LITMIR.BIZ

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Joanna Bannerman, capricious, selfish and warm-hearted, passionately seeks life and ‘loveliness’. Certainly the bustling streets of Glasgow at the turn of the century promise much greater excitement than the solid evangelical background she has known hitherto. Her studies in the School of Art open up new horizons – of independence and love – and Joanna reaches for them all.
First published in 1920, this novel powerfully evokes the image of a young woman ensnared yet ultimately released by her capacity for emotion. It contains a strong autobiographical element and is also a powerful evocation of the life and industry of the Second City of the Empire.

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Edited and Introduced by WEK Anderson.
‘I have all my life regretted that I did not keep a regular [journal]. I have myself lost recollection of much that was interesting and I have deprived my family and the public of some curious information by not carrying this resolution into effect.’ Sunday, 20 November 1825
With these words Scott began what many regard as his greatest work, a diary which was to turn into an extraordinary day-to-day account of the last six years of his life, years of financial ruin, bereavement, and increasing ill-health. As he laboured to pay off debts, Scott emerges, not simply as great writer, but as an almost heroic figure whose generosity and even temper shine through at all times.
This revised edition presents a complete edited text and notes drawing on a wealth of other material. The first edition of this book is regarded as one of the standards by which Scott scholarship is judged.
‘Scott’s Journal us a hugely important piece of Scottish, and indeed European literature, published here with an incisive introduction, brilliantly judicious annotation and appendices and an excellent index. It confirms the very welcome trend of an increasingly heavyweight catalogue of Canongate Classics . . . Walter Scott has never been so readable.’ Herald
‘The greatest figure he ever drew is in the Journal and it is the man, Walter Scott.’ John Buchan
‘One of the most delightful an moving works of autobiography . . . full of good humour and spiced with anecdote.’ Economist
‘Truly a classic. It has no slow beginning, no laborious diversions and, though we know from the start what the outcome will be, it is compelling right to the very last unfinished sentence.’ Scotland on Sunday

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The name of John Muir has come to stand for the protection of wild land and wilderness in both America and Britain. Born in Dunbar in the east of Scotland in 1838, Muir is famed as the father of American conservation, and as the first person to promote the idea of National Parks. Combining acute observation with a sense of inner discovery, Muir's writings of his travels through some of the greatest landscapes on Earth, including the Carolinas, Florida, Alaska and those lands which were to become the great National Parks of Yosemite and the Sierra Valley, raise an awareness of nature to a spiritual dimension. These journals provide a unique marriage of scientific survey of natural history with lyrical and often amusing anecdotes, retaining a freshness, intensity and brutal honesty which will amaze the modern reader. This collection, including the never-before-published Stickeen, presents the finest of Muir's writings, and imparts a rounded portrait of a man whose generosity, passion, discipline and vision are an inspiration to this day.

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Edited and introduced by Cairns Craig and Randall Stevenson. Ever since the major revival of dramatic writing and production in the 1970s, the style and the subject matter of Scottish writing for stage and screen has been a continuing influence on our contemporary culture, exciting, offending and challenging audiences in equal measure. Yet modern Scottish drama has a history of controversy, conflict and entertainment going back to the 1920s, notable at every turn for the vigour of its language and its direct confrontation with telling issues. The plays in this anthology offer a unique chance to grasp the different topics and also the recurrent themes of Scottish drama in the twentieth century. Gathered together in a single omnibus volume, there is the poetic eeriness of Barrie and the political commitment of Joe Corrie and Sue Glover; there is the Brechtian debate of Bridie and the verbal brilliance of John Byrne and Liz Lochhead; there is working-class experience and feminist insight; broad Scots and existential anxiety; street realism and a meeting with the devil; social injustice and raucous humour; historical comedy and tragic loss. Here is both the breadth and the continuity of the modern Scottish tradition in a single volume.

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