Search results for ""author james hogg""

'A great celebration of one of our most loved national treasures' Felicity KendalThe term 'national treasure' has seldom been more appropriate. Richard Briers was not only the nation's favourite next-door neighbour thanks to his work in the iconic BBC sitcom The Good Life, he was an actor you felt like you really knew, despite having only seen him on stage or screen.While his role as Tom Good might be considered the pinnacle of Richard's sixty-year career, it sits atop a mountain of roles that combined represent one of the most productive and varied careers in British entertainment history. Indeed, Richard's television work alone makes up a not insignificant portion of our country's best endeavours on the small screen, from Jackanory and the anarchic Roobarb and Custard through to Dr Who, Inspector Morse, Ever Decreasing Circles, Extras, and the long-running comedy drama, Monarch of the Glen. On the big screen Richard appeared alongside Raquel Welch, Robert De Niro, Denzel Washington, Kathy Bates and Michael Keaton, and he even taught Keanu Reeves how to act like Sir Henry Irving.But it was on the stage where Richard felt most at home as, in addition to testing him as an actor, it would often satisfy his passion for taking risks. Appearances in the West End were often interspersed with pantomime seasons or a world tour playing King Lear alongside Kenneth Branagh and Emma Thompson. He was, as he always described himself, 'just a jobbing actor'.Anecdote-rich, this revealing but celebratory book will also lift the lid on the stories behind the shows, films and plays that made up this extraordinarily prolific career, not to mention Richard's working and personal relationships with many of his best-known collaborators and co-stars.

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It is Scotland in the early eighteenth century. Fear and superstition grip the land. Robert Wringhim, a boy of strict Calvinist upbringing, is corrupted by a shadowy figure who calls himself Gil-Martin. Under his influence Robert commits a series of murders which he regards as 'justified' by God under the tenets of his faith.Hogg's masterpiece is a brilliant portrayal of the power of evil and a scathing critique of organised religion. Superbly crafted and deftly executed, it resists any easy explanation of events: is this stranger a figment of Robert's imagination, or the devil himself?

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Hogg's involvement with song collecting and writing spans the whole of his career, from the early 1800s until the early 1830s, and examples are found across all genres of his work - fiction, drama, poetry and in a number of important musical publications. His 1831 collection entitled Songs by the Ettrick Shepherd came about as an attempt to better his difficult financial situation, and is of particular interest and significance. It was published towards the end of his career, and it provides his own retrospective presentation of his lifetime achievement as a song-writer. This critical edition of Hogg's volume makes his songs accessible for the first time. The layout mirrors the original volume which contained 'head notes' by Hogg himself. These notes provide a great deal of factual, biographical and anecdotal information which proves vitally important to our understanding of the development of his role as a song writer and collector. Alongside the text of Songs from 1831, this edition will contain an introduction discussing Hogg's role as a song writer and collector and a detailed account of the creation of the original manuscript.

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Hogg grew up in rural Ettrick Forest in a notable family of tradition-bearers, and in his first major poetry collection The Mountain Bard of 1807 he claims his rightful position at the centre of that culture. Whereas Scott collected the Minstrelsy of the Scottish Border Hogg was the sole author of The Mountain Bard. He learned to negotiate the erudite print culture of Edinburgh with the literary ballad, sometimes helped and sometimes hindered by his powerful friend, shifting the shape of his earlier manuscript and periodical poems accordingly. Then in 1821, when he was an established literary man, he published a revised edition in keeping with his new professional status as Author of The Queen's Wake. The present edition prints together, for the first time, the surviving pre-1807 versions of poems included in The Mountain Bard, the full 1807 collection, and the complete 1821 version. The Introduction (besides giving a full history of this complex, changing work) places it firmly within the eighteenth-century antiquarian projects of ballad-collecting and the intellectual currents of Romanticism, in particular the literary vogue for the ballad shown in works such as Lyrical Ballads (1798) by Wordsworth and Coleridge. Available in Paperback: The Private Memoirs and Confessions of a Justified Sinner The Shepherd's Calendar Tales of the Wars of Montrose The Three Perils of Woman Winter Evening Tales Anecdotes of Scott The Queen's Wake Altrive Tales Also Available in Hardback: A Queer Book The Shepherd's Calendar The Three Perils of Woman Tales of the Wars of Montrose Lay Sermons Queen Hynde Anecdotes of Scott The Spy The Private Memoirs and Confessions of a Justified Sinner The Jacobite Relics of Scotland (First Series) The Jacobite Relics of Scotland (Second Series) Winter Evening Tales The Queen's Wake Altrive Tales The Collected Letters of James Hogg, Volume 1, 1800-1819

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In Tales of the Wars of Montrose Hogg continues his examination of Scotland's past. Using different narrators and different moods in each of the five tales that comprise the work, Hogg leads the reader into (and eventually out of) a state of anarchy and confusion in his native country.

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'Essential' DAILY MAIL CELEBRITY BIOGRAPHIES OF THE YEAR'The book reads like it's Bernard sitting down and telling a story' Steve Wright, BBC Radio 2'A fitting celebration of one of our most versatile and enduring acting talents' Sunday Express'A rollicking good read - charming, unassuming and full of amiable, homespun wit' The OldieThe long-awaited autobiography of national treasure Bernard Cribbins.Bernard Cribbins's life has been an eventful one. In 1943, he left school aged fourteen and joined Oldham Repertory Company where he earned fifteen bob for a seventy-hour week. After being called up for National Service in 1946 he became a paratrooper and spent several months in Palestine being shot at. On returning home, and to the theatre, Bernard was eventually approached by George Martin, then an A&R man for Parlophone Records, who suggested he made a record. Just months away from producing The Beatles, Martin asked Bernard to come to Abbey Road Studios in north London and, after teaching him how to sing into a microphone, they eventually recorded two hit singles - 'The Hole in the Ground' and 'Right Said Fred'. These, together with appearances in now classic films such as Two Way Stretch and The Wrong Arm of the Law (not to mention a certain television programme called Jackanory), catapulted Bernard to stardom and, by the time he started filming The Railway Children in 1970, he was already a national treasure.Since then, Bernard's CV has been an A-Z of the best entertainment that Britain has to offer, and, thanks to programmes such as the aforementioned Jackanory, The Wombles, and, more recently, Old Jack's Boat, he has become the voice of many millions of childhoods. Seventy-five years in the making and packed with entertaining anecdotes, Bernard Who? tells the wonderful story of one of the longest and most celebrated careers in show business.

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James Hogg's Jacobite Relics - originally commissioned by the Highland Society of London in 1817 - is an important addition to The Collected Works of James Hogg. It created a canon for the Jacobite song which had an enormous influence on subsequent collections, and was of great importance in defining the relationship between the Scottish song tradition and its Romantic editors and collectors. From the first publication of the Relics in 1819 the majority of scholars have argued about how many of them were authored or at least substantially altered by Hogg. Professor Murray Pittock has conducted extensive research in this area since 1987, and has identified many previously neglected or unknown sources from which Hogg would have worked as he developed his collection. He has identified contemporary 17th- and 18th-century sources for the majority of the songs in the edition. This has implications not only for Hogg's integrity as a writer, but for our understanding of the history of the Scottish song as a whole. The introduction to volume one includes the crucial issue of Hogg's relationship to the Jacobite song tradition, and the place of the Relics within Hogg's career and personal context, facilitating further interpretations of Hogg's range of creative strategies. Considerable annotation accurately communicates the context of the songs and Hogg's relationship to the textuality of Jacobite culture. The introduction to volume two deals with the genesis of the text and Hogg's relationship with the Highland Society. This volume will be available from November 2002.

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Hogg played a significant role in the success and notoriety of Blackwood's Edinburgh Magazine, the 'Maga', as the magazine came to be known among the contributors, founded in 1817 by the Edinburgh publisher and bookseller, William Blackwood. Hogg's relationships with Blackwood, the magazine, and the major contributors were central to both his literary and personal life. From 1817 until his death in 1835 he published nearly 115 works in Blackwood's Magazine. His contributions showcase the diversity of his talent and his achievement as a writer; his published works include a great variety of songs and lyric poetry, narrative and dramatic poetry, sketches of rural and farming life, review essays, ballads, short stories, satirical pieces, and even a 'screed' on politics. This edition for the first time collects Hogg's 'Maga' publications, as well as provides a comprehensive introduction to Hogg's connection with Blackwood's and full explanatory and textual notes to the works.

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Hogg's extremely rare periodical of 1810-11 shows him reacting to the writers, personalities, and locales of Scotland's capital city after his move to Edinburgh from Ettrick and his career-change from shepherd and farmer to professional author. His characteristically astute and idiosyncratic vision reveals a rather different city from that of Walter Scott and Francis Jeffrey, and his band of contributors form another audience for his work than the middle-class Tories associated with the later Blackwood's Edinburgh Magazine. The Spy includes early versions of some of Hogg's best-known poetry and prose besides a wealth of fascinating lesser-known material. This is the first edition of The Spy since the original edition of 1810-11 was published, and offers a carefully corrected text, full annotation, notes on Hogg's contributors to his paper, and a history of its making. It represents an advance in our knowledge both of Hogg's early writing career and of the city he encountered early in the nineteenth century.

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The term 'national treasure' has seldom been more appropriate. Richard Briers was not only the nation's favourite next-door neighbour thanks to his work in the iconic BBC sitcom The Good Life, he was an actor you felt like you really knew, despite having only seen him on stage or screen.While his role as Tom Good might be considered the pinnacle of Richard's sixty-year career, it sits atop a mountain of roles that combined represent one of the most productive and varied careers in British entertainment history. Indeed, Richard's television work alone makes up a not insignificant portion of our country's best endeavours on the small screen, from Jackanory and the anarchic Roobarb and Custard through to Dr Who, Inspector Morse, Ever Decreasing Circles, Extras, and the long-running comedy drama, Monarch of the Glen. On the big screen Richard appeared alongside Raquel Welch, Robert De Niro, Denzel Washington, Kathy Bates and Michael Keaton, and he even taught Keanu Reeves how to act like Sir Henry Irving.But it was on the stage where Richard felt most at home as, in addition to testing him as an actor, it would often satisfy his passion for taking risks. Appearances in the West End were often interspersed with pantomime seasons or a world tour playing King Lear alongside Kenneth Branagh and Emma Thompson. He was, as he always described himself, 'just a jobbing actor'.Anecdote-rich, this revealing but celebratory book will also lift the lid on the stories behind the shows, films and plays that made up this extraordinarily prolific career, not to mention Richard's working and personal relationships with many of his best-known collaborators and co-stars.

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The Three Perils of Man is regarded as Hogg's most ambitious work of fiction. The book's extraordinary combination of the fantastic, the funny, the serious and the historically realistic must be unique in literature.The adventures of its characters, told with the author's characteristically bold simplicity, are many, mad, and breathtakingly fast. Ranging from Galloway to Northumberland, the main focus of the book is to be found in the Scottish Borders. Hogg knew and loved the Borders well, and the book is full of their oral tradition and local lore. In his attempt to synthesise this material with history, romance and the high literary ideals of his time, Hogg's nearest modern parallels would be a combination of Tolkien and Iain Banks.Hogg's fusion of traditional folklore and innovative style was viewed as an anachronism by his contemporaries, and it is only now that his work is recognised s one of the most original and masterly in the Scottish canon.

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In this collection of short stories Hogg focuses on the Scottish civil war of 1644-45, in which the Marquis of Montrose led his royalist forces in a series of stunning victories against the odds before his final defeat at Philiphaugh. Each of Hogg's five tales centres on one of the five major battles of Montrose's brilliant but ultimately futile campaign. Each tale is utterly different from the others in genre and tone, but taken together they build up a composite picture of what it was like to experience the 'anarchy and confusion' of the time at first hand. The importance of Tales of the Wars of Montrose was long obscured by the fact that the publisher of the first edition seriously mangled Hogg's text, not least by including an unrelated sixth tale in order to bulk out the collection to the commercially-expected norm of three volumes. Gillian Hughes has restored Hogg's coherent five-tale collection, and by returning to Hogg's manuscripts in preparing her edition she has made possible the first appearance in print of an uncensored text of this lively and innovative collection.

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The proposed Contributions to Musical Collections and Miscellaneous Songs volume provides access to the relevant material in the various musical collections to which Hogg refers in his 1831 head notes, thus allowing the new readers of the 21st century to see in facsimile what Hogg himself saw. This procedure provides a broader context - in literary and musical terms - in which to enhance our understanding of the reception of Hogg's songs during his lifetime.

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Altrive Tales was carefully prepared by Hogg in 1832 as the opening volume in a planned twelve-volume collected prose fiction series, intended as the culmination of his career as a storyteller. It opens with his own story of how a ragged servant-lad remade himself as a respected professional writer, the associate of Byron, Scott, Southey, Wordsworth and Galt. Hogg's frank and humorous 'Memoir of the Author's Life' is widely recognised as a classic of Romantic autobiography and an important record of early nineteenth-century Scottish culture. Hogg's sharp eye for the latest publishing phenomena and pawky self-mocking humour is evident in his awareness of Altrive Tales as a contribution to the monthly-volume classic fiction series of the early 1830s following Sir Walter Scott's magnum opus edition of the Waverley Novels. Frankly pleading guilty to the egotism of presenting his own output to the world as a literary classic Hogg engagingly confesses, 'I like to write about myself: in fact, there are few things which I like better [...]'. The themes of the 'Memoir' continue in the tales that follow.' The Adventures of Captain John Lochy' is a fast-paced historical fiction, the autobiography of a social outcast adrift in Scotland, Russia, the Netherlands, and Sweden. 'The Pongos' (an early version of the Tarzan story) takes a look at Scottish involvement in the British empire in a comic parody of Enlightenment notions about the nature of man and of society. 'Marion's Jock' is a virtuoso exercise in Scots and in Hogg's ability to communicate the peasant lifestyle of his native Scottish Borders. This new edition, thoughtfully introduced and extensively annotated, presents Altrive Tales as a major achievement by one of Scotland's finest storytellers.

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James Hogg's Jacobite Relics - originally commissioned by the Highland Society of London in 1817 - is an important addition to The Collected Works of James Hogg. It created a canon for the Jacobite song which had an enormous influence on subsequent collections, and was of great importance in defining the relationship between the Scottish song tradition and its Romantic editors and collectors. From the first publication of the Relics in 1819, there has been speculation about how many of them were authored or at least substantially altered by Hogg. Professor Murray Pittock has conducted extensive research in this area since 1987, and has identified several previously unknown sources from which Hogg would have worked as he developed his collection. The introduction to volume two deals with the genesis of the text and Hogg's relationship with the Highland Society and there is also considerable annotation to accurately communicate the context of the songs and Hogg's relationship to the textuality of Jacobite culture.

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After Scott's death in 1832 James Hogg wrote an affectionate but frank account of their long friendship. Scott's son-in-law and official biographer, John Gibson Lockhart, declared himself to be filled with 'utter disgust and loathing' at the 'beastly and abominable things' he found it to contain. This edition includes both the original version, written as a contribution to a Scott biography planned by a young London friend of Hogg's, and a revised version created subsequently for an American market. Those with an interest in Romantic biography and autobiography will be particularly fascinated by these lively, readable, idiosyncratic and disconcerting texts. A wealth of information is provided in the paperback edition of this volume, which also includes a useful Hogg chronology and reading list.

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Winter Evening Tales (1820; second edition 1821) was James Hogg's most successful work of prose fiction in his lifetime. Exhibiting the most complex genesis of any of Hogg's works, it is the outstanding example of a 'national' genre pioneered by him -- the miscellaneous collection of popular and traditional narratives. Hogg's experimental medley of novellas, tales, poems and sketches posed a lively alternative to the dominant form of the historical novel established by Walter Scott. The collection includes terse masterpieces of mystery and the uncanny, virtuoso improvisations on folktale themes, and -- the highlights of the edition -- two brilliant autobiographical novellas, The Renowned Adventures of Basil Lee and Love Adventures of Mr George Cochrane. Reprinted in incomplete and unreliable texts in Victorian editions of Hogg's works, Winter Evening Tales fell into almost total obscurity after the author's death. The Stirling/ South Carolina Edition of the Collected Works of James Hogg is delighted to republish this key work in Hogg's career in its entirety for the first time since the early nineteenth century.

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James Hogg knew Sir Walter Scott well, and after Scott's death in 1832 he wrote an affectionate but frank account of their long friendship. Hogg arranged for his manuscript to be sent to John Gibson Lockhart, Scott's son-in-law and official biographer; but when Lockhart read the manuscript he declared himself to be filled with 'utter disgust and loathing' at the 'beastly and abominable things' he found it to contain. As a result, Hogg withdrew the manuscript from publication, but later arranged for the US publication of an extensively revised version, Familiar Anecdotes of Sir Walter Scott. Professor Rubenstein has produced a meticulous new edition which includes both the first version, Anecdotes of Sir W. Scott and the later version. She provides a wealth of new information about these lively, readable, idiosyncratic, and disconcerting texts.

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'We have heard much of the rage of fanaticism in former days, but nothing to this' A wretched young man, 'an outcast in the world', tells the story of his upbringing by a heretical Calvinist minister who leads him to believe that he is one of the elect, predestined for salvation and thus above the moral law. Falling under the spell of a mysterious stranger who bears an uncanny likeness to himself, he embarks on a career as a serial murderer. Robert Wringhim's Memoirs are presented by an editor whose attempts to explain the story only succeed in intensifying its more baffling and bizarre aspects. Is Wringhim the victim of a psychotic delusion, or has he been tempted by the devil to wage war against God's enemies? Hogg's sardonic and terrifying novel, too perverse for nineteenth-century taste, is now recognized as one of the masterpieces of Romantic fiction. The first edition text of 1824 has been freshly considered for this new edition. A critical introduction explores the remarkable career of the novel's author and its historical, theological, and cultural contexts. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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This is one of Hogg's longest and also one of his most original and daring works. Gillian Hughes's uncovering of the original manuscript in the Fales Library of New York University in August 2001 allows the editors to produce here a text that reflects Hogg's original intentions. Alongside the two main plots (the supernatural located at Aikwood Castle and the chivalric located at Roxburgh Castle) a series of embedded narratives provides the reader with, amongst other things, pictures of the traditional and timeless world of rural life in which Hogg had grown up and of early Scottish history. The name Sir Walter Scott (used through most of the manuscript) is restored along with passages excised from the manuscript or omitted when the printed edition was prepared and in several cases Hogg's more daringly explicit language has been brought back where the printed edition has bowdlerised or subdued the expression. The restoration of the name in particular makes explicit how much this novel represents a challenge to Scott's dominance in the portrayal of chivalry and the Middle Ages in general. Any attempt to assess Hogg as a major novelist, and in particular as a major historical novelist, must consider this edition of The Three Perils of Man.

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A collection of thirteen tales and anecdotes, published for the first time as Hogg intended, and capturing the flavour of Border story-telling.

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Hogg left a written record of three of his many journeys to the Highlands, those of 1802, 1803 and 1804, and in Highland Journeys he offers a thoughtful and deeply-felt response to the Highland Clearances. He gives vivid pictures of his experiences, including a narrow escape from a Navy press-gang, and a Sacrament day with one minister preaching in English and another in Gaelic. Hogg also explains aspects of Gaelic culture such as the waulking songs, and he describes the trade in kelp, lucrative to the landowners but back-breaking and ill-paid for the workers. Highland Journeys makes a refreshing contribution to our understanding of early nineteenth-century travel writing.

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With an Essay on Hogg's Literary Friendships by Janette Currie and an Appendix on the Popular Context by Suzanne Gilbert Scottish popular tradition includes a group of stories about a King who has adventures - amorous and otherwise - as he wanders in disguise among his people. Many of these stories focus on James V and in Walter Scott's long narrative poem The Lady of the Lake (1810) the King encounters a mysterious lady while he is wandering alone and unrecognised in the Highlands. At first sight Scott's heroine seems to be a simple country girl, but she turns out to be a daughter of the great aristocratic house of Douglas, living for the time being in a rural exile. Scott's romantic and aristocratic version of the old 'wandering King' stories was hugely popular in its day, but Hogg subverts and questions this tale in Mador of the Moor (1816). The name 'Mador' suggests 'made o'er', 'made over', and Mador of the Moor is in effect a makeover of The Lady of the Lake. Hogg's poem, like Scott's, tells how a deer-hunt in the Highlands leads a disguised King of Scots into a love-adventure with a young woman. However Hogg's heroine, Ila Moore, is not a chaste aristocrat but a girl of low social standing who is made pregnant by the wandering King. Ila's inherent resourcefulness and strength of character suggest that a peasant girl pregnant out of wedlock can be a heroine fully worthy of respect, and Mador (rejected as shocking and ridiculous by its original readership), now re-emerges as a flowing and immensely readable narrative that eloquently challenges the deeply-ingrained class and gender prejudices of Hogg's society.

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James Hogg is one of the acknowledged masters of the short story. Some of his best stories appeared in The Shepherd's Calendar, a work of the 1820s in which he sets out to re-create on paper the manner and the content of the traditional oral storytelling of Ettrick Forest, the remote and mountainous sheep-farming district in which he grew up. Like Hogg's masterpiece The Private Memoirs and Confessions of a Justified Sinner, several of the stories from The Shepherd's Calendar deal disturbingly and hauntingly with the supernatural, and explore psychological depths with a remarkable insight and intensity. The Shepherd's Calendar also draws on Hogg's experiences as a young shepherd in the 1790s as it produces a convincing and very human picture of the dangers, the pleasures, and the tensions of the lives of the rural poor in Scotland in the years that followed the French Revolution. This paperback is based on the acclaimed hardback edition of The Shepherd's Calendar for the Stirling / South Carolina Collected Works of James Hogg (Edinburgh University Press, 1995).

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First published in 1823, Hogg's powerful novel combines two stories that hauntingly echo each other, one set in Edinburgh and the Scottish Borders in the early 1820s, and the other set in the Highlands in 1746, the time of Culloden and its devastating aftermath. The Three Perils of Woman subversively challenges many of the attitudes and assumptions of the established elite of Hogg's day, for example by refusing to gloss over what it calls 'the disgrace of the British annals', the atrocities committed by the Duke of Cumberland's victorious army in the Highlands after Culloden. Likewise, in its story of the 1820s Hogg's novel questions prevailing social attitudes to prostitution and other matters. The Three Perils of Woman had an interested but shocked and hostile reception on its first publication, and this controversial text was omitted from all the nineteenth-century collected editions of Hogg's works. It remained out of print from the 1820s until its republication in 1995 in the new Stirling / South Carolina edition of Hogg published by Edinburgh University Press, on which the present edition is based.Since 1995 The Three Perils of Woman has come to be seen as a book of outstanding interest and importance. 'Commentators once dismissed Perils of Woman as a bad book because it trampled on the flowerbeds of early-nineteenth-century decorum; they now acclaim it a masterpiece for the very same reason, reading subversive craft in the place of oafishness.' Ian Duncan, Studies in Hogg and his World 'Both stories [of The Three Perils of Woman] are generically diverse, self-consciously impure. Hogg described them as 'domestic tales', apparently soliciting a female readership whose delicacy he then assaults with speculations about promiscuity and prostitution, and with prayers so chattily informal that reviewers found them blasphemous. Both stories modulate suddenly from comedy to tragedy, though one - but which?- struggles through to what may be a happy ending. [...] What matters about The Three Perils of Woman is not the conclusions it has to offer about the issues it raises, but the fact that these are addressed with such painful urgency.They have become urgent once again, and will continue to be so; and if the book provides an especially useful way of thinking about them, it's because it offers an 'unflinching' account of a violent national past while acknowledging the temptation, the impulse, even the need, to flinch. ' John Barrell, London Review of Books.

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The Queen's Wake is one of the landmarks of British Romantic poetry. It focuses on the return of Mary, Queen of Scots to Scotland in 1561 to take personal rule of her kingdom after her years in France. In the poem poets and bards hold a poetic competition (a 'wake') in Holyrood Palace to welcome the Queen home. When The Queen's Wake was published in 1813 it proved an unexpected popular success, placing Hogg for a while alongside Byron and Scott as one of the most admired British poets of that time. Over the next six years Hogg made substantial revisions, making the poem even more attractive and saleable. The fifth edition (1819) is an enhanced and carefully polished version from a now established and respected poet. It is markedly different from the edgy, powerful and unsettling first version, which was the work of an impecunious and marginalised outsider. This book presents both the first and fifth edition of the poem.

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Hogg was a superb letter-writer, and this is the initial volume of the first collected edition of his letters (to be completed in three volumes). Many of the letters have never been published before, or published only in part. They vividly reflect Hogg's varied social experience and shed new light on his own writings and those of his contemporaries. Among his famous correspondents were writers such as Scott, Byron, and Southey, antiquarians such as Robert Surtees, politicians such as Sir Robert Peel, and editors and publishers such as John Murray, William Blackwood, and Robert Chambers. But there are also letters to shepherds, farmers, aristocrats, musicians, young ladies, and bluestockings. Hogg first appears in this volume in 1800 as a young shepherd with literary ambitions, and becomes the famous author of The Queen's Wake (1813) and a key supporter of the early Blackwood's Edinburgh Magazine (1817). Among the final letters it contains are some tender if idiosyncratic love-letters to the Dumfriesshire girl he married in 1820 at the mature age of forty-nine.Hogg's entertaining and informative letters are supplemented by detailed annotation and a full editorial apparatus, including biographical notes on his chief correspondents and a concise overview of this phase of his life. This edition of Hogg's Letters has its roots in the late 1970s and 1980s, when the four founder members of the James Hogg Society (Gillian Hughes, Douglas Mack, Robin MacLachlan, and Elaine Petrie) began work on tracing and transcribing Hogg's surviving letters. The major tasks of completing this work and preparing a full-scale edition of Hogg's Letters were subsequently passed to Gillian Hughes, who is now bringing this important research project to fruition. Key Features: * The first ever edition of Hogg's letters to be published * Includes many letters never previously published * Features Hogg's correspondence with figures such as Sir Walter Scott, Lord Byron and Sir Robert Peel

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This handbook helps professionals working with adults with intellectual disabilities to establish the needs of individuals through systematic assessment and to monitor and evaluate the effectiveness of the service they provide. A comprehensive handbook for professionals working with adults with intellectual disabilities. Enables these professionals to establish the needs of individuals Helps them to monitor and evaluate the effectiveness of the service they provide. Expert contributions include conceptual chapters and descriptions of selected assessment instruments. Covers the full spectrum of need, including adults with mental health difficulties, behavioural problems, forensic needs and assessment of people with profound intellectual and multiple disabilities, and those suspected of developing dementia.

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'I like to write about myself: in fact, there are few things I like better!' So confesses Hogg with pawky self-mocking humour in Altrive Tales. The collection opens with Hogg's own story of how a ragged servant-lad remade himself as a respected professional writer, the associate of Byron, Scott, Southey, Wordsworth and Galt. Hogg's frank and humorous 'Memoir of the Author's Life' is widely recognised as a classic of Romantic autobiography and an important record of early nineteenth-century Scottish culture. The themes of the 'Memoir' continue in the tales that follow. 'The Adventures of Captain John Lochy' is a fast-paced historical fiction, the autobiography of a social outcast adrift in Scotland, Russia, the Netherlands, and Sweden. 'The Pongos' (an early version of the Tarzan story) takes a look at Scottish involvement in the British empire in a comic parody of Enlightenment notions about the nature of man and of society. 'Marion's Jock' is a virtuoso exercise in Scots and in Hogg's ability to communicate the peasant lifestyle of his native Scottish Borders. This new edition, thoughtfully introduced, extensively annotated and featuring a reading list and Hogg chronology, presents Altrive Tales as a major achievement by one of Scotland's finest storytellers.

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Winter Evening Tales (1820; second edition 1821) was James Hogg's most successful work of prose fiction in his lifetime. Its experimental medley of novellas, tales, poems and sketches posed a lively alternative to the dominant form of the historical novel established by Walter Scott. The collection includes terse masterpieces of mystery and the uncanny, virtuoso improvisations on folktale themes, and two brilliant autobiographical novellas, The Renowned Adventures of Basil Lee and Love Adventures of Mr George Cochrane. This paperback edition takes account of newly-discovered information about An Old Soldier's Tale and The Long Pack. A critical introduction, explanatory notes, reading list and Hogg chronology are provided to assist the reader in appreciating Hogg's entertaining and challenging tale collection to the full.

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James Hogg's The Private Memoirs and Confessions of a Justified Sinner is a Scottish classic, a quintessentially Gothic tale of psychological horror, and a relentless attack on Calvinist dogma. The Penguin Classics edition is edited with an introduction and notes by Karl Miller.Robert Wringham's family is composed of a dissolute father and brother, a pious mother, and a rival father in the person of a fanatical Calvinist minister. He comes to believe that he is one of the elect, predestined to be saved, while others are damned. Sure of his freedom from the dictates of morality, he embarks on a series of crimes in the company of a new friend Gil-Martin, a man of many likenesses who can be mistaken for Robert, and who explains that they are as one in the holy work of purifying the world. But who is Gil-Martin? And what does he truly desire? The Gothic double or doppelganger is nowhere more powerfully imagined than in Confessions of a Justified Sinner, once called 'the greatest novel of Scotland'.This new edition has an introduction by Karl Miller, which discusses the presence of the novel in the life and times of James Hogg. It also contains two of Hogg's most interesting stories, 'Marion's Jock' and 'John Gray o' Middleholm'.James Hogg (1770-1835) born in Ettrick, in the Scottish Borders. A shepherd for many years, Hogg was writing poems by the 1790s, aiding Walter Scott with material for his collection of ballads, The Minstrelsy of the Scottish Border. In 1810 he moved to Edinburgh, where he published several volumes of verse, and worked on the Spy and Blackwood's Edinburgh Magazine. Confessions of a Justified Sinner was published anonymously in 1824, and is now generally seen as his masterpiece.If you enjoyed Confessions of a Justified Sinner, you might like Matthew Lewis's The Monk, also available in Penguin Classics.'A Scottish classic, a world classic'Ian Rankin'A sinister, funny, moving tale of demonic possession, murder and religious fanaticism'Sunday Telegraph

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The Queen's Wake is one of the landmarks of British Romantic poetry. It focuses on the return of Mary, Queen of Scots to Scotland in 1561 to take personal rule of her kingdom after her years in France. In the poem poets and bards hold a poetic competition (a 'wake') in Holyrood Palace to welcome the Queen home. In the descriptions of the songs and the people who sing them various Scottish poets of Hogg's own period can be recognised, giving the reader a sense of the condition of poetry in Hogg's Scotland. Another key concern of the poem is the state of Scotland in 1561 - a crucial period in Scottish history, coming a year after the legislation was passed that brought in the Scottish Reformation. The Queen's Wake looks back to the pre-1560 world of Catholic Scotland and explores the tensions between that old world and an emerging modernity. When The Queen's Wake was published in 1813 it proved an unexpected popular success, placing Hogg for a while alongside Byron and Scott as one of the most admired British poets of that time. Over the next six years Hogg was encouraged by major players in the Edinburgh book trade to make substantial revisions, to make the poem even more attractive and saleable. The fifth edition (1819) is an enhanced and carefully polished version from the now established and respected poet. It is markedly different from the edgy, powerful and unsettling first version of The Queen's Wake, which was the work of an impecunious and marginalised outsider. Thus the poem exists in significantly different authorial versions, each reflecting Hogg's circumstances at the time. In recent years a consensus has emerged that in cases of this kind the modern reader is best served by having access to editions of both versions. The Stirling/South Carolina Research Edition of The Queen's Wake therefore presents both the first and fifth edition of the poem. Key Features: * The publication of one of the landmarks of British Romantic poetry * At time of publication the poem's success placed Hogg alongside Burns and Scott as one of the leading writers of the period * Presents both the first and fifth editions of the poem to allow the reader to compare the two * A careful editorial introduction places the poem in its historical context

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'It will be a grand book for thae Englishers for they winna understand a word of it' Hogg's boast to William Blackwood Witty, humorous and comical as the title implies, the eccentric nature of many of the poems collected here nevertheless belies the often serious and moral issues contained within. Newly available in paperback, and including many of Hogg's better known longer pieces, the present volume is based on the first edition of A Queer Book to be published since 1832 - though the similarity between the two editions ends with the running order. While the text for the original edition was substantially reworked by the publisher to smooth out Hogg's use of Scots, this volume brings together manuscripts from all over the world to provide material as near to his final copy as possible. The result is a vibrant collection including many poems which have never been studied critically before. A thorough introduction to the best of Hogg's poetry.

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Both comical and horrific, The Three Perils of Woman is essentially a combination of two stories on similar themes. One is set in the Highlands following the Battle of Culloden and the other in Hogg's Edinburgh. Daring in its subject matter, the novel touches on such delicate topics as prostitution and venereal disease.

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This collection is comprised of ten of Hogg's poems which, in very different ways, explore the visionary and supernatural, and the writer's portrayal of them - echoing the subject and title of Shakespeare's famous play. Included among the poems are: 'The Pilgrims of the Sun', which seeks to demonstrate Hogg's command not only of his native Scottish tradition of poetry but also of the English tradition of Milton and Pope; the weirdly brilliant 'Connel of Dee'; 'The Gyre Caryl' in which Hogg recounts the birth of Heavenly Grace and the departure of the fairies from Scotland; and 'Verses Addressed to the Right Honourable Lady Anne Scott of Buccleuch'. Taken together the ten poems of Midsummer Night Dreams and Related Poems substantiate Hogg's vaunted claim to be 'King o' the mountain and fairy school' of poetry.

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In 1822 Rudolph Ackermann's Forget Me Not [...] for 1823 established a fashion for handsomely produced and copiously illustrated annual anthologies of short literary works. Books of this kind were designed as Christmas and New Year's presents, and in the 1820s and 1830s they became a significant publishing phenomenon. Like other well-known writers of the time (including Wordsworth, Scott, and Letitia Elizabeth Landon), Hogg was a contributor to the annuals, and Contributions to Annuals and Gift-Books brings together all the Hogg texts that were either written for, or first published in, annuals and gift-books. 'Invocation to the Queen of the Fairies' in the Literary Souvenir for 1825 was Hogg's first known contribution to an annual, and thereafter writing for the annuals became 'a kind of business' for him during the economic slump of the late 1820s. Contributions to Annuals and Gift-Books contains some of Hogg's finest short stories (for example 'The Cameronian Preacher's Tale' and 'Scottish Haymakers'), as well as some of his best-known poems (for example 'A Boy's Song' and 'The Sky Lark'). This volume highlights a coherent part of Hogg's total literary output, and in doing so provides new insights into an area of nineteenth-century publishing history that is attracting increasing interest and attention. Hogg was a professional writer with an acute awareness of the shifting trends of the literary marketplace during the 1820s and 1830s, when annuals were at their peak of popularity. However, his literary objectives did not always match the needs of the annuals, and as a result some of his contributions were returned as unsuitable for a family-oriented audience. Hogg's sometimes complex negotiations with the editors and publishers of the annuals are meticulously documented in Contributions to Annuals and Gift-Books. In this context, the volume (for example) reprints both Hogg's manuscript version of 'What is Sin?', and the version actually published in Ackermann's Juvenile Forget Me Not. The engravings for which Hogg wrote are included in the present volume.

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Scottish Stories is a treasury of great writing from a richly literary land, where the short story has flourished for over two centuries. Here are chilling supernatural stories from Robert Louis Stevenson, Eric Linklater and Dorothy K. Haynes; side-splittingly funny stories from Alasdair Gray and Irvine Welsh; a stylish offering from urban realist William McIlvanney. Iain Crichton Smith evokes the Gaelic-speaking highlands, George Mackay-Brown the Orkney islands, Andrew O'Hagan working-class Glasgow; while Leila Aboulela, originally from Sudan, ponders the relations between colonizers and colonized from her home in Aberdeen. Though there is no one 'Scottishness' that binds the authors together, writes editor Gerard Carruthers, each has a Scottish footprint or accent. And perhaps more importantly, all are masters of their form.

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The Bush aboon Traquair, like Allan Ramsay's The Gentle Shepherd, is a pastoral drama with songs, and in this play Hogg celebrates the life of the people of his native community in Ettrick Forest. At times earthy and at times hilarious, The Bush focuses on rural courtship, and it derives part of its energy from its presentation of a contrast between the old ways and an emerging (but not always admirable) modernity. Here, as elsewhere in Hogg's writings, the shepherds and ewe-milkers of Ettrick Forest operate in a pastoral world that is noticeably realistic and convincing. They pursue their love adventures as ardently as if they were inhabitants of the more literary pastoral world of the Forest of Arden, but as they do so they also have to cope with some very unpoetical and very troublesome sheep. It appears that The Bush was first drafted around 1813, but the first publication of Hogg's play came when a bowdlerised version was included in his posthumous Tales and Sketches (1837). Douglas Mack's edition includes the first-ever publication of the unbowdlerised version of The Bush aboon Traquair. Written on the occasion of George IV's famous royal visit to Edinburgh in 1822, The Royal Jubilee is another pastoral drama with songs. In this 'Scottish Mask', Hogg brings a group of representative Scottish spirits to a 'romantic dell' on Arthur's Seat. The spirits (including an Ossianic Highlander who has suffered dispossession, and the ghost of an old Covenanter) give expression to past Scottish grievances against royalty, while indicating their hope that the King's visit will bring renewal and a fresh start. This potentially ambiguous expression of loyalty is further complicated by various Jacobite references and echoes as the spirits prepare to welcome a Hanoverian king, returning to the ancient kingdom of his Stuart ancestors.

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Although portrayed as the 'boozing buffoon' of Blackwood's Edinburgh Magazine, Hogg (both as the celebrated Ettrick Shepherd and anonymously) was a key contributor of songs, narrative poems, tales, and reviews to the liveliest of all early nineteenth-century periodicals. The present volume includes several items hitherto published only in Blackwood's, and ranges from the infamous 'Chaldee Manuscript' to newly-identified items such as a Scottish commemoration of the coronation of George IV. The volume also includes works Hogg intended for Blackwood's but which are now published for the first time. Hogg's work for his favourite periodical is provided in this volume in full cultural context, including detailed annotation and a convenient and complete editorial apparatus. Also included is music for several of the Shepherd's songs.

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Originally published in 1810, The Forest Minstrel represents the first full collection of songs by Hogg. The items contained include some of his first compositions as a shepherd in Ettrick, while others originate from early contact with the literary culture of Edinburgh. This edition for the first time supplies musical settings for the majority of items, whereas in 1810 Hogg only nominated tunes by title. These settings are based on extensive research in relevant pre-1810 Scottish music books. As a result, the modern reader is given access to the tunes which originally formed an integral part of the songs. An Introduction describes Hogg's development as a song-writer and the musical context in 1810; while full annotation is provided on both the texts of the songs and the related tunes. Includes a CD The volume also includes a CD containing audio recordings of the seventy-two tunes which are provided by means of the notations.

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Lay Sermons offers, playfully, a series of lay sermons on good principles and good breeding - the last thing that one would expect from the pen of Blackwood's Ettrick Shepherd. But a significant part of the joke is that the Shepherd provides lay sermons that combine into a series of wise meditations on life and on literature.

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James Hogg's contributions to Scottish periodicals from 1810 onwards as they appeared in their original form.

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