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A. D. a Trilogy of Plays

Edwin Morgan

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This title is available for academic inspection (paperback only).
ISBN: 978 1 857544 98 5
Categories: Scottish
Imprint: Carcanet Poetry
Published: September 2000
216 x 135 x 19 mm
320 pages
Publisher: Carcanet Press
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  • 'I'm not really a believer, but I'm well up on the
    Bible, and I was brought up in a Church of
    Scotland church-going family... I really enjoyed
    getting into what I imagined might be the character
    of Jesus. He's a man - perhaps He was the
    Son of God, but He was a man. I haven't
    shirked the idea of sex, for example. That has to
    come in. I've got lots of things that are not Biblical,
    that would possibly offend some believers,
    but they are necessary to create a real character.'

    Edwin Morgan interview, Herald, 31 August 1999

    Edwin Morgan, Scotland's best-loved poet, returns to the stage after his celebrated Phaedra with a powerful and shocking millennial examination of the life of Jesus Christ as a man among men.

    Jesus, a human figure in an inhuman time, experiences all that a man can experience; Morgan departs from the Gospels in his exploration of how this Person came to know His world. His love affair with an unmarried woman, Helen, and a declaration of love from John,
    'the disciple whom Jesus loved', are in the larger character of Jesus that Morgan discovers.
    'My ambition is to tell a good story.'

    The year 2000 has been a triumphant annus mirabilis for Morgan, and A.D. is a fitting culmination; honest, candid and experimental in spiritual and linguistic terms.
    Edwin Morgan was Scotland's first national poet - Scotland's version of the Poet Laureate - and one of the best-loved and most significant poets of the twentieth century. The Edwin Morgan Trust and partners will be celebrating Edwin Morgan’s 100th year in 2020 – 2021. Commencing on Edwin Morgan’s birthday, April ... read more
    Awards won by Edwin Morgan Winner, 2000 Queen's Gold Medal for Poetry
    Praise for Edwin Morgan 'Edwin Morgan's translation of twent-five poems into Scots, now reissued after almost half a century, finesses one difficulty by substituting another. Wi Haill Voice gives Mayakovsky a shout from the streets without making him a Dickensian exercised in dialect - Scots provides the necessary sense of estrangement.'
    William Logan, The New Criterion
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