Can the UK survive widespread dissatisfaction in both Scotland and England with the financing of public spending by Scotland's parliament? This timely book explains how fiscal autonomy could raise economic growth and efficiency in Scotland - to the benefit of both Scotland and the rest of the United Kingdom. The authors discuss how other reform proposals - which amount to cutting Scotland's block grant - would fail as they would not be seen in Scotland as legitimate. They conclude that fiscal autonomy would be accepted as it reduces Scotland's democratic deficit in public spending, and would go a long way toward reducing vertical and horizontal imbalances in the UK.
Gods and goddesses, magicians and mermaids, fairies, warriors and giants weave a series of enchanting spells for young readers in this charming collection of age-old Scottish stories.Derived from ancient manuscripts as well as modern Gaelic storytellers, the tales include such colourful and dramatic stories as ""Battle of the Fairy Kings,"" ""Conall and the Thunder Hag,"" ""In the Kingdom of Seals,"" ""The Maid-of-the-Wave,"" ""The Land of Green Mountains,"" and several more.Modern youngsters will develop an appreciation of the ancient beliefs and customs of Scotland's earliest inhabitants with these time-honored legends, handed down from generation to generation. Edited and modernized for contemporary readers, these captivating and handsomely illustrated tales will delight anyone who relishes a good yarn.
If novelist Paul Mark Scott (1920-1978) has secured a niche in English literature, it is on the merits of his Raj Quartet and its sequel, Staying On, for which he won the Booker Prize in 1977. Yet by the time he had published The Jewel in the Crown in 1966, he had supported his family on his writing for six years, worked as a literary advisor for several publishers, routinely written book reviews for The Times, the Guardian, the Daily Telegraph, and Country Life, and published eight novels. Scott's literary reputation was already considerable when, at the age of 44, he embarked on The Raj Quartet that would take up the last fourteen years of his life-a masterpiece that reinterpreted the major events of his generation and challenged his contemporaries to face the legacy of their past. Beginning in 1964, Scott negotiated with the Harry Ransom Research Center at The University of Texas-Austin for the purchase of his manuscripts. Later, when he was teaching creative writing at the University of Tulsa in 1976, he arranged to sell his letters to the archives at McFarlin Library. Many years after his death, David Higham Associates (the literary agency for which Scott worked from 1950-1960 and which acted as Scott's own agent until his death in 1978) sold archival materials to the Harry Ransom Center, University of Texas-Austin. Only a limited amount of material from McFarlin's Paul Scott Collection has been published to date. The David Higham Collection has not been systematically used until now. Together, the Tulsa and Austin Collections involve many thousands of Scott's professional and personal letters, to a large degree untapped by scholars of literature. In this two-volume collection, Janis Haswell makes available to the reading public for the first time several hundred letters from the Tulsa and Austin archives, as well as dozens of private letters to daughters Carol and Sally Scott. Scott's letters never disappoint. They are intriguing, well-penned and (in most cases) well-preserved in carbon form by Scott himself. They explore in depth and detail available nowhere else his view of the themes and structure of his novels; his experience and views of India; his dealings with publishers, agents, critics, readers, and writer friends (the likes of Muriel Spark, Gabriel Fielding, M. M. Kaye); his role as an agent and influential reviewer of fiction; his trials in supporting himself and family as a freelancer; his experience as a teacher in the United States; and his love and loyalty to family and friends.
As Clayton rose to his feet in the still air, the tree-tops began to tremble in the gap below him, and a rippling ran through the leaves up the mountain-side. Drawing off his hat he stretched out his arms to meet it, and his eyes closed as the cool wind struck his throat and face and lifted the hair from his forehead. About him the mountains lay like a tumultuous sea-the Jellico Spur, stilled gradually on every side into vague, purple shapes against the broken rim of the sky, and Pine Mountain and the Cumberland Range racing in like breakers from the north. Under him lay Jellico Valley, and just visible in a wooded cove, whence Indian Creek crept into sight, was a mining-camp-a cluster of white cabins-from which he had climbed that afternoon. At that distance the wagon-road narrowed to a bridle-path, and the figure moving slowly along it and entering the forest at the base of the mountain was shrunk to a toy. For a moment Clayton stood with his face to the west, drinking in the air; then tightening his belt, he caught the pliant body of a sapling and swung loose from the rock. As the tree flew back, his dog sprang after him. The descent was sharp. At times he was forced to cling to the birch-tops till they lay flat on the mountain-side.
Scottish folk literature is characterised by a wide range of creative expression: story, song, play and proverb. This anthology, first published in 1984, provides an authoritative introduction to Scottish folk literature, and is unique in that it deals with all the genres intrinsic to Scottish tradition. Its selected texts offer an unusual and diverse enjoyment to the reader, including such forms as wonder tales or Marhcen, classical ballads, riddles, jocular tales, lyric and comic and occupational folksongs, rhymes, historical and supernatural legends, and guisers' plays. The texts chosen cover the main regional traditions of Lowland Scotland, from Galloway to the Shetlands, and span a number of centuries, through both pre- and post-industrial periods, from a sailor's worksong of the sixteenth century to modern urban legends just recently recorded. The book is arranged in four sections, on Folk Narrative, Folksong, Folksay, and Folk Drama, each with an introduction and a bibliographical essay setting the material in context and indicating some of its international links. Folk literature itself is brought into firm focus by discussion and generic example, and the anthology as a whole illuminates substantial areas of Scottish social and cultural life.
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