Scottish Fiction


Lanark
Trainspotting
The Prime of Miss Jean Brodie
The Wasp Factory
Shuggie Bain
The Crow Road
Morvern Callar (Morvern Callar Cycle, #1)
Eleanor Oliphant Is Completely Fine
44 Scotland Street (44 Scotland Street, #1)
The Trick is to Keep Breathing
The Changeling
Outlander (Outlander, #1)
The Blackhouse (Lewis Trilogy, #1)
How Late It Was, How Late
Knots and Crosses (Inspector Rebus, #1)
Spasm couldn’t get laid if you sent him to a brothel with a blank cheque. He had his Lou Reed and his Bob Hope, but never his Nat King Cole.
Barry Graham, Scumbo: Tales of Love, Sex and Death

William   Donaldson
On the whole popular fiction in Victorian Scotland is not overwhelmingly backward-looking; it is not obsessed by rural themes; it does not shrink from urbanisation or its problems; it is not idyllic in its approach; it does not treat the common people as comic or quaint. The second half of the nineteenth century is not a period of creative trauma or linguistic decline; it is one of the richest and most vital episodes in the history of Scottish popular culture.
William Donaldson, Popular Literature in Victorian Scotland: Language, Fiction and the Press

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