Caroline McCracken-Flesher – författare

No thanks to Walter Scott, Scotland has at last regained its parliament. If this statement sounds extreme, it echoes the tone that criticism of Scott and his culture has taken through the twentieth century. Scott is supposed to have provided stories of the past that allowed his country no future--that pushed it "out of history." Scotland has become a place so absorbed in nostalgia that it could not construct a politics for a changing world. Possible Scotlands disagrees. It argues that the tales Scott told, however romanticized, also provided for a national future. They do not tell the story of a Scotland lost in time and lacking value. Instead they open up a narrative space where the nation is always imaginable. This book reads across Scott's complex characters and plots, his many personae, his interventions in his nation's nineteenth-century politics, to reveal the author as an energetic producer of literary and national culture working to prevent a simple or singular message. Indeed, Scott invites readers into his texts to develop multiple and forward-looking interpretations of a Scotland always in formation. Scott's texts and his nation are alive in their constant retelling. Scott was an author for Scotland's new times

A series of bizarre disappearances filled the citizens of early nineteenth-century Scotland with terror. When the perpetrators were finally apprehended in 1828, their motive roiled the nation: William Burke and William Hare had murdered for profit. The cadavers supplied a ready payout, courtesy of Dr. Robert Knox, who was desperate for anatomical subjects. Nearly two hundred years later, these scandalous murders continue to fire imagination in Scotland and beyond. From the start, the sensational events provoked artists and writers. While Sir Walter Scott resisted public comment, his correspondence gives his trenchant private opinion and shows him working busily behind the scenes and against the doctor. Many more mined the news outright. Serial novelist David Pae exploited the disturbance to lobby for religious belief in an increasingly secular world. A subsequent generation resurrected the grisly drama as fodder for the Victorian gothic-the murders figure prominently in Robert Louis Stevenson's "The Body Snatcher" and, more obliquely, in Strange Case of Dr. Jekyll and Mr. Hyde. The twentieth century saw the specters of Burke and Hare emerge in James Bridie's play The Anatomist Hollywood horror films, television programs like Alfred Hitchcock Presents, and Frankensteinian retellings from Alasdair Gray. In this century, the story has been picked up by Smallville and Doctor Who. Recent allusions and reenactments range from the somber-in popular detective fiction by Ian Rankin-to the dark, camp comedy of Fringe Festival performances and the slapstick of John Landis's Burke and Hare. Featuring over thirty images and canvassing a wide range of media - from contemporary newspaper accounts and private correspondence to Japanese comic books and videogames - The Doctor Dissected analyzes the afterlife of this national trauma and considers its singular place in Scottish history.

This dictionary provides authoritative accounts of the lives and work of some 500 notable Scottish authors across all periods, languages and creative genres of Scottish literature and oral culture.

At 250, Walter Scott points toward our possible futures. Scott, although we necessarily look on his times as past, of course experienced them as present. His times were times of crisis. Scott, then, has much to share in the experience, narration, anticipation and response to change as a condition of life – a condition our era, with its existential challenges to climate, to public health, to civilization knows only too well. In Scott at 250, major scholars foreground the author as theorist of tomorrow – as the surveyor of the complexities of the present who also gazes, as we do, toward an anxious and hopeful future.

Walter Scott in the twenty-first centuryTen essays that show Scott is a man for our timesMajor scholars introduce a new Walter ScottNew ideas on the novel and temporalityNew ideas about Scott's playful textualityIntroducing the women of AbbotsfordAt 250, Walter Scott points toward our possible futures. Scott, although we necessarily look on his times as past, of course experienced them as present. His times were times of crisis. Scott, then, has much to share in the experience, narration, anticipation and response to change as a condition of life a condition our era, with its existential challenges to climate, to public health, to civilization knows only too well. In Scott at 250, major scholars foreground the author as theorist of tomorrow as the surveyor of the complexities of the present who also gazes, as we do, toward an anxious and hopeful future.

Just out of earshot, in countless nineteenth-century novels, runs the hum of daily labour by house servants, the upward striving of local worthies. The background of many a Jane Austen novel roils with war; Walter Scott writes in the time of radical weavers. It was John Galt, living between the prosperous Royal Borough of Ivrine, the intensity of technological Greenock, and the politics of London who brought this background into the foreground. Provost Pawkie’s memoir of his life loops through the personal and political frustrations of small town life lived in an increasingly global context. Full of incident, and leavened with a large dose of self-interest, the provost’s memoirs offer a clear eyed, and often funny context for our own time. Through his self-revealing narrator, Galt accomplishes a trenchant critique of the intrigue that is a global politics, when lived personally and locally.

Out of the mainstream but ahead of the tide, that is Scottish Science Fiction. Science Fiction emphasizes “progress” through technology, advanced mental states, or future times. How does Scotland, often considered a land of the past, lead in Science Fiction? “Left behind” by international politics, Scots have cultivated alternate places and different times as sites of identity so that Scotland can seem a futuristic fiction itself. This book explores the tensions between science and a particular society that produce an innovative science fiction. Essays consider Scottish thermodynamics, Celtic myth, the rigors of religious “conversion,” Scotland’s fractured politics yet civil society, its languages of alterity (Scots, Gaelic, allegory, poetry), and the lure of the future. From Peter Pan and Dr. Jekyll to the poetry of Edwin Morgan and the worlds of Muriel Spark, Ken Macleod, or Iain M. Banks, Scotland’s creative complex yields a literature that models the future for Science Fiction.

Out of the mainstream but ahead of the tide, that is Scottish Science Fiction. Science Fiction emphasizes “progress” through technology, advanced mental states, or future times. How does Scotland, often considered a land of the past, lead in Science Fiction? “Left behind” by international politics, Scots have cultivated alternate places and different times as sites of identity so that Scotland can seem a futuristic fiction itself. This book explores the tensions between science and a particular society that produce an innovative science fiction. Essays consider Scottish thermodynamics, Celtic myth, the rigors of religious “conversion,” Scotland’s fractured politics yet civil society, its languages of alterity (Scots, Gaelic, allegory, poetry), and the lure of the future. From Peter Pan and Dr. Jekyll to the poetry of Edwin Morgan and the worlds of Muriel Spark, Ken Macleod, or Iain M. Banks, Scotland’s creative complex yields a literature that models the future for Science Fiction.