It is off-season in a remote Highland sea port: twenty-one-year-old Morvern Callar, a low-paid employee in the local supermarket, wakes one morning to find her strange boyfriend has committed suicide and is dead on their kitchen floor. Morvern's laconic reaction is both intriguing and immoral. What she does next is even more appalling... WINNER OF THE SOMERSET MAUGHAM AWARD

Shortlisted for the 1997 IMPAC Dublin Literary Award.

Morvern Callar is a 21-year-old supermarket worker from a small port town in the West of Scotland. Morvern believes that life is something that you get on with, as best you can and with what you've got. One morning Morvern finds that what she's got is a dead boyfriend on the kitchen floor. Extraordinarily, she doesn't tell anyone and this and her subsequent choices propel her on a journey that transforms her life.

Heterosexuality in contemporary novels, re-examined using the frameworks of feminism and queer theory. Drawing on feminist and queer theories of sex, gender and sexuality, this study focuses on female identities at odds with heterosexual norms. In particular, it explores narratives in which the conventional equation between heterosexuality, reproductive sexuality and female identity is questioned.

After the scandalous theft of a pub's World Cup cash kitty, a homeless drifter pursues his eccentric uncle: 'The Man Who Walks', up into the Highlands to recover the money - a cool -27,000. The nephew's frantic, stalled progress and other bizarre diversions form this wickedly hilarious novel. But who is The Man Who Walks? Is he simply a water-carrying madman with one glass eye and a fondness for whisky and pony nuts, and who has a physiological inability to handle slopes? Or is he a savant, touched by the hand of God, wandering the back roads along ancient, ancestral tracks? And as the sinister, unstable nephew gains on The Man Who Walks, can it be that it will all end in a field and that this field is Culloden Moor?

Film and Female Consciousness analyses three contemporary films that offer complex and original representations of women's thoughtfulness and individuality: In the Cut (2003), Lost in Translation (2003) and Morvern Callar (2002). Lucy Bolton compares these recent works with well-known and influential films that offer more familiar treatments of female subjectivity: Klute (1971), The Seven Year Itch (1955) and Marnie (1964). Considering each of the older, celebrated films alongside the recent, unconventional works illustrates how contemporary filmmaking techniques and critical practices can work together to create provocative depictions of on-screen female consciousness. Bolton's approach demonstrates how the encounter between the philosophy of Luce Irigaray and cinema can yield a fuller understanding of the fundamental relationship between film and philosophy. Furthermore, the book explores the implications of this approach for filmmakers and spectators, and suggests Irigarayan models of authorship and spectatorship that reinvigorate the notion of women's cinema.

It is the early 1970s and for 16-year-old Simon Crimmons there's really not much to do in the Highlands of Scotland. The only local drama and romance is the West Highland Line, so Simon joins up as a train driver. But that summer he is introduced to a world far more glamorous and strange than the railways can provide.