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I've cried at their loss. I've applauded their triumphs. | 0:00:01 | 0:00:02 | |
Scotland has a long and rich literary tradition, with authors | 0:00:03 | 0:00:06 | |
such as Robert Louis Stevenson, Muriel Spark and Alasdair Gray. | 0:00:06 | 0:00:11 | |
The stories that we love help us understand who we are. | 0:00:11 | 0:00:14 | |
Adventure stories, the supernatural, suspense, | 0:00:14 | 0:00:18 | |
dark realism, family drama, romance and, of course, crime. | 0:00:18 | 0:00:23 | |
Back in the summer we invited you | 0:00:23 | 0:00:24 | |
to vote for your favourite Scottish book. | 0:00:24 | 0:00:27 | |
And tonight, we can reveal the result. | 0:00:27 | 0:00:30 | |
Welcome to Scotland's Favourite Book. | 0:00:40 | 0:00:43 | |
From an initial longlist of 30 novels, selected by | 0:00:43 | 0:00:46 | |
a literary panel and curated by the Scottish Book Trust, we're about to | 0:00:46 | 0:00:50 | |
divulge your top ten, including the all-important number one. | 0:00:50 | 0:00:55 | |
And along the way, | 0:00:55 | 0:00:56 | |
some famous faces will be revealing their own top read. | 0:00:56 | 0:01:00 | |
So to start, a 19th-century Gothic classic and one of the first novels | 0:01:01 | 0:01:06 | |
to explore the dark Scottish psyche. | 0:01:06 | 0:01:09 | |
"Go thou then," said he. | 0:01:16 | 0:01:18 | |
"Thou are called to a high vocation, | 0:01:18 | 0:01:20 | |
"to cleanse this sanctuary of thy God | 0:01:20 | 0:01:22 | |
"in this native land by the shedding of blood. | 0:01:22 | 0:01:26 | |
"Go thou then, like a ruling energy, | 0:01:26 | 0:01:29 | |
"a master spirit of desolation in the dwellings of the wicked. | 0:01:29 | 0:01:33 | |
"High shall be your reward both here and in the hereafter." | 0:01:33 | 0:01:37 | |
I first read the Private Memoirs And Confessions Of A Justified Sinner | 0:01:40 | 0:01:45 | |
when I was in my twenties. | 0:01:45 | 0:01:47 | |
It was gripping and extraordinary then. | 0:01:47 | 0:01:50 | |
Rereading it, it is even more compelling. | 0:01:50 | 0:01:53 | |
James Hogg's masterpiece was first published in 1824, | 0:01:54 | 0:01:59 | |
but it strikes you as a very modern work. | 0:01:59 | 0:02:02 | |
It's a complex tale of demonic possession, | 0:02:02 | 0:02:05 | |
of the struggle between good and evil within one man's soul. | 0:02:05 | 0:02:09 | |
The justified sinner in question, Robert Wringhim, | 0:02:09 | 0:02:12 | |
regards himself as one of the elect. | 0:02:12 | 0:02:16 | |
One of the chosen few who, without doubt, | 0:02:16 | 0:02:19 | |
will escape eternal damnation. | 0:02:19 | 0:02:22 | |
What this means to him, ultimately, is that he can do anything. | 0:02:22 | 0:02:27 | |
Soon after young Wringhim is told by his reverend father | 0:02:29 | 0:02:32 | |
that he's one of the elect, | 0:02:32 | 0:02:33 | |
he meets a shape-shifting devilish figure walking in the woods, | 0:02:33 | 0:02:37 | |
who assures him he really can do what he wants, | 0:02:37 | 0:02:41 | |
including killing his own brother. | 0:02:41 | 0:02:44 | |
"I had a desire to slay him, it is true. | 0:02:46 | 0:02:48 | |
"And such a desire as a thirsty man has to drink, | 0:02:48 | 0:02:53 | |
"but at the same time, this longing desire | 0:02:53 | 0:02:56 | |
"was mingled with a certain terror | 0:02:56 | 0:02:58 | |
"as if I had dreaded that the drink for which I longed was mixed | 0:02:58 | 0:03:01 | |
"with deadly poison. | 0:03:01 | 0:03:03 | |
"My mind had so weakened, or rather softened about this time, | 0:03:03 | 0:03:08 | |
"that my faith began a little to give way and I doubted | 0:03:08 | 0:03:11 | |
"most presumptuously of the least tangible of all Christian tenets, | 0:03:11 | 0:03:15 | |
"that is the infallibility of the elect." | 0:03:15 | 0:03:18 | |
It is a tale framed within a tale, | 0:03:20 | 0:03:23 | |
where the editor's narrative offers one version of events | 0:03:23 | 0:03:26 | |
and Wringhim's private memoirs and confessions the other. | 0:03:26 | 0:03:30 | |
The author raises many questions that the reader is left to answer. | 0:03:30 | 0:03:35 | |
Just what is going on? | 0:03:35 | 0:03:37 | |
Is it Satan himself who walks the streets of Glasgow? | 0:03:37 | 0:03:41 | |
Is it Satan or some disturbed psychological trait | 0:03:41 | 0:03:45 | |
that's behind the dark and murderous deeds in an Edinburgh close? | 0:03:45 | 0:03:49 | |
Who do we believe - the narrator of the justified sinner? | 0:03:49 | 0:03:53 | |
What's amazing to me is how fresh and fast-paced Hogg's work is. | 0:03:55 | 0:03:59 | |
Some may see it as a Gothic novel, | 0:03:59 | 0:04:02 | |
some as a psychological crime thriller. | 0:04:02 | 0:04:05 | |
It's certainly a scathing attack on dogmatic thought. | 0:04:05 | 0:04:09 | |
With the Reverend Wringhim and his son Robert, we see a lack of doubt, | 0:04:09 | 0:04:14 | |
a clear moral certitude | 0:04:14 | 0:04:16 | |
that foreshadows totalitarian mindsets of the 20th century | 0:04:16 | 0:04:21 | |
and echoes religious fanatics of earlier and indeed current times. | 0:04:21 | 0:04:26 | |
This is a... This is a terrific book. | 0:04:26 | 0:04:29 | |
You should flood your library with requests for it. | 0:04:29 | 0:04:32 | |
Next up, a collection of stories, again set in the 19th century, | 0:04:39 | 0:04:44 | |
about a certain sleuth who remains very much in our thoughts, | 0:04:44 | 0:04:48 | |
and in our screens, thanks to a Mr Cumberbatch. | 0:04:48 | 0:04:51 | |
When young doctor Arthur Conan Doyle | 0:04:58 | 0:05:01 | |
wrote The Adventures Of Sherlock Holmes in 1892, | 0:05:01 | 0:05:04 | |
he couldn't have foreseen that his detective's popularity would | 0:05:04 | 0:05:08 | |
go on to span three centuries. | 0:05:08 | 0:05:10 | |
And that Holmes would become the most portrayed character ever | 0:05:12 | 0:05:15 | |
on film and television. | 0:05:15 | 0:05:17 | |
SHUTTERS CLICK PHOTOGRAPHER: Put the hat on! | 0:05:17 | 0:05:20 | |
Yeah, put it on! | 0:05:20 | 0:05:22 | |
Just...get it over with. | 0:05:22 | 0:05:23 | |
APPLAUSE | 0:05:26 | 0:05:28 | |
Cumberbatch is just one of more than 70 actors to have donned | 0:05:28 | 0:05:31 | |
Sherlock's famous deerstalker hat. | 0:05:31 | 0:05:34 | |
Murder, my dear Watson. | 0:05:34 | 0:05:35 | |
It was while Conan Doyle was studying medicine | 0:05:38 | 0:05:41 | |
here in his native Edinburgh that he met | 0:05:41 | 0:05:43 | |
the man who would inspire his famous sleuth. | 0:05:43 | 0:05:46 | |
I used, as a student, to have an old professor, whose name was Bell, | 0:05:48 | 0:05:53 | |
who was extraordinarily quick at deductive work. | 0:05:53 | 0:05:56 | |
He'd make his diagnosis of the disease, | 0:05:56 | 0:06:00 | |
and also very often of the patient's nationality and occupation, | 0:06:00 | 0:06:05 | |
entirely by his power of observation. | 0:06:05 | 0:06:08 | |
Literature's first forensic detective proved so popular, | 0:06:09 | 0:06:13 | |
Conan Doyle was kept busy writing Holmes stories | 0:06:13 | 0:06:16 | |
for more than 40 years. | 0:06:16 | 0:06:18 | |
The book at number eight was published almost a century later, | 0:06:20 | 0:06:23 | |
proving that, as a nation, we always love a good crime story. | 0:06:23 | 0:06:28 | |
It was our introduction to | 0:06:28 | 0:06:29 | |
a somewhat troubled Edinburgh detective. | 0:06:29 | 0:06:32 | |
In Knots Crosses, Ian Rankin | 0:06:42 | 0:06:44 | |
sets his SAS operative-turned- hard-drinking cop, John Rebus, | 0:06:44 | 0:06:49 | |
on the hunt for a serial killer, | 0:06:49 | 0:06:51 | |
who leaves a trail of strangled young girls | 0:06:51 | 0:06:54 | |
across Scotland's capital. | 0:06:54 | 0:06:55 | |
The only clues, a series of knots made of string | 0:06:58 | 0:07:01 | |
and matchstick crosses delivered through Rebus's door. | 0:07:01 | 0:07:06 | |
Rankin saw Knots Crosses as | 0:07:06 | 0:07:08 | |
a 20th-century reworking of Robert Louis Stevenson's Jekyll and Hyde. | 0:07:08 | 0:07:14 | |
Hidden behind Edinburgh's picture- perfect elegant architecture | 0:07:15 | 0:07:19 | |
lies a far darker vision of the city. | 0:07:19 | 0:07:22 | |
First appearing in 1985, | 0:07:23 | 0:07:26 | |
Rebus has gone on to become one of Britain's most popular | 0:07:26 | 0:07:29 | |
fictional detectives and is still cracking cases 31 years later. | 0:07:29 | 0:07:36 | |
Seventh in your top ten, | 0:07:40 | 0:07:41 | |
we're sticking in Edinburgh for a novel which garnered cult status | 0:07:41 | 0:07:44 | |
in the 1990s and inspired a play, a film and a killer soundtrack. | 0:07:44 | 0:07:50 | |
Trainspotting, the book and then the film, | 0:07:56 | 0:07:58 | |
gave voice to young working-class Edinburgh. | 0:07:58 | 0:08:02 | |
Choose life, choose a job, choose a career. | 0:08:02 | 0:08:04 | |
Choose a family, choose a ... big television, choose washing machines, | 0:08:04 | 0:08:07 | |
cars, compact disc players and electrical tin-openers. | 0:08:07 | 0:08:11 | |
TYRES SCREECH | 0:08:12 | 0:08:14 | |
HE LAUGHS | 0:08:20 | 0:08:22 | |
I bought Trainspotting because it was one of those books | 0:08:24 | 0:08:27 | |
that everyone was talking about at the time. | 0:08:27 | 0:08:29 | |
It was one of those moments that happens maybe every 10 or 20 years, | 0:08:29 | 0:08:31 | |
and it seemed to be one of those books that people | 0:08:31 | 0:08:33 | |
who didn't normally read books were getting into. | 0:08:33 | 0:08:35 | |
I remember getting on the plane to London and the air steward | 0:08:35 | 0:08:38 | |
clocked the book in my hand and looked down at it | 0:08:38 | 0:08:40 | |
and he smiled and said, "You're going to enjoy that." | 0:08:40 | 0:08:42 | |
It just seemed to be a book that everyone was getting behind. | 0:08:42 | 0:08:45 | |
Set in mid-1980s Leith, Irvine Welsh's irreverent debut, | 0:08:47 | 0:08:51 | |
and the iconic film that soon followed, | 0:08:51 | 0:08:53 | |
tells the story of a group of so-called friends | 0:08:53 | 0:08:57 | |
tied together by heroin addiction and their attempts to escape | 0:08:57 | 0:09:00 | |
the boredom and brutality of their lives. | 0:09:00 | 0:09:03 | |
Never again, Swanney, I'm off the skag. | 0:09:03 | 0:09:05 | |
Are you serious? Yeah. No more. I'm finished with that. | 0:09:05 | 0:09:09 | |
Irvine Welsh's capacity to shock is something truly astonishing | 0:09:09 | 0:09:13 | |
and, trust me, I'm hard to shock. He lives in a grey area. | 0:09:13 | 0:09:16 | |
His characters are morally ambiguous thieves, addicts, | 0:09:16 | 0:09:19 | |
sociopaths, and yet somehow - somehow - he makes us sympathise | 0:09:19 | 0:09:23 | |
with his antihero, Mark Renton. | 0:09:23 | 0:09:25 | |
One of the scenes that stayed with me was when one of Renton's | 0:09:25 | 0:09:28 | |
junkie pals loses her baby and he starts cooking up. | 0:09:28 | 0:09:32 | |
Lesley comes intae the room screaming. It's horrible. | 0:09:35 | 0:09:39 | |
Ah wanted her tae stop. Now. Ah couldnae handle this. | 0:09:39 | 0:09:42 | |
Nane ay us could. | 0:09:42 | 0:09:44 | |
"No' now. Not now." | 0:09:44 | 0:09:46 | |
Ah never wanted anything mair in my life | 0:09:46 | 0:09:48 | |
than fir her tae stop screaming. | 0:09:48 | 0:09:49 | |
"The bairn's away! The bairn's away! Dawn! Oh, my God!" | 0:09:49 | 0:09:52 | |
"She was a good mother. She loved that bairn. It's naebody's fault. | 0:09:54 | 0:09:58 | |
"Cot death an' that. Happens all the time." | 0:09:58 | 0:10:02 | |
"Yeah, likesay, cot death, man. Ken what ah mean?" Spud agreed. | 0:10:02 | 0:10:08 | |
Ah feel thit ah love thum aw. Matty, Spud, Sick Boy and Lesley. | 0:10:08 | 0:10:12 | |
Ah want tae tell them. Ah try, but it comes oot as, "Ah'm cookin'." | 0:10:12 | 0:10:18 | |
They look at us scoobied. | 0:10:18 | 0:10:20 | |
"That's me," ah shrug ma shooders, in self-justification. | 0:10:20 | 0:10:24 | |
I go ben the livin'-room. | 0:10:24 | 0:10:26 | |
The gadges move a few steps back and watch in silence as ah cook. | 0:10:26 | 0:10:30 | |
Lesley comes first, eftir me. That goes without saying. | 0:10:31 | 0:10:35 | |
The moments of genuine shock in these books | 0:10:42 | 0:10:44 | |
are easily in double figures. | 0:10:44 | 0:10:45 | |
You're entering this world of high drama and yet it feels | 0:10:45 | 0:10:48 | |
believable because it's written with such confidence. | 0:10:48 | 0:10:50 | |
Irvine Welsh is never scared of what people would think. | 0:10:50 | 0:10:53 | |
Trainspotting never apologises | 0:10:53 | 0:10:54 | |
for speaking in its own language of its own world. | 0:10:54 | 0:10:57 | |
And that at the time was very un-Scottish. | 0:10:57 | 0:11:00 | |
Your sixth favourite book may not be set in the capital, | 0:11:06 | 0:11:08 | |
but it was inspired by the city, where its author still lives. | 0:11:08 | 0:11:12 | |
It's the first in her magical series and it's sold | 0:11:12 | 0:11:16 | |
more than 100 million copies worldwide, and counting. | 0:11:16 | 0:11:19 | |
"Perhaps it had something to do with living in a dark cupboard, | 0:11:28 | 0:11:31 | |
"but Harry had always been small and skinny for his age. | 0:11:31 | 0:11:35 | |
"Harry had a thin face, knobbly knees, | 0:11:35 | 0:11:38 | |
"black hair and bright green eyes. | 0:11:38 | 0:11:41 | |
"He wore round glasses held together with a lot of Sellotape. | 0:11:41 | 0:11:46 | |
"The only thing Harry liked about his own appearance was a very | 0:11:46 | 0:11:49 | |
"thin scar on his forehead which was shaped like a bolt of lightning." | 0:11:49 | 0:11:54 | |
THUNDERCLAP | 0:11:54 | 0:11:56 | |
In 1996, a then unknown JK Rowling bewitched readers the world over | 0:11:56 | 0:12:01 | |
with her young wizard's very first adventure, | 0:12:01 | 0:12:04 | |
Harry Potter and the Philosopher's Stone. | 0:12:04 | 0:12:08 | |
On Harry's 11th birthday, he's saved from humdrum Muggle - | 0:12:08 | 0:12:11 | |
that's ordinary human to you and me - existence | 0:12:11 | 0:12:15 | |
by the discovery he has magical powers, | 0:12:15 | 0:12:17 | |
and is summoned for his first year | 0:12:17 | 0:12:19 | |
at Hogwarts School of Witchcraft and Wizardry. | 0:12:19 | 0:12:22 | |
"First-year students will require | 0:12:29 | 0:12:32 | |
"three sets of plain work robes, black. | 0:12:32 | 0:12:35 | |
"One pointed hat, black, for daywear. | 0:12:35 | 0:12:38 | |
"One pair of protective gloves, dragon-hide or similar. | 0:12:38 | 0:12:42 | |
"One winter cloak, black, silver fastenings. | 0:12:42 | 0:12:45 | |
"Please note that all pupils' clothes should carry nametags." | 0:12:45 | 0:12:49 | |
I first read the book when I was 23 and I loved it immediately. | 0:12:54 | 0:12:58 | |
JK Rowling's tale of an orphan boy with special powers | 0:12:58 | 0:13:01 | |
who's drawn into a complex adult world, | 0:13:01 | 0:13:04 | |
who has to avenge his parents' killers, | 0:13:04 | 0:13:07 | |
who has to fight evil personified | 0:13:07 | 0:13:08 | |
by his nemesis Voldemort, is exceptional. | 0:13:08 | 0:13:12 | |
The reason I love the book is the heart. | 0:13:12 | 0:13:15 | |
I followed each of the characters' emotional journeys | 0:13:15 | 0:13:18 | |
like a rollercoaster. | 0:13:18 | 0:13:20 | |
I've cried at their loss. I've applauded their triumphs. | 0:13:20 | 0:13:24 | |
The good thing is, I can return to Harry's world whenever I like | 0:13:24 | 0:13:28 | |
through the books and the spectacular films. | 0:13:28 | 0:13:31 | |
THEY ROAR | 0:13:31 | 0:13:36 | |
JK Rowling wrote most of the novel longhand | 0:13:46 | 0:13:49 | |
in a few of the city's cafes, | 0:13:49 | 0:13:51 | |
and legend has it she wrote some of it here, at the Elephant House. | 0:13:51 | 0:13:55 | |
But cafes weren't the only ingredient | 0:13:55 | 0:13:59 | |
in the Harry Potter recipe. | 0:13:59 | 0:14:00 | |
Where better than Edinburgh, | 0:14:00 | 0:14:02 | |
with its Gothic Old Town, to inspire a tale of magic? | 0:14:02 | 0:14:07 | |
Wingardium Leviosa! | 0:14:07 | 0:14:10 | |
And it's in this historic Greyfriars Kirkyard | 0:14:14 | 0:14:17 | |
that JK Rowling found the names of some of her characters. | 0:14:17 | 0:14:21 | |
Like Professor McGonagall, Professor Moody | 0:14:21 | 0:14:24 | |
and of course Tom Riddle, | 0:14:24 | 0:14:26 | |
also known as Voldemort. | 0:14:26 | 0:14:30 | |
Well, we're halfway through your top ten now, | 0:14:34 | 0:14:37 | |
and if Trainspotting depicted the dark, drug-fuelled side | 0:14:37 | 0:14:40 | |
of Edinburgh life, then the book at number five paints | 0:14:40 | 0:14:44 | |
a very different picture of the city | 0:14:44 | 0:14:46 | |
and features only the creme de la creme of educated young ladies. | 0:14:46 | 0:14:51 | |
Set in 1932, Muriel Spark's most famous book presents | 0:14:58 | 0:15:04 | |
a world on the cusp of change, | 0:15:04 | 0:15:06 | |
with her forceful literary creation Miss Jean Brodie leading the charge, | 0:15:06 | 0:15:12 | |
and personified on film by Maggie Smith | 0:15:12 | 0:15:16 | |
in an Oscar-winning performance. | 0:15:16 | 0:15:18 | |
Give me a girl at an impressionable age and she is mine for life. | 0:15:18 | 0:15:22 | |
You girls are my vocation. | 0:15:22 | 0:15:25 | |
Miss Brodie's charm, glamour and unconventional ideas | 0:15:25 | 0:15:30 | |
hold dangerous sway over the Brodie set | 0:15:30 | 0:15:33 | |
at the Marcia Blaine School for Girls, | 0:15:33 | 0:15:36 | |
as they are introduced to a world of adult games beyond their ken, | 0:15:36 | 0:15:40 | |
and inspired to acts of bravery and betrayal. | 0:15:40 | 0:15:44 | |
Our next novel takes its man-on-the-run hero | 0:15:44 | 0:15:47 | |
on a breathless journey from London | 0:15:47 | 0:15:49 | |
to the Galloway Hills and back again, | 0:15:49 | 0:15:52 | |
for an adventure thriller that's inspired numerous adaptations, | 0:15:52 | 0:15:55 | |
not least by the master of suspense himself, Alfred Hitchcock. | 0:15:55 | 0:15:59 | |
WHISTLE BLOWS | 0:16:07 | 0:16:09 | |
"My notion was to get off to some wild district... | 0:16:09 | 0:16:13 | |
"..for I would be like a trapped rat in a city. | 0:16:13 | 0:16:16 | |
"I fixed on Galloway as the best place to go. | 0:16:16 | 0:16:20 | |
"It was the nearest wild part of Scotland." | 0:16:20 | 0:16:23 | |
This is the very spot in Mossdale where Buchan's antihero, | 0:16:23 | 0:16:28 | |
Richard Hannay, gets off the train and starts his Scottish adventure. | 0:16:28 | 0:16:34 | |
I first read The Thirty-Nine Steps as a teenager | 0:16:34 | 0:16:37 | |
and was swept away by the nail-biting pace, jeopardy, | 0:16:37 | 0:16:42 | |
double-crossing and endlessly surprisingly plot twists | 0:16:42 | 0:16:46 | |
that keep the reader, and its hero, guessing till the very last pages. | 0:16:46 | 0:16:51 | |
John Buchan published his most popular novel in 1915, | 0:16:53 | 0:16:58 | |
a story so thrilling it inspired | 0:16:58 | 0:17:01 | |
a young Alfred Hitchcock to create one of his best early films. | 0:17:01 | 0:17:06 | |
It's a tale involving national secrets, | 0:17:06 | 0:17:09 | |
German spies and an innocent man framed for murder. | 0:17:09 | 0:17:13 | |
Richard Hannay heads to the hills to escape both the police | 0:17:14 | 0:17:18 | |
and the evil cabal of the Black Stone gang, | 0:17:18 | 0:17:22 | |
who are conspiring to ignite a global conflict. | 0:17:22 | 0:17:26 | |
"I was in a wide semicircle of moorland, with the brown river | 0:17:28 | 0:17:32 | |
"as radius, and the high hills forming the northern circumference. | 0:17:32 | 0:17:37 | |
"There was not sign or sound of a human being, | 0:17:37 | 0:17:41 | |
"only the plashing water and the interminable crying of curlews. | 0:17:41 | 0:17:46 | |
"Yet, oddly enough, | 0:17:46 | 0:17:48 | |
"for the first time I felt the terror of the hunted on me." | 0:17:48 | 0:17:54 | |
As Hannay's chase propels him from hillside to country inn, | 0:17:54 | 0:17:58 | |
he borrows, or steals, many a different man's identity | 0:17:58 | 0:18:02 | |
in a desperate attempt to resist arrest and foil the villainous gang. | 0:18:02 | 0:18:08 | |
The Thirty-Nine Steps is more than an ingenious page-turner. | 0:18:14 | 0:18:18 | |
With its brilliant narration, spare prose style | 0:18:18 | 0:18:21 | |
and wonderful turns of phrase, | 0:18:21 | 0:18:24 | |
it feels fresh and contemporary. | 0:18:24 | 0:18:26 | |
It's both spy detective and adventure story, | 0:18:26 | 0:18:30 | |
but its author defined the novel as a romance, | 0:18:30 | 0:18:34 | |
where the incidents defy the probabilities | 0:18:34 | 0:18:38 | |
and march just inside the borders of the possible. | 0:18:38 | 0:18:42 | |
Moving on to your top three, your third-favourite Scottish novel | 0:18:46 | 0:18:50 | |
is the author's semi-biographical masterwork. | 0:18:50 | 0:18:54 | |
It's set in Glasgow and a nightmarish parallel city, | 0:18:54 | 0:18:58 | |
and fuses fantasy and reality | 0:18:58 | 0:19:00 | |
in one man's desperate search for happiness. | 0:19:00 | 0:19:03 | |
"A city on the banks of a shrunk river." | 0:19:09 | 0:19:13 | |
"A city with a 19th-century square full of ugly statues. | 0:19:15 | 0:19:20 | |
"Am I right? | 0:19:20 | 0:19:22 | |
"That city is called Unthank. | 0:19:22 | 0:19:26 | |
"The calendar in Unthank is based on sunlight | 0:19:26 | 0:19:30 | |
"but only administrators use it. The majority have forgotten the sun. | 0:19:30 | 0:19:36 | |
"Moreover, they have rejected the clock. They do not measure or plan. | 0:19:36 | 0:19:44 | |
"Their lives are regulated by simple appetite | 0:19:44 | 0:19:48 | |
"varied by the occasional impulse." | 0:19:48 | 0:19:51 | |
"Not surprisingly, nobody is well there." | 0:19:52 | 0:19:57 | |
It may have taken Alasdair Gray 30 years to write, but when Lanark was | 0:20:00 | 0:20:05 | |
finally published in 1981, it was a game-changer for Scottish fiction. | 0:20:05 | 0:20:10 | |
Gray's visionary modern classic transcends categorisation | 0:20:11 | 0:20:15 | |
and genre | 0:20:15 | 0:20:17 | |
as it flits between surreal science fiction and naturalism, | 0:20:17 | 0:20:22 | |
following the journey of flawed hero Duncan Thaw, | 0:20:22 | 0:20:26 | |
AKA Lanark, through two divergent worlds. | 0:20:26 | 0:20:30 | |
I first read Lanark when I came to live in this city ten years ago, | 0:20:32 | 0:20:37 | |
and I love its honesty about being stuck in a dysfunctional male body | 0:20:37 | 0:20:44 | |
while striving to make art | 0:20:44 | 0:20:47 | |
and striving to get close to the gorgeous, bright young arty females | 0:20:47 | 0:20:53 | |
that he, Duncan, so desires. | 0:20:53 | 0:20:58 | |
"They were late for the film." | 0:21:01 | 0:21:03 | |
"It had love scenes, | 0:21:06 | 0:21:08 | |
"which made him very conscious of Marjory beside him." | 0:21:08 | 0:21:12 | |
"He leaned toward her..." | 0:21:16 | 0:21:18 | |
"..but she sat so upright and stared so straight forward..." | 0:21:20 | 0:21:27 | |
"..that he dispiritedly brought out the chocolates | 0:21:28 | 0:21:36 | |
"and resignedly popped one at intervals..." | 0:21:36 | 0:21:43 | |
"..into her mouth." | 0:21:45 | 0:21:47 | |
I love that his epic vision of Scotland | 0:21:57 | 0:21:59 | |
is not the mythical hills and glens of the Highlands, | 0:21:59 | 0:22:02 | |
but this city of Glasgow, where he grew up and still lives today - | 0:22:02 | 0:22:08 | |
and in its colossal scale, it has this real Blakean quality, | 0:22:08 | 0:22:12 | |
for me, to its artistry and its scope, | 0:22:12 | 0:22:16 | |
that makes Glasgow seem both heroic and darkly Satanic. | 0:22:16 | 0:22:21 | |
It's a very simple tale, really, but told with such timeless imagination, | 0:22:22 | 0:22:27 | |
and that's why it gets my vote. | 0:22:27 | 0:22:29 | |
Your runner-up at number two | 0:22:33 | 0:22:36 | |
was the first book to be published by this writer, in 1984. | 0:22:36 | 0:22:40 | |
It's a murderous tale of a psychopathic teenager | 0:22:40 | 0:22:43 | |
and his family's dark secrets, | 0:22:43 | 0:22:45 | |
played out on a remote Scottish island. | 0:22:45 | 0:22:47 | |
In Iain Banks' debut The Wasp Factory, | 0:22:57 | 0:23:00 | |
16-year-old Frank Cauldhame is the self-appointed lord of his island, | 0:23:00 | 0:23:04 | |
where he lives with his experimental scientist father | 0:23:04 | 0:23:08 | |
and violent, unhinged brother on the loose from a psychiatric hospital. | 0:23:08 | 0:23:13 | |
Frank occupies his days hunting small animals and prophesying | 0:23:15 | 0:23:20 | |
the future through bizarre, savage rituals. | 0:23:20 | 0:23:23 | |
A highly original gothic horror, | 0:23:25 | 0:23:27 | |
Banks's novel is a study in obsession, blood and death. | 0:23:27 | 0:23:31 | |
I looked for the two most eccentric things I'd ever done - | 0:23:32 | 0:23:35 | |
one was building dams, | 0:23:35 | 0:23:36 | |
and the other one was being a schoolboy bombmaker, | 0:23:36 | 0:23:40 | |
so I had to - you know, I could write fairly convincingly | 0:23:40 | 0:23:43 | |
about those things, so I put those into the book - | 0:23:43 | 0:23:45 | |
but everything else is made up, honest. | 0:23:45 | 0:23:47 | |
The Wasp Factory showcased the late Iain Banks' | 0:23:50 | 0:23:53 | |
brilliantly bizarre imaginative powers, | 0:23:53 | 0:23:56 | |
and became the first of many cult classics and science-fiction epics | 0:23:56 | 0:24:01 | |
by this prolific author. | 0:24:01 | 0:24:02 | |
And so, finally, we come to your favourite Scottish novel. | 0:24:06 | 0:24:10 | |
It's an early 20th-century classic, | 0:24:11 | 0:24:13 | |
again set in a remote community in the north-east of Scotland. | 0:24:13 | 0:24:18 | |
Your number one choice is the story of a farmer's daughter | 0:24:18 | 0:24:21 | |
caught up in the conflict | 0:24:21 | 0:24:23 | |
between the traditional way of life and the modern world. | 0:24:23 | 0:24:26 | |
"Below and around where Chris Guthrie lay | 0:24:40 | 0:24:42 | |
"the June moors whispered and rustled and shook their cloaks, | 0:24:42 | 0:24:46 | |
"yellow with broom and powdered faintly with purple, | 0:24:46 | 0:24:49 | |
"that was the heather but not the full passion of its colour yet. | 0:24:49 | 0:24:53 | |
"And in the east against the cobalt blue of the sky | 0:24:53 | 0:24:56 | |
"lay the shimmer of the North Sea, that was by Bervie." | 0:24:56 | 0:25:00 | |
Sunset Song tells the story of young heroine Chris Guthrie | 0:25:02 | 0:25:05 | |
as she comes of age in the tight-knit farming community | 0:25:05 | 0:25:08 | |
of fictional Kinraddie | 0:25:08 | 0:25:10 | |
in author Lewis Grassic Gibbon's native Aberdeenshire. | 0:25:10 | 0:25:13 | |
I first read Sunset Song when I was in my early teens, | 0:25:15 | 0:25:18 | |
so, maybe about 13 or 14, | 0:25:18 | 0:25:21 | |
and it resonated with me, firstly because it's a wonderful story, | 0:25:21 | 0:25:25 | |
beautifully written - | 0:25:25 | 0:25:26 | |
but it also said something about the history of the country I grew up in, | 0:25:26 | 0:25:30 | |
and resonated very strongly with me as a young Scottish woman, | 0:25:30 | 0:25:35 | |
and I think its themes are timeless to this day. | 0:25:35 | 0:25:39 | |
I think it's a very early feminist novel. | 0:25:43 | 0:25:47 | |
She's just a very, very strong character - | 0:25:47 | 0:25:50 | |
at a time, you know, Sunset Song was written in the early 1930s, | 0:25:50 | 0:25:53 | |
at a time when not many books would have portrayed | 0:25:53 | 0:25:57 | |
a female character in that way. | 0:25:57 | 0:25:59 | |
"Two Chrisses there were that fought for her heart and tormented her. | 0:26:02 | 0:26:07 | |
"You hated the land and the coarse speak of the folk | 0:26:07 | 0:26:10 | |
"and learning was brave and fine one day, | 0:26:10 | 0:26:12 | |
"and the next you'd waken with the peewits crying across the hills, | 0:26:12 | 0:26:17 | |
"deep and deep, crying in the heart of you | 0:26:17 | 0:26:20 | |
"and the smell of the earth in your face, | 0:26:20 | 0:26:22 | |
"almost you'd cry for that." | 0:26:22 | 0:26:24 | |
Chris, as a character, does personify the story of Scotland. | 0:26:26 | 0:26:31 | |
We see her struggling to come to terms with some of the changes | 0:26:31 | 0:26:36 | |
taking place around her. | 0:26:36 | 0:26:37 | |
"And the land changes, | 0:26:42 | 0:26:43 | |
"their parks and their steadings are a desolation, | 0:26:43 | 0:26:45 | |
"where the sheep are pastured." | 0:26:45 | 0:26:47 | |
"We are told that great machines come soon to till the land, | 0:26:50 | 0:26:53 | |
"and the great herds come to feed on it." | 0:26:53 | 0:26:56 | |
"The crofter has gone, | 0:26:58 | 0:27:00 | |
"the man with the house and the steading of his own | 0:27:00 | 0:27:02 | |
"and the land closer to his heart than the flesh of his body. | 0:27:02 | 0:27:07 | |
"Nothing, it has been said, is true but change, nothing abides." | 0:27:07 | 0:27:12 | |
He did something quite innovative and ground-breaking, | 0:27:15 | 0:27:19 | |
in that he used...you know, his own language, in that sense, | 0:27:19 | 0:27:22 | |
in a fictional setting, | 0:27:22 | 0:27:24 | |
and that was, for me, part of the mystique and the magic of the book. | 0:27:24 | 0:27:28 | |
I grew up in Ayrshire, so it opened my eyes to parts of the country | 0:27:28 | 0:27:32 | |
that I hadn't, until that point, been very familiar with. | 0:27:32 | 0:27:36 | |
Tragically, Grassic Gibbon died just three years after the first book | 0:27:37 | 0:27:41 | |
in his Scots Quair trilogy was published. | 0:27:41 | 0:27:44 | |
But thanks to school reading lists and radio, TV and film versions, | 0:27:45 | 0:27:49 | |
many of us have grown up with Sunset Song, | 0:27:49 | 0:27:52 | |
and his masterpiece lives on. | 0:27:52 | 0:27:55 | |
I'm delighted to champion my favourite Scottish book - | 0:27:57 | 0:28:00 | |
and, as it turns out, Scotland's favourite book - | 0:28:00 | 0:28:04 | |
Sunset Song. | 0:28:04 | 0:28:05 | |
So, to one of my heroines, the fantastic, wonderful Chris Guthrie, | 0:28:05 | 0:28:10 | |
congratulations on making it to number one. | 0:28:10 | 0:28:13 | |
So, that's it - Sunset Song by Lewis Grassic Gibbon | 0:28:14 | 0:28:17 | |
is Scotland's favourite book. | 0:28:17 | 0:28:19 | |
Now, if you haven't read it, or any of the others in the top ten, | 0:28:19 | 0:28:23 | |
then I do hope you're inspired to do so - | 0:28:23 | 0:28:24 | |
and if you'd like to see the result of all 30 in the longlist, | 0:28:24 | 0:28:28 | |
then go to... | 0:28:28 | 0:28:29 | |
Goodnight, and happy reading. | 0:28:34 | 0:28:36 |