Identification of the state with the human organism is, one of the narrators of Lanark tells the reader, a literary device at least as old as Plutarch. In this eccentric, compelling novel by a Scottish writer-painter whose sketches both illustrate and extend the text, the decay of the body politic is the controlling image. Swiftian in its intensity, Lanark is a metafictional allegory. Drawing on sources that range from Vergil to Johann Wolfgang von Goethe, from William Blake and Ralph Waldo Emerson to contemporary Scottish novelists, Alasdair Gray creates in the novel a series of worlds which function simultaneously as projections of a collective unconscious, contemporary versions of the classical underworld, and embodiments of a grim, antiutopian social vision. Literary allusions, echoes, and conscious plagiarisms, both hidden and overt, enhance the text, lending power and often humor to the ultimate bleakness of the author’s perspective.
The outline of the story is less complicated than the eccentric organization of the novel’s component parts might suggest. Chapters 1 through 11, identified as book 3 in the table of contents, follow the adventures of the eponymous hero from the moment of his birth or rebirth in a railway car to the point at which, cured of a mysterious disease, he is told, in chapters 12 through 30 (books 1 and 2), the story of his alter ego, or previous self, Duncan Thaw. Lanark’s story, a quest journey filled with archetypes and symbolic figures and scenes, is picked up again in the final third of the book, where it is at one point interrupted by an epilogue, also identified as a prologue, which provides among other things an index to the multiple plagiarisms embedded in the text. What seems at first to be merely a superficial manipulation of the reader’s attention comes to make sense in the emotional rhythm of the fictive pattern and for the most part adds to the impact of the book.
Lanark first appears on the scene in an after-hours coffeehouse in a city that bears a strong resemblance to contemporary Glasgow. Drawn into a clique dominated by the charismatic politician Sludden, Lanark is attracted by one of Sludden’s admirers, the girl Rima, who frustrates him by both inviting and repelling his advances.
It soon becomes apparent that the surface upon which the characters move is at once more and less substantial than it seems. People mysteriously disappear from the streets of the city,...
(The entire section is 1011 words.)
Other items of interest
The Special Collections department holds a number of other items relating to Gray's work. Lithographs of the title pages from Lanark are held in the department at Sp Coll HX 127. A number of scripts by Gray are housed in the Scottish Theatre Archive: these can be retrieved by searching the STA catalogue using the name option. Also, see the Lanark collection description from the collection description web pages on the Special Collections website.
Both the Mitchell Library and the National Library of Scotland also hold Gray manuscript material, a list of which is available from the supervisors desk in the Special Collections reading room.
There are a number of secondary works available on Gray and his work. Especially useful is Crawford and Nairn's work The arts of Alasdair Gray (Edinburgh : Edinburgh University Press, c1991) ULL - English PG841 ART. Other useful works include Glasgow Urban Writing and Postmodernism: A study of Alasdair Gray's Fiction by Beat Witschi (Frankfurt am Main : Peter Lang, 1991) SLC - English PG841 WIT and Bernstein's Alasdair Gray (Lewisburg, Pa. : Bucknell University Press London : Associated University Presses, c1999) ULL - English PG841 BER. Also, to be published this month is Alasdair Gray: Critical Appreciations and a Bibliography (London, British Library, 2002)which will include an updated bibliography of Gray's work, essays and artwork.
This page has been produced with the cooperation of Alasdair Gray, and all images on this page are copyright of Alasdair Gray.