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Additional info for Keeping the Sources Pure: The Making of George Mackay Brown (European Connections, V. 7)

Sample text

Eliot, The Sacred Wood. Essays on Poetry and Criticism (London 1928), p. 48. , p. 49. that Brown’s work will appear of even greater consequence when seen against the background of other national and international writers, traditions and ideas. His relation to the past and the present, and to past and contemporary movements, will not belittle his achievement but will define and underline the individual aspects of his work. Thus, the main concern lies with the dialogue Brown entered into at different points of his life.

What you have written recently is wonderfully eloquent in the old, right sense. 34 And he meant what he said; in April 1956 he informed Brown: I’ve taken the liberty of sending a selection of your poems to Mrs. Alice Morris, the literary editor of Harper’s Bazaar. I hope you don’t mind. […] I admire these poems of yours more and more the more I read them: you have a feeling for words which I sincerely envy! and the feeling and imagination in the ‘Elegy’, ‘The Masked House’, ‘The Old Women’, ‘Thorfinn’, ‘Hamnavoe’, to take a varied selection, are very moving.

Same as any other community. Only here one can observe the whole more closely’. For the interview with E. W. Marwick see Kirkwall Archive, material concerning E. W. Marwick, 1969. See ‘Letters to the River. A Poem and a commentary’ (1979), in EULIB, Spec. , Gen 2134/2/2. What pleased me about the poem is that it became a key. 62 Although Brown recognised that he was working within a particular and ancient tradition of storytelling, he tried to distance himself on many occasions from nationalistic trends or intentions.

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