MODERN SCOTTISH NOVELISTS

Evening Star, Issue 22252, 1 February 1936, Page 8

MODERN SCOTTISH NOVELISTS

Modern Scottish novelists, in contrast with those of an earlier May, are the subject of an article by Mr Janies Ledgerwood in the ‘ Weekly Scotsman. 1 He has something to say as well of descriptive writers. We have it on the authority of a noted English reviewer that “ the stock of Scott has never been so low,” which is remarkable, writes Mr Ledgerwood, when one reflects that librarians report that the Waverley Novels are still firm favourites, and anyone with American friends can testify to momentary embarrassment on occasions when the work of the “Wizard of Abbotsford” is under discussion and their own comparative ignorance is laid bare. Modern Scots writers follow the example of Sir Walter Scott in so far ■a a a choice of locale is concerned. They are quick to recognise that intimate knowledge of a district can contribute greatly to the value of a work, just as with “ the Scott country ” and the Burns country.” Hence we find Dr Cronin and George Blake concerned mainly with the Clyde and its estuary. Argyllshire and the Isles claim the attention of many writers, including J. J. Bell, Seton Gordon, D. C. Cuthbertson, A. A. MacGregor, and others. Neil Gunn shows the influence of Caithness and Lewis; Grassie Gibbon is at home in Mearns. Aberdeenshire flnds a fortunate exponent in John R. Allan, whose story of Scots farm life is giving pleasure to thousands. If one excepts a new writer, Mr Michael Devlin (and Annie S. Swan), the Lothians have not received tribute since the days of R.L.S. The Borders have also been inexplicably and shamefully neglected, Mr Ledgerwood continues. The scene is ideal for a romantic novel, and one hopes that some modern author will atone for the oversight before long. John Buchan can scarcely be included in a list of primarily nationalist writers, since his treatment is essentially that of a cosmopolitan craftsman. The same can be said of Sir James Barrie in connection with Angus. A curious feature of Scots letters is the fact that descriptive writers cannot resist the temptation to digress into traditional romance when the main concern is with the ever-present beauties of the scene. It was little wonder that H. V. Morton came along and carried the descriptive honours in his stride. H. Y. Morton never allows the past to obsess him-, and the scene gains by his well-balanced treatment of association, and is never overshadowed. Another visiting writer, Mr L. A. G. Strong, has not been so fortunate, however,' as'anyone will perceive when reading his new West Highland novel. Mr Strong came for local colour, presumably; but he had already preconceived his types, and actual contact has done little to modify them. The Highlanders are the orthodox Southern conception, and Scots people will fail to recognise them. On the other hand, [modern] Scots novelists have little interest in the past. They have cast off its yoke, and are determinedly realistic. Romance is not dead in Scotland, and the first story which breaks the conspiracy of cheerlessness is assured of a welcome.