Yer Ain frae Edward Chisnall is a wark o gravity and humour, aw craftit in the Scots leid. Scots is virile, funny, descriptive, perfect for the soond required o ony dramatic form, novel, or poem. Dig within yersels and thare ye will find the treisur o yer ain culture, and that o the real wirth, oor weans that girn, or greet, or find things tae learn that come frae the hert. The hale faimily o oor history in Scotland is in oor wirds, the craft o wirds, the lauchter that airms ye agin sufferin or haurd days. So, in oor ain tongue, here’s whit Edward haes tae say tae ye, his freends... and it’s cried Yer Ain.

First furthset in 1898, The War o the Warlds is thocht tae be the first “fremmit invasion” tales, an it’s bin ane o the maist influential science fiction novels iver screived. It’s bin fittit fur radio, stage, an screen, an its inspired an influenced mony warks o fiction, takkin in comics an graphic novels. Alangside The Time Machine, The Inveesible Chiel, an The Island o Dr Moreau, Wells’ The War o the Warlds stauns oot as mebbe his maist weel-likit wark.

A collection of contemporary poems in Scots and in English by Sara Clark. Some of them were written originally in English, some in Scots, but all are presented facing their translation, so that readers can choose the language they prefer, or compare the two texts.

There have been ten modern attempts to approach the problem of Scots spelling. In this volume Andy Eagle analyses each of those proposed reforms, all of which have tried to make alterations here and there where they considered it made sense. This study begins with the linguistic reality, analysing the phonemes of Scots and the various graphs traditionally used for them. It then examines the various proposals for refinement of Scots orthography which have been suggested since 1947 when the Scots Style Sheet was published. Comparing and contrasting traditional graphs with these proposals, Andy proposes a sound, natural-looking compromise, aiming toward an inclusive orthog­raphy that serves all dialects, and does not favour any one over any other. Corpus Textuum Scoticorum is a series presenting edi­tions of language and literature of particular interest to Scotland. The series focuses on but is not limited to volumes dealing with the Scots and Scottish Gaelic languages.

For a general introduction to the literary and cultural background of the present translation, and to the North-East Scots dialect itself, see the introduction to my translation of Carroll's previous book, Ailce's Anters in Ferlielann. As there, I have used a conservative form of the dialect, checking the words and pronunciations against classic literary texts (and this time also against the earlier translation, to ensure consistency). As there too, I have endeavoured to find a specific equivalent for every joke, pun, allusion and other trick of style in the original. The metrical and rhyme patterns of the poems are maintained: as always in poetic translations of any kind, this procedure necessitates some departures from the original wording; and in one instance, namely the sequence of thirteen rhymes on "toe" in the closing section of the White Knight's song, I have assumed the licence to treat Carroll's lines with complete freedom. --Derrick McClure

Jakob Jakobsen’s dictionary was first published in Danish in 1908 as Etymologisk Ordbog over det norrøne Sprog paa Shetland. Its English translation was published in two volumes, in 1928 and 1932 by David Nutt in London and Vilhelm Prior in Copenhagen, and in 1985 it was reprinted in Lerwick by the Shetland Folk Society. Both editions of the book are very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This colour facsimile edition contains the entire text in a single volume. A table of contents has been added to the front matter with added section numbers to help the reader navigate Jakobsen’s introductory material; the section numbers have been added in the margin of the text itself. There were 40 corrections given on an errata sheet in volume I, and 21 corrections given in volume II; all of the corrections have been implemented on the scanned images and so the errata sheets have not been reproduced. Corpus Textuum Scoticorum is a series presenting edi­tions of language and literature of particular interest to Scotland. The series focuses on but is not limited to volumes dealing with the Scots and Scottish Gaelic languages.

Elaine Morton haes been scrievin aff an on for the feck o her life. Her daft days were misspent in lair o leids an music. She erst stertit scrievin hailly in Scots in 1998, muived tae it by the rich idiolects o friens in West Lothian an efter in East Lothian. She is, for instance, aye thankfu tae the chiel wha judged a photie-feenish atween twa rival dauncers wi the words “Ye’se are that close a pail o watter wadna pairt ye.” Mair dacent influences cam frae John Galt, Robert Louis Stevenson, an Hugh MacDiarmid. A muckle guddle o unfurthset scrievins awaits fowk tae come, or the council cowp.

A horrifeein tale o fleg that’ll bumbaze an dumfouner its readers. Haud awa frae the licht settins o’t that ye’ve seen in films an gaither yer virr tae gyang intae the psycho­logical grue o Jekyll and Hyde. It’s in Lunnon that the buik is supposedly set, bit ilkie page is drookit in the oorie air o Embro—far Robert Louis Stevenson wis born. Is’t a Freudian fable, a morality parable, or a sexual allegory? Its up tae yersel tae decide.

A horrifeein tale o fleg that’ll bumbaze an dumfouner its readers. Haud awa frae the licht settins o’t that ye’ve seen in films an gaither yer virr tae gyang intae the psycho­logical grue o Jekyll and Hyde. It’s in Lunnon that the buik is supposedly set, bit ilkie page is drookit in the oorie air o Embro—far Robert Louis Stevenson wis born. Is’t a Freudian fable, a morality parable, or a sexual allegory? Its up tae yersel tae decide.

The Winnerfu Warlock o Oz is L. Frank Baum’s tale o a wee quine caad Dorothy, fa wi her tyke Toto is cairriet by a furlywin frae Kansas tae the fey an bonnie lan o Oz. Here she ettles tae veesit the Emerant Toon tae sikk its heid bummer, a warlock caad Oz, tae sen her back hame again. On the wey she faas in wi a Tattiebogle, fa’s sikkin harns; a Tin Widmannie, fa wints tae hae a hairt; an a Cooardy Lion, fas ae wint is tae hae virr. The wee pairty encoonter mony mishanters an mervelous happenins on the wey, bit win tae the Emerant Toon safe, their success bein doon tae the thochtfuness o the Tattiebogle, the douce care o the Tin Widmannie, an the virr o the Cooardy Lion. This is the buik ahin the weel kent 1939 film—that differs frae the oreeginal buik in a fair fyew weys! This full-colour buik hauds the oreeginal illustrations by William Wallace Denslow that wir scanned frae copies o the first edeetion. There’s 24 colour plates an 150 text illustrations, mony localized inno the Scots leid. The buik his bin typeset in a wey like thon o the first edeetion, wi a puckle typographic cheenges fur the reader noo­adays.

This weel-kent camin-o-age novel howks inno the feelins an ongauns o a young wumman, frae her wersh an coorse bairnhood, frae her growin intae adulthood an her brierin luve fur Mr. Rochester, the maister o Thornfield Haa. In its screivin o the inbye thochts o action—the spotlicht is on the slaw unfauldin o Jean's ethical an itherwardly awaurness, an aa the happenins are peintit wi a heichtened pouer that wis aince the warld o poetry—Jean Eyre transmogrifeed the airt o screivin. Charlotte Brontë his bin caaed the “first historian o the intimmers o thocht” an the literar forebear o screivers like Marcel Proust an James Joyce. The novel hauds swatches o social critique, wi a strang feelin o Christian vertue at its mids, an is thocht bi mony tae be aheid o its time gien the unique natur o Jean an the novel’s dellin intae classicism, sexuality, reeligion, an proto-feminism.

Mou Her Name forrits the reader mair nor a hunner pomes in whit the makar cries a neo-bhakti style—a modren skew on thae poems o deep holiness whilk are threipit an croonit in India yit. Aff the cuff an meestical thae ootpoorins heize frae ayont the makar’s ain mense, he’s tiggit the hem o the Yirth Mither’s goun, an she’s turnt tae’m, an throuch his maisterly airt, turns tae us.

This is the first translation into the Border Scots dialect of Alice’s Adventures in Wonderland. Scots was at its peak as a European language of scholars in the 16th century, but its scope and influence has declined since English became Scotland's formal written language in the 17th century. Border Scots has subsequently become primarily an oral dialect, spoken by more than 100,000 people at home, work and play, but not regularly committed to paper for use in a formal context. Recognizing the oral nature of the dialect was an important step in deciding how this first translation of Alice was to be carried out. Border Scots differs from other Scots dialects in terms of its anglicized and unusual flat vowel pronunciations, earning it the moniker of the “yow an mei” dialect. There was an opportunity to echo this sound in the very name of Ahlice, where the drawn out and flattened first syllable acts as an aural clue to the deep timbre this dialect emits in its spoken form. To further achieve this aural effect the common Scots custom of dropping consonants at the end of words and syllables has also been deployed. In particular, applying it to the progressive participle ending -ing to make it -in flattens the sound to a more authentic Borders’ pitch. Elliot Cowan Smith observed nearly a century ago that the Borders dialect will “pass gradually into oblivion” if its spirit is allowed to be lost. It is hoped that the publication of Ahlice’s Adveenturs in Wunderlaant will kindle the spirit and confidence to record the dialect in print more widely, and establish a future role for it in the development of Borders life.

Lewis Carroll is the pen-name o Charles Lutwidge Dodgson, the screiver o Alice’s Adventures in Wonderland, an a lecturer in Mathematics at Christ Church, Oxford. Dodgson stertit his famous bairns’ tale on 4 July 1862, when, on a bonny simmer’s efternuin, he tuik a lang jant in a rowin boat on the Thames Watter in Oxford, alangside his freen the Reverend Robinson Duckworth, Alice Liddell (ten year-auld) the dochter o the Dean o Christ Church, an her twae sisters, Lorina (aged thirteen), an Edith (juist aicht). Frae the poem at the stert o the buik, it’s plain that thae three wee lassies threipt on at puir Mr Dodgson tae tell thaim a tale. Tho sweirt at the stert, he wycely gied in, an by the en o their day oot, he had gethert thegither the makins o an awfy guid splore aboot a steirin wee lass caad Alice. Spreid richt throu the feenishd wark, furst-published in 1865, are a wheen hauf-hidden references tae the five folk on that boat on that happy day.

Lewis Carroll wis the pen-name ae Charles Lutwidge Dodgson, a professor o mathematics at Christ Church, Oxford. His weel-kent story came aboot while he wis oan a rowin trip up the watter ae the Thames in Oxford oan 4 July 1862. Dodgson wis accompanit oan this outin bi the Rev. Robinson Duckworth an three young lassies: Alice Liddell, the ten-year-auld daughter ae the Dean ae Christ Church, an Alice’s two sisters, Lorina and Edith, who wir thirteen an eight. As ye kin tell fae the poem at the stairt, the three lassies begged Dodgson fir a story, an so he went oan tae tell them, wioot a hale loat ae enthusiasm tae begin wi, an early version ae the story that wis tae become Alice’s Adventirs in Wunnerlaun. Acause ae this, there’s a fair few refrences tae the five traivellers in the boat hauf-hidden away throo-oot the text ae the book, which wis published eventually in 1865.

To tackle a translation of the first book into the Caithness dialect of Scots was a challenge. Catherine Byrne met it by imagining how her mother, reading the book aloud, would have sounded—“hearing my mother’s voice in my head”, as she put it in an e-mail to this writer. The result is engaging and amusing, and those familiar with the Caithness accent will recognize the achievement at once. James Miller has outlined the history and the main characteristics of the dialect in the essay written for Jon Lindseth’s accompanying volume on translations. Suffice it to say here that Caithness dialect is a form of Scots but has some unique features that reflect the cultural and political geography of the north of Scotland in the Middle Ages when the county was a frontier zone, the area where Norse and Gaelic societies met.This conjunction has left its mark on place-names and on the common speech of the inhabitants. .

Ailis's Anterins i the Laun o Ferlies is a translation of Lewis Carroll's classic tale into synthetic Scots. Synthetic Scots is the name given by the poet Hugh Mac­Diarmid to a project that sought to rescue Scots as a serious literary language from the cloying sentimentalism and the music-hall self-mockery into which it had degenerated by the early 20th century. This project was prefigured in the work of writers like Violet Jacob and Marion Angus, Robert Louis Stevenson and George Douglas Brown. Alongside Mac­Diarmid, the project was pursued by Robert Garioch, Alastair Mackie, Alexander Scott and Sydney Goodsir Smith. Ailis's Anterins i the Laun o Ferlies is offered as a contribution to the canon of synthetic Scots texts. Because the original is such a popular and well-loved tale, skillfully crafted in simple, clear and undemanding language, but losing none of its literary excellence for all that, the hope is that Ailis will contribute to making Scots more accessible to both Scottish and non-Scottish readers alike.

The North-East dialect of Scots, locally called the "Doric", has a long and distinguished history as the medium of one of the liveliest and most individual local literatures in Scotland. It first emerged in literary form during the Vernacular Revival of the eighteenth century; an outstanding practitioner of the mid-nineteenth century was Lewis Carroll's friend George MacDonald, who, though his lasting renown is mainly founded on his children's books and fantasy stories, wrote many domestic novels set wholly or partly in his North-Eastern calf-ground, in which the dialect is skilfully presented. In translating Alice, Derrick McClure has endeavoured to find some kind of counterpart for every literary and linguistic trick in the original: that is an ambitious aim, but any translation above the level of a mere crib is a tribute to its source, and an original of such ingenuity as this book deserves the highest tribute possible, in a translation which pays full attention to all the clever and delightful tricks with which Carroll adorned his text. It is the author's hope that the translation will be read not simply as a linguistic curiosity or a test case for some of the problems of literary translation, but as a not unworthy addition to the corpus of Doric literature and Scots children's writing.

This buk is the furst translation o Alice’s Adventures in Wonderland intae Ulster Scots, a language that comes frae the Lowlans in Scotlan an thin wus brocht intae Norlin Airlan in the early 17th Century. Es it’s a dialect o Scots it haes close links wi standart Inglesh, but thur’s monie differences in baith grammer an vocabulary between the twa languages. The orthography used in this book’s based on the spellins that ir maistly used bae native taakers o Ulster Scots.

Lewis Carroll is a pen-name: da writer’s richt name wis Charles Lutwidge Dodgson, an he wis a lecturer in Mathematics in Christ Church, Oxford. Dodgson began da story apo da fort o July 1862, whin he guid aff in a rowin boat apo da river Thames in Oxford, alang wi da Reverend Robinson Duckworth, wi ten year aald Alice Liddell, da dochter o da Dean o Christ Church, an her twa sisters, thirteen year aald Lorina, an Edith, at wis eight. As we see fae da poem at da begennin o da book, da tree lasses axed Dodgson for a story an, tho at first he wis kinda laith ta dö it, he began to tell dem da first version o da story. He aften smoots in some peerie half-hoidit mention o da five o dem, aa trow da text o da book itsel, at wis published at da lang an da lent in 1865. Dis book is da first owersettin o Alice’s Adventures in Wonderland inta Shetland Scots, a kind o Scots spokken in Shetland at’s been influenced bi da Nort Germanic language Norn, at dee’d oot ida eighteent century. Bein a dialect o Scots, hit’s a closs freend ta standard English, but der a lock o differ atween da twa tongues baith ida grammar an ida wirds. In ony language, der aye different opeenions aboot dialect spellin; da spellin at Laureen Johnson uses here is aafil reglar, an staands weel for da language-shö’s written in her midder tongue for mony a year noo.

This buk is the furst translation o Alice’s Adventures in Wonderland intae Ulster Scots, a language that comes frae the Lowlans in Scotlan an thin wus brocht intae Norlin Airlan in the early 17th Century. Es it’s a dialect o Scots it haes close links wi standart Inglesh, but thur’s monie differences in baith grammer an vocabulary between the twa languages. The orthography used in this book’s based on the spellins that ir maistly used bae native taakers o Ulster Scots.

This weeyins’ furst readin book, furst publisht in 1910, is intendet fur early readers, an fur them that teach them. It haes a brev wee vocabulary o jest unner 300 wurds, an presents nine classic yarns: The Wee Rid Hen, The Ginger­bried Weefla, The Oul Wumman an the Pig, The Weefla an the Goat, The Pancake, Chicken Little, The Three Billy Goats Gruff, Wee Tuppens, an Wee Spider’s Furst Web.

The book contains more than ninety illustrations bae the artist Frederick Richardson.

This beuk sets oot the first translation o Ailice’s Àventurs in Wunnerland intae Scots (that we aince caa’d “Inglis”). This leid haes cam doun fae Auld North­umbrian, the Auld English that wis spoken fae the Humber tae the Lothians. It’s a near relation o Staunart English, but there’s many a differ in baith grammar an vocabulary. The translator’s uised tradeetional spellins the likes o wis set doun bi Burns, Scott, Slater an many ither, tho wantin the “apologetic apostrophes” ye aft see in thae beuks. This is gaes alang wi maist writins in Scots fae the aichteenth century on, an reads fine tae modren Scots spaekers bred up tae sic tradeetions.