The second "Scottish Renaissance" which is often said to have begun with
the publication of Lanark and which reached a high point with the
publication of Trainspotting appears to have reached a new stage
following devolution and the establishment of Scotland's first parliament
in nearly three hundred years. Scotland's recently changed political
situation suggests a number of questions regarding the present and future
of contemporary Scottish fiction. Has devolution changed the implied role
of the Scottish fiction writer and the reception of and/or market for
contemporary Scottish fiction? What part, if any, does recent Scottish
fiction play in the forming, or questioning, of a national political
and/or cultural identity following devolution? To what extent may recent
(post-devolution) Scottish fiction be said to be nationalist or
post-nationalist or international? Have Scottish fiction writers had to
pay a price, as it were, for, or following, devolution? Alternately, has
Scotland had to pay a price as the local concerns and effects of Scottish
fiction succumbed to the pressures and attractions of the globalized
cultural marketplace? Papers on individual works and writers or on
broader trends are invited. Send proposals or completed papers to Robert
Morace (rmorace_at_daemen.edu) no later than 15 September 2005.

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Received on Sun Jul 03 2005 - 14:00:18 EDT