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By F. McCulloch

This publication is a concise and interesting research of up to date literature seen during the severe lens of cosmopolitan idea. It covers a large spectrum of matters together with globalisation, cosmopolitanism, nationhood, identification, philosophical nomadism, posthumanism, weather switch, devolution and love.

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289). The inscription reads ‘SIMON FLETT 1976–2000’ (p. ’8 After feeling alienated in Glasgow and Ayrshire, Stella Flett’s journey to the place where her family name originates indicates a return to her ancestral spiritual home, where she has found herself amidst a sense of belonging and laid her brother’s memory to rest. ’9 Though Stella Flett is ostracized in heteronormative society (‘the lesbian resembles the witch in both her exclusion from mainstream society and the threat she poses to hetero-patriarchal values and conventional models of femininity’ [Palmer 1999, p.

212), emphasizing its symbolic use in Stella’s journey towards a new dawn. ] I scanned the sky for a star of my own to wish on’ (pp. 212–14), forging a link between outer space’s stella(r) phenomena and Stella’s inner space: ‘I looked up at the hundreds of thousands of bright twinkling icy stars and felt as though somewhere deep inside me there might be space for something still, something calm and peaceful’ (pp. 214–15). ] what was there left to wish for, except that he was okay, wherever he was.

162), the time associated with Christ’s resurrection. Suffering the social crucifixion of being marginalized by Scottish heteronormativity, Stella bares the stigmata of ostracism – ‘the palms of my hands bled’ (p. 26) – as the text aligns queer female suffering with Christ’s outcast martyrdom. Strachan again revises Christian doctrine from a feminist perspective, as the spring’s associations with rebirth and growth are appropriated for Stella’s self-development in a prehistoric pagan site. Crucially, she visits St Magnus Cathedral, ‘the martyr of Orkney, who was murdered at Easter’,4 which is starkly contrasted with the stifling crematorium because ‘I can tune into the history of the place rather than the religion’ (p.

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