Alexander Scott (1920-89) was a pioneering teacher of Scottish literature at the University of Glasgow, and a poet and dramatist of genius. This collection, edited by David S. Robb, contains the greater part of Scott's verse, written between 1940 and 1987, and incorporates work from his first collection 'The Latest in Elegies' (1949), right through to his 'Selected Poems (1943 - 1974)'; Scott was preparing a final selection of his poetry for publication as 'Incantations: Poems and Diversions' at the time of his death in 1989.
The poet was a leading figure in the late second wave of MacDiarmid's Scottish Renaissance, along with others such as Sidney Goodsir Smith, Robert Garioch (Sutherland), Norman MacCaig and fellow Glasgow University academic Edwin Morgan, all friends and contemporaries of Scott. Although not all of his poetry is in Scots, certainly the best of it is, and readers will of course find here all of Scott's most famous works in this medium, notably, his long, heavily rhetorical poem on his native Aberdeen 'Heart of Stone' (Robb No. 91, or R.91), the life-affirming love poem 'Continent o Venus' (R. 49) and the much anthologised satirical reflection 'Calvinist Sang' (R.10), which contains a memorably bleak testimony to the short-comings of our modern age: 'The day ye need a hert and harns / As dour as the diamant, cauld as the starns'.
Literary readers will also be familiar with the popular 'Scotched' series of satirical squibs, in which Scott offers terse penetrating insights into the pretensions, flaws and foibles of his native people. Favourites include 'Scotch Passion' (R. 203): 'Forgot / Mysel', 'Scotch Poets' (R. 212): 'Wha's the / T'ither?' (Burns and who else, presumably? ... there cannot possibly be more than two!), and 'Scotch Education (R. 148): 'I tellt ye / I tellt ye', the perennial cry of the frustrated Scottish teacher.
For the first time in too many years, general readers can at last have easy access to exquisite, intensely musical lyrics such as 'Great Eneuch' (R.80) or to the sorrowful, sympathetic and harrowing war poems 'Coronach' (R. 22), 'The Sodgers' (R. 46), 'Stravaiger's Sang' (R. 41) and 'Twa Images' (R. 58). Scott was a resolutely modern poet, as his subject matter often shows (consider 'To Mourn Jayne Mansfield' (R.98) or 'A Gey Flash Gordon' (R. 290)), but he was also a traditionalist, whose consummate command of verse forms and Scottish literary traditions (look at 'Truth and True Thomas' (R. 278) or 'Sir Patrick Spens: The True Tale' (R. 20)), should be an inspiration to the younger Scottish poets of today.
The present reviewer's own favourites among Scott's poems must include the beautiful song 'Love is a Garth' (R. 60) with its reverent re-working of the 'seize-the-day' motif, 'Mouth Music' (R. 73), which contains a wonderful celebration of dance: 'Dance it, dance it, skirl it, birl it, swing / Wi a tipperan tae, wi a sway, wi a flourish, a fling', or 'Problems' (R. 217), with its audacious act of association between the plight of astronauts adrift in space, and the massacred peasants of Vietnam. Those whose taste runs to more substantial fare will find much to satisfy them in the major long poems, such as 'Deathsang for An Auld Man Young' (R. 51), 'Seaman's Sang' (R. 14), from the Anglo-Saxon', 'Deir Deid Dancer' (R.96) and 'Grace Ungraced' (R. 313). Notable English poems include 'From You, My Love' (R. 83), 'Landfall' (R. 105) and 'Greek Summer '74' (R. 276). But, at the end of the day, Scott's greatest poetic achievement must be 'Heart of Stone', not least because of its magnificent introductory image of the desolately circling sea-gull:
The sea-maw spires i the stane-gray lift
Owre sworlan swaws o the stane-gray sea,
Flaffers her wings - a flash o faem-white feathers -
And warssles awa i the wake o the trauchled trawler
That hirples hame hauf-drouned wi the weicht o herrin.
Robb's edition contains an introductory essay on Scott which is particularly informative about the poet's earliest attempts at writing verse, and gives us a fascinating textual insight into Scott's compositional process. There are two Appendices which contain an early version of 'Scotched' and list the contents of his individual collections such as 'Cantrips' (1968) and 'Double Agent' (1972). There is also a substantial glossary of Scots vocabulary which is essential for predominantly English-speaking readers. The book itself is simply but attractively designed, with a startling photographic image of Scott by Angela Catlin, set against a stark black background. A close-up of the poet's penetrating eyes is featured on the back cover and reminds us pointedly of one of Scott's most haunting lines (from 'Dreams', (R. 267)): 'There's een that only makars hae / To look on wae'.
David S. Robb and Edinburgh's The Mercat Press are to be heartily congratulated for bringing out this sterling collection of work by one of the 20th century's greatest Scots makars; would that we had similar one-volume editions of Scott's plays and other miscellaneous writings
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The authors include people from East and West, North and South; practioners and teachers. All have written in non-technical vocabulary and evaluate their assigned topic(s) in light of evangelical thought. The book is decidedly Christian and missiological in tone.
There are short bibliographical notes at the end of many articles and a good indexing system.
Dive in anywhere and enjoy the learning experience.
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