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Front Cover -- About the Author -- Title Page -- Copyright -- Contents -- Acknowledgements -- Foreword by Ali Smith -- Introduction -- A Note on the Text -- POEMS -- from origins and elements (1959) -- Elasticity -- Reading about Rimbaud -- 'It's a mistake to write a poem that seems more certain' -- Emily -- Water -- Carbon -- Reputation -- Storms -- A Fire -- Flood-water -- Sleep -- 'Protected in my little house' -- To Anybody at All -- Singularity -- Four or Ninety or ∞ or what -- Now -- Lezione di Recitazione -- ' "Don't meet," they say to me' -- The Unbreakable-Up -- Litmus -- Cave Drawing of the Water of the Earth and Sea -- Hooray, Hooray, Hoo Ray Ray Ray -- Sprung Sonnet -- Ay, Ay, Ay, Dolores -- from Subjects and Sequences (1960) -- Pomona -- Bowery -- Standing Stones of Stenness -- Then, Oh Then, Oh Then -- Edward Nairn, Poet -- Kulgin the Helicopter -- Alex -- Allison -- But why not try this method -- A Poem for a Morning -- Pavement Artist -- from Short Poems on Blue Paper -- Historical Sense -- The Old Lady of Loth -- Punishment -- One World, One Sun -- Epiphany -- Northerner -- Midwinter -- You Heard What the Minister Said, Pet -- 'The eyebright was for you' -- Bushels -- Mary, Queen of Scots -- Secrets -- from The Hen and the Bees (1960) -- Hen -- Dogs -- Family -- The Scale of Things -- Locklessness -- For Using -- Light -- Responsiveness -- Trust -- Spring 1958 -- Remains that Have Been Tampered With -- Queen of Fact and Story -- Story-telling Queen -- Sea-going King's Queen -- The Queen and All the Children -- A Queen in Prison -- Belief -- Other Gods, Other Ways -- Loki Beside the Standing Stone -- Thor -- Freya -- Baldar -- By the Book -- Sound of Children Sobbing -- Face-kicking -- Uncollected and Unpublished Poems -- One is One -- Studentessa (The Little Tourist in Rome) -- The Window Boxes.
Seeing's Believing and Believing's Seeing -- Horses -- Word Song -- That's Them off on Their Spring Forays -- Drawing in Pen and Ink -- The Sky of Your City -- Why Did They Go? -- The Raven Banner -- Concha Orcadensis -- This Now -- Free for All -- Flame -- from a twenty-seven-page 'Examination into the meaning of fire' -- Il Mago -- Materfamilias -- Me -- In Olden Days -- Winter Solstice -- What is it that's wonderful about the photograph? -- The Boats at Droman -- Redefinition of a Lame Duck -- Orquil Burn -- Soon -- Grove -- SHORT STORIES -- The Incomers -- The Song Gatherer -- Sixteen Frames per Second -- WRITINGS ON FILM -- Time -- On Rossellini -- Portrait of a Lady in a Green Dress -- Independence: Small Budget Production in Rome -- On Throwing a Film Festival -- Close-up of Rose Street -- Two-way Drift -- Colour Poems 1974 -- Film-poem or Poem-film: A few notes about film and poetry from Margaret Tait -- Video Poems for the 90s (working title) -- RESOURCES -- Works by Margaret Tait -- Selected Bibliography -- Selected Filmography -- Archives -- Index of Poem Titles -- Index of Poem First Lines.
Drawing upon a pioneering filmmaker's poetry collections, short stories, magazine articles, and unpublished notebooks, this collection contains the full range of Margaret Tait's writing. As it discusses Tait as filmmaker and writer in the context of mid-20th-century Scottish culture, this account offers valuable insights into her writing processes and how these might have translated into her film work. With poetry that is generous and independent in its vision of the world, this book will appeal to anyone interested in the crossovers between literature and film.
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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.