Narrating Scotland traces the Scottish writer’s weaving together of source material from memoirs, letters, histories, and records of trials. Menikoff uncovers the documentary basis for reading Kidnapped and David Balfour as political allegories and reveals the skill with which Stevenson offered a narrative that British colonizers could enjoy without being offended by its underlying condemnation. Menikoff shows that Stevenson’s experiments in fiction, which would anticipate such works as Truman Capote’s In Cold Blood, successfully inscribed his country’s loss of indigenous culture upon an epic narrative that for more than a century has masqueraded as a common adventure story.