THE BEST OF SCOTTISH BOOKS

Search for fortune on the high seas with this abridged retelling of Treasure Island, part of the bestselling Classic Starts® series that has sold more than 8 million copies! After Jim Hawkins finds the map to a mysterious treasure, he sets sail in search of the fortune. Little does he realize he?s boarded a pirate ship, and that surprises and danger await him . . . including a meeting with the unforgettable Long John Silver! This abridged retelling is the perfect way to introduce young readers to the swashbuckling adventure that has captivated readers for centuries!

**Shipwrecks, dive bars, possession, and science – this is where contemporary horrors and ancient terrors meet. **

In Fresh Dirt from the Grave, a hillside is ‘an emerald saddle teeming with evil and beauty.’ It is this collision of harshness and tenderness that animates Giovanna Rivero’s short stories, where no degree of darkness (buried bodies, lost children, wild paroxysms of violence) can take away from the gentleness she shows all violated creatures. A mad aunt haunts her family, two Bolivian children are left on the outskirts of a Metis reservation outside Winnipeg, a widow teaches origami in a women’s prison and murders, housefires, and poisonings abound, but so does the persistent bravery of people trying to forge ahead in the face of the world. They are offered cruelty, often, indifference at best, and yet they keep going. Rivero has reworked the boundaries of the gothic to engage with pre-Columbian ritual, folk tales, sci-fi and eroticism, and found in the wound their humanity and the possibility of hope.

Jana is on the cusp of adulthood; she’s started dating her first boyfriend and is getting ready to leave her war-torn hometown, to provide for her family. However, when she wakes up in a basement in Sarajevo, it is clear that life doesn’t always follow the plans we make for it. Exploring the currency of female bodies in an underground world, Ella Dorman-Gajic’s Trade powerfully calls into question the archetype of the ‘perfect female victim’ by examining the psychology of a morally complex protagonist.

Trade was awarded an OffComm at its critically acclaimed premiere.

CASTING 2-4 women / 1-4 men

What would you risk to build a better world?

It’s been a harsh winter. Outside the city walls, people are starving. Inside, the rich townspeople hoard their grain and gold.  Like his father before him, Jacob must serve the elite and keep those who steal in order. He fixes their broken bones, sews up their wounds, and then chops off their heads.

Jacob believes he will keep the peace better through solely healing, but he desperately needs the town’s blessing. Little does he know that others close to him have far more radical plans for change.

Grounded in the past but distinctly contemporary, this unique debut from Theo Chester uses bold storytelling to create an uneasy yet wonderfully strange new world.

Stray Dogs is the work of writer Theo Chester and director Tommo Fowler. Produced by Cindy McLean-Bibby and Theatre503.

Running time: 2 hours 30 mins (inc. 15 minute interval)

Age guidance: 14+

Commissioned by The International School of London.

An actor (Top Boy), a rapper, a group of school students, a university scientist and two NGO activists from Beirut have little in common but their lives are all affected by Covid-19. Mark Wheeller’s new verbatim play tells their stories. It is explosive and fascinating in turns – it is not only their story – it’s ours too.These recollections offer positive journeys through the pandemic, contrasted with the horror of the 2020 Port of Beirut explosion, included as one of the student’s family decided to return to their Lebanon home during lockdown. This story provides the most heartbreaking moments.Pandemexplosion offers a diverse ensemble cast ample opportunity for imaginative theatrical interpretation typical of a classic Wheeller play.

Duration: 75 minutes approx

Cast: 20 (8f, 9m, 3m or f)

Alan Riach’s The MacDiarmid Memorandum is a work of epic, category-defying scope; a work that blends biography and national history, poetry and prose; an intimate portrait of an old friend and mentor, and a political manifesto calling for revolution. Beginning with his childhood in Langholm, Riach shows us MacDiarmid’s first attempts to orient the Scottish landscape, a world in which so-called natural features are interwoven with and inseparable from the political. It is in orientating his surroundings that MacDiarmid takes his first steps on a journey towards a peculiarly Scottish kind of consciousness; a consciousness that both wills itself to be free, and bows under the weight of its own self-suppression. This is a work that charts a war on various fronts: in MacDiarmid’s personal life, he experienced periods of unemployment, destitution, alcoholism, divorce, trauma; and at the same time, the country entered two major world wars, in turn triggering a renaissance of Scottish artists and intellectuals, struggling (on their own front) for recognition and self-determination.Riach’s idea for The MacDiarmid Memorandum originated in an exhibition, Landmarks: Poets, Portraits and Landscapes of Modern Scotland, which showcased major 20th century Scottish poets alongside paintings by critically acclaimed artists, Alexander Moffat and Ruth Nichol, with a particular focus on Scottish landscapes and portraits of the relevant poets. Included in this book, alongside Riach’s poems, are reproductions of some of the original paintings that appeared in the exhibition, offering a vivid, feeling complement to Riach’s text.

Around 1885, Alfred Barnard was secretary of Harper’s Weekly Gazette, a journal dedicated to the wine and spirit trade. In order to provide his readers with the history and descriptions of the whisky-making process, Barnard decided to visit all distilleries in Scotland, England and Ireland. Accompanied by friends, he visited over 150 distilleries. The names found in his reports still excite the dedicated whisky connoisseur today, as well as others whose fame has faded since the end of the 19th century. The appeal of Barnard’s book lies not only in the technical descriptions of each distillery’s processes, but also in the colourful descriptions of his journeys, brimming with historical colour and detail. A superbly illustrated facsimile edition, with over 200 engravings, this book is a complete guide to the origins of Scotland’s national drink, as well as a lively picture of life and travel in the Victorian age.

Two thousand years ago, southern Scotland was part of a great empire, the Roman Empire. About AD 140, a Roman army marched north from what is now Northumbria and, 20 years after and over 100 miles further north than Hadrian’s Wall, built a new frontier across the Forth-Clyde isthmus. With reference to contemporary coins and literary sources together with the archaeological remains, inscriptions and sculpture from the Antonine Wall itself, David Breeze explains the historical context for, and the creation of, the fortifications. Stunning photography by David Henrie of Historic Scotland illustrates all aspects of this most northerly Roman frontier. These photographs help us to appreciate the Antonine Wall in its landscape and allow us a visual explanation for its construction almost 2000 years ago.

The Battle of Pinkie, fought between the English and the Scots in 1547, was the last great clash between the two as independent nations. It is a well-documented battle with several eyewitness accounts and contemporary illustrations. There is also archaeological evidence of military activities. The manoeuvres of the two armies can be placed in the landscape near Edinburgh, despite considerable developments since the 16th century. Nevertheless, the battle and its significance has not been well understood.From a military point of view there is much of interest. The commanders were experienced and had already had battlefield successes. There was an awareness on both sides of contemporary best practice and use of up-to-date weapons and equipment. The Scots and the English armies, however, were markedly different in their composition and in the strategy and tactics they employed. There is the added ingredient that the fire from English ships, positioned just off the coast, helped decide the course of events.Using contemporary records and archaeological evidence, David Caldwell, Victoria Oleksy, and Bess Rhodes reconsider the events of September 1547. They explore the location of the fighting, the varied forces involved, the aims of the commanders, and the close-run nature of the battle. Pinkie resulted in a resounding victory for the English, but that was by no means an inevitable outcome. After Pinkie it briefly seemed as if the future of Britain had been redefined. The reality proved rather different, and the battle has largely slipped from popular consciousness. This book provides a reminder of the uncertainty and high stakes both Scots and English faced in the autumn of 1547.

For almost 150 years until the late twentieth century, French Onion Johnnies (or ‘Ingan Johnnies’, as they were usually known in Scotland) were a familiar group of seasonal workers in towns and cities throughout Britain.

In this book, nine Onion Johnnies (including one ‘Jenny’) who worked in Scotland at one time or another between the 1920s and the 1970s recount their lives. The recollections, recorded in interviews in Brittany and at Leith in 1999 by the Scottish Working People’s History Trust, provide a fascinating insight into the lives and experience of those whose livelihood and way of life have vanished forever. It paints a poignant picture of the past and a way of life about nothing in any detail has ever been published before.

On the eve of an important battle, a colonel is visited in his tent by an indigenous woman with a message to pass on. A man sets about renovating the house of his childhood, and starts to feel that he might be rebuilding his own life in the process. At a private clinic to treat the morbidly obese, a caregiver has issues of her own…

Acclaimed writer and poet Jorge Consiglio presents a universe of seemingly unrelated tales, linked perhaps by a certain rhythm in the prose or subtle dimensions of violence and perversion. These are stories of immigration, marginality, history, intimacy and obsession which are masterful and deeply touching, domestic yet universal. They each present their own distinctive view of the world through the lives of their respective characters – who are as dissimilar as they are complex – and the profound transformations they undergo. As reflections on the uncontrollable nature of life, as depictions of how even the most innocent detail can become a threat, these stories do not offer neat endings but rather remain open to the reader’s sense of inquisitiveness.

Southerly is a perfect introduction to what has been called ‘the Consiglian logic of story-telling’ (Cabezón Cámara), in which events don’t always occur sequentially, and where the reader quickly learns to tiptoe between the tiniest of details, as if they formed a minefield.

The Usurpers, Willa Muir’s fourth novel, was written in the early 1950s and was based on the diaries she kept in Prague in the period 1945-1948, when her husband the poet Edwin Muir was the Director the British Institute in Prague, the lecturing and teaching arm of the British Council there. Under the guise of Utopians in Slavomania, The Usurpers offers acute, humorous and sometimes acerbic observations on relations among the British themselves in Prague (the city is never named) and between them and their Czech friends and those in the Czechoslovak establishment who were suspicious of the British presence, and depicts, largely through the actions and conversation of its characters, a deteriorating political environment in which the lives of many Slavomanians and even some of the Utopians are increasingly under threat in the lead-up to the Communist coup of February 1948. The Usurpers was ready for publication in 1952 and was submitted to a number of major UK publishers under the pen-name Alexander Cory. The publishers were nervous. There was some concern about libel suits and perhaps also about the political sensitivity of the contents. Then, when she was publicly revealed to be the author, Willa Muir withdrew it. The typescript, from which this edition has been prepared, has long been in the care of the Library of the University of St Andrews and over the years a number of critics and Willa Muir enthusiasts have read it, among them Jim Potts, who brought it to the attention of Colenso Books and who has provided the Introduction. The non-publication of the The Usurpers in the 1950s may have been partly due to political pressure, at a time when the UK government’s grant-in-aid to the British Council was being called in question.

From a comic mastermind comes this brilliant collection of stories.

Three teenagers believe they are witches. A woman defaces a local billboard. A bored landlord tries to influence his son’s best friend. A cul-de-sac WhatsApp group discusses eggs at length. A heavily pregnant woman finds a way to time travel and a girl discovers joy on a stolen bicycle . . .

Each tale paints a life in miniature and offers an escape chute from the mayhem of modern life.

The Hadrian’s Wall Community Archaeology Project (WallCAP) conducted a series of fieldwork projects along the Hadrian’s Wall corridor between 2019 and 2021. The work focused on sites that were poorly understood or under particular threat and aimed to improve understanding of them so they could be better managed in future. At several sites excavation was followed by conservation and consolidation work.

This volume brings together the final reports of these excavations, at six Roman sites in the Wall corridor. As the sites were spread along the length of the Wall the character and afterlife of the Wall in very different landscape locations could be compared. An assessment of the Vallum at Heddon on the Wall identified how earthwork archaeology survived in a sloped, heavily ploughed landscape. Three excavations investigated the condition of the stone Wall curtain: at Port Carlisle, Walltown Crags, and Steel Rigg and Cats Stairs. At each site the Wall builders had responded to the demands of the local terrain and made use of local resources. At each site the Wall had a different post-Roman history. Excavations at the bridging point of the Cam Beck revealed for the first time how the Wall was carried over a “minor” watercourse, and discovered traces of the Turf Wall. Small buildings were also identified just south of the Wall as it approached the bridge. At Corbridge Roman town, excavations on the northern periphery of the settlement demonstrated that from early in its history the most northerly town in Europe was of considerable extent. The area investigated showed that, even at the edge of town, shops lined the roads alongside well-appointed houses with bustling yards. Later on in the Roman period the town contracted behind walls and cremation burials were inserted by the road. Each site is reported on independently, presenting the primary data for each investigation. The volume concludes with a synthetic analysis of what the results of these excavations together reveal about Hadrian’s Wall, considering, amongst other things, construction details and the decay and destruction of the monument in the centuries following Roman occupation.

‘Horror opened me up to new possibilities for survival – I saw power in freakery and transgression and wondered if it could be mine.’

The relationship between horror films and the LGBTQ+ community? It’s complicated. Haunted houses, forbidden desires and the monstrous can have striking resonance for those who’ve been marginalised. But the genre’s murky history of an alarmingly heterosexual male gaze, queer-coded villains and sometimes blatant homophobia, is impossible to overlook. There is tension here, and there are as many queer readings of horror films as there are queer people.

Edited by Joe Vallese, and with contributions by writers including Kirsty Logan and Carmen Maria Machado, the essays in It Came from the Closet bring the particulars of the writers’ own experiences, whether in relation to gender, sexuality, or both, to their unique interpretations of horror films from Jaws to Jennifer’s Body.

Exploring a multitude of queer experiences from first kisses and coming out to transition and parenthood, this is a varied and accessible collection that leans into the fun of horror while taking its cultural impact and reciprocal relationship to the LGBTQ+ community seriously.

‘Brilliantly conceived, fiendishly plotted’ Mick Herron

‘The immersive world of Ambrose Parry just gets better and better’ Jess Kidd

EDINBURGH, 1853.

In a city of science, discovery can be deadly . . . In a time of unprecedented scientific innovation, the public’s appetite for wonder has seen a resurgence of interest in mesmerism, spiritualism and other unexplained phenomena.

Dr Will Raven is wary of the shadowlands that lie between progress and quackery, but Sarah Fisher can’t afford to be so picky. Frustrated in her medical ambitions, she sees opportunity in a new therapeutic field not already closed off to women.Raven has enough on his hands as it is. Body parts have been found at Surgeons Hall, and they’re not anatomy specimens. In a city still haunted by the crimes of Burke and Hare, he is tasked with heading off a scandal.When further human remains are found, Raven is able to identify a prime suspect, and the hunt is on before he kills again. Unfortunately, the individual he seeks happens to be an accomplished actor, a man of a thousand faces and a renowned master of disguise.With the lines between science and spectacle dangerously blurred, the stage is set for a grand and deadly illusion . . .

‘Brilliantly conceived, fiendishly plotted’ Mick Herron

‘The immersive world of Ambrose Parry just gets better and better’ Jess Kidd

EDINBURGH, 1853.

In a city of science, discovery can be deadly . . .In a time of unprecedented scientific innovation, the public’s appetite for wonder has seen a resurgence of interest in mesmerism, spiritualism and other unexplained phenomena.

Dr Will Raven is wary of the shadowlands that lie between progress and quackery, but Sarah Fisher can’t afford to be so picky. Frustrated in her medical ambitions, she sees opportunity in a new therapeutic field not already closed off to women.Raven has enough on his hands as it is. Body parts have been found at Surgeons Hall, and they’re not anatomy specimens. In a city still haunted by the crimes of Burke and Hare, he is tasked with heading off a scandal.

When further human remains are found, Raven is able to identify a prime suspect, and the hunt is on before he kills again. Unfortunately, the individual he seeks happens to be an accomplished actor, a man of a thousand faces and a renowned master of disguise.With the lines between science and spectacle dangerously blurred, the stage is set for a grand and deadly illusion . . .

On the eve of an important battle, a colonel is visited in his tent by an indigenous woman with a message to pass on. A man sets about renovating the house of his childhood, and starts to feel that he might be rebuilding his own life in the process. At a private clinic to treat the morbidly obese, a caregiver has issues of her own…

Acclaimed writer and poet Jorge Consiglio presents a universe of seemingly unrelated tales, linked perhaps by a certain rhythm in the prose or subtle dimensions of violence and perversion. These are stories of immigration, marginality, history, intimacy and obsession which are masterful and deeply touching, domestic yet universal. They each present their own distinctive view of the world through the lives of their respective characters – who are as dissimilar as they are complex – and the profound transformations they undergo. As reflections on the uncontrollable nature of life, as depictions of how even the most innocent detail can become a threat, these stories do not offer neat endings but rather remain open to the reader’s sense of inquisitiveness.

Southerly is a perfect introduction to what has been called ‘the Consiglian logic of story-telling’ (Cabezón Cámara), in which events don’t always occur sequentially, and where the reader quickly learns to tiptoe between the tiniest of details, as if they formed a minefield.

**Shipwrecks, dive bars, possession, and science – this is where contemporary horrors and ancient terrors meet. **

In Fresh Dirt from the Grave, a hillside is ‘an emerald saddle teeming with evil and beauty.’ It is this collision of harshness and tenderness that animates Giovanna Rivero’s short stories, where no degree of darkness (buried bodies, lost children, wild paroxysms of violence) can take away from the gentleness she shows all violated creatures. A mad aunt haunts her family, two Bolivian children are left on the outskirts of a Metis reservation outside Winnipeg, a widow teaches origami in a women’s prison and murders, housefires, and poisonings abound, but so does the persistent bravery of people trying to forge ahead in the face of the world. They are offered cruelty, often, indifference at best, and yet they keep going. Rivero has reworked the boundaries of the gothic to engage with pre-Columbian ritual, folk tales, sci-fi and eroticism, and found in the wound their humanity and the possibility of hope.

Book 1 in Empress Irini series

Betrothal & Betrayal

Seventeen-year-old Thekla needs her quick wits and knife to track down her betrothed, a soldier who has left her at the altar for the third time. Elias the monk travels with her to Constantinople where she meets Irini of Athens, an extraordinarily beautiful orphan her same age who has been brought by powerful Emperor Constantine to marry his son, Co-Emperor Leon. The two women join forces to survive this vigorous capital of the Roman Empire of the East which is rocked by religious and political strife. But will Thekla help the ambitious and ruthless Irini of Athens find the power that she craves?