The Assassin's Cloak

The Assassin's Cloak
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'A diary is an assassin's cloak which we wear when we stab a comrade in the back with a pen', wrote William Soutar in 1934. But a diary is also a place for recording everyday thoughts and special occasions, private fears and hopeful dreams. The Assassin's Cloak gathers together some of the most entertaining and inspiring entries for each day of the year, as writers ranging from Queen Victoria to Andy Warhol, Samuel Pepys to Adrian Mole, pen their musings on the historic and the mundane.
Spanning centuries and international in scope, this peerless anthology pays tribute to a genre that is at once the most intimate and public of all literary forms.
This new updated edition is published to mark the twentieth anniversary of the book's original publication.

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Alan Taylor has been a journalist for over thirty years. He was deputy editor of the Scotsman, managing editor of Scotsman Publications, and writer-at-large for the Sunday Herald. He has edited several acclaimed anthologies, most recently Glasgow: The Autobiography. He has been a Booker Prize judge. He is the author of Appointment in Arezzo: A Friendship with Muriel Spark and, in 2018, series editor of the centenary editions of Spark’s novels. He is the co-founder and editor of the Scottish Review of Books.

Irene Taylor was born and brought up in Edinburgh. For many years she worked in public libraries. She has a degree in history from Edinburgh University and she now works for the National Trust for Scotland.

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Captain Robert Falcon Scott

Parsimony may be the end of this book. Also shame at my own verbosity, which comes over me when I see the – 20 it is – books shuffled together in my room. Who am I ashamed of? Myself reading them. Then Joyce is dead. Joyce about a fortnight younger than I am. I remember Miss Weaver, in wool gloves, bringing Ulysses in type-script to our tea-table at Hogarth House. Roger I think sent her. Would we devote our lives to printing it? The indecent pages looked so incongruous: she was spinsterly, buttoned up. And the pages reeled with indecency. I put it in the drawer of the inlaid cabinet. One day Katherine Mansfield came, and I had it out. She began to read, ridiculing: then suddenly said, But there’s something in this: a scene that should figure I suppose in the history of literature. He was about the place, but I never saw him. Then I remember Tom [T. S. Eliot] in Ottoline’s [Lady Ottoline Morell] room at Garsington saying – it was published then – how could anyone write again after achieving the immense prodigy of the last chapter. He was, for the first time in my knowledge, rapt, enthusiastic. I bought the blue paper book, and read it here one summer I think with spasms of wonder, of discovery, and then again with long lapses of intense boredom. This goes back to a pre-historic world. And now all the gents are furbishing up their opinions, and the books, I suppose, take their place in the long procession.

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