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Quote by Amir Obregon Vargas

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Amir Obregon Vargas

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“The Maggie [Alexander Mackendrick, 1954] represents Scotland at its most self-lacerative. Precisely at the moment, the early fifties, when the massive penetration of American capital into Scotland was gathering pace, The Maggie actually sets the two halves of the contradiction - american entrepreneur and Scottish workers in opposition to each other, but with almost wilful perversity the film has the Scots win hands down. In true Kailyard style, what is not achievable at the level of political struggle is attainable in the Scottish imagination.”

ScotlandKailyard1954American CapitalistsAlexander Mackendrick
Book:Scotch Reels: Scotland in Cinema and Television
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“Ugly and futile: lean neck and thick hair and a stain of ink, a snail’s bed. Yet someone had loved him, borne him in her arms and in her heart. But for her the race of the world would have trampled him underfoot, a squashed boneless snail. She had loved his weak watery blood drained from her own. Was that then real? The only true thing in life? His mother’s prostrate body the fiery Columbanus in holy zeal bestrode. She was no more: the trembling skeleton of a twig burnt in the fire, an odour of rosewood and wetted ashes. She had saved him from being trampled underfoot and had gone, scarcely having been. A poor soul gone to heaven: and on a heath beneath winking stars a fox, red reek of rapine in his fur, with merciless bright eyes scraped in the earth, listened, scraped up the earth, listened, scraped and scraped.”

ReligiousImagiste
Book:Ulysses
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