LITMIR.BIZ

Introduced by Donald Smith.
Set in Rome during Nero’s reign of terror, The Blood of the Martyrs is a disciplined historical novel tracing the destruction of one cell of the early church. With a cast of slaves, ordinary Roman people, exiles and entertainers, it is thorough in its historical interpretation and in its determination to make the past accessible and readable.
Written in 1938-9, the novel contains many symbolic parallels to the rise of European fascism in the 1930s and the desperate plight of persecuted minorities such as the Jews and the left-wing activists with whom Naomi Mitchison personally campaigned at the time. With the invasion of Britain a real possibility, she felt compelled to write a testament to the power of human solidarity which, even faced with death, can overcome the worst that human evil can achieve.
The Blood of the Martyrs is the least autobiographical of Mitchison’s major works of fiction, yet, with its implicit credo, is her most passionately self-revealing.
‘ . . . when a novelist is historically faithful in these treacherous waters of the human psyche, the results are tremendous. As a twentieth-century woman, it no doubt hurt Naomi Mitchison a good deal to describe the savagery of the early Christian persecution in The Blood of the Martyrs . . . But it is the pain that gives the history its lifeblood. The imagination that is a novelist’s fuel must be harnessed to serve history as history was, not as anyone wishes it had been.’ Joanna Trollope

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Introduced by J.K. Annand.
Best known as the playwright of Jamie the Saxt and Jeddart Justice, Robert McLellan has been called the finest writer of Scots prose in our time. His ‘Linmill’ stories were broadcast by the BBC, one of which, ‘The Donegals’ was made into a film. But for the most part McLellan’s prose work has appeared in magazines or anthologies without being fully collected in book form. Their popularity has endured and now all twenty-four of his tales are available in one volume.
Based on the author’s youthful memories of his grandparents’ fruit farm near Lanark, these finely observed stories give us a priceless insight into a generation now lost to us, and a timeless evocation of the world seen through the eyes of a young boy. There is honesty, compassion, harshness and humour in these stories, and McLellan’s quiet voice adds a unique wit and an unsentimental authenticity to the telling.
‘This must rank [among] the finest prose-poetry of Scottish childhood that we have.’ Douglas Gifford ‘It is possible to find light and depth in each of these stories, yet their common engine is neither plot nor character, but McLellan’s use of language. It is hard not to agree with J.K. Annand’s final assessment that Robert McLellan is “the greatest writer of Scots prose in the twentieth century”.’ Books in Scotland

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This volume gathers together some of the real and the imagined lives of Willa Muir, one of the finest and fiercest intellectuals of her generation.
Her writing is rich with paradox – although obsessively Scottish in subject and style, she resented Scotland; although a trenchant champion of feminism, she voluntarily sacrificed her identity to that of the 'poet's wife'; and although she was a committed reformer, she never aligned herself with any political or ideological movement. These passionate dichotomies are intertwined in her writing, giving a particular power to her fiction and non-fiction alike. This collection is the first publication to offer a sense of the diversity of Willa Muir's oeuvre. It makes possible the re-evaluation of her work and assures her of a deserved place in the Scottish literary canon.

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A complete volume of the writer's poetry and songs includes previously unpublished pieces, draws on extensive scholarship and Burn's own letters, and offers supplemental information about his life, early hardships, political beliefs, and literary contexts.

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Edited and introduced by Douglas Gifford.
The Three Perils of Man is regarded as Hogg’s most ambitious work of fiction. The book’s extraordinary combination of the fantastic, the funny, the serious and the historically realistic must be unique in literature.
The adventures of its characters, told with the author’s characteristically bold simplicity, are many, mad, and breathtakingly fast. Ranging from Galloway to Northumberland, the main focus of the book is to be found in the Scottish Borders. Hogg knew and loved the Borders well, and the book is full of their oral tradition and local lore. In his attempt to synthesise this material with history, romance and the high literary ideals of his time, Hogg’s nearest modern parallels would be a combination of Tolkien and Iain Banks.
Hogg’s fusion of traditional folklore and innovative style was viewed as an anachronism by his contemporaries, and it is only now that his work is recognised s one of the most original and masterly in the Scottish canon.

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This huge novel, closer in scope to a Russian epic than to any English counterpart, opens at the turn of the century in the extreme poverty of the Rhinns of Galloway, an agricultural backwater of the southern-most part of Scotland.
With a loving regard for the land and its people, Barke traces the lives of David and Jean Ramsay who, full of hope, painstakingly uproot themselves and their family in the search for prosperity. Their efforts to retain respect and a decent way of life are thwarted by unemployment in increasingly hostile circumstances, and a harsh environment inevitably leaves its mark.
But a new generation emerges to question the authority of an uncaring society and, even as Fascism rages through Europe, a new hope is born.
‘Barke’s characters are both intelligent and spirited.’ Times Literary Supplement
‘An elegy for the old way of life.’ New Statesman

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Edited and introductions by Roderick Watson.
The Quarry Wood, although published well before Sunset Song, inhabits a similar world; the progress of its heroine could almost be the alternative story of a Chris Guthrie who did go to university. Compassionate and humorous, the grace and style of Shepherd’s prose is heightened by a superb ear for the vigorous language of the north-east.
The Weatherhouse, Shepherd’s masterpiece, is an even more substantial achievement which belongs to the great line of Scottish fiction dealing with the complex interactions of small communities, and especially the community of women – a touching and hilarious network of mothers, daughters, spinsters and widows. It is also a striking meditation on the nature of truth, the power of human longing and the mystery of being.
The third and final novel, A Pass in the Grampians, describes Jenny Kilgour’s coming of age as she has to choose between the kindly harshness of her grandfather’s life on a remote hill farm, and the vulgar and glorious energy of Bella Cassie, a local girl who left the community to pursue success as a singer, and has now returned to scandalise them all.
The Living Mountain is a lyrical testament in praise of the Cairngorms. It is a work deeply rooted in Shepherd’s knowledge of the natural world, and a poetic and philosophical meditation on our longing for high and holy places.
This is the first omnibus edition of Shepherd’s prose works – her sensitivity and powers of observation raise her work far above the status of regional literature and into the front rank of Scottish writing.

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Edited and introduced by Andrew Lownie.
‘The short story is the real form’ John Buchan
This is the first ever complete collection of all Buchan’s shorter Scottish fiction. Set largely in his beloved Borders, these stories and novellas show the full range and depth of Buchan’s writing. Featuring shepherds, poachers, gamekeepers and drovers, they are worlds away from the tales of aristocratic adventure with which he is so often associated. Shot through with characters and places he returned to in his full-length fiction, the Buchan that emerges from this collection is a very different and much more complex writer than he is often held to be.
‘John Buchan was the first to realise the enormous dramatic value of adventure in familiar surroundings happening to unadventurous men.’ Graham Greene

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Introduced by Christopher Harvie.
Set against the religious struggles of seventeenth-century Scotland, with Montrose for the king against a convenanted kirk, John Buchan’s Witch Wood is a gripping atmospheric tale in the spirit of Stevenson and Neil Munro.
As a moderate Presbyterian minister, young David Sempill disputes with the extremists of his faith. All around, the defeated remnants of Montrose’s men are being harried and slaughtered by the faithful, and Sempill’s plea for compassion, like his love for the beautiful Katrine Yester, is out of joint with the times.
There are still older conflicts to be faced however, symbolised by the presence of the Melanudrigill Wood, a last remnant of the ancient Caledonian forest. Here there is black magic to be uncovered, but also the more positive pre-Christian intimations of nature worship.
In such setting, and faced with the onset of the plague, David Sempill’s struggle and eventual disappearance take on a strange and timeless aspect in what was John Buchan’s own favourite among his many novels.
‘Set in the Borders which he knew so well, this story of 17th-century Scotland shows the qualities which have enabled Buchan’s thrillers to last so well, and which still persuade serious readers to regard him more highly than many apparently more ambitious novelists.’ Independent

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