Forge Your Soul Through Literature

in Balzac's Comedie Humaine during the French Restoration period between 1815 and 1830. Understanding this region requires detective-like investigation, similar to the character Vautrin, but like Vautrin, one can also be transformed by their experience." (Harvie, 2003)

The venture into serious literature by writers from the Highlands and Islands since the beginning of the twentieth century was both bold and the right approach. As the famous saying goes, 'The more ethnic a work of art is, the more universal is its appeal'. These writers have brought to light the influence of cultural icons, indigenous and foreign, incorporating their persona into their writing. All admirers of good art can enjoy the benefits of this endeavor. Established writers like Alasdair Gray, Carol Ann Duffy, Irvine Welsh, and others serve as outstanding examples of this success. Interviews and analysis of modern Scottish writers further demonstrate that their works are shaped and inspired by important cultural figures regardless of origin (Horwich, 2002).

In an interview with Kathy Acker in 1986, Alasdair Gray discusses the key figures who influenced his artistic growth. He mentions reading books by George Orwell, Franz Kafka, and James Joyce at an early age. The novels 1984, The Trial, and Portrait of the Artist as a Young Man made a significant impact on Gray's young mind. These authors were not only literary geniuses but also cultural icons known for their insightful commentary on society. Today, their ideas have become deeply ingrained in Scottish public discourse. Gray's influences stretch even further back in history, drawing inspiration from the Greek classics and epic folk narratives. As ancient Greek thought is essential in Western academia, it is reasonable to argue that

the intellectual traditions of the Highlands and Islands have been greatly influenced by it. Gray's incorporation of various literary genres, forms, and techniques from throughout history also speaks to Scotland's rich literary culture. Reflecting on his own stylistic development, Gray states,

"I was jotting down ideas or excerpts for a contemporary interpretation of hell in a Kafkaesque novel. Then, at the age of nineteen or twenty, I came across a well-written book by Tillyard about the Epic genre. Tillyard began his discussion of the genre by mentioning the renowned poems of Homer and Virgil, but he also pointed out that many prose works were conceived as epics as well. Examples he gave included Herodotus's Histories, Bunyan's Holy War, and Gibbons' Decline and Fall. Tillyard even argued that Walter Scott's Scottish novels, when read together, could be regarded as a Scottish Epic." (Gray as cited in Acker, 1986)

In 1920, Marion Angus, a key figure in early twentieth century Scottish literature, expressed the belief that writers of her generation should focus on capturing the 'spirit of place' and giving voice to Scotland's great adventure of the soul. She felt that Scottish literature had not yet fully blossomed and advocated for the exploration of the natural scenic beauty of the Scottish Highlands and Islands. Angus saw this geographic setting as iconic and urged fellow writers to celebrate it. In response to her call, both Angus and Violet Jacob wrote several poems.

The text highlights the exploration of the spiritual essence of North East Scotland and the discovery of its enchanting natural beauty. It emphasizes the collective poetry of two individuals, whose artistic works depict their distinct poetic paths and contribute

to Scottish literary history. These poets predominantly wrote during the interwar period, employing both Scots and English languages in their writings. Their poems delve into the complex psychological struggles faced by individuals and recognize the significance of traditional Scots-language literature. They skillfully incorporate elements of folk traditions, as well as language and imagery from Scottish ballads, within their poetic compositions. (Gordon, 2006)

The careers of Angus and Jacob show how Scottish culture is shaped by history, tradition, geography, and the vernacular. However, scholar Ryan Shirley points out that the definition of Scottish culture and its icons is a controversial topic. This ambiguity has allowed for experimentation and evolution in the Scottish historical novel. However, it has also caused anxiety for writers who feel pressured to adhere to a specific cultural history. This focus on tradition has limited the exploration of theoretical developments like post-modernism. Identifying with cultural icons can restrict creative development and lead to cultural nationalism by excluding what is considered extraneous. This poses problems for defining national literature.