Bold, Valentina

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Confessions of a Justified Sinner captures the modern
condition perfectly
August 19, 2015 2.59pm BST
 Valentina Bold
One of the highlights of this year’s Edinburgh International Festival is undoubtedly
a new production of Paul Bright’s Confessions of a Justified Sinner, which runs
between August 19 and 22. In a year which is strong on Scottish literary adaptions
(Alasdair Gray novel Lanark is also being staged, Paul Bright’s Confessions is based
on James Hogg’s masterwork The Private Memoirs and Confessions of a Justified
Sinner.
First published anonymously in 1824, the Confessions is one of the defining texts of
modern Scottish literature —- and an outstanding novel within European
traditions. Partly based on E T A Hoffman’s Die Elixiere des Teufels (The Devil’s

The Devil infiltrates the righteous – or does he? Untitled Projects
   

Elixirs) of 1815, Hogg explores the downward spiral of the unappealing Robert
Wringhim, who comes to believe in the justness of all of his actions by virtue of
being among God’s saved. The novel plays with Calvinist concepts of
predestination and ideas around free will —- whether our actions, or God’s plan,
decide on our salvation and damnation.
If this sounds worthy but staid, the Confessions is in fact fast, dramatic, and
shocking. Much of the action is focused around Wringhim’s violent engagements
with his somewhat more wholesome estranged brother, George Colwan.
Wringhim’s beliefs are fostered by his mother and her mentor and alleged lover, the
Rev Wringhim; and enforced by his possibly imaginary “friend” Gil-Martin, who is
part doppelganger and part Devil. Gil-Martin encourages Robert (perhaps) to
commit ever more criminal acts – culminating in murder.
The only certainty in Hogg’s vision is that evil is present within the outwardly
civilised – and inwardly raucous – Scotland of the early 18th century. Glasgow
emerges as a religious hotbed. Edinburgh, where much of the action takes place, is a
seething, brawling city. In the semi-wilderness Edinburgh areas of Arthur’s Seat and 
Salisbury Crags, atmospheric effects enhance the visual qualities of this disturbing
and unsettling text.
Yet the success of the novel is a modern phenomenon. The original reviews were
mixed and half of the first edition was remaindered. It was only after World War II
that Hogg’s now-acknowledged masterpiece came into its critical own, when in 1947
French Nobel laureate André Gide provided a new introduction.
Gide had read the novel in Algiers in 1924, alongside John Stuart Mill’s 
Autobiography and his utilitarian classic On Liberty. Finding “a renewal of topical
interest” in Mill, given the “menace of ‘totalitarianism’”, Gide was “voluptuously
tormented” by Hogg’s book. He admired Hogg’s exploration of moral questions and
his “ingenious” psychological portrayal of the Devil. He found it remarkable “that a
civilized country existed at a relatively recent period … where such an aberration of
Faith was possible”.
Co nf e s s i o ns  o n the  b o a r d s
Hogg’s central theme of religious extremism has added resonance today, of course.
Writing 60 years after Gide, the Scottish detective novelist Ian Rankin admired
Hogg’s treatment of the theme of the purification of apostasy, arguing this made the
book enduringly relevant and resonant for modern audiences. Anchored in
Scottish experience, Hogg’s reflections on a distorted form of Calvinism make this a
defining text of religious extremism, past and present.
Though there have been several adaptation of Confessions before, Paul Bright’s 
version is probably the one which most directly engages with the book’s narrative
ambiguities, while taking the story some distance from its original material. First
developed in 2010 and performed in Scotland, Ireland and Sweden, The Guardian 
listed it as one of the top ten theatre productions in 2013, admiring its exploration
of “the borderline between the real and the imagined”.
Confessions 1947 edition AbeBooks
With apologies in advance for giving the game away slightly, theatregoers are
treated to a pre-performance exhibition about Bright. He is depicted as a forgotten
writer who “redefined Scottish theatre in the 1980s” by masterminding a series of
experimental adaptations of the play in locations ranging from a Celtic pub to the
summit of Arthur’s Seat. He is then said to have mysteriously disappeared until his
death in 2010. When the performance begins, the lead actor picks up this tribute,
only for it to become clear that this is actually part of the play itself.
Bright himself has left suspiciously few traces. A review of the 2013 production in
the Telegraph commented: “those of a suspicious nature – and some critics – might
conclude that … Paul Bright’s Confessions of a Justified Sinner is a witty and
admirably elaborate hoax”, noting the audience is explicitly reminded acting is
“lying and getting away with it”.
All this is wholly in the spirit of the original and adds a fresh interpretative layer to
an already complex whole. Nothing is as it seems. The central story in Hogg’s novel
is presented through two main versions: the alleged facts presented by a possibly
unreliable editor, and the memoirs of Wringhim. These are combined with oral
testimonies, a description of opening the suicide’s grave and the quoted statements
of Gil-Martin. His ambiguous central statement – which can be read as a
proclamation of salvation or damnation – is: “I have but one great aim in this
world, and I never for a moment lose sight of it”.
What is really going on? Untitled Projects
Above all, Confessions is stunningly duplicitous. In my afterword to the Merchiston 
Press edition from 2009, I described reading the book as an almost interactive
experience. The reader is required to make personal decisions about what has
actually happened, and judgements on the reliability of the text and its narrators.
Both Hogg’s and the current Confessions are wholly based on cross-tellings,
rumour, and half-rememberings. Perhaps it is this shifting nature that ultimately
has an enduring appeal to modern audiences. We live in a world of propaganda,
misinformation and multiple sources of information. From the distance of two
centuries, Hogg’s masterpiece captures our confusion and uncertainty perfectly.
Paul Bright’s Confessions of a Justified Sinner is at the Edinburgh Queen’s Hall from August 19 to
22
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Confessions of a Justified Sinner captures the modern condition perfectly

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Get our newsletter Confessions of a Justified Sinner captures the moderncondition perfectlyAugust 19, 2015 2.59pm BST Valentina BoldOne of the highlights of this year’s Edinburgh International Festival is undoubtedlya new production of Paul Bright’s Confessions of a Justified Sinner, which runsbetween August 19 and 22. In a year which is strong on Scottish literary adaptions(Alasdair Gray novel Lanark is also being staged, Paul Bright’s Confessions is basedon James Hogg’s masterwork The Private Memoirs and Confessions of a JustifiedSinner.First published anonymously in 1824, the Confessions is one of the defining texts ofmodern Scottish literature —- and an outstanding novel within Europeantraditions. Partly based on E T A Hoffman’s Die Elixiere des Teufels (The Devil’sThe Devil infiltrates the righteous – or does he? Untitled Projects   Elixirs) of 1815, Hogg explores the downward spiral of the unappealing RobertWringhim, who comes to believe in the justness of all of his actions by virtue ofbeing among God’s saved. The novel plays with Calvinist concepts ofpredestination and ideas around free will —- whether our actions, or God’s plan,decide on our salvation and damnation.If this sounds worthy but staid, the Confessions is in fact fast, dramatic, andshocking. Much of the action is focused around Wringhim’s violent engagementswith his somewhat more wholesome estranged brother, George Colwan.Wringhim’s beliefs are fostered by his mother and her mentor and alleged lover, theRev Wringhim; and enforced by his possibly imaginary “friend” Gil-Martin, who ispart doppelganger and part Devil. Gil-Martin encourages Robert (perhaps) tocommit ever more criminal acts – culminating in murder.The only certainty in Hogg’s vision is that evil is present within the outwardlycivilised – and inwardly raucous – Scotland of the early 18th century. Glasgowemerges as a religious hotbed. Edinburgh, where much of the action takes place, is aseething, brawling city. In the semi-wilderness Edinburgh areas of Arthur’s Seat and Salisbury Crags, atmospheric effects enhance the visual qualities of this disturbingand unsettling text.Yet the success of the novel is a modern phenomenon. The original reviews weremixed and half of the first edition was remaindered. It was only after World War IIthat Hogg’s now-acknowledged masterpiece came into its critical own, when in 1947French Nobel laureate André Gide provided a new introduction.Gide had read the novel in Algiers in 1924, alongside John Stuart Mill’s Autobiography and his utilitarian classic On Liberty. Finding “a renewal of topicalinterest” in Mill, given the “menace of ‘totalitarianism’”, Gide was “voluptuouslytormented” by Hogg’s book. He admired Hogg’s exploration of moral questions andhis “ingenious” psychological portrayal of the Devil. He found it remarkable “that acivilized country existed at a relatively recent period … where such an aberration ofFaith was possible”.Co nf e s s i o ns  o n the  b o a r d sHogg’s central theme of religious extremism has added resonance today, of course.Writing 60 years after Gide, the Scottish detective novelist Ian Rankin admiredHogg’s treatment of the theme of the purification of apostasy, arguing this made thebook enduringly relevant and resonant for modern audiences. Anchored inScottish experience, Hogg’s reflections on a distorted form of Calvinism make this adefining text of religious extremism, past and present.Though there have been several adaptation of Confessions before, Paul Bright’s version is probably the one which most directly engages with the book’s narrativeambiguities, while taking the story some distance from its original material. Firstdeveloped in 2010 and performed in Scotland, Ireland and Sweden, The Guardian listed it as one of the top ten theatre productions in 2013, admiring its explorationof “the borderline between the real and the imagined”.Confessions 1947 edition AbeBooksWith apologies in advance for giving the game away slightly, theatregoers aretreated to a pre-performance exhibition about Bright. He is depicted as a forgottenwriter who “redefined Scottish theatre in the 1980s” by masterminding a series ofexperimental adaptations of the play in locations ranging from a Celtic pub to thesummit of Arthur’s Seat. He is then said to have mysteriously disappeared until hisdeath in 2010. When the performance begins, the lead actor picks up this tribute,only for it to become clear that this is actually part of the play itself.Bright himself has left suspiciously few traces. A review of the 2013 production inthe Telegraph commented: “those of a suspicious nature – and some critics – mightconclude that … Paul Bright’s Confessions of a Justified Sinner is a witty andadmirably elaborate hoax”, noting the audience is explicitly reminded acting is“lying and getting away with it”.All this is wholly in the spirit of the original and adds a fresh interpretative layer toan already complex whole. Nothing is as it seems. The central story in Hogg’s novelis presented through two main versions: the alleged facts presented by a possiblyunreliable editor, and the memoirs of Wringhim. These are combined with oraltestimonies, a description of opening the suicide’s grave and the quoted statementsof Gil-Martin. His ambiguous central statement – which can be read as aproclamation of salvation or damnation – is: “I have but one great aim in thisworld, and I never for a moment lose sight of it”.What is really going on? Untitled ProjectsAbove all, Confessions is stunningly duplicitous. In my afterword to the Merchiston Press edition from 2009, I described reading the book as an almost interactiveexperience. The reader is required to make personal decisions about what hasactually happened, and judgements on the reliability of the text and its narrators.Both Hogg’s and the current Confessions are wholly based on cross-tellings,rumour, and half-rememberings. Perhaps it is this shifting nature that ultimatelyhas an enduring appeal to modern audiences. We live in a world of propaganda,misinformation and multiple sources of information. From the distance of twocenturies, Hogg’s masterpiece captures our confusion and uncertainty perfectly.Paul Bright’s Confessions of a Justified Sinner is at the Edinburgh Queen’s Hall from August 19 to22Islam fundamentalism Edinburgh Festival Extremism Edinburgh fringeYou might also likeA tale of twofestivals: thehistory of theEdinburgh FringeWalter Scottwas no blandtartanromantic, hewasdumbed downJ M Barrie’sreturning ‘lost’play gives usan earlyglimpse ofPeter PanDefying thenorm? Hardly,the EdinburghFringedefines itUnderstanding sleep paralysis: a terrifying butunique state of consciousnessDrink a glass of olive oil every day – theMediterranean way to a long lifeWhat your father did before you were borncould influence your futureWhy killing lions like Cecil may actually beOur fossil find suggests humans spread toAsia way before they got to EuropeAnkara bombs: Turkey is being torn apart bybad leaders and bad neighboursAny job isn’t necessarily a good job for peopleout of workSeeing double? How the EU miscountsMost popular on The Conversationgood for conservationMeteorite impact turns silica into stishovite in abillionth of a secondmigrants arriving at its bordersHow Donald Trump trademarked the slogan‘Make America Great Again’EventsFind experts with knowledge in:*e.g. Cyber SecurityUnderstanding Society Scientific Conference 2015 — ColchesterMagna Carta & the Rule of Law Exhibition — LondonDNATED — LondonpsychEye — LondonIan Pace (Piano) (Inside Out Festival 2015) — LondonMORE EVENTSExpert Database SearchStay informedSubscribe to our NewslettersFollow us on social media Your email addressSubscribe Copyright © 2010–2015The Conversation Trust (UK) LimitedUnited Kingdom

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Confessions of a Justified Sinner captures the modern condition perfectly

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