Irish Pages, Vol. 12, No. 2 Quotes

“Scots is a West Germanic language with a literature going back more than 800 years, yet Scotland is a country where only English is compulsory in school, and where Scotland's history is barely taught beyond primary school, and where (non-Scottish) newspaper owners have been known to prohibit the reviewing of Scottish books on the grounds that this would be 'provincial', while the myopic hegemony of the Anglocentric media enshrines a set of attitudes which routinely ignores or belittles our culture.”
― Brian Holton, Irish Pages, Vol. 12, No. 2: Scotland

“Scotland's passage from a mainly pastoral and agrarian society to a commercial and industrial one was brutal, rapid and relentless. In that transition, an entire peasant class, the cottars - perhaps as much as half of the rural population - was lost forever. They and tens of thousands of even poorer people were forced off the land across the Lowlands, Highlands and islands. They ended up in towns, cities and planned villages, they worked in mills, mines, quarries and iron works, or they emigrated to other parts of the world, or became soldiers, sailors, engineers, administrators and merchants in the service of the British Empire or the companies that thrived under its bellicose protection. Many prospered, many did not.”
― James Robertson, Irish Pages, Vol. 12, No. 2: Scotland

“We may have to bring along our Unionist friends by considering less radical, federal solutions on the longer road to full independence. The movement has been derailed by many other things besides identity politics: cowardice, personality cult, unwise alliances, middle-management over-reach, a bureaucratic, form-obsessed culture of mutual distrust, self-imposed busy-work, Holyrood bubbles and Westminster troughers. It will be righted on its tracks as soon as we can remember that we can also build movements without the politicians and institutions that currently divide us through increasingly morbid and inward-looking agendas. Until they can be trusted to represent us again, it may be time for artists to wean themselves off institutional support, at least where they can, through the direct engagement of audiences, readers and students that the digital age offers, and through private sponsorship and investment.”
― Don Paterson, Irish Pages, Vol. 12, No. 2: Scotland

“...it's perhaps time to admit that our perennial call to "work as if you lived in the early days of a better nation" has become something of an empty shibboleth. The petty, tribal, precriptive, censorious, identity-obsessed and philistine culture the SNP have created has left many older centrist heids reluctant to speak up over matters of simple common sense and public concern, conceding many of them not just to the right (with whom they are now occasionally driven to make common cause), but - far more dangerously - to the self-declared racists, sexists, homophobes and fascists who should represent our common enemy. The SNP are also, in their current incarnation, poor stewards of the independence dream. As we enter a pre-war era of economic uncertainty and shifting alliances, rediscovering it will be a far more sober and adult task than we have previously had to face. We first must decide what it is we mean by "better nation". It will have to be one with considerably more courage, genuine inclusivity and stomach for honest and civil debate than we currently demonstrate. It will require us to tackle the kinds of broad disadvantage that animate the electorate, as well as those narrow causes which excite our political and institutional leaders. It will require an Enlightenment-style revival of an artistic and intellectual meritocracy, one which can actively connect and draw on the talents of an increasingly diverse but distinctively Scottish society.”
― Don Paterson, Irish Pages, Vol. 12, No. 2: Scotland

“The distinction between "classical" and "folk" music only really emerged in the late eighteenth and into the nineteenth centuries. The words only make sense (to the extent they do) when they're set in opposition to each other. The musicologist Matthew Gelbart has written a terrific book on the subject called The Invention of Folk Music and Art Music, in which he details how it used to be that musicians just played music: what mattered was the place and purpose, not so much who wrote the tune or played it or how they spoke. The same musicians would cover courts, pop songs and worship. These musicians travelled and shape-shifted. If dancing was required, they would play dance standards. If the mood was contemplative, they would unravel something slow and soulful.”
― Kate Molleson, Irish Pages, Vol. 12, No. 2: Scotland

“As Walter Scott showed, one could preserve the most intense passion for Caledonia stern and wild, one's own, one's native land, while rejoicing in the triumphs of the British armed forces over Napoleon and expressing devout loyalty to the Hanovarian dynasty, which, despite the madness of George III and the profligacy of his son and heir, had come to represent for Britons not only the virtues of sturdy monarchy under the sublime Constitution, but, most improbably, family values.”
― Angus Calder, Irish Pages, Vol. 12, No. 2: Scotland

“In return for supplying parliamentary votes en bloc to whichever government held sway at Westminster, the "managers" of Scotland - first the Dukes of Argyll, then the Earl of Bute, then, most successfully of all, the canny Lothian lawyer Henry Dundas - controlled patronage in Scotland and governed the country as much as its influential people thought it needed. By this means the old power of the regional magnates adapted to the new politics.”
― Angus Calder, Irish Pages, Vol. 12, No. 2: Scotland

“Wan decade frae wir last self-defeatin referendum, we're close tae hae the centenary ae MacDiarmid's masterpiece, A Drunk Man Looks at the Thistle. Oan the man's daith, Norman MacCaig said they should observe twa minutes' pandemonium. Fine description ae MacDiarmid himself, as much as whit he unleashed. MacDiarmid wiss Scotland's ultimate political poet. We winna rehearse the man's mony faults here - "problematic", says Heaney. Aye. And in spite ae this, MacDiarmid's mair important tae the cause ae Scots and Scotland than ony ither poet frae the previous century. "My job, as I see it, has never been to lay a tit's egg, but to erupt like a volcano, emitting not only flame, but a lot of rubbish." And that's hou Mount MacDiarmid maun be regarded: tempted as we may be tae tak oot the rubbish, we canna thraw the hail lot awa, as wull shairly be settin the bins ablaze. An whit's mair self-defeatin nor a bin fire?”
― Colin Bramwell, Irish Pages, Vol. 12, No. 2: Scotland