The Break up of Britain Conference in recognition Tom Nairn November 2023

 

 Tom Nairn has been a guiding light. 

He took Scotland’s constitutional questions and nationalism onto the global stage. Nairn gave us secure political foundations on which to build. He was instrumental in changing Scotland’s nationalism from a parochial to a more international and wide ranging civic nationalism. 

 

After the failed 1978 Scottish assembly referendum – there was broad movements for democratic renewal. Nairn marched every step of the way. He was deeply humane. He was both a poet and philosopher: he was a revolutionary and son of European culture. He was Professor of politics Melbourne. 

 

Clive Lewis

The conference brought voices from around all the four nations together.

*Green MP Caroline Lucas

English people also feel without a voice. Some cling to delusions and divisions – Brexit has deepened the crisis: every English region voted to leave. Who are the English? has been hijacked by the right. England is also the land of Tom Paine, chartists, suffragettes and ancient multi-cultural heritage. Is there another England – its urgent and important we must rediscover a new England Free these histories.

 

*Plaid Cymru MP Leanne Woods

Brexit vote expressed the democratic crisis – with our unelected elite making our decisions. Labour are about continuity and only so such devolution: its never enough. She spoke of the devastation of the miners  strikes and disaster, didn’t matter. Our binary outcomes – with PR, won’t go beyond red tie/ blue tie. Welsh devolution not more than the Welsh assembly and of the preservation and control from the centre. 

 

*CLVE LEWIS labour MP for Norwich south.

Who defied his labour whip to attend. He also spoke of the stories we tell ourselves. We need a new story of Britain – not the Enoch Powell (1950) version of ‘plucky Britain’. He spoke of the international questions and crisis and of viewing the crisis in the international context of the global elites who hoard the wealth. He said collaboration stopped at Westminster. Unawareness in the rest of UK of conversation of Scotland. Yorkshire flag – says they don’t want to be part of the elites. Labour won’t let discussion happen. Clive spoke of Corbyn – he had some good ideas but wrong messenger. Labour should embrace conversations – but can it seriously be changed from within?

 

*Lesley Riddoch, journalist and activist – Time to Create a new state.

There’s another state waiting: different conception of what Britain might be. Exceptionalism is falling apart. Riddoch was proud – and said, we’ve wasted so much time. It was good to get all perspectives. She spoke of Denmark, which used to control an empire but lost all of them 1864 in a terrible war. Scandinavia learned to let go without fighting. The problem in archaic British state is the divine right of kings is held with the PM, who can do as he likes.

There were also several break out rooms that covered topics such as – Irish re-unification, the monarchy, what next, Scotland in Europe. 

Hilary Wainwright said we must tear down the barricades (as in 1968) for democratic change. Or should we join Labour to make changes!” is this truly possible?? Is it British nationalism that has a problem – of denial, exceptionalism, and divisiveness. Britain denies nationalism. Scottish identity is not so deep rooted and has been stripped so often by Brittishness and empire. 

Scotland lacks agency and that’s not how a modern state functions. People should be active citizens. But can we reform the British state?

 

Nairn wrote that Scotland was the only county to jump ahead early 1700s, from a backward country to a trading and enlightened one. As a result of Walter Scott’s mythical novels – of a Scotland lost forever – Scottish literature lost its way in the 1800s. Scotland was not part of the rise of nationalism across Europe over the 1800s. 

 

Irish times journalist Fintan O’Toole writes that “Ireland only became truly independent with inter-dependence in Europe.” This may be a hard concept for British unionists to understand, that is the shared, co-operative project trading partnership of the EU.

II  As I left the conference to walk east along George st – the Hanoverian project – the long view is of the ugliest and tallest statue to the tyrant Henry Dundas, behind which is now the ugliest modern statue of the new Edina shopping centre, known as the Turd. Do these e statues and symbols matter?

 

Henry Dundas statue and the Turd behind

Vote for a fairer voting system and for democratic conversations across the UK. In Britain people are not trusted by politicians. 

The summer of democracy of 2014.... when reality came close to the dream….! 

Romanticism in Scotland

 

Nigel Leask rites Burns has been tragically over-looked in academic studies and the need to consider Burns in a de-centralized four nation approach to British culture and of the marginalisation of Burns as a major Romantic poet.

 

The book is entitled 'Scottish Pastoral: Robert Burn and British Romanticism' Leask

sets out to recover a major Romantic poet in a Scottish, British, and colonial context. Burns's fame as Scotland's national bard, and his influence on Scottish writers like Hogg, Scott, Elizabeth Hamilton, Lockhart, Wilson and Carlyle, has achieved local recognition. The goal of this book is to reassess the global significance of Scottish and British Romanticism in the light of Burns's achievement and influence. ' And a more historically contextualised notion of the Scottish Enlightenment. And to situate Burns and 18th century Scottish poetry in relation to Enlightenment theories.

 

But much light remains to be cast on his literary and intellectual context in the Scottish Enlightenment, as well as his far-reaching influence on English and Irish Romantic writers like Wordsworth, Coleridge, Lamb, Roscoe, Byron, Shelley, Keats, Clare, Hazlitt, De Quincey Tom Moore and J.C.Mangan. 

 

MUSIC  - Burns is best known as a songwriter and song collector

Burns's poetry is now largely excluded from a revised canon of Romantic literature as it is taught in UK and US English departments, despite the fact that the canon has broadened to include women and minority writers. In fact the decline of his reputation as a major Romantic poet has continued measurably even since 1945. Astonishingly, there is to date no dedicated study of Burns's influence on British Romanticism.

 

Contemporary Burns scholarship is still largely concerned with studying the poet in a national literary framework, despite important recent work by Carol McGuirk, Liam McIllvanney, Robert Crawford and Gerry Carruthers, opening up Burns to broader contexts. 

 

Robert Burns was part of an attempt to produce a canon of Scottish song, which resulted in a cross fertilisation of Scottish and continental classical music, with romantic music becoming dominant in Scotland into the 20^th century. 

Robert Burns (1759–96) and Walter Scott (1771–1832) were highly influenced by the Ossian poems. Burns, an Ayrshire poet and lyricist, is widely regarded as the national poet of Scotland and a major influence on the Romantic movement. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and Scots Wha Hae served for a long time as an unofficial national anthem of the country. Burns A Mans a Man as sung by Sheena Wellington at the opening of the Scottish parliament.

 

Novelist Walter Scott popularised Scottish cultural identity 19th century.  He played a major part in defining Scottish and British politics, helping to create a romanticised view of Scotland and the Highlands that changed Scottish national identity. Tom Nairn argues to a false mythical Scotland gone forever. Scott has a highly successful career, with other historical novels - Rob Roy (1817), The Heart of Midlothian (1818) and Ivanhoe (1820) 

 

Burns was greatly influenced by Scots poets Allan Ramsay, James Macpherson, and Robert Fergusson – who wrote poems in scots about Edinburgh. And English poets such as Alexander Pope. Allan Ramsay(1686–1758) laid the foundations of a reawakening of interest in older Scottish literature, as well as leading the trend for pastoral poetry, developed the Habbie stanza as a poetic form. 

 

James Macpherson(1736–96) was the first Scottish poet to gain an international reputation. Claiming to have found poetry written by the ancient bard Ossian, he published translations that were internationally popular, being proclaimed as a Celtic equivalent of the Classical epics. Fingal, written in 1762, was translated into European languages, and its appreciation of natural beauty and treatment of the ancient legend has been credited more than any single work with bringing about the Romantic movement in European, and in German literature (Johann Herder and Johann Goethe). Also popular in France –read by Napoleon^.

 

Other major Scottish literary figures connected with Romanticism include the poets James Hogg (1770–1835), Allan Cunningham (1784–1842) and John Galt (1779–1839). One of the most significant figures of the Romantic movement, Lord Bryon, was brought up in Scotland until he acquired his English title. 

 

**Romanticism in Scotland  II

was an artistic, literary and intellectual movement late 1700s and early 1800s. 

Part of the wider European romantic movement, which was partly a reaction against the Age of Enlightenment, emphasizing individual, national and emotional responses, moving beyond Renaissance and Classical models. In the arts, Romanticism manifested itself in literature with the mythical bard Ossian, the exploration of national poetry in the work of Robert Burns and in the historical novels of Walter Scott. Scott also had a major impact on the development of a national Scottish drama. Art was heavily influenced by Ossian and of the Highlands as the location of a wild and dramatic landscape. 

In music, 

 

In art there was a stress on imagination, landscape and a spiritual correspondence with nature. It has been described by Margaret Drabble as "an unending revolt against classical form, conservative morality, authoritarian government, personal insincerity, and human moderation" Although after union 1707 Scotland increasingly adopted English language and cultural norms, its literature developed a distinct national identity and began to enjoy an international reputation.

 

The editors of the recent essay collection Scotland and the Borders of Romanticism argue, from the 19th century Scottish literature came to stand for an 'inauthentic Romanticism, defined by a mystified commitment to history and folklore', in marginal relationship to an 'organic' English Romanticism. 

 

Scotland was also the location of two of the most important literary magazines of the era, The Edinburgh Review, (1802) and Blackwood Magazine(1817)which significantly influenced the development of British literature and drama in the era of Romanticism. 

 

Romanticism declined in the 1830s, but it continued to affect music and art. It had a lasting impact on the nature of Scottish identity and outside perceptions of Scotland. It is often thought to incorporate an emotional assertion of the self and of individual experience along with a sense of the infinite, transcendental and sublime. 

 

James MacPherson

Robert Burns and Pastoral is a full-scale reassessment of the writings of Robert Burns (1759-1796), arguably the most original poet writing in the British Isles between Pope and Blake, and the creator of the first modern vernacular style in British poetry. Although still celebrated as Scotland's national poet, Burns has long been marginalised in English literary studies worldwide, due to a mistaken view that his poetry is linguistically incomprehensible and of interest to Scottish readers only. 

 

Nigel Leask challenges this view by interpreting Burns's poetry as an innovative and critical engagement with the experience of rural modernity, namely to the revolutionary transformation of Scottish agriculture and society in the decades between 1760 and 1800, thereby resituating it within the mainstream of the Scottish and European enlightenments. Detailed study of the literary, social, and historical contexts of Burns's poetry explodes the myth of the 'Heaven-taught ploughman', revealing his poetic artfulness and critical acumen as a social observer, as well as his significance as a Romantic precursor. Leask discusses Burns's radical decision to write 'Scots pastoral' (rather than English georgic) poetry in the tradition of Allan Ramsay and Robert Fergusson, focusing on themes of Scottish and British identity, agricultural improvement, poetic self-fashioning, language, politics, religion, patronage, poverty, antiquarianism, and the animal world. The book offers fresh interpretations of all Burns's major poems and some of the songs, the first to do so since Thomas Crawford's landmark study of 1960. It concludes with a new assessment of his importance for British Romanticism and to a 'Four Nations' understanding of Scottish literature and culture.

 

Union with David Olusoga BBC Review

 

While Olisoga is an informed historian, and consulted many experts and this is a highly watchable  if it times biased program.

However he at times skims over relevant sections of the 320 years of the union between Scotland and England 1707 and later of the four nations to form the United Kingdom is 1801.

For instance he focuses on the hardships in Ireland and of their being bribed to join the United kingdom union in 1801 – but does mot mention the mass murders and of the obliteration of the highland way of life in Scotland after the Jacobite 45, when the clans were disarmed. There is no mention of the Scottish Parcel of Rogues who sold Scotland for bribes.

The only way to be able to wear the kilt was to join the British highland regiments. 

Union flags designs of James VI

After the JACOBITE 45 rebellion Olusoga states “ the British state, with the help of some clan chiefs, launched a campaign to repress the Scots” –what they really did was mass murder of women and children and the destruction of the highland way of life. the huge contribution Scotland, as the workers of the empire made to the empire is ignored, while England were the rulesr is ignored. 

By the 18^th century – one in 10 lived in London – which became the centre of Printing, key port, trade artery, parliament, monarchy, finance, banking, theatre, arts and culture. Why is it good that so many had to travel to London to make their fortune?

Then there’s the episode Four on Union and Disunion – which focuses on Wales and Ireland, with only a mention of the closing of Ravenscraig steel work at Motherwell – but no mention of Scotland’s oil which was used by Westminster to increase spending on London. 

Olusoga had a chat with A professor from Oxford who stated, ‘There isn’t a long history of power being spread outside the capitol…the starting dates of universities in the north, many are just over a 100 years old. Civic buildings are not that old.” This by implication gives the strong impression that the rest of Britain, outside of London, is backward and uncultured. This is basically untrue. 

Scotland boasts 4 of the UKs oldest universities – Oxford and Cambridge were initially centres of clerical teachings late 1090s: in the 1400s it was Scottish universities which were the four leading centres of learning – St Andrews 1410, Glasgow 1451, Aberdeen 1495, Edinburgh 1583. And it wasn’t until the 1800s that England set up its universities - Manchester 1824, London 1826, Durham 1832.

Olusoga also misses the crucial point that Scotland’s self-determination is about democracy and democratic rights and NOT identity at all. 

Celtic Connections 2024 ANNOUNCED!

Tim O'Brien

Eddi Reader

CELTIC CONNECTIONS festival 2024  set for expansive programme of unmissable music!   Images copyright Pauline Keightley

World-renowned Glasgow festival Celtic Connections returns January 2024 with a full program and many international visitors – to brighten our winter nights!

Thursday 18 January to Sunday 4 February 2024, 

 

With one of its biggest-ever capacity festivals Celtic Connections is known as Europe’s premier folk, roots and world music festival, and the home of  spectacular musical collaborations. Celtic Connections has continued to expand into a multitude of genres over its 30-year history. 

 

In 2024 the festival will stage an ambitious  genre-defying programme of acoustic, traditional, indie, Americana, Jazz, blues, orchestral, experimental and more. Glasgow, UNESCO City of Music will host over 300 events across 25 venues  over 18 days.  Venues include Glasgow Royal Concert Hall, Barrowland, Pavilion Theatre, Barony Hall, Old fruitmarket.  

 

From high-energy rhythms fusing contemporary sounds with traditional music, to intimate and soulful acoustic performances. Along with the anticipated 110,000 attendees, musicians will descend on Glasgow from Scotland, North America, West Africa, India, Australia, Ukraine, Norway, Sweden, France and Ireland, more!

General tickets on sale at 10am, Wednesday 11^th October at www.celticconnections.com. Celtic Connections 2024. 

Celtic Connections 2024 will take place from Thursday 18th January to Sunday 4th February. General tickets go on sale 10am, Wednesday 11th October 2023, with advance tickets on sale now for Celtic Rovers festival supporters. The programme can be viewed in full and tickets purchased at www.celticconnections.com.

Images copyright Pauline Keightley

Highlights include:- 

●     Celtic Connections Opening Concert, Glasgow Royal Concert Hall stages the European premiere ATTENTION! New symphonic work from American Grammy winner Chris Thile - “the best mandolin player in the world” - with the BBC Scottish Symphony Orchestra

●     100 years on since the death of Scottish iconic revolutionary socialist John MacLean, a centenary concert  to recognise the significance of the Red Clydeside era – with music, poetry on his legacy, will be led by Karine Polwart, Eddi Reader, Billy Bragg and Siobhan Miller

       Scotland burgeoning traditional music scene is celebrated with Dallahan, RANT, Breabach, Mec Lir, Heisk, Session A9 and The Canny Band alongside emerging artists like Beth Malcolm, TRIP, Lauren Collier, Tarran and Amy Laurenson

●     Another special international collaboration Citadels of the Sun, in tandem with Jodhpur Rajasthan International Folk Festival, Irish and Rajasthani musicians come together Barony Hall to share common themes that connect the two cultures. The show will feature Martin Coyle, Paul Cutliffe, Sarah E Cullen, Asin Khan Langa and Sawai Khan Manganiyar

●     A wealth of transatlantic talent at the 2024 festival includes country royalty with Carlene Carter (daughter of June Carter Cash), 15-time Grammy Award winner and banjo virtuoso Béla Fleck, beloved singer-songwriter Bruce Hornsby, and festival favourites Sarah Jarosz, Teddy Thompson, The Milk Carton Kids, Tommy Emmanuel, Darlingside and bluegrass star Tim O’Brien,who with his seminal album The Crossing.

●     50th anniversary of the Scottish Chamber Orchestra , with unique arrangements and guest performances from Scotland’s Paul Buchanan (The Blue Nile), American singer Aoife O’Donovan, visionary folk band Lau and harpist Maeve Gilchrist

●      Beloved Scottish singer-songwriter Dougie MacLean will mark five decades of extraordinary music making with a special show entitled Songmaker 2024 - Celebrating 50 Years of Music

●     Roddy Hart’s Roaming Roots Revue 12th year, Songs of Modern Scotland. modern classics along with the Royal Conservatoire of Scotland Symphony Orchestra, and Scottish talent Biffy Clyro’s Simon Neil, Idlewild’s Roddy Woomble and Rod Jones, Del Amitri’s Justin Currie, Camera Obscura’s Tracyanne Campbell, King Creosote, and more

●     Contemporary Scottish Celtic outfits with RURA and Talisk iconic Barrowlands; Skerryvore expansive sound, UK top 40 album Tempus; Skipinnish celebrate 25 years, renowned folk groups Blazin’ Fiddles celebrate 25th years, Kinnaris Quintet headline show Old Fruitmarket with Julie Fowlis and Karine Polwart, and Skye’s Valtos celebrate Gaelic song SWG3

●      Showcase Scotland - a part of the festival which facilitates international collaboration - will this year partner with the country of Norway to showcase Scandinavian talent, while other festival favourites including Transatlantic Sessions will return

Festival-goers can also look forward to the usual mix of screenings, workshops, dementia-friendly concerts, late night sessions and pop-up performances at the Festival Club, as well as a thriving education programme that will benefit thousands of children across Glasgow.

Donald Shaw, Michael McGoldrick, John McCusker, Tim O'Brien, John Doyle- Late Sessions

Donald Shaw, Creative Producer for Celtic Connections, said: “It’s that time of year where we lift the lid on the incredible shows and events we have in the works for Celtic Connections. Celebration and collaboration are at the heart of the festival and once again we will bring the world’s music to Glasgow audiences this winter. I’m very excited that our 2024 edition will welcome a huge portion of international talent back to our stages, particularly our transatlantic cousins in America, and that we will be back to staging one of our biggest ever capacity festivals. We would encourage audiences old and new with a love of music to discover all that this diverse programme has to offer and spend the dark winter nights with us.”

Creative Scotland Head of Music, Alan Morrison said: “The 2024 Celtic Connections programme puts Scotland at the heart of a musical map of the world. This is arguably the festival’s strongest-ever international line-up, opening our ears to the inspirational sounds of artists from so many different countries and cultures. Running through it all, of course, is Scotland’s own musical lifeblood, the traditional tunes and contemporary twists that continue to thrill audiences and brighten up our winter days and nights.”

Culture Secretary Angus Robertson said: “I’m greatly looking forward to this year’s Celtic Connections and the warmth it always brings to the colder months with leading Scottish and international musicians across a variety of genres set to descend on Glasgow for what looks to be another fantastic showcase of talent. 

 

Images Scotia from Enlightenment to Kailyard

Journalists, historians and fake historians novelists have written of Scotland’s victimhood and of the false romantic myth-making of the Kailyard school of writing.Tom Devine is highly critical of the John Prebble books ( Glencoe, Culloden,  Highland Clearances) which are often on display by the National Trust for Scotland at key historical sites such as Culloden, Burns Alloway cottage, Edinburgh castle and more.

Journalist Lesley Riddoch writes, “Scots ignore what’s truly distinctive and successful about their culture, hero worship the very long dead (Wallace and Bruce) skip the interviewing period and despair about the future.”

 

Visit Scotland, who are set up to promote Scottish tourism, recently displayed on its website neon images by artist Professor Ross Sinclair, which were shown at the Glasgow gallery of modern art (GoMA) 2015 and 2016. The one sign objected to stated, “We love the highland clearances” We love Bonnie Prince Charlie”

Charles Edward Stuart

All the romantic myth-making, famously by Walter Scott, was to portray a Scotland that is gone and lost forever1800s. According to political theorist Tom Nairn, while the rest of Europe was pursuing nationalism 1800s, as a way for the bourgeoisie to encourage the workers of their nation to rise up against the “Uneven nature of capitalism.” Only Scotland was left behind and totally missed this upsurge, as Scotland after union had already transformed early 1700s after union. From a backward feudal nation to a progressive enlightenment (the Scottish enlightenment late 1700s). I paraphrase here Nairn’s highly readable academic work The Break up of Britain.

 

There is this split personality of Scotland’s that shows today in the 50/50 spilt over Scotland independent future. The Sinclair images are shocking and continue to promote this backward risk adverse Scotland and this false cringe and victimhood. 

 

Where is the pride?

Where is the real authentic Scotland? Where is the Scotland we have all forgotten?

The heart often rules the head when we decide who to support. 

 

The controversial painting Monarch of the Glen, a majestic stag surrounded by en empty glen, devoid of people and trees, provoked debate on what Scotland’s lands became, after Queen Victoria set up her holiday home at Balmoral estate. The Tory Scotland or the Jacobite myths and Jacobin reformers. The founding father of democracy and equal rights. 

 

Or the scientific achievements; the Scottish enlightenment; Robert Burns songs of shared humanity or Walter Scott’s myth-making Scotland; Scotland as traders and seafarers. 

A Canon of Scottish literature

 

Scottish literature over long eras has been neglected or deliberately obscured,  so securing its place in the firmament is a kind of redress, a reclamation. “ Alan Riach

Language expresses who we are, 

A canon is a form of cultural empowerment, “any canon of Scottish literature is a form of cultural reclamation, a resistance to the canonical weight of English, or Anglo-American, or Anglophile literatures in English, what used to be called commonwealth literature.”

Lewis Grassic Gibbons

RL Stevenson

Galt, Gibbon, Mackay Brown, Oliphant, Spark, Janice Galloway, AL Kennedy, Jackie Kay, Ali Smith, Scott, RL Stevenson, Arthur Conan Doyle, Irvine Welsh, JM Barrie,…..Celtic folklore, ghost stories, landscapes of Highlands, western isles, rich histories of Edinburgh and Glasgow. Over the 1700s many poets worked to reclaim and keep alive Scots voices and ballads, - Allan Ramsey, Robert Burns, Robert Fergusson.  

**In 1800s, Privy Council in Westminster, created the Scottish Education Department, to teach English (to replace the Church of Scotland, who taught Scots and Gaelic). The plan was cultural change. At that time Scots spoke Scots or Gaelic or both.  

In 1911, the Scottish Education Department moved to Edinburgh. English was then used to deliberately destroy Scots culture and to eradicate “Scottishness.” In 1950s Gaelic teaching was stopped, - and only English was taught. In some counties of Scotland today most English teachers are non-Scots. 

 

Scots should be taught in schools as a second language – to protect our history and culture. In the EU children are taught their own language and English as the language of western international business. 

 

The importance of Scottish literature

WHY has Scottish literature not been explored as confidently as other literatures. 

“The subject needs to be more widely known and discussed with more confidence and curiosity.... There has been work since 1980s, and more needs to be done." Alan Riach 

 

At college down Edinburgh Royal mile, I studied French author Gustave Flaubert’s Madame Bovary, and American poet Sylvia Plath, when I specialized in English, at school I studied Chaucer, Shakespeare, and novels Catch 22, English novelist Jane Austen. The union 1707 was basically an elite project begun under James VI – to incorporate Scottish history, literature and religion into the English system. Many rebelled – poets Allan Ramsay, Robert Fergusson, Robert Burns), Covenanters, academics. Holyrood must protect Scots literature and Scots language, so its taught in schools alongside English.  

 

All this began with the elite project under James VI, at a meeting of clan chiefs on Iona, when it was agreed that every eldest son would be educated in England. 

 

Robert Fergusson

**BOOKS

Why Scottish literature matters? Professor Carla Sussi

 

SCOTTISH LITERATURE – from poets

And scholars such as George Buchannan, who wrote of democracy for all. 

American founding father – John Witherspoon, 

Our great Bard Robert Burns, Scots authors - 

And todays many acclaimed Scots academics, authors, artists, musicians and innovators. Scots literature and Scots voices do matter and have unique contributions to make.  Alongside scientific discoveries and one of the world\s first surgeons and medical schools. 

 

Douglas Stuart

**SCOTS Booker Prize winners

 

Disgracefully as usual in a Time article there is no mention of Scotland’s recent Booker prize winners. The Scottish literary scene boasts several Booker prize winners – 2020 Douglas Stuart’s Shuggie Bain, 1994 James Kelman’s How Late It Was, How Late. 

Plus Booker shortlisted authors – Ali Smith, Andrew O’Hagan, AL Kennedy, Graham McCrea Burnett, Muriel Spark. World famous Scots novelists of modern times include –Iain Banks, Val McDermid, Irvine Welsh, Ian Rankin, Louise Welsh, Liz Lochhead, Alan Bisset, Chris Brookmyre, Denise Mina, Alexander McColl Smith, Alasdair Gray, Janice Galloway, William McIlcanney, Maggie O’Farrell, 

 

Famous Scots writers of the past – Arthur Conan Doyle, J M Barrie, John Buchan, Robert Louis Stevenson, James Boswell, John Barbour, Adam Smith. 

 

Hackett quotes Irish writer Magee, “The English may be too comfortable to write great novels.”  

At least six times in her article she labels ‘Britain/ England’ as one and the same, the England label can never include Scots or the Welsh and we’ll never regard Britain as England as our cultural or historic home, even though so many Scots remain in ignorance of Scotland’s rich histories of which we might be proud. Its time Londoners woke up to this reality. 

Our creative stories, arts and music are intrinsic to our shared voices and view of self.

 

Perhaps creative thinkers either can’t afford or don’t want to be in London. In ‘Britain/ England’ mind-set little exists outside of London. In the 80s London boasted a thriving literary scene around Soho. But today’s London is dominated in its skyline by foreign oligarchs empty high-rises, populist musicals, global chain outlets and over priced art. 

 

 

**BOOKS

Anthology of Scottish stories – Gerard Caruthers

Scottish literature, an introduction – Alan Riach.

The Fair Botanist – Sara Sheridan

 

Scottish Pastoral: Robert Burns and British Romanticism –