Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 2 weeks ago
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 2 weeks ago
William McIlvanney's Detective fiction: Laidlaw - David Goldie
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 2 weeks ago
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 2 weeks ago
Chip Butty boosted
Assoc for Scottish Literature
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Chip Butty boosted
Assoc for Scottish Literature
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Chip Butty boosted
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
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Real and Not Real: Naomi Mitchison’s Philosophy of the Historical Novel June 15, 2015 by Rob Hardy, Carleton College In a long and varied career as a writer and activist, Naomi Mitchison (1897-1999) wrote novels, poetry, and memoirs; helped establish the first birth control clinics in London; toured the Soviet Union with Doris Lessing; proofread The Fellowship of the Ring; and was adopted as the member of an African tribe. But it was as a historical novelist that she established her reputation in the 1920s and 30s. Focusing on The Corn King and the Spring Queen, her 1931 novel set in the world of Hellenistic Greece, this essay explores Mitchison’s concept of the historical novel as a vehicle for promoting social change.
Real and Not Real: Naomi Mitchison’s Philosophy of the Historical Novel June 15, 2015 by Rob Hardy, Carleton College In a long and varied career as a writer and activist, Naomi Mitchison (1897-1999) wrote novels, poetry, and memoirs; helped establish the first birth control clinics in London; toured the Soviet Union with Doris Lessing; proofread The Fellowship of the Ring; and was adopted as the member of an African tribe. But it was as a historical novelist that she established her reputation in the 1920s and 30s. Focusing on The Corn King and the Spring Queen, her 1931 novel set in the world of Hellenistic Greece, this essay explores Mitchison’s concept of the historical novel as a vehicle for promoting social change.
Real and Not Real: Naomi Mitchison’s Philosophy of the Historical Novel June 15, 2015 by Rob Hardy, Carleton College In a long and varied career as a writer and activist, Naomi Mitchison (1897-1999) wrote novels, poetry, and memoirs; helped establish the first birth control clinics in London; toured the Soviet Union with Doris Lessing; proofread The Fellowship of the Ring; and was adopted as the member of an African tribe. But it was as a historical novelist that she established her reputation in the 1920s and 30s. Focusing on The Corn King and the Spring Queen, her 1931 novel set in the world of Hellenistic Greece, this essay explores Mitchison’s concept of the historical novel as a vehicle for promoting social change.
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
The tractor is ill to start, a great heaving and jerking, The gear lever jars through palm and bone, But I saw in a film the Russian women working On the land they had made their own, And so, and so, Said the farm woman: And I bruise easy. Never tell the men, they will only laugh and say What use would a woman be! But I read the war news through, every day; It means my honour to me, Making the crops to grow. And so, and so, Said the farm woman: But I bruise easy.
The tractor is ill to start, a great heaving and jerking, The gear lever jars through palm and bone, But I saw in a film the Russian women working On the land they had made their own, And so, and so, Said the farm woman: And I bruise easy. Never tell the men, they will only laugh and say What use would a woman be! But I read the war news through, every day; It means my honour to me, Making the crops to grow. And so, and so, Said the farm woman: But I bruise easy.
The tractor is ill to start, a great heaving and jerking, The gear lever jars through palm and bone, But I saw in a film the Russian women working On the land they had made their own, And so, and so, Said the farm woman: And I bruise easy. Never tell the men, they will only laugh and say What use would a woman be! But I read the war news through, every day; It means my honour to me, Making the crops to grow. And so, and so, Said the farm woman: But I bruise easy.
Naomi Mitchison The Farm Woman: 1942 Why the blue bruises high up on your thigh, On your right breast and both knees? Did you get them in the hay in a sweet smother of cries, Did he tease you and at last please, With all he had to show? Oh no, oh no, Said the farm woman: But I bruise easy. Why the scratched hand, was it too sharp a grip, Buckle or badge or maybe nail, From one coming quick from camp or ship, Kissing as hard as hail That pits deep the soft snow? Oh no, oh no, Said the farm woman: But I bruise easy. There was nothing, my sorrow, nothing that need be hidden, But the heavy dung fork slipped in my hand, I fell against the half-filled cart at the midden; We were going out to the land. Nobody had to know. And so, and so, Said the farm woman: For I bruise easy.
Naomi Mitchison The Farm Woman: 1942 Why the blue bruises high up on your thigh, On your right breast and both knees? Did you get them in the hay in a sweet smother of cries, Did he tease you and at last please, With all he had to show? Oh no, oh no, Said the farm woman: But I bruise easy. Why the scratched hand, was it too sharp a grip, Buckle or badge or maybe nail, From one coming quick from camp or ship, Kissing as hard as hail That pits deep the soft snow? Oh no, oh no, Said the farm woman: But I bruise easy. There was nothing, my sorrow, nothing that need be hidden, But the heavy dung fork slipped in my hand, I fell against the half-filled cart at the midden; We were going out to the land. Nobody had to know. And so, and so, Said the farm woman: For I bruise easy.
Naomi Mitchison The Farm Woman: 1942 Why the blue bruises high up on your thigh, On your right breast and both knees? Did you get them in the hay in a sweet smother of cries, Did he tease you and at last please, With all he had to show? Oh no, oh no, Said the farm woman: But I bruise easy. Why the scratched hand, was it too sharp a grip, Buckle or badge or maybe nail, From one coming quick from camp or ship, Kissing as hard as hail That pits deep the soft snow? Oh no, oh no, Said the farm woman: But I bruise easy. There was nothing, my sorrow, nothing that need be hidden, But the heavy dung fork slipped in my hand, I fell against the half-filled cart at the midden; We were going out to the land. Nobody had to know. And so, and so, Said the farm woman: For I bruise easy.
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
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Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp last month
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 6 months ago
Lobby card for the 1930 film Min and Bill. A downwards-pointing triangular cut frames a photograph of "Min and Bill", played by Marie Dressler and Wallace Beery. "Min" is a middle-aged woman with short dark hair. She is cradling the head of "Bill", a middle-aged man. "Min" looks steely and determined; "Bill" looks dazed and confused, and is draped in a fishing net. Text reads: A Metro-Goldwyn-Mayer ALL TALKING picture Marie Dressler Wallace Beery in MIN and BILL A George Hill production Suggested from the book "Dark Star" by Lorna Moon Scenario and dialogue by Frances Marion and Marion Jackson – Directed by George Hill
Lobby card for the 1930 film Min and Bill. A downwards-pointing triangular cut frames a photograph of "Min and Bill", played by Marie Dressler and Wallace Beery. "Min" is a middle-aged woman with short dark hair. She is cradling the head of "Bill", a middle-aged man. "Min" looks steely and determined; "Bill" looks dazed and confused, and is draped in a fishing net. Text reads: A Metro-Goldwyn-Mayer ALL TALKING picture Marie Dressler Wallace Beery in MIN and BILL A George Hill production Suggested from the book "Dark Star" by Lorna Moon Scenario and dialogue by Frances Marion and Marion Jackson – Directed by George Hill
Lobby card for the 1930 film Min and Bill. A downwards-pointing triangular cut frames a photograph of "Min and Bill", played by Marie Dressler and Wallace Beery. "Min" is a middle-aged woman with short dark hair. She is cradling the head of "Bill", a middle-aged man. "Min" looks steely and determined; "Bill" looks dazed and confused, and is draped in a fishing net. Text reads: A Metro-Goldwyn-Mayer ALL TALKING picture Marie Dressler Wallace Beery in MIN and BILL A George Hill production Suggested from the book "Dark Star" by Lorna Moon Scenario and dialogue by Frances Marion and Marion Jackson – Directed by George Hill
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 6 months ago
LORNA MOON BORN STRICHEN 1886, DIED NEW MEXICO 1930 BY KAY CLIVE Lorna Moon, she liked the ring of it, transformed from Nora Helen Wilson Low. Names need to have a resonance, a fit and this could take her where she yearned to go. “Shameless”, they called her in the staid wee town, between the Buchan farmland and the sea, writing about the folk she’d always known probing pretence, revealing oddity. The library refused to stock her book - the quine whose scripts had dazzled Hollywood was shunned in Strichen. They could not overlook that searing light that showed more than it should. She planned a journey home when gravely ill, her ashes in a “trochie”, back to Mormond Hill.
LORNA MOON BORN STRICHEN 1886, DIED NEW MEXICO 1930 BY KAY CLIVE Lorna Moon, she liked the ring of it, transformed from Nora Helen Wilson Low. Names need to have a resonance, a fit and this could take her where she yearned to go. “Shameless”, they called her in the staid wee town, between the Buchan farmland and the sea, writing about the folk she’d always known probing pretence, revealing oddity. The library refused to stock her book - the quine whose scripts had dazzled Hollywood was shunned in Strichen. They could not overlook that searing light that showed more than it should. She planned a journey home when gravely ill, her ashes in a “trochie”, back to Mormond Hill.
LORNA MOON BORN STRICHEN 1886, DIED NEW MEXICO 1930 BY KAY CLIVE Lorna Moon, she liked the ring of it, transformed from Nora Helen Wilson Low. Names need to have a resonance, a fit and this could take her where she yearned to go. “Shameless”, they called her in the staid wee town, between the Buchan farmland and the sea, writing about the folk she’d always known probing pretence, revealing oddity. The library refused to stock her book - the quine whose scripts had dazzled Hollywood was shunned in Strichen. They could not overlook that searing light that showed more than it should. She planned a journey home when gravely ill, her ashes in a “trochie”, back to Mormond Hill.
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 6 months ago
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 6 months ago
Lobby card for the 1930 film Min and Bill. A downwards-pointing triangular cut frames a photograph of "Min and Bill", played by Marie Dressler and Wallace Beery. "Min" is a middle-aged woman with short dark hair. She is cradling the head of "Bill", a middle-aged man. "Min" looks steely and determined; "Bill" looks dazed and confused, and is draped in a fishing net. Text reads: A Metro-Goldwyn-Mayer ALL TALKING picture Marie Dressler Wallace Beery in MIN and BILL A George Hill production Suggested from the book "Dark Star" by Lorna Moon Scenario and dialogue by Frances Marion and Marion Jackson – Directed by George Hill
Lobby card for the 1930 film Min and Bill. A downwards-pointing triangular cut frames a photograph of "Min and Bill", played by Marie Dressler and Wallace Beery. "Min" is a middle-aged woman with short dark hair. She is cradling the head of "Bill", a middle-aged man. "Min" looks steely and determined; "Bill" looks dazed and confused, and is draped in a fishing net. Text reads: A Metro-Goldwyn-Mayer ALL TALKING picture Marie Dressler Wallace Beery in MIN and BILL A George Hill production Suggested from the book "Dark Star" by Lorna Moon Scenario and dialogue by Frances Marion and Marion Jackson – Directed by George Hill
Lobby card for the 1930 film Min and Bill. A downwards-pointing triangular cut frames a photograph of "Min and Bill", played by Marie Dressler and Wallace Beery. "Min" is a middle-aged woman with short dark hair. She is cradling the head of "Bill", a middle-aged man. "Min" looks steely and determined; "Bill" looks dazed and confused, and is draped in a fishing net. Text reads: A Metro-Goldwyn-Mayer ALL TALKING picture Marie Dressler Wallace Beery in MIN and BILL A George Hill production Suggested from the book "Dark Star" by Lorna Moon Scenario and dialogue by Frances Marion and Marion Jackson – Directed by George Hill
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 6 months ago
Assoc for Scottish Literature
@scotlit@mastodon.scot  ·  activity timestamp 6 months ago
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