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This anthology may be likened to a vast architectural folly imblending the idioms of the Greek, Gothic, Oriental, Baroque, Scottish Baronial and Bauhaus schools. Like one who, absently sauntering the streets of Barcelona, suddenly beholds the breathtaking grandeur of Gaudis Familia Sagrada, I am compelled to admire a display of power and intricacy whose precise purpose evades me. Is the structure haunted by a truth too exalted and ghostly to dwell in a plainer edifice? Perhaps. I wonder. I doubt. Lady Nicola Stewart, Countess of Dunfermline in The Celtic Needlewoman Alasdair Grays most playful book earned a place in this Classic Series by being in print since first published by Canongate in 1983. This completely amended edition has two new stories; also a postscript by the author and Douglas Gifford.… (altro)
Gray's vigorous, excessive drawings are the most off-putting element in this uneven collection of allegories and self-conscious myths: they attempt to turn whimsy into neo-Blakean prophecy; they also have the odd, apparently unintentional effect of making the more serious pieces here seem more vaudevillian than they are. Still, a few of Gray's critical/prophetic sketches do score shrewd hits. But Gray's fondness for his own pictures and lots of typesetting tricks are stumbling blocks for the reader on nearly every page.
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They passed through the galleries, surveyed the vaults of marble, and examined the chest in which the body of the founder is supposed to have been reposited.They then sat down in one of the most spacious chambers to rest a while before they attempted to return. “We have now,” said Imlac, “gratified our minds with an exact view of the greatest work of man, except the wall of China. “Of the wall it is very easy to assign the motives. It secured a wealthy and timorous nation from the incursions of Barbarians, whose unskillfulness in arts made it easier for them to supply their wants by rapine than by industry, and who from time to time poured in upon the habitations of peaceful commerce, as vultures descend upon domestick fowl.Their celerity1 and fierceness made the wall necessary, and their ignorance made it efficacious. “But for the pyramids no reason has ever been given adequate to the cost and labour of the work. The narrowness of the chambers proves that it could afford no retreat from enemies, and treasures might have been reposited at far less expence with equal security. It seems to have been erected only in compliance with that hunger of imagination which preys incessantly upon life, and must be always appeased by some employment. Those who have already all that they can enjoy, must enlarge their desires. He that has built for use, till use is supplied, must begin to build for vanity, and extend his plan to the utmost power of human performance, that he may not be soon reduced to form another wish. “I consider this mighty structure as a monument of the insufficiency of human enjoyments. A king, whose power is unlimited, and whose treasures surmount all real and imaginary wants, is compelled to solace, by the erection of a pyramid, the satiety of dominion and tastelesness of pleasures, and to amuse the tediousness of declining life, by seeing thousands labouring without end, and one stone, for no purpose, laid upon another.
From 'Rasselas' by Samuel Johnson
Dedica
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To the good angel Mullane and Christopher Boyce and to their daughter Petra Davina.
Incipit
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A star fell beyond the horizon, in Canada perhaps.
Citazioni
Ultime parole
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"Our love once meant much more to me than money so I'm not giving you any."
This anthology may be likened to a vast architectural folly imblending the idioms of the Greek, Gothic, Oriental, Baroque, Scottish Baronial and Bauhaus schools. Like one who, absently sauntering the streets of Barcelona, suddenly beholds the breathtaking grandeur of Gaudis Familia Sagrada, I am compelled to admire a display of power and intricacy whose precise purpose evades me. Is the structure haunted by a truth too exalted and ghostly to dwell in a plainer edifice? Perhaps. I wonder. I doubt. Lady Nicola Stewart, Countess of Dunfermline in The Celtic Needlewoman Alasdair Grays most playful book earned a place in this Classic Series by being in print since first published by Canongate in 1983. This completely amended edition has two new stories; also a postscript by the author and Douglas Gifford.