeth's doom was similar to how he acquired his status of kingship. He kills Duncan, the king of Scottland and chops the head off the Thane of Cawdor, therefore the Thane of Fife, Macduff, does the same thing to him. I feel anyone who decides to read this extraordinary book will not be disatisfied and find himself to become an audience to Shakespearean tragedies.

William Shakespeare's tragedies are universal. We know that the tragedy will be chalk-full of blood, murder, vengeance, madness and human frailty. It is, in fact, the uncorrectable flaws of the hero that bring his death or demise. Usually, the hero's better nature is wickedly corrupted. That was the case in Hamlet, whose desire to avenge his father's death consumed him to the point of no return and ended disastrously in the deaths of nearly all the main characters. At the end of Richard III, all the characters are lying dead on the stage. In King Lear, the once wise, effective ruler goes insane through the manipulations of his younger family members. But there is something deeply dark and disturbing about Shakespeare's darkest drama- Macbeth. It is, without a question, Gothic drama. The supernatural mingles as if everyday occurence with the lives of the people, the weather is foul, the landscape is eerie and haunting, the castles are cold and the dungeons pitch-black. And then there are the three witches, who are always by a cauldron and worship the nocturnal goddess Hecate. It is these three witches who prophetize a crown on the head of Macbeth. Driven by the prophecy, and spurred on by the ambitious, egotistic and Machiavellian Lady Macbeth (Shakespeare's strongest female character), Macbeth murders the king Duncan and assumes the throne of Scotland. The roles of Macbeth and Lady Macbeth are tour de force performances for virtuosic actors. A wicked couple, a power-hungry couple, albeit a regal, intellectual pair, who can be taken into any form- Mafia lord and Mafia princess, for example, as in the case of a recent movie with a modern re-telling of Macbeth.

Nothing and no one intimidates Macbeth. He murders all who oppose him, including Banquo, who had been a close friend. But the witches predict doom, for Macbeth, there will be no heirs and his authority over Scotland will come to an end. Slowly as the play progresses, we discover that Macbeth's time is running up. True to the classic stylings of Shakespeare tragedy, Lady Macbeth goes insane, sleepwalking at night and ranting about bloodstained hands. For Macbeth, the honor of being a king comes with a price for his murder. He sees Banquo's ghost at a dinner and breaks down in hysteria in front of his guests, he associates with three witches who broil "eye of newt and tongue of worm", and who conjure ghotsly images among them of a bloody child. Macbeth is Shakespeare's darkest drama, tinged with foreboding, mystery and Gothic suspense. But, nevertheless, it is full of great lines, among them the soliloquy of Macbeth, "Out, out, brief candle" in which he contemplates the brevity of human life, confronting his own mortality. Macbeth has been made into films, the most striking being Roman Polansky's horrific, gruesome, R-rated movie in which Lady Macbeth sleepwalks in the nude and the three witches are dried-up, grey-haired naked women, and Macbeth's head is devilishly beheaded and stuck at the end of a pole. But even more striking in the film is that at the end, the victor, Malcolm, who has defeated Macbeth, sees the witches for advise. This says something: the cycle of murder and violenc will begin again, which is what Macbeth's grim drama seems to be saying about powerhungry men who stop at nothing to get what they want.

While I was basically familiar with Shakespeare's Tragedy of Macbeth, I have only recently actually read the bard's brilliant play. The drama is quite dark and moody, but this atmosphere serves Shakespeare's purposes well. In Macbeth, we delve deeply into the heart of a true fiend, a man who would betray the king, who showers honors upon him, in a vainglorious snatch at power. Yet Macbeth is not 100% evil, nor is he a truly brave soul. He waxes and wanes over the execution of his nefarious plans, and he thereafter finds himself haunted by the blood on his own hands and by the ethereal spirits of the innocent men he has had murdered. On his own, Macbeth is much too cowardly to act so traitorously to his kind and his country. The source of true evil in these pages is the cold and calculating Lady Macbeth; it is she who plots the ultimate betrayal, forcefully pushes her husband to perform the dreadful acts, and cleans up after him when he loses his nerve. This extraordinary woman is the lynchpin of man's eternal fascination with this drama. I find her behavior a little hard to account for in the closing act, but she looms over every single male character we meet here, be he king, loyalist, nobleman, courtier, or soldier. Lady Macbeth is one of the most complicated, fascinating, unforgettable female characters in all of literature.

The plot does not seem to move along as well as Shakespeare's other most popular dramas, but I believe this is a result of the writer's intense focus on the human heart rather than the secondary activity that surrounds the related royal events. It is fascinating if sometimes rather disjointed reading. One problem I had with this play in particular was one of keeping up with each of the many characters that appear in the tale; the English of Shakespeare's time makes it difficult for me to form lasting impressions of the secondary characters, of whom there are many. Overall, though, Macbeth has just about everything a great drama needs: evil deeds, betrayal, murder, fighting, ghosts, omens, cowardice, heroism, love, and, as a delightful bonus, mysterious witches. Very many of Shakespeare's more famous quotes are also to be found in these pages, making it an important cultural resource for literary types. The play doesn't grab your attention and absorb you into its world the way Hamlet or Romeo and Juliet does, but this voyage deep into the heart of evil, jealousy, selfishness, and pride forces you to consider the state of your own deep-seated wishes and dreams, and for that reason there are as many interpretations of the essence of the tragedy as there are readers of this Shakespearean masterpiece. No man's fall can rival that of Macbeth's, and there is a great object lesson to be found in this drama. You cannot analyze Macbeth without analyzing yourself to some degree, and that goes a long way toward accounting for the Tragedy of Macbeth's literary importance and longevity.

The legend of William Wallace facinates me, and this book offered an in depth insight into his life. James MacKay really did a good job of researching this subject. It is a tough read, but full of facts to keep you interested. Reminds me of the "Similarian" by tolken, numerous names to keep track of, but far better.

Worth Reading, if your are into History.

P.S. I read this one for fun, not coursework

As a child of 9 I picked out the decor for my new room - Wallace Plaid - which dumbfounded my family since our Clans were MacGillivray, Ogilvie, Grant, Fraser and Montgomerie! But I thought Wallace such a great, sweeping figure. This was decades before Randall Wallace accidentally discovered William Wallace on a vacation in Scotland and read Anne Porter's Highland Chiefs. Wallace, to me, was such a true Patriot - not a Saint, but a man willing to go to the wall, to die for what he believed. Not many of us would walk in his shoes, so I have to admire his willingness to die for an idea.
James MacKay gives a richly details account of the Scottish clime of politics that formed and fermented Wallace. It might be a little bit more than the average reader would be interested in (I would suggest Grey's book on Wallace in that case), but for those wishing to know more without wading through Blind Harry, this is a wonderful work.

A perfect gift to that friend that watched Braveheart more than once!!

Since the Mel Gibson movie came out William Wallace has gained a following well outside of Scotland. It is nice to get a look at the true "Braveheart" instead of the Hollywood version. The very best thing about this book is how easy it is to read. Not being at all familar with Scottish history during this period I was afraid I would quickly become lost. Much to my delight that was not the case in fact I was able to follow what was going on with very little problem. The only real problem I have with the book is that MacKay often refers to someone once by their name and the next time by their title. For example the future king is sometimes refered to as Robert Bruce and sometimes as the Earl of Carrick. It is hard enough to keep up with all of the names thrown at you in this book without having to keep up with a name AND a title for each person.

While reading this book keep in mind that Mr. MacKay has little materal to work with from the time period. Most of his research is taken from materal that dates well after Wallace's death. Still by looking at this material along with what records do exist from the period he does a good job of telling us what probably did happen. In fact, this is probably as close as we will ever get to the real story. That is unless new records are found which is very possible. MacKay points out several places where in the future new records may be found including Rome where Wallace may have visited Pope Boniface VIII looking for aid for Scotland. It is known as a fact that King Edward did get a letter from the Pope about his treatment of the Scots.

This is a great read for anyone interested in Scottish history or anyone who enjoyed the Gibson movie. The reader will find for example that Wallace's wife was not killed before he began his raids. She was killed in fact while protecting Wallace. Let the movie make you wonder. Let this book fill in the gaps. Even for someone not into history at all this will be a joy to read.

I liked this book a lot in hindsight. It had it's moments. But all Samantha James novels leave me feeling that she could have done more. There is a sweet tender love story here but for me it just wasn't sweet or tender enough. It was memorable though. There just wasn't any wicked sutff in it. When you name a novel his wicked ways the Hero should have some wicked ways about him. This should have been called his wicked deed or something. it is a good read.

Oh, by the way, the dialogue was bad. I mean the characters said everything twice. e.g. "i don't know" "i don't konw" It really became distracting. But still i liked these people and their love story enough to recomend it.

I have read afew of Samantha James novels and this one is a keeper. I really enjoyed it very much, Cameron and Meredith were wonderfully matched and the book was very sensual read. Thanks for a great book and look forward to reading all of them.

I was looking for a book to keep my attention for an hour and found a book I could not put down. It is a greaty story, and the kind of book you keep around for a rainy day. This was my first Samantha James book, but certainly not my last.

"No frigate like a book to take us lands away," said Emily Dickinson. Oh my, she's right. There are other worlds out there, lots of them. Kelman's book takes us to one, a unique one, right in the middle of Glasgow, in fact in the outer limits of consciousness somewhere - in the mind of a low-life petty thief named Sammy who stupidly assaulted two policemen and got beaten so badly by them that he is blinded. After that, everything in this book is generated, more or less, in Sammy's head as interior monologue (not stream of consciousness as others say) or by the speech of the characters Sammy deals with. Those characters do plenty of talking with an extremely limited vocabulary that nevertheless has an amazing expressive range proving, again, that Scotland is a nation of talkers, great talkers. It is also a welfare state with lots of red tape and institutionalized dullness. So much so that Sammy's difficulties with the DSS Central Medical board and with the DSS in general call into question the Scottish I.Q. and raise the query that they might have there some institutional madness as serious as that discussed in Bleak House. Some advice: Donay be turned off by ye Scottish dialect. Read the first three pages aloud. Aw fine. Aye, they make sense. Ah stories, man, stories, life's full of stories, there to help ye out. Aye right pal okay.

One of the most interesting novels I've read in quite a while, How Late it Was, How Late is an introspective journey through the struggles of a newly blind ex-con. James Kelman's pseudo- stream of consciousness narrative presents the thoughts and emotions of the protagonist with unrivalled clarity. His unique approach to writing from the perspective of a sightless narrator has never been utilized in such an innovative and accessible (not to mention believable) way. The reader suffers alongside Sammy and is comforted in turn by his defiant philosophy. The book is truly an emotional masterpiece. The action is non-stop and liberally scattered with the ramblings of a compelling, defiant philosophy. How Late it Was, How Late, though unfit for children, must not be condemned for its language but rather appreciated for its natural, honest portrayal of the author's culture.

This book is like getting your first stereo. At first you might not know how to hook it up, but once you figure it out it's sheer heaven. Not since The Butcher Boy have I been carried through a text by the sheer beauty of the words juxtaposed against such intestine-tightening despair. Sure, the dialect can be tricky to grasp. But don't the greatest pleasures in life take some training. And admitedly there's a way in which "nothing happens." But really, who cares (And actually a lot DOES happen). This is one of the most beautifully panic-producing novels I've ever touched. For the first half of the book I could only read 10 pages at a time because it made me so nervous. But once I hit around page two hundred I finished it in one sitting. People who don't get this book are the same ones who think Saving Private Ryan is how a movie should be. There has to be action, action, action and some soppy something or other to hang your heart on. Well, pick up this book and hang your heart on poor old Sammy. He's a heartbreaker extraordinaire, if I ever met one.