Lanark: A Life in Four Books (Paladin Books) (Canons) (Panther Books)

by Alasdair Gray

Lanark, a modern vision of hell, is set in the disintegrating cities of Unthank and Glasgow, and tells the interwoven stories of Lanark and Duncan Thaw. A work of extraordinary imagination and wide range, its playful narrative techniques convey a profound message, both personal and political, about humankind's inability to love, and yet our compulsion to go on trying.

Widely recognised as a modern classic, Alasdair Gray's magnum opus was first published in 1981 and immediately established him as one of Britain's leading writers. Comparisons have been made to Dante, Blake, Joyce, Orwell, Kafka, Huxley and Lewis Carroll.

• ISBN10: 184195120X
• ISBN13: 9781841951201
• Publish Date: 30 April 2001 (first published 1 January 1981)
• Publish Status: Out of Print
• Out of Print: 27 December 2012
• Publish Country: GB
• Imprint: Canongate Books Ltd
• Edition: Main
• Pages: 576
• Language: English

Reviews

[clementine]

I thought this was so interesting and well-done. A landmark in Scottish literature, Lanark is made up of four books presented out of order. The first and last concern the titular character as he attempts to navigate a surreal, dystopian afterlife which is probably hell; the middle books follow Glaswegian Duncan Thaw from childhood to his postwar life in art school. These sections are naturalistic and brilliantly-rendered. I think I’m a sucker for coming-of-age stories about artists, and the Glaswegian content was glorious. Thaw’s afterlife was so genuinely bleak and disturbing in a way that I haven’t often encountered – and not because anything so terrible happens but because it’s characterized by endless bureaucracy, which is holding Lanark back from taking any real action while simultaneously being the only thing moving him forward. I haven’t read a book this atmospheric in a long time. There is such a playfulness with the form of literature, especially in the epilogue (which is slotted in three chapters before the end of the book). There’s definitely a permeating misogyny running through this one, and it’s hard to tell if that’s because of the author or a function of Lanark/Thaw’s rather unsympathetic character. I’m inclined to say it’s the latter, as the male characters in the book are uniformly terrible in a very deliberate way. There are a lot of themes in this one that I’ve noticed some earlier Scottish literature: the idea of doubling of the self, the suggestion of the devil’s presence, the ambivalent grappling with morality. This is a long, dense one, but I found it enchanting (in a very disturbing way) and I’d highly recommend it.