Christopher Grieve was born in Langholm, Dumfries-shire, on 11 August 1892. His first job as a journalist was in Wales but when the First World War broke out, he joined the Royal Army Medical Corps and saw action at Salonica in Greece, and in France. After the war, he returned to journalism in Montrose and also served as a county councillor. His first books, including his well-known A Drunk Man Looks at The Thistle, were published in the 1920s, and he went on to become one of the leading figures in what became known as the Scottish Renaissance. Over time, his political views were eclectic; he flirted with European fascism, was at one point expelled from the National Party of Scotland for his communist views and at another was expelled from the Communist Party for his nationalist views.
This absorbing new exhibition at the Shetland Museum and Archives in Lerwick illuminates the lives of the Scottish poet, essayist and journalist Christopher Murray Grieve – pen-name Hugh Macdiarmid – and his wife Valda during the nine years that they lived in Whalsay, one of the islands lying north-east of the Shetland mainland. Brilliantly conceived and impeccably executed, the exhibition explores their family history, the struggles they faced and the support they received from the community.
He and Valda Trevlyn, his second wife, moved to Whalsay in 1933; the island had been suggested as a place to find some peace after the difficult ending of his first marriage. The property they lived in is still referred to as the Grieves’ house. They, and their son Michael, left in 1942, Macdiarmid having been called up to serve in a munitions factory near Glasgow.
After the war, they were prominent figures in the Scottish creative scene, joining others in intense discussion, often in Milne’s Bar in Rose Street, Edinburgh.
There was an international dimension, too. Among many others, Hugh met the poets Yevgeny Yevtushenko and Ezra Pound, the philosopher Bertand Russell, the composer Dmitri Shostakovich and African-American civil rights leader, Malcolm X.
Hugh Macdiarmid died in 1978, aged 86, at the couple’s cottage, Brownsbank, near Biggar. Valda died in 1989.
The exhibition focuses on those nine years and brings together a remarkable collection of family photographs, personal letters between Christopher and Valda, manuscripts and a range of artefacts connected with them and their period, including textiles associated with Valda. The history group in Whalsay have been closely involved in the project, which took around a year to bring together. However, other partnerships have played vital parts, too. The National Library of Scotland has lent important manuscripts and letters, and the exhibition is part of their centenary programme. Notable paintings by two artists are displayed as part of the Royal Scottish Academy’s 200th anniversary celebrations. Christopher Grieve’s descendants have also participated in the preparations; his grandsons, Dorian and Christopher, were very welcome guests over the opening weekend.
All of these materials, alongside with local resources, have enabled the Shetland Museum’s team to create an immensely rich and thought-provoking display, which unfolds through a series of distinct yet connected spaces. The first part of the exhibition is devoted to a remarkable collection of family photographs. Another area draws inspiration from MacDiarmid’s writing environment, and Valda’s part in the story is given full weight.
MacDiarmid produced half of his life’s work in Whalsay, drawing deeply on the island’s landscapes and people. His experience profoundly shaped his engagement with Scottish identity, language and politics.
Thanks to the Whalsay History Group, it has been possible to display the boat used by Macdiarmid when journeying to the small island of Linga, inspiration for his celebrated poem, On a Raised Beach. The Grieves’ grandsons are seen here with the fourareen (meaning four oared). It’s a striking element in the display, but there is also a wealth of personal and archival material that evokes the realities of their daily life in Whalsay.
Letters reveal the creative and sometimes frank exchanges between Christopher and Valda. After he left for Glasgow, Valda prepared to follow him, having to overcome all the practical problems involved. In her letters, she writes about the financial hardships: “I’m down to my last shilling”. She asks him to make arrangements for the move by her and their son Michael:
I must try and borrow something from Mary Shearer next week if nothing comes in….I feel sure if I came down I could get a job of some kind so for goodness sake try and arrange something for Michael & as soon as you have – I’ll come down….it is essential that I should get down as quickly as possible – for our own sakes….
There are insights into how the couple were seen locally, while their correspondence brings their voices and experiences to the fore. The Whalsay folk were endlessly supportive, even if some who faced the challenges of life at sea in the local fishing fleet didn’t always regard writing poetry as a real job.
Valda’s story is a powerful one. Strong-willed, resourceful and independent, she immersed herself in island life and played a vital role in sustaining Hugh and Michael through poverty, ill health and isolation. Her resilience and creativity were integral to the couple’s shared experience and to Hugh’s work. With other women on the island, who understood the family’s difficulties, she knitted and sewed to earn some money. She cut peats for the fire, too, and gathered birds’ eggs for food.
This is reflected in a setting inspired by their home, featuring her knitting jotter and replica knitted garments. It seems that, whilst she clearly got on well with her neighbours, she surprised them by, among other things, wearing trousers at a time when that was not customary. Another exhibit, on loan from the Macdiarmid collection in Biggar, is a magnificent kaftan that emphasises her style, which was arguably two or three decades ahead of its time.
Alexander Moffat portrays the couple and their contemporaries, the group image representing the literary regulars in Milne’s Bar.
Ruth Nicol’s work captures the landscapes of Whalsay. Both were in Shetland to take part in the opening of the exhibition.
The inclusion of these paintings forms part of RSA200: Celebrating Together, the Royal Scottish Academy’s bicentenary programme. MacDiarmid himself was made an Honorary Academician of the RSA in recognition of his outstanding contribution to Scottish literature, making this a particularly fitting connection.
Karen Clubb, Exhibitions Officer at Shetland Museum and Archives said:
We are delighted to be sharing this exhibition. It has been fascinating to unpick the story of Hugh and Valda and bring their experiences in Whalsay to life. From the outset, we were especially keen to shine a light on Valda, who was seen as an unconventional figure at the time – she smoked, wore breeks and lived independently – yet it was her strength, resilience and immersion in island life that helped sustain the family. She is a compelling figure, and the exhibition reveals more about her influence, her presence and the important role she played during some of Hugh’s most productive writing years.
Tracey Hawkins, Collections Manager at Shetland Museum and Archives added:
This is a very special exhibition for us, and one we are proud to present. What began an as opportunity to display rare letters and manuscripts has grown into something much more immersive, bringing to life Hugh and Valda’s years in Whalsay through archival material, artefacts, community contributions and contemporary responses. It has been a privilege to work with the National Library and to collaborate closely with the Whalsay History Group, whose knowledge and generosity have been invaluable. We are also delighted to include artwork by Alexander Moffat RSA and Ruth Nicol RSW, which brings a different perspective to the exhibition and ties in with both the National Library’s centenary and RSA200 celebrations.
Director of Collections, Access and Research at the National Library, Alison Stevenson said:
The letters and manuscripts in our archival holdings bring to life those who wrote them in ways that no other material can, and we have seen this in people’s reactions when they get up close to their handwriting – it’s a visceral reaction as much as an intellectual one. We are delighted to visit Shetland and contribute in such a way to this exhibition celebrating Valda and Hugh. And we very much look forward to our National Library Live activity around Shetland in May, in collaboration with Shetland Library as well as Shetland Museum and Archives. It will be a privilege to meet people in libraries, schools and community venues, and explore connections with their national collections.
As well as talks and creative writing workshops using archival material, there are to be several other events, including artist-led sessions, a bookbinding workshop and family-friendly activities, offering something for all ages and interests.
The opening events were especially memorable. Sandy Moffat and Ruth Nicol took part in a fascinating presentation by the leading authority on Macdiarmid, Professor Alan Riach of Glasgow University.
The Shetland Museum and Archives has a history of presenting outstanding exhibitions and this one is an extraordinary achievement, offering many insights into the lives of Valda and Hugh. It’s no wonder that there is talk of taking it to other venues, including perhaps Edinburgh and Biggar.
Whether you live in Shetland or are visiting, it’s unmissable. Outwith: Valda, Macdiarmid and Whalsay runs until 20 June 2026.
Alastair Hamilton
Alastair Hamilton moved to Shetland in 1976. Until he retired, he worked for Shetland Islands Council, latterly as Head of Planning, and was also involved in economic development.