Douglas Dunn – författare

From tales of the supernatural to pungent social realism, and from the humorous to the disturbing, whether rural or urban, this anthology shows the vitality of the Scottish short story.Douglas Dunn's eclectic selection displays the marvellous range of Scottish story-telling, beginning with three early traditional tales, and including a wealth of writers from the last three centuries: amongst them Sir Walter Scott, Robert Louis Stevenson, J. M. Barrie, Violet Jacob, Neil Gunn, Eric Linklater, Alasdair Gray, James Kelman, and younger talents such as Ronald Frame, Janice Galloway, and A. L. Kennedy.

Winner of the Whitbread Book of the Year in 1985, these poems were written after the death of Douglas Dunn's first wife in March 1981.

A generous selection of poems from 'one of the most talented and interesting poets writing in English today' (Robert Nye).In a distinguished poetic career, Douglas Dunn has won the Somerset Maugham Award, the Geoffrey Faber Memorial Prize, the Hawthornden Prize and the Whitbread Book of the Year. New Selected Poems 1964-2000 draws substantially upon the entire range of Dunn's poetry, from Terry Street (1969) to The Year's Afternoon (2000), and confirms his place 'among the finest of our poets' (Melvin Bragg).

During the 1920s, Scottish poetry, personified by Hugh MacDiarmid, asserted its independence, denying the claim made by T. S. Eliot that all significant differences between Scottish and English literature had ceased to exist. It was an energetic 'No' to provincialism, and a vigorous 'Yes' to nationalism as an enabler of poetry. On its first appearance in 1992, the retrospective and organising vision of Douglas Dunn's now-classic anthology revealed a profounder level of achievement in modern Scottish poetry - whether in Scots, Gaelic or English - than had been formerly acknowledged, and introduced an entire canon of writing to a wider readership, edited with discrimination and exemplary lucidity.

Shortlisted for the T. S. Eliot Prize for Poetry The Noise of a Fly is the first collection from Douglas Dunn in sixteen years, and the first since he was awarded the Queen's Gold Medal for Poetry in 2013. It is a book brimming with warmth, mischief and a self-deprecating humour, as well as with a charming, 'Larkinesque' crankiness: a quarrel with ageing, an impatience with youth, the grievousness of losing friends and colleagues. But for all its intimate, hearthside rumination, this is a volume of poems that looks outward in equal measure: at Scottish independence, British politics and an international refugee crisis, and reflects unflinchingly on what it is to consider oneself a contributor to society. Penned with a dexterous wit and a steady nerve, The Noise of a Fly is a mesmeric imagining of our later years by one of this country's most senior and celebrated writers.'It is hard to think of many poets who can equal his combination of imaginative ambition, formal resource and range of tone . . . Written on these terms, poetry is a matter of permanent urgency.' Sean O'Brien'The most respected Scottish poet of his generation.' Nicholas Wroe

The Noise of a Fly is the first collection from Douglas Dunn in sixteen years, and the first since he was awarded the Queen's Gold Medal for Poetry in 2013. It is a book brimming with warmth, mischief and a self-deprecating humour, as well as with a charming, 'Larkinesque' crankiness: a quarrel with ageing, an impatience with youth, the grievousness of losing friends and colleagues. But for all its intimate, hearthside rumination, this is a volume of poems that looks outward in equal measure: at Scottish independence, British politics and an international refugee crisis, and reflects unflinchingly on what it is to consider oneself a contributor to society. Penned with a dexterous wit and a steady nerve, The Noise of a Fly is a mesmeric imagining of our later years by one of this country's most senior and celebrated writers.'It is hard to think of many poets who can equal his combination of imaginative ambition, formal resource and range of tone . . . Written on these terms, poetry is a matter of permanent urgency.' Sean O'Brien'The most respected Scottish poet of his generation.' Nicholas Wroe

The writings of six choreographers are assembled in this book and the leap they have taken to go from the medium of choreography into written text constitutes a form of translation. Some of the texts investigate the possibilities of written language as invention, others use it as a means to illustrate specific tenets or describe choreographic projects. All yield insight into the process of coaxing language from the body.

The writings of six choreographers are assembled in this book and the leap they have taken to go from the medium of choreography into written text constitutes a form of translation. Some of the texts investigate the possibilities of written language as invention, others use it as a means to illustrate specific tenets or describe choreographic projects. All yield insight into the process of coaxing language from the body.

Archipelago is one of the most important and influential literary magazines of the lasttwenty years. Running to twelve editions, it was edited by Andrew McNeillie, with theassistance later of James McDonald Lockhart, and began as an attempt to reimagine therelationships between the islands of Ireland and Britain. Archipelago has brought togetherestablished and emerging artists in creative conversations that have transformed the studyof islands, coasts and waterways. It journeys from the Shetlands to Cornwall, from theAran Islands to the coast of Yorkshire, tracing the cultures of diverse zones through someof the best in contemporary writing about place and people.This collection gathers poetry, prose and visual art in clusters grouped around the Irishand British archipelago, with contributions from an array of significant artists. It includesnewly commissioned work as well as an interview between Andrew McNeillie andRobert Macfarlane on the development of Archipelago across the years.

The writings of six choreographers are assembled in this book and the leap they have taken to go from the medium of choreography into written text constitutes a form of translation. Some of the texts investigate the possibilities of written language as invention, others use it as a means to illustrate specific tenets or describe choreographic projects. All yield insight into the process of coaxing language from the body.