Fiction Titles

Royal Halloway’s Exegesis literary journal
Story ‘Yellow House’

To Have Never Loved
One act play performed through the Dundee Dramatic Society
(30 May 2012)
To Have Never Loved rehersal trailer

Through Cracks in the Cubicle Walls
Short Audio Story on

One-Act Play ‘Made for One Another’

Almost an Island
Story ‘The Day the Women Disappeared’

New Writing Dundee (2008-2010)
(Senior Editor and Contributor)
NWD 3 : Story ‘Autoerotic Defenestration’
NWD 4 : Story ‘Hindsight’
NWD 5: Story  ‘CV Building’

Academic Titles


Chapter: ‘The Myth of Truth in Blogging: Perceptions of the Author found in New Media Hoaxes’ in New Wine in Old Bottles: Modern Myth-Making in Literature and Film, ed. by Karen Graham (Aberdeen) (2014)

Chapter: ‘The Woman/Child of The Wiz: cultural representations of the Black Feminist Movement’ in Returning to Oz: The Afterlife of Dorothy, ed. Dr Hannah Priest (Manchester) (2014)


The Nature of Appropriation: Eric Linklater’s Juan in America
University of Dundee MPhil Thesis (see abstract below)

Alienation and Resistance: Representation in Text and Image
Article Titled ‘Alliances not Alienation: Imperial Federalism via Scottish Nationalism in Eric Linklater’s Magnus Merriman

This essay examines the biographical elements of Eric Linklater’s novel, Magnus Merriman (1934), and suggests that the novel’s support of nationalism is conditional. I argue that despite Magnus Merriman often being considered Eric Linklater’s ‘Scottish novel’, the text mocks the Nationalist Party’s inconsistencies, denounces sentiments of anti-English alienation, and only supports small nations if united through imperial federalism. This article argues that, in Magnus Merriman, Linklater outlines the seemingly contradictory ideologies of Scottish Nationalism and Imperialism by creating a satiric novel that follows the search for home, a better Scotland, and a stronger Britain.

Conference Papers and Presentations

University of Dundee: Creative Conflicts Conference
‘Autobiographical Adaptation: Byron’s Don Juan
This paper investigates the relationship between autobiography and literary adaptation, and how both forms use the act of appropriation and representation to create a sense of verisimilitude within the text. This information was then applied to Byron’s Don Juan in order to understand how he adapted autobiographic elements for a fictional work.

University of Aberdeen: Novels and Its Borders Conference
‘Eric Linklater’s Magnus Merriman: the satirical answer to the Caledonian Antisyzygy debate’
This paper explores Eric Linklater’s Magnus Merriman (1934), and its satirical representation of various socio-political movements which were prominent in Scotland between First and Second World Wars. Linklater portrayed these movements as being at odds with one another, thus highlighting Scotland’s contradictory nature and responding to the Caledonian Antisyzygy debate as was being initiated by Hugh MacDiarmid.

University of Strathclyde: Crosscurrents Conference
‘Eric Linklater’s Edinburgh, Fife and the Islands: Scotland as Personified through Magnus Merriman
This paper investigates Eric Linklater’s Magnus Merriman (1934), and the novel’s representation of real versus imagines communities in Scotlandas personified by female antagonists. The novel’s protagonist, Magnus Merriman, searches for a socio-political utopia as he journeys through three distinct regions of Scotland: Edinburgh as the evolving urban refuge for the literati, Fife as a fishing society struggling under a global market, and the arrested development of a rural Orkney community. Within each community he becomes involved with a different woman, each one representing a corresponding Scottish region and its corresponding socio-political movement.

University of Dundee: Postgraduate English Forum
‘Audience Manipulation in Eric Linklater’s The Impregnable Women
This paper discusses Eric Linklater’s use of language in order to draw specific reactions from readers of his novel The Impregnable Women (1936). This novel is divided into halves, with the first section acting as a gruesome tale of war, and the second half a satiric comedy. This paper insists that principles from Reader Response Theory can be used to understand how an author manipulates a reader’s reaction to a narrative. It is this reaction that mandates the genre, and it is by manipulating the reader that Linklater was able to create a novel that is both comedic and tragic.

University of Dundee: Postgraduate English Forum
The Revolution – A Trial Run: Eric Linklater’s short story collection as a precursor to his war novels’
Eric Linklater’s novella The Revolution (1934) uses several of the same themes and characters found later in his novel The Impregnable Women (1936). My presentation made comparisons between the two texts, and then argued that The Impregnable Women was not an act of intertextual appropriation from an earlier work but an act of self-plagiarism.

University of Dundee: ‘The World About Us’ Specialist Lecture Series
‘The Origins of Comedy in Modern Entertainment: Side Splitting Laughter from Aristotle to Absolutely Fabulous’
This lecture first discussed the forms of satire and comedy as recognised by Aristotle and Socrates and then responded to by Euripides and Aristophanes. Next this lecture used examples from contemporary television to show how these ancient principles of comedy are still a part of modern entertainment.

University of Dundee: Invisibilities/ Cultural Texts and Images Conference
‘Re/writing Lysistrata: Comedy and Violence in Eric Linklater’s The Impregnable Women’
By investigating Eric Linklater’s appropriation of comedy and violence from Aristophanes’ Lysistrata to his own novel, The Impregnable Women (1936), this paper focuses on the origins of Greek satire as transplanted in pre-War literature.

MPhil Thesis Abstract

Title: ‘The Nature of Appropriation: Eric Linklater’s Juan in America(65,000 words)

Thesis Abstract: My thesis investigates the numerous influences which shaped Eric Linklater’s Juan in America (1931), such as culture, history, memory and literary tradition. Juan in America pays homage to Byron’s Don Juan (1819-1824) through appropriation, intertextuality and allusion. The Byron scholar, Frederick Beaty, suggests in Byron the Satirist (1985) that ability, temperament and use of raw materials – such as response to society and literary tradition – are the best guide to understanding Byron’s satire, and it is through these elements that a comparison between Don Juan and Juan in America are made.

After thoroughly comparing both texts, this thesis uses theories from adaptation studies to determine the appropriative relationship between the two texts. This dissertation then suggests that the act of appropriation can extend beyond literary transposition, and that ‘raw materials’ – which Beaty states to be influences from history, memory, and culture – can also be appropriated for satirical purpose. These elements are investigated using concepts from the disciplines of autobiography, history and anthropology.

Finally, Linklater was influenced by various literary traditions evident in the work of satirists, transatlantic authors and his peers. These areas of literature are put into context against Juan in America using ideas from comparative literature studies. Because both Juan in America and Don Juan are satires heavily laden with intertextual references, as well as autobiographic, historic and cultural representations, taking a multi-disciplinary approach was necessary in this investigation.  I concluded that Linklater interacted with his surroundings to create a unified form of satire that paid homage to Byron, while still acting as a unique literary work.


4 Responses to Publications

  1. Anna Welch says:

    ‘Eric Linklater’s Edinburgh, Fife and the Islands: Scotland as Personified through Magnus Merriman’ Is this paper available anyway, it looks particularly relevant to a uni course I am taking regarding fiction in Edinburgh.


  2. Rachel says:

    Anna. I gave it at a conference, and I don’t remember if they published transcripts. If you want to contact me at, I’ll see if I can find an old copy and email it over.


  3. Anna Welch says:

    *Rachel (and sorry, I spelt your name wrong in the email to)


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