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Quote by Louise Miller

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The Late Bloomers' Club

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Louise Miller

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“Sheikh Bilal had taken him aside the day before the wedding and spoken to him of marriage and his wife’s rights in the Law, stressing to him that there was nothing for a Muslim to feel shy about in marrying a woman who was not a virgin and that a Muslim woman’s previous marriage ought not to be a weak point that her new husband could exploit against her. He said sarcastically, “The secularists accuse us of puritanism and rigidity, even while they suffer from innumerable neuroses. You’ll find that if one of them marries a woman who was previously married, the thought of her first husband will haunt him and he may treat her badly, as though punishing her for her legitimate marriage. Islam has no such complexes.”

Marriage Islam
Book:The Yacoubian Building
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“When MacDiarmid spoke of "Synthetic Scots" he merely referred to another aspect of this necessary revolution; that we should forget the whole poverty-stricken "dialect" tradition that Burns and his immediate predecessors had been unconsciously responsible for, and use again all the rich resources of the language as Dunbar and the Makars had used it, as had Burns and Fergusson, Scott, Galt, Stevenson and George Douglas Brown.”

Scots LanguageScots Leid
Book:A Short Introduction to Scottish Literature
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“That's richt. When we were campaignin' wi' Marlborough oor lads had mony time to sleep wi' the canon dirlin' aboot them. Ye get us'd to't, as Annalpa says aboot bein' a weedow woman. And if ye hae noticed it, Coont, there's nae people mair adapted for fechtin' under difeeculties than oor ane; that's what maks the Scots the finest sogers in the warld. It's the build o them, Lowlan' or Hielan', the breed o' them; the dour hard character o' their country and their mainner o' leevin'. We gied the English a fleg at the 'Forty-five,' didnae we? That was where the tartan cam' in: man, there's naethin' like us!”

Fighting SpiritScots LanguageSoldieringThe Scots
Book:Doom Castle
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“...the prose tradition had died two centuries before and the recreation of a full canon of all-purpose Scots was beyond even Scott's skill, nor did he attempt it, except, perhaps in the magnificent Wandering Willie's Tale. He took the only course open to him, of writing his narrative in English and using Scots only for those who, given their social class, would still be speaking it: daft Davie Gellatley in Waverley, the gypsies and Dandie Dinmont in Guy Mannering, the Headriggs in Old Mortality, Edie Ochiltree and the fisher-folk of Musselcrag in The Antiquary, Andrew Fairservice in Rob Roy, the Deanses in The Heart of Midlothian, Meg Dods in St. Ronan's Well, and so on. The procedure gave reality to the Scots characters whose ways and ethos it was Scott's main purpose to portray, and the author in his best English, which lumbered along rather badly at times, did little more than lay out the setting for the action and act as impressario for the characters as they played their roles... ...Scott's felicity in conveying character and action through their Scots speech inspired his imitators for the next hundred years - Susan Ferrier, Hogg, Macdonald, Stevenson, Barrie, Crockett, Alexander, George Douglas, and John Buchan. The tradition of narrative in standard English and dialogue in various degrees of dialect has been the usual procedure since.”

Scots LanguageWalter ScottScots LeidDavie GellatleyEdie Ochiltree
Book:Grampian Hairst: An Anthology of Northeast Prose
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“On the whole popular fiction in Victorian Scotland is not overwhelmingly backward-looking; it is not obsessed by rural themes; it does not shrink from urbanisation or its problems; it is not idyllic in its approach; it does not treat the common people as comic or quaint. The second half of the nineteenth century is not a period of creative trauma or linguistic decline; it is one of the richest and most vital episodes in the history of Scottish popular culture.”

Scots LanguageScots LeidKailyardScottish LiteratureScottish Fiction
Book:Popular Literature in Victorian Scotland: Language, Fiction and the Press
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