Boundless Scotland: Space in Contemporary Scottish Fiction
In the picture (from the left): Carla Sassi, Glenda Norquay, John Burnside and Alan Riach.
Alan Riach’s poems are postcards in different shades of blue: Hamilton in New Zealand, Calcutta, Istanbul, a small town in Portland, Corunna, Dungeness in England. Landscapes are shaped by roads and paths, passages and crossings, over which bridges – present in many poems – create arcs. The poet always returns to Scottish landscapes – Glasgow, Lanarkshire, Drumelzier, the Hebrides and the Orkney Islands – as Scotland is both the end and the start of the road.
Wiersze Alana Riacha są jak pocztówki z podróży w różnych odcieniach błękitu: Hamilton w Nowej Zelandii, Kalkuta, Stambuł, małe miasteczko w Polsce, La Coruna, Dungeness w Anglii. Świat kształtują tu drogi i ścieżki, przejścia i przejazdy, nad którymi mosty – tak często obecne w wierszach Riacha – zakreślają łuk. Poeta powraca zawsze jednak do rodzimych krajobrazów – Glasgow, Lanarkshire, Drumelzier, Hebrydów czy Orkadów – gdyż Szkocja to koniec i początek drogi.
Monika Szuba
Jeżeli chcieliby państwo nabyć tomik, prosimy o skontaktowanie się bezpośrednio z wydawnictwem. E-mail: wydawnictwo@wydawnictwomaski.pl If you would like to purchase a copy, please contact the publisher at wydawnictwo@wydawnictwomaski.pl.
Riach has contributed to many collections and written other books, including the monograph, Hugh Macdiarmid’s Epic Poetry, which was based on his PhD dissertation and was published in 1991 by Edinburgh University Press. He is also the General Editor of Carcanet’s multi-volume, The Complete MacDiarmid.
Since 2003, Alan Riach has held a Professorship in Scottish Literature and is currently Head of Department. His most recent critical book is Representing Scotland in Literature, Popular Culture and Iconography: The Masks of the Modern Nation (Palgrave Macmillan, 2005) and he has contributed poems and essays to numerous recent volumes, including Scotlands: Poets and the Nation (co-edited with Professor Douglas Gifford, Carcanet, 2004), 121 New Zealand Poets (Godwit Press, 2005), Spirits of the Age: Scottish Self-Portraits (ed. Paul Scott, Saltire Society, 2005), The Wallace Muse (ed. Lesley Duncan and Elspeth King, 2005) and The Edinburgh Book of Twentieth-Century Scottish Poetry (Edinburgh University Press, 2005).
Originally published as Held (Polygon 2010)
Translated into Polish by David Malcolm and Monika Szuba
Szkocka poetka Elizabeth Burns zajmuje się nie tylko “tworzeniem księżycowego dzbana”, ale również budowaniem literackich światów w ogóle. W materialnych, wręcz namacalnych krainach jej poetyckiej wyobraźni znajdziemy postaci najróżniejszego typu (od dwóch sióstr czytających o wojnie, przez garncarza przy pracy, aż po Mozarta u schyłku życia), otoczone zastępami barwnych przedmiotów, wspomnień i elementów krajobrazu. Wizualny wymiar tej poezji jest równie wyraźny jak zaufanie, którym Burns darzy wspomnienia. Oto “migotania pamięci” – “ulotne cudowne kwiecie”.
Jeżeli chcieliby państwo nabyć tomik, prosimy o skontaktowanie się bezpośrednio z wydawnictwem wydawnictwo@wydawnictwomaski.pl
If you would like to purchase a copy, please contact the publisher at wydawnictwo@wydawnictwomaski.pl
Crime Scenes: Modern Crime Fiction in an International Context.
Ed. Urszula Elias and Agnieszka Sienkiewicz-Charlish (Peter Lang, 2014)
Crime Scenes: Modern Crime Fiction in an International Context examines the ways in which crime fiction has developed over several decades and in several national literary traditions. The volume covers a wide spectrum of current interests and topical concerns in the field of crime fiction studies. It introduces twenty-four original essays by an international group of scholars divided among three main sections: «Genres», «Authors and Texts» and «Topics». Issues discussed include genre syncretism, intertextuality, sexuality and gender, nationhood and globalization, postcolonial literature and ethical aspects of crime fiction.
Contents:
David Malcolm, Introduction
PART I: GENRES
Thomas Anessi, “Literary Codes of Conduct in PRL Crime Fiction: Barańczak, Joe Alex and the Powieść Milicyjna.”
Nina Holst, “Way too meta»: Readers, Writers and Transmedia in Castle.“
Nina Muždeka, “A Pothead Detective Challenging the Genre: Thomas Pynchon’s Inherent Vice.”
Elżbieta Perkowska-Gawlik, “The Quest for Identity in Academic Mystery Fiction.”
Agnieszka Sienkiewicz-Charlish, “Tartan Noir: Crime, Scotland and Genre in Ian Rankin’s Rebus Novels.”
PART II: AUTHORS AND TEXTS
Stephen Butler, “Banville, Simenon, Stark – An Existential Ménage à Trois.”
Wolfgang Görtschacher, “Constructions of Identity and Intertextuality in Martha Grimes’s The Black Cat.”
Ayşegül Kesirli Unur, “Cingöz Recai at Work: A Study on Early Turkish Crime Fiction on Film.”
Arkadiusz Misztal, “LSD Investigations: The End of Groovy Times and California Noir in Inherent Vice by Thomas Pyncho.”
Monika Rajtak, “Investigating Evil: Crime Fiction Remodelled in When We Were Orphans by Kazuo Ishiguro.”
Monika Szuba, “Bloody Typical: Genre, Intertextuality, and the Gaze in The Cutting Room by Louise Welsh.”
Jørgen Veisland, “Whose Letter? Possession, Position and Detection in Edgar Allan Poe’s ‘The Purloined Letter’.”
Jadwiga Węgrodzka: The Detective as Reader: Narration and Interpretation in Arthur Conan Doyle’s Detective Stories
Marta Aleksandrowicz-Wojtyna, “Crime Fiction in South Africa? Nadine Gordimer’s Rendition of Crime in ‘Country Lovers’ and ‘Town Lovers’.”
Bernd-Peter Lange, “South Asian Sleuths: Colonial, Postcolonial, Cosmopolitan.”
PART III: TOPICS
Dorota Babilas, “Her Majesty’s Own Murderer? Queen Victoria and Jack the Ripper in Popular Fiction.”
Rachel Franks, “Gender and Genre: Changes in ‘Women’s Work’ in Australian Crime Fiction.”
Marie Hologa, “‘Snort for Caledonia’ – Drugs, Masculinity and National Identity in Contemporary Scottish Detective Fiction.”
Miriam Loth, “‘…the abyss gazes also into you’ – Guilt and Innocence in British Golden Age Detective Fiction and Contemporary Crime Novels.”
Jacqui Miller, “An American in Europe: US Colonialism in The Talented Mr Ripley and Ripley’s Game.”
Fiona Peters, “The Perverse Charm of the Amoral Serial Killer: Tom Ripley, Dexter Morgan and Seducing the Reader.”
Cyprian Piskurek, “More Than Meets the (Camera) Eye: Detective Fiction in Times of CCTV.”
Marta Usiekniewicz, “The Eating Detective: Food and Masculinity in Robert B. Parker’s Spencer Series.”
Arco van Ieperen, “What’s the Word? Sexism and Political Correctness in the Crime Fiction of Robert B. Parker and Sara Paretsky.”
A short story by Paul D. Brazill – “The Tut.”
Nowe Szkoty 