Books
Tait, M. (1959a). origins and elements (poems). Edinburgh: M.C. Tait. Cover by Peter Hollander.
Tait, M. (1959b). Lane Furniture: A Book of Stories. Edinburgh: M.C. Tait.
Tait, M. (1959c). The Grassy Stories: Short Stories for Children. Edinburgh: M.C. Tait.
Tait, M. (1960a). The Hen and the Bees: Legends and Lyrics (poems). Edinburgh: M.C. Tait. Cover by Robin Philipson.
Tait, M. (1960b). Subjects and Sequences (poems). Edinburgh: M.C. Tait.
Tait, M. (2012). Margaret Tait: Poems, Stories and Writings. S. Neely (ed.). Manchester: Carcanet.
Essays
Zimmerman, P. (1997). ‘Democracy and Cinema: A History of Amateur Film’. In N. Kapstein (ed.), Jubilee Book: Essays on Amateur Film, pp. 73-80. Charleroi, Belgium: Association Européene Inédits.
Tait, M. (1957a). ‘Close-up of Rose St’, Scotland’s Magazine, 53 (12) pp. 8-11.
Tait, M. (1957b). ‘Making Films About Scotland’, The Scotsman. 2 February, p. 7.
Tait, M. (1961). ’The Day I Bathed in the Roman Baths’, Edinburgh Evening News, 6 November, p. 3.
Tait, M. (1988). ‘Orkney film maker on tour’, The Orcadian, 19 May, p. 7.
Tait, M. (1988), statement on six films selected by filmmaker as ‘models for a representation of Scotland on Screen’. In Kenny Mathieson (ed.), Desperately Seeking Cinema?, Glasgow Film Theatre, May-Oct, pp. 83-4.
Tait, M. (1992). ‘Feature: New Scottish Filmmakers’, Margaret Tait in her own words, The List, 10-23 April.
Tait, M. (1996). ‘George Mackay Brown Remembered’, Chapman (84), pp. 33-4.
Tait, M. (1997). ‘Film-poem or Poem-film: A Few Notes about Film and Poetry’, Poem Film Film Poem, No.2, November, pp. 4-5.
Tait, M. (1999). ‘Garden Pieces, Their Slow Evolution’, Poem Film Film Poem, No. 5, December, pp. 1-3.
Tait, M. (1999). ‘Films by Margaret Tait’, statement Time Out, 18 April 1980, p. 45.
Anthologies including Tait’s poetry
Fraser, E. (ed.) (1975). Scottish Love Poems: A Personal Anthology. Edinburgh: Canongate.
Smith, A. (ed.) (2006). The Reader. London: Constable.
Bibliography of works on Tait
Alegeri, O. (2015). ‘The Raven versus the seagull (ornithology and other sounds in Tait)’, Gallina Significa miel: Poemas escogidos y ensayos sobre cine de Margaret Tait/ Hen Means Honey: Chosen poems and essays about cinema by Margaret Tait, Punto de Vista Collection, Number 9, International Documentary Film Festival of Navarra, pp. 113-4.
Aurand, U. (2004). Contribution reflecting on her visit to Tait in Orkney. In Peter Todd (ed.), ‘Remembering Margaret Tait: A Deeper Knowledge Than Wisdom’, Vertigo, 2 (7), p. 54.
Aurand, U. (1994). ‘Margaret Tait’, Margaret Tait Film Tour Programme Brochure. Berlin: Ute Aurand.
Aurand, U. (1999). ‘Die Filmpoetin Margaret Tait ist gestorben’, Film, No. 6, pp. 4-5.
B.A. (1954). ‘Celluloid Experiment’, The Scotsman, n.p.
Bell, E. (2012). ‘Experiment and Nation in the 1960s’. In Glenda Norquay (ed.), The Edinburgh Companion to Scottish Women’s Writing, pp 122-9. Edinburgh: EUP.
Bell, G. (2000). ‘A Reel Visionary’, The Scotsman, 27 September, p.14.
Brown, G. M. (1979). ‘Under Brinkie’s Brae’, The Orcadian, 13 Dec, p. 6.
Bruce, D. (1996). ‘Rose Street: Margaret Tait and Women in Scottish Film’, Scotland – the Movie, pp. 108-9. London: Polygon.
Burch, N. (1982). ‘Narrative/Diegesis-Thresholds, limits’, Screen, 23 (2), 16-33.
C.P. (1954). ‘Rose Street Film Festival’, Edinburgh Evening Dispatch, August, n.p.
Clark, G. (2004). ‘Aspects of Change: The 58th Edinburgh International Film Festival’, Senses of the Cinema, no. 33, Oct-Dec, <http://archive.sensesofcinema.com/contents/festivals/04/33/edinburgh2004.html > accessed 24 November 2010.
Cochrane, A. (2007). ‘If you really look’, review of Margaret Tait’s Selected Films 1952-1976, PN Review 174, 33 (4), p. 78.
Colin, B. (1993). ‘Tidemarks’, The List, 23 April-6 May, p. 27.
Comino, J. (1983). ‘Place of Work’, Monthly Film Bulletin, 50 (588), p. 285.
Cook, B. and Todd, P. (2000). ‘Margaret Tait’, National Film Theatre Programme Booklet, October, pp. 34-5.
Crichton, T. (2000). ‘Film Honour for Orkney’s Movie Poet’, Sunday Herald (Glasgow), 17 September, p.10.
Cumming, L. (2009). ‘Poetry in motion pictures’, The Observer, ‘Review’, 8 November, p. 14.
Curtis, D. (1971). Experimental Cinema: a fifty year evolution. New York: Universe.
Curtis, D. (1999). ‘Britain’s Oldest Experimentalist…Margaret Tait’, Vertigo, no.9, 62-3.
Curtis, D. (2004). ‘In her own words’. In P. Todd and B. Cook (eds.), Subjects and Sequences: a Margaret Tait Reader, pp. 77-98. London: LUX.
Daily American (1952). ‘Perugia Film Real Triumph for Students’, ‘Travel Supplement’, 31 March, p. 1.
Didcock, B. (2009). ‘Setting the art world alight’, The Sunday Herald, ‘The Arts’, 11 October, pp. 4-7.
Dunnett, N. (1992). ‘New director makes feature debut at age of 73’, The Sunday Times, Scotland, ‘Arts’, 3 May, p. 4.
Elley, D. (1992). ‘Blue Black Permanent’, review, Variety, 14th December, p. 47.
Evans, G. (1999). ‘Only Connect: The Secret Art of Film Poems’, Filmwaves, Autumn, 28-30.
Evans, G. (2004). ‘Where I am is here: a patchwork for Margaret Tait’. In P. Todd and B. Cook (eds.), Subjects and Sequences: a Margaret Tait Reader, pp. 35-50. London: LUX.
Evans, G. (2007). ‘Tait modern’, Vertigo, 3 (6), n.p.
Ewan, E., Innes, S., Reynolds, S., Pipes. R. (eds.) (2007). The Biographical Dictionary of Scottish Women. Edinburgh: EUP.
Fabig, M. (1987). ‘Report about Women Filmmakers in Independent Film – Germaine Dulac, Maya Deren, Margaret Tait’, unpublished. Hamburg: Monika Fabig.
Field, S. (2005). ‘Margaret Tait: ‘Celebrating the Everyday, the Commonplace’, Cinematexas 10, 14-18 September, <http://cinematexas.org/festival/artist/html?id=579> accessed 16 January 2006.
Film User. (1955). ‘Portrait of Ga’, review, 9 (100), p. 108.
Film User. (1957). ‘The Drift Back’, review, 11 (130), p. 340.
Finch, D. (1988). ‘Film-Maker as Poet: Films by Stan Brakhage, Bruce Baillie and Margaret Tait’, catalogue, European Media Art Festival (1st-11th September), Osnabruck.
Finch, Z. (2015). ‘Margaret Tait’. In B. Nowlan and Z. Finch (eds.), Directory of World Cinema: Scotland, pp. 84-9. Bristol and Chicago: Intellect.
French, P. (1993). ‘Ripening Parable of Perfection’, Observer, 4 April, p. 54.
Francke, L. (1993). ‘Sea Song’, Every Woman, April, p. 23.
Garratt, C. (1989). ‘Margaret Tait’s Films’, catalogue, The Celtic Mirror Festival, Falmouth, Kernow, 10-12 November, p.4.
Goode, I. (2005). ‘Scottish cinema and Scottish imaginings: Blue Black Permanent and Stella Does Tricks’, Screen, 46 (2), pp. 235-9.
Gough-Yates, K. (1983). ‘Moving Pictures’, Art Monthly, June, p. 33.
Gray, Y. (2007). ‘Margaret Tait, Orkney poet and film-maker remembered’, review of P.Todd and B. Cook (eds.), Subjects and Sequences: a Margaret Tait Reader, Northwords Now.
Gray, Y. (2006). ‘Subjects and Sequences: a Margaret Tait Reader’, review, Media Education Journal, 39, pp. 38-9.
Grierson, J. (1941). ‘Art in Action’, John Grierson Archive, University of Stirling, G4/21/4, p.2.
Grigor, M. (1970). 24th Edinburgh Film Festival Brochure, pp. 52-54, reprinted in P. Todd and B. Cook (eds.), Subjects and Sequences: a Margaret Tait Reader, p. 141. London: LUX.
Grigor, M. (1999). ‘Margaret Tait’, obituary, The Independent, 12 May, p.6.
Hammond, W. (1993). ‘Blue Black Permanent: NFT’, Time Out, 31 March-7 April, p. 53.
Heddle, D. (2005). ‘Subjects and Sequences: a Margaret Tait Reader’, review, Scottish Studies Review, Autumn, pp. 110-111.
Heriot, N. (1957). ‘Rose Street comes to life—for 20 minutes’, The Bulletin, 10 July, p. 10.
Hunter, A. (1992). ‘Blue Black Permanent’, Screen International, 19 June, pp. 20-1.
Issacs, J. (1989). Storm Over 4: A Personal Account. London: Weidenfield & Nicholson, p.173.
Jackson, K. (1992) ‘The early promise of late starters’, The Independent, ‘Arts’, 17 Aug, p. 10.
Johnston, S. (1993). ‘Blue Black Permanent’, review, The Independent, 2 April, p.16.
Krikorian, T. (1979). ‘Some notes on an Ephemeral Art’, Exhibition Catalogue Third Eye Centre, Glasgow.
Krikorian, T. (1983). ‘On the Mountain and Land Makar: Landscape and Townscape in Margaret Tait’s Work’, Undercut, No.7/8, pp. 17-19.
Kirkorian, T. (1996). ‘Margaret Tait’. In D. Curtis (ed.), A Directory of British Film and Video Artists, pp. 190-1. Luton: University of Luton and The Arts Council of England.
Krikorian, T. (2003). ‘On The Mountain and Land Makar: Landscape and Townscape in Margaret Tait’s Work’. In N. Danino and M. Mazière (eds.), The Undercut Reader: Critical Writings on Artists’ Film and Video, pp. 103-5. London: Wallflower.
Leggett, M. (1980). ‘On the Mountain’, review, Time Out, 18 April, p.45.
Leggett, M. (1996). ‘Margaret Tait’. In D. Curtis (ed.), A Directory of British Film & Video Artists, pp. 190-2. Luton: John Libby Media/London: Arts Council of England.
Leggett, M. (n.d.) ‘The Autonomous Film-maker: Margaret Tait: Films and Poems – a correspondence between Mike Leggett and Margaret Tait’ [edited by Richard Kwietniowksi – unpublished]. British Artists’ Film and Video Study Collection, Central Saint Martins College of Art and Design.
Le Grice, M. (1975). ‘First Festival of Independent British Cinema’, Studio International, 189 (975), p. 225.
Le Grice, M. (1979). ‘Programme notes’. Film London: 3rd Avant-garde International Festival. London: NFT.
M., L. (2012). ‘Margaret Tait: Poems, Stories and Writings’, review, Scottish Review of Books, 8 (2), 27.
MacDiarmid, H. (1998). ‘Intimate Film Making in Scotland’, Scottish Field (1960), In A. Calder, G. Murray, and A. Riach (eds.), Hugh MacDiarmid: The Raucle Tongue, Hitherto Uncollected Prose, Vol. III, pp. 417-21. Manchester: Carcanet.
MacNeacail, A. (1999). ‘primula scotia at yesnaby’ (for Margaret Tait: 1918-1999), poem, The Orcadian, 20 May, p. 10.
MacPherson, R. (2015). ‘Cultural Crossover: Radical and Engaged Cinema’. In B. Nowlan and Z. Finch (eds.), Directory of World Cinema: Scotland, pp. 31-45. Bristol and Chicago: Intellect.
Malcolm, D. (1993). ‘Blue Black Permanent’, review, The Guardian, 1 April, p. 5.
Maxford, H. (1993). ‘Blue Black Permanent’, review, What’s On In London, 7 April, p. 35.
Mayer, S. (2014). ‘Origins and Elements: On Margaret Tait’s Disappearing Trick’, POST 4, pp. 17-32.
McBain, J. and Russell, A. (2004). ‘Preserving the Margaret Tait Film Collection’. In P. Todd and B. Cook (eds.), Subjects and Sequences: a Margaret Tait Reader, pp. 101-9. .London: LUX.
McCaffery, R. and Van de Peer, S. (2014). ‘Acknowledged Legislators: ‘Lived experience’ in Scottish Poetry Films’, International Journal of Scottish Theatre and Screen, 7 (2), pp. 5-30.
McKibbin, T. (2002). ‘Scottish Cinema: A Victim Culture?’, Cencrastus, no. 73, pp. 25-29.
McKibbin, T. (2007). ‘The Passing Present’, Anon, 5, pp. 65-77.
Mengham, R. (2007). ‘Review – Margaret Tait’, Art Monthly no. 310, p. 39.
Miller, M. (2004). ‘Hold it – Hold it simple – Hold it direct’: Margaret Tait’s reverberant notes’, Filmwaves, 26 (4), pp. 30-5.
Miller, M. (2005a). ‘Re: Margaret Tait: Reverberation, Recognition, Rediscovery’, The Drouth, Spring, <http://www.thedrouth.org/storage/The%20Drouth%2015-1.pdf > accessed 20 May 2011.
Miller, M. (2005b). ‘…quite unique’: Reviving Margaret Tait, in conversation with Peter Todd’, The Drouth, Spring, <http://www.thedrouth.org/storage/The%20Drouth%2015-1.pdf > accessed 20 May 2011.
Miller, M. (2006/7). ‘Recycled, Re-imagined and Resurrected: The Return of Margaret Tait’, Roughcuts, Dec/Jan, p. 15.
Moir, J. (1993). ‘First Person Highly Singular’, The Guardian, 31 March, pp. 8-9.
Morgan, E. (1961). ‘Who Will Publish Scottish Poetry’, review of origins and elements, New Saltire 2, November, pp. 51-56.
Morgan, E. (1992). ‘Speaking in Tongues’, review of The Faber Book of Twentieth-Century Poetry, The Sunday Times, 19 July, n.p.
Nairn, E. (1955). ‘Stills from Orquil Burn and Happy Bees’, poem, 2nd Rose Street Film Festival leaflet, Edinburgh.
Neely, S. (2008a). ‘Contemporary Scottish Cinema’. In N. Blain and D. Hutchison (eds.), The Media in Scotland, pp. 151-65. Edinburgh: EUP.
Neely, S. (2008b). ‘Stalking the image: Margaret Tait and Intimate Filmmaking Practices’, Screen, 49 (2), pp. 216-221.
Neely, S and Riach, A. (2009). ‘Demons in the Machine: cinema and modernism in twentieth-century Scotland’. In J. Murray, F. Farley and R. Stoneman (eds.), New Scottish Cinema, pp. 1-19. Newcastle: Cambridge Scholars Press.
Neely, S. (2010).‘”Ploughing a lonely furrow”: Margaret Tait and “professional” filmmaking practices in 1950s Scotland’. In I. Craven (ed.), Movies on Home Ground: Explorations in Amateur Cinema, pp. 301-26. Newcastle: Cambridge Scholars Press.
Neely, S. (2012). ‘Margaret Tait: Film as poetry, or reading in the dark’, Scottish Poetry Library blog, <http://www.scottishpoetrylibrary.org.uk/connect/blog/category/margaret-tait> accessed 19 November 2015.
Neely, S. (2014). ‘”My Heart Beat for the Wilderness”: Exploring with the Camera in the Work of Isobel Wylie Hutchison, Jenny Gilbertson, Margaret Tait, and other Twentieth-Century Scottish Women Filmmakers’. In Anna Stenport and Scott MacKenzie (eds.), Films on Ice, pp. 299-309. Edinburgh: EUP.
Neely, S. (2015a). ‘Orphans of a GENERATION: Preserving the legacy of Margaret Tait’, MAP Magazine, <http://mapmagazine.co.uk/9808/orphans-generation/> accessed 19 November 2015.
Neely, S. (2015b). ‘Objects Found: Locating a tradition of Scottish women filmmakers’. In Tina Fiske (ed.), Ripples in the Pond, pp. 43-9. Glasgow: Thinking Collections, Gallery of Modern Art Glasgow.
Neely, S. (2015c). ‘Margaret Tait’s “Poetry of Presence’”, Gallina Significa miel: Poemas escogidos y ensayos sobre cine de Margaret Tait/ Hen Means Honey: Chosen poems and essays about cinema by Margaret Tait, Punto de Vista Collection, Number 9, International Documentary Film Festival of Navarra, pp. 114-9.
Neely, S. (2015d). Archivos de la filmoteca: Margaret Tait y el ‘Poeta en Nueva York’ de Lorca”, Contraluz, magazine article published in English and Spanish, pp. 72-3.
Nicolson, A. (2004). Contribution reflecting on her visit to Tait in Orkney, in P. Todd (ed.) ‘Remembering Margaret Tait: A Deeper Knowledge Than Wisdom’, Vertigo, 2 (7), 53.
The Orcadian. (1977). ‘Three Jubilee Film Shows’, 22 September 1977, p. 3.
The Orkney Herald (1957a). ‘Orcadian’s Film for Edinburgh Festival?’, 25 July, p. 4.
The Orkney Herald (1957b). ‘Orkney Magazine Film’, 8 January, p. 2.
P.,C. (1954). ‘Rose Street Film Festival’, Edinburgh Evening Dispatch, August, n.p.
Parker, K. (2014). ‘Blobs in Tartan Colours: Margaret Tait’s Painted Eightsome’, Frames Cinema Journal, October 2014, pp. 1-18.
Petrie, D. (2000). Screening Scotland. London: British Film Institute.
Petrie, D. (2013).’Planting the Seeds of Ambition: Scottish Film in the 1960s’, Scottish Cultural Review of Language and Literature, vol. 20, p. 243.
Pirie, A. (2000). ‘Margaret Tait Film Maker 1918-1999: Indications Influence Outcomes’, Poem Film Film Poem, No. 6, 1-12.
Price, R. (2011). ‘Margaret Tait: Film-maker and Poet’, PS, no. 7, pp. 22-28.
Ramaswamy, C. (2006). ‘Tait gallery restored’, Scotland on Sunday, ‘Arts’, 12 November.
Riach, A. (2009). ‘Tait’s MacDiarmid’, poem. In Homecoming: New Poems 2001-2009, p. 164. Edinburgh: Luath Press.
Redding, J. M and Brownworth, V. (1997) ‘Margaret Tait’ in Film Fatales, pp. 109-111. Seattle: Seal Press.
Reyner, J. L. (1970). ‘Margaret Tait’ in Continental Film Review, November, 9.
Reyner, J.L. (1999). ‘Margaret Tait’, obituary, The Guardian, 13 May, p. 22.
Reynolds, L. (2001). ‘Colour Poems’, Poem Film Film Poem, no. 9, pp. 1-2.
Reynolds, L. (2004). ‘Margaret Tait: marks of time’, P. Todd and B. Cook (eds), Subjects and Sequences: a Margaret Tait Reader, pp. 57-69. London: LUX.
Roddick, N. (2015). ‘Tait of Grace’, Sight and Sound, 25 (6), p. 54.
Romer, M. (2006). ‘Poetry in Blue Black Permanent: Three footnotes to Margaret Tait’s film’, Cencrastus, no. 82, pp. 8-13.
Romer, M. (2011). ‘Malcolm Lowry’s Influence on Orcadian Filmmaker Margaret Tait’, Firminists, No. 2, pp. 9-16.
Rosie, G. (2004). ‘A glimpse of rare talent’ The Sunday Times, 22 August, n.p.
Russell, W. (1993). ‘When Second Thoughts Are a Bad Idea’, The Herald, 24 April, p. 24.
Sandhu, S. (2004). ‘Unique Vision of a Film Poet, Daily Telegraph, 23 August, p. 17.
Sandhu, S. (2005). ‘Open Connection’, review of Subjects and Sequences: a Margaret Tait Reader, New Statesman, 7 February, <www.newstatesman.com/200502070046> accessed 24 November 2010.
The Scotsman. (1954). ‘Festival Notes: Film Portrait’, 31 August, p. 6.
The Scotsman. (1957). ‘Film Experiment in Orkney: ‘The Drift Back’’, 15 April, p. 8.
Scottish Sun. (1992). ‘Mags, 73, in Blue movie!’, 4 June, n.p.
Shand, R. (2007). ‘A Review of Subjects and Sequences: A Margaret Tait Reader’, The Moving Image: The Journal of the Association of Moving Image Archivists, 7 (1), pp. 107-110.
Shure, R. (1972). ‘The Long Light Days of Margaret Tait’, Umbrella, published by Richard Demarco Gallery, 1 (2), n.p.
Smith, A. (2004). ‘The Margaret Tait years’, P. Todd and B. Cook (eds.), Subjects and Sequences: a Margaret Tait Reader, pp. 7-27. London: LUX.
Smith, A. (2004). ‘Margaret Tait’, LUXONLINE tour, <www.luxonline.org.uk>accessed 24 November 2010.
Sparrow, F. (2001). ‘Garden Pieces’, Poem Film Film Poem, no. 9, pp. 1-2.
Speranza, R. S. (2003). The film-poem and its development: poetry and film from 1910-2003, PhD thesis, English Literature, Sheffield.
Stevenson, G. (1999a). ‘The Late Margaret Tait, Film-maker- An appreciation’, The Orcadian, 20 May, p. 10.
Stevenson, G. (1999b). ‘Margaret Tait’, obituary, The Scotsman, 5 May, n.p.
Sussex, E. (1970). ‘Margaret Tait, Film-maker’, The Financial Times, 9 September, p. 3.
Sussex, E. (1999). ‘Margaret Tait’, obituary, The Guardian, 13 May, p. 22.
The Times. (1999). ‘Margaret Tait’, obituary, 28 May, p. 31.
Today’s Cinema. (1957). ‘Experimental Film in the Orkneys’, 88 (7765), p. 4.
Todd, P. (2003). ‘The Margaret Tait Project’, Media Education Journal, Issue 33, pp. 27-30.
Todd, P. and Cook, B. (eds.) (2004). Subjects and Sequences: a Margaret Tait Reader. London: LUX.
Todd, P. (2004a). ‘Bibliography on Margaret Tait’. In Experimental Film: 16+ Study Guide, pp. 9-11. London: BFI.
Todd, P. (2004b). ‘Remote Lives? …Looking Beyond the Canon; The Need For Images That Are Local’, Vertigo, 2 (6), p. 56.
Todd, P. (ed.) (2004c). ‘Remembering Margaret Tait: A Deeper Knowledge Than Wisdom’, Vertigo, 2 (7), pp. 53-55.
Todd, P. (2004d). ‘Margaret Tait’, LUXONLINE essay, <www.luxonline.org.uk> accessed 24 November 2010.
Todd, P. (2009) ‘A Future Led by Looking’. In A. Peebles and L. Watts (eds.) Orkney Futures, p. 51. Orkney: Brae Editions.
Todd, P. (2015), ‘”Unofficial and individual”, the films of Margaret Tait’, Gallina Significa miel: Poemas escogidos y ensayos sobre cine de Margaret Tait/ Hen Means Honey: Chosen poems and essays about cinema by Margaret Tait, Punto de Vista Collection, Number 9, International Documentary Film Festival of Navarra, pp. 120-7.
Winn, J. (2002). ‘Preserving the Handpainted Films of Margaret Tait’, MA Dissertation, Norwich, 2002 (unpublished), <http://tait.josswinn.org/wp-content/uploads/2009/08/josswinn_dissertation.pdf,> accessed 20 May 2011.
Wolfe-Murray, A. (1993). ‘Blue Black Permanent’, The Scotsman Weekender, 24th April, n.p.
Wood, S. (2004). Contribution on A Portrait of Ga. In P. Todd (ed.), ‘Remembering Margaret Tait: A Deeper Knowledge Than Wisdom’, Vertigo, 2 (7), p. 55.
Yates, R. (1993). ‘Blue Black Permanent’, review, Sight and Sound, April, p.43.
List of resources first published in Sarah Neely, Between Categories: Margaret Tait: Poetry, Portraits, Sound and Place (Oxford: Peter Lang, 2016).