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Braidwood, Alistair. "80 Years of Gray" (PDF). Discover NLS. National Library of Scotland (26): 28–30. As his public profile began to rise, Gray began to publicly support Scottish independence, publishing a short polemic called Why Scots Should Rule Scotland in time for the 1992 election. Devolution was never enough for the author, who agreed with Margaret Thatcher when she claimed Tony Blair as her greatest achievement. “Like US citizens,” Gray argued, “the UK electorate has no chance of voting for a party that will do anything to seriously tax our enlarged millionaire class that controls Westminster.”
Crawford, Robert; Nairn, Thom, eds. (1991). The Arts of Alasdair Gray. Edinburgh: Edinburgh University Press. ISBN 978-0-7486-0294-0. Alasdair designed our entrance porch, and since Òran Mór is Gaelic for ‘The Great Music’ – meaning both the music of nature and of the pibroch – he painted the walls with rampant Scottish bagpipe-playing lions. The lions are made less threatening by the bagpipes they play in what Alasdair described his ‘jocular’ mural. Gray, Alasdair (19 June 2014). "London rule can't deliver a better Scotland". The Guardian . Retrieved 7 January 2020. Currie, Brian; Settle, Michael (21 April 2010). "LibDems enjoy Clegg bounce in Scotland at expense of SNP". The Herald. Archived from the original on 26 April 2010 . Retrieved 25 October 2010.
The inaugural Gray Day marks 40 years since the publication of Lanark
Inspired by Gauguin’s ‘Where Do We Come From? What Are We? Where Are We Going?’, Alasdair used the three wedge spaces created by our Auditorium roof beams to both pose and reply to Gauguin’s philosophical questions.
a b c d e f "Alasdair Gray - Literature". literature.britishcouncil.org . Retrieved 6 January 2020.Amar, Adeline (28 April 2014). "An interview with Alasdair Gray". The Skinny . Retrieved 6 January 2020.
Looking forward into the post-pandemic future she sees Gray Day most of all becoming a way to celebrate Alasdair Gray’s ideas and principles – about making art, about representations of Scotland and Scottish life – and about his continuing influence on Scottish cultural life and the city in which he lived and worked. “Doing it on the anniversary of the publication of Lanark is key because a lot of artists cite that book in terms of thinking about art.”
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The voice of the story would not allow anything else. Curious and informed, angry and rational, this voice was not afraid of fun or of confessing its vanities or of having Big Ideas. It was urban and wholly contemporary, yet suffused with the past. More daringly still, it hinted at the possibility of a future. It was willing to share its power, to make me a partner in the enterprise, capable of creative insights of my own. Even more, however, it was a voice that took for granted it wasn't the only voice. It knew the whole truth didn't belong to one sex either. Gray's, it seemed, was a man's voice that knew that's all it was - a man's. As he named his characters' repressions to move beyond them, so he named their selfishnesses, paranoias, spites and incomprehenslons in their dealings with women. His Collected Verse (2010) was followed by Every Short Story 1951-2012. Hell and Purgatory, the first two parts of his version of Dante’s Divine Comedy, “decorated and Englished in prosaic verse”, appeared in 2018 and 2019. In November Gray received the inaugural Saltire Society Scottish Lifetime Achievement award.
A city imagined at length into being itself. I had fleetingly encountered so-called "magic realism" in translated Spanish, swallowed whole some oddball 19th-century Russians, a few American books that contained depictions of very "ordinary" lives told with grandeur and depth, but nothing of the kind about, well, home. I had barely encountered any of my country's writers at all, let alone one this engaged with the present tense, this bravely alive. Scotland, my schooling had at times implied, at times openly professed, was a small, cold, bitter place that had no political clout, not much cultural heritage, joyless people and writers who were all male and all dead. As modern Scots, we were unfit to offer Art, politics or philosophy to the world, we were fit only for losing at football games. Not so, this book said: on a number of levels, not so. McGinty, David. "Alasdair Gray - A Life in Progress @ GFF 2013". The Skinny . Retrieved 6 January 2020. His writing style is postmodern and has been compared with those of Franz Kafka, George Orwell, Jorge Luis Borges and Italo Calvino. It often contains extensive footnotes explaining the works that influenced it. His books inspired many younger Scottish writers, including Irvine Welsh, Alan Warner, A. L. Kennedy, Janice Galloway, Chris Kelso and Iain Banks. He was writer-in-residence at the University of Glasgow from 1977 to 1979, and professor of Creative Writing at Glasgow and Strathclyde Universities from 2001 to 2003. He said, "That was very unsatisfying. Why did the oracle not make clear which of these things happened?"
1934 – 2019
Davies-Cole, Andrew (22 October 2009). "Gray's anatomy of the bigger picture". The Herald. Archived from the original on 20 June 2014 . Retrieved 21 May 2014. Anderson, Carol and Norquay, Glenda (1983), Interview with Alasdair Gray, in Hearn, Sheila G. (ed.), Cencrastus No. 13, Summer 1983, pp.6 – 10, ISSN 0264-0856
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