Novità e riproposte
  Narrativa
  Saggistica
  Arte e Fotografia
Australia e Nuova Zelanda:
  Paesaggi, voci e mondi
       dagli antipodi

Canarie:
  Incontro fuori orario con Rafael
       Arozarena (di José Almeida)

Colombia:
  La “Trilogia crudele di Bogotá”
Donne:
  Parsipur: Dall’utopia alla realtà
       (di Ashgar Massombagi)

Infanzia:
  Buten: il linguaggio dell’infanzia
  Voi non siete stati bambini?
       (intervista a Howard Buten)

Iran:
  Le donne di Shahrnush Parsipur
Kurdistan:
  Il confine che non c’è
       (di Maurizia Costabile)

Irlanda:
  La letteratura irlandese
       del Novecento
       (di Carmine Mezzacappa)

  L’Irlanda insanguinata
       di O’Flaherty

Leggere:
  “Big Man” di William McIlvanney:
       Liberismo tatcheriano e
       classe operaia scozzese
       (di Carmine Mezzacappa)

  “La croce e la svastica” di George
       Mackay Brown: un capolavoro
       (di Caterina Maniaci)

  “Feriti vaganti” di William
       McIlvanney: Vittime in tempo
       di pace (di Carmine Mezzacappa)

  “Laidlaw” di William McIlvanney:
       il romanzo poliziesco
       (di Carmine Mezzacappa)

  “Terra di ferro, cielo di rame”
       di Yashar Kemal (di Laura Anania)

  “Vinland” di George Mackay
       Brown: la letteratura come storia
       (di Carmine Mezzacappa)

Orcadi:
  Mackay Brown nel flusso
       della storia (di Oreste Paliotti)

Paesi Baschi:
  Alla ricerca dei Paesi Baschi
       (di Joseba Sarrionandia)

  Breve storia della letteratura basca
       (di Euskal Idazleen Elkartea)

  L’album di Sarrionandia
       (di Harkaitz Cano)

  La letteratura basca di Edorta
        Jimenez e Joseba Sarrionandia

  Solo terroristi? Storia di ETA
       (di Cecilia Sammarco)

Palestina e Israele:
  Gerusalemme: La terra della
        discordia (di André Naef)

  Ibrahim Souss tra mondi diversi
       (di Gianfranco Restelli)

Scozia:
  Giallo di Scozia
       (intervista a William McIlvanney)

  La “Trilogia nera di Glasgow”
  Glasgow: Una città
       con la faccia controvento

Scritture:
  Alfabeto Tranchida
       (di Francesca Dallatana)

  Colori e fiori sulle montagne kurde
       (conversazione con Suzan Samanci)

  Feriti vaganti: una risata
       li seppellirà? (di Giuseppe Ciarallo)

  L’estetica della caduta
       (di Roberto Betz)

  Letteratura di lingua inglese
       (di Franco La Polla)

  Mackay Brown: il poeta che diceva
       cose profonde con parole semplici
       (di Carmine Mezzacappa)

  McIlvanney: della scrittura e
       dell’identità scozzese
       (di Carmine Mezzacappa)

  Narrativa da tutte le latitudini
       (di Laura Salvai)

Scrivere:
  Collegamenti. Scrivere
       dall’isola del giorno prima (lectio
       magistralis di Rajiva Wijesinha)

  Colombia: il mestiere di scrivere
       (intervista a Rogelio Iriarte)

  Kemal scritto da Kemal
  L’infanzia di uno scrittore
       (incontro con Yashar Kemal)

  La memoria e la verità
       (incontro con Edorta Jimenez)

  Sulla scrittura (incontro
       con William McIlvanney)

Siberia - Penisola dei Ciukci:
  Rytcheu: un poeta ai confini
       del mondo (di Oreste Paliotti)

Sri Lanka:
  Cultura e guerra civile in Sri Lanka
       (incontro con Rajiva Wijesinha)

  Wijesinha: Il vento della storia
       (di Cinzia Fiori)

Tibet:
  Tashi Dawa: Le illusioni
       di un buddhista
       (di Claudia Gualdana)

Turchia:
  Istanbul: il Paradiso tra noi
  Una democrazia reale o niente
       (intervento di Yashar Kemal)

  Un paese in bilico tra Europa e
       Islam (colloquio con Yashar Kemal)

  La pazienza della gente sta finendo
       (intervista a Yashar Kemal)
Iriarte (di David Frati)
Kemal (di Maurizia Costabile)
McIlvanney (di David Frati)
Mackay Brown (di David Frati)
Arozarena:
  Encuentro a deshora
       (de José Almeida)

Basque Country:
  A Brief History of Basque Literature
       (by Euskal Idazleen Elkartea)

Buten:
  Plus je fais rire, plus je suis fier
       de moi (par Dominique Simonnet)

Kemal:
  La force de la parole
       (par Yachar Kemal)

  Kemal: l’enfance d’un romancier
       (par Chris Kutschera)

  Literature, Democracy and Peace
       (by Yashar Kemal)

  Manifeste pour la Paix
       (par Yachar Kemal)

  To Read Kemal: Istanbul’s Miasma
       (by Nicholas S. Ludington)

  To Read Kemal: Last of the Nomads
       (by Roger Norman)

  To Read Kemal: Turkish
       Robin Hood

  To Read Kemal: Turkish Tales
       (by A.G. Mojtabai)

McIlvanney:
  Something for the “Weekend”
       (by William McIlvanney)

  Reeling and writhing
       (by Carol Birch)

  “Taggart” based on my book
       (by Karin Goodwin)

  A Writer’s life (by Stuart Kelly)
  Socialism, dialect and a lot of
       ice-cream (by Diane MacLeane)

  Lost and found (by Susan Mansfield)
  Novel Perspective on the
       Human Condition (by Allan Massie)

País Vasco:
  A la búsqueda del País Vasco
       (de Joseba Sarrionandia)

Parsipur:
  From Utopia to Reality
       (by Ashgar Massombagi)

Sarrionandia:
  El álbum de Joseba Sarrionandia
       (de Harkaitz Cano)

Sri Lanka:
  Culture and Civil War in Sri Lanka
       (by Rajiva Wijesinha)

Wijesinha:
  Only Connect. Writing from
       the Island of the Day Before
       (by Rajiva Wijesinha)
i nostri
LINK

Yashar Kemal
Yashar
Kemal

William McIlvanney
William
McIlvanney

Howard Buten
Howard
Buten

Edorta Jimenez
Edorta
Jimenez

George Mackay Brown
George
Mackay Brown

Rogelio Iriarte
Rogelio
Iriarte

Carmine Mezzacappa
Carmine
Mezzacappa

Cataldo Russo
Cataldo
Russo

Jurij Rytcheu
Jurij
Rytcheu

Shahrnush Parsipur
Shahrnush
Parsipur

Ibrahim Souss
Ibrahim
Souss

Luciano Patetta
Luciano
Patetta

Tashi Dawa
Tashi
Dawa

Rajiva Wijesinha
Rajiva
Wijesinha
McIlvanney: “Taggart” based on my book
by Karin Goodwin, The Sunday Times
The Sunday TimesMcIlvanney - WEEKEND
ONE of Scotland’s greatest living writers, William McIlvanney (Picture: Robert Perry), has claimed that Taggart, the iconic Glasgow detective, was inspired by his most famous character.

McIlvanney believes that the hard-nosed investigator — famous for the phrase “there’s been a murrrder” — is based on Jack Laidlaw, the brooding, sardonic detective who made his first appearance in the book of the same name in 1977.

Taggart’s debut was six years later in a three-part television serial called Killer, written by the Edinburgh-born author Glenn Chandler.

McIlvanney says a source at Scottish Television called him to tell him about the similarities before Killer was broadcast: “I was phoned by a guy in the light entertainment department. He said, ‘There’s this thing called Killer. In your book the body’s found in Kelvin Park, in this it’s found in Kelvin Walk. Somebody’s just moved the body, Willie. Have you got a lawyer?’ “And I spoke to a lawyer. He said it was very difficult to prove theft of ideas. He said, ‘It could be two years before it comes to trial, and in that time you wouldn’t sleep too well. If you won, you’d get half a million or something. If you lost, your life would be over because you’d have to pay all the costs’. I thought it was too big a risk.

“It’s all water under the bridge now and I don’t have any bitterness, but I’m convinced that it’s difficult to claim there’s no connection.“

Chandler said he was astonished by McIlvanney’s claim. He said he had suggested the series be set in Edinburgh and that it was inspired not by contemporary Scottish fiction, but by Agatha Christie novels.

“When I started writing Taggart I hadn’t even heard of McIlvanney. I hadn’t read his books, and in fact I still haven’t read them to this day,” said Chandler.

“I knew so little about writing whodunits that I went off and read about 25 books by Agatha Christie. That was my knowledge of crime writing, so I was extremely surprised when this guy (McIlvanney) popped up.”

Chandler, who was living in London, visited Glasgow to complete his research. “Before I wrote Taggart I knew nothing about Glasgow. I had to take a crash course. I went round pubs and sat talking to people to get a feel for the vernacular.

“All the names for the characters came from Glasgow cemeteries, with the exception of Livingstone, which just popped into my head as a good name for a detective.

“I wasn’t one of those guys that grew up in a Glasgow tenement. If I had done, I’d probably have written something completely different.”

Ian Rankin, creator of the Inspector Rebus crime novels, said that he owes McIlvanney a debt of gratitude: “I met him in 1985 and told him I was writing about an Edinburgh detective inspired by Laidlaw. It was great to have someone like him writing crime fiction because it validated it to me.”

Rankin said there were only limited similarities between Taggart and Laidlaw, but that McIlvanney was unlucky not to have been given more credit.

McIlvanney won the 1975 Whitbread Prize for Docherty, about working-class life in Kilmarnock before the first world war. Weekend, his first novel in 10 years, will be launched at Edinburgh’s International Book Festival next week.

Article by Karin Goodwin, The Sunday Times, August 13, 2006

See:
   Something for the Weekend (William McIlvanney)
   McIlvanney: Novel perspective on the human condition (Allan Massie)
   McIlvanney: a Writer’s life (Stuart Kelly)
   McIlvanney: Lost and found (Susan Mansfield)
   McIlvanney: Socialism, dialect and a lot of ice-cream (Diane MacLean)
   McIlvanney: Reeling and writhing (Carol Birch)