Books by Neil Gunn

Neil M Gunn (1892 - 1973), one of Scotland's most distinguished and highly regarded novelists of the 20th century, was a prolific writer. While he is best known for his fictional work Gunn was also a perceptive and meditative essayist who wrote extensively throughout his life on a wide range of subjects from landscape, nature and fishing to politics, nationalism and current affairs. Belief in Ourselves is a collection of essays that focuses on politics in the widest sense, embracing group activity in all its forms from nationalism to both communal work in a social sense and co-operation in crofting and fishing; the focus extends also to literature as a source of inspiration for a nation and a provider of national identity. That most of the essays were written between the two world wars - a period of political uncertainty and economic crisis - brings a sense of urgency to the writer in terms of the resolution of the problems and the exploration of the ideas aired by him. Many of the problems he identifies remain with us, albeit in different forms. Indeed, the imaginative and enlightened way in which Gunn looks at the events of his day have a strange relevance for today's world. This forms a sister volume to the earlier Landscape to Light, which concentrates on his native landscape and culture and the spiritual aspects of his life and thought. As with Landscape to Light, much of what Gunn writes informs his fictional work.

The Lost Glen vividly portrays a clash of cultures and personalities against a background of a landscape in visible decay. The cultural collision and its effects are explored through Ewan, a young local man recently returned from university in disgrace, and a retired English colonel staying at the village hotel. Both men in a sense are alienated from the community, the younger because of a haunting sense of failure, and the older through an unwillingness to understand the local culture. They have a mutual antipathy. The Colonel's self-imposed cultural isolation leads to aggressive bullying and an openly lascivious attitude towards local young women. His unworthiness as a representative of Anglo-Saxon culture is largely compensated for by his young niece, who behaves with sensitivity and integrity. She is clearly attracted to Ewan whose sense of failure is complex and does not only concern his enforced withdrawal from university and his involvement in an incident at sea that cost his father his life; it concerns the feeling he has of himself as a spiritual exile - a man who had intended to emigrate but who had remained as an outsider in the land that meant so much to him. The antipathy between the two main protagonists leads to a physical struggle between them that brings to an end a novel, layered with meanings, that is more a symbolic drama than a novel of realism. One of the earliest novels to appear in the Scottish Literary Renaissance of the 1920s and 1930s, The Lost Glen turns its back on the form of writing that had depicted Scotland as a rural paradise in favour of describing Highland life as it really was at that time.