Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry

Critical responses to Peter Manson’s work often refer to him as a Scottish or Glasgow-based poet. In a review of Manson’s 2017 pamphlet Factitious Airs, Alice Tarbuck proposes that one of the key things differentiating Manson from his avant-garde contemporaries is his attentiveness to place and particularly “to Scottish speech rhythms and cultural ideas.” Nonetheless, most critical writing on Manson has sought to read his work primarily in terms of international movements in experimental poetics. This article therefore considers Manson’s relationship with and place within contemporary Scottish poetry, asking what connections can be made between his writing and that of his geographical peers. Manson has, notably, written very sympathetically about Tom Leonard’s work. Another potential point of contact would be Object Permanence, which, like Poor. Old. Tired. Horse thirty years before, brought writers from Scotland into contact with new currents in international poetry (and vice versa). In Manson’s work as a translator of Mallarme there is also a connection with the modern(ist) Scottish tradition of poetic translation exemplified by Edwin Morgan. Situating Manson’s work in the landscape of contemporary Scottish poetry, this article asks to what extent this offers a potentially fruitful context within which to read his work – going on to explore what the implications of such a reading might be.