By C. Manfredi
Alasdair grey: Ink for Worlds bargains clean views on Alasdair Gray's literary and pictorial works, with contributions that span quite a lot of theoretical views and degrees of study between that are literary reports, superb artwork, observe and photo experiences, structure and media stories.
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Extra info for Alasdair Gray: Ink for Worlds
The author said, ‘Please don’t feel embarrassed. This isn’t an unprecedented situation. ’ ‘Not nowadays. I used to be part of him, though. Yes, I am part of a part which was once the whole. But I went bad and was excreted. If I can get well I may be allowed home before I die, so I continually plunge my beak into my rotten liver and swallow and excrete it. But it grows again. Creation festers in me. I am excreting you and your world at the present moment. ’ (Gray, 1981, p. 481) In critical studies of Alasdair Gray’s Lanark, it has become almost a commonplace to identify the author-figure that appears in the Epilogue with God, largely because of the exchange between the author and Lanark quoted above.
In typical Gray style, of course, the footnote simultaneously undermines the seriousness of the point it highlights. G. 488). 498). 69), and he gives a full description of his developing fascination with Goethe’s Faust in the chapter he contributes to this volume. This fascination led, after many intervening years, to the publication, in 2008, of Gray’s own ‘imitation’ of Goethe’s work, titled Fleck: A Verse Comedy, and transposed to Scotland in the 20th/21st century. Both the ‘Author’s postscript’ to the 2008 edition of Fleck and the publicity on the website of its publisher, Two Ravens Press, include accounts of Gray’s growing interest in Faust and its problems that echo the summary given by the ‘author’ in the Epilogue to Lanark.
Once more, the footnote draws attention to the criticism of Goethe, and this time it is the question of ending that is explicitly 38 Kirsten Stirling highlighted. In typical Gray style, of course, the footnote simultaneously undermines the seriousness of the point it highlights. G. 488). 498). 69), and he gives a full description of his developing fascination with Goethe’s Faust in the chapter he contributes to this volume. This fascination led, after many intervening years, to the publication, in 2008, of Gray’s own ‘imitation’ of Goethe’s work, titled Fleck: A Verse Comedy, and transposed to Scotland in the 20th/21st century.
Alasdair Gray: Ink for Worlds by C. Manfredi