I was down in Islay recently for the Islay Book Festival, and a splendid wee occasion it was, too.
It’s always good to meet fellow writers and readers, if only to encourage each other that reading and writing books is a good, and legitimate, activity.
I sometimes wonder, though, whether it’s too much of a middle-class activity. Or, maybe more precisely, where the working-class voices are. Almost invariably, the voices I hear around me at book festivals tend to be rather polished (mine included) – unless you go to a specifically targeted language festival. I miss hearing the broad Buchan fairmer loon accent or the accent of the Barra nurse or of the Invernessian scaffy at such literary festivals.
Literacy – the ability to read and write – is, of course, a wonderful thing. A cotter Gaelic lad like me is as entitled to it as the brightest Oxbridge don, but what literacy (almost inevitably?) does is smother, or silence, the oral voice. Primary and secondary school and college and university tend to “iron out” those beautiful, delicate native fluencies which are, almost subconsciously, edited as “errors” on the written page.
It’s a battle that us “regional” writers have engaged with forever. “Why do you write in English?” I get asked, as if being multilingual isn’t both a privilege and a choice. The inference (and someone said this directly to me a few weeks ago) is that I ought to just write exclusively in Gaelic. That by (sometimes) writing in English, I’m somehow betraying my native language and commitment to the cause.
As if there was some kind of cause! Which there isn’t: the writer’s duty (if any) is not to any social or linguistic or political or cultural cause, but simply to write well. As best as they can. Otherwise, our poetry and novels and songs and columns are mere foot soldiers, marching as to war. As some Republican once whispered to Seamus Heaney as he was travelling: “When are you going to start writing for us?” As if he wasn’t writing for them, for everyone, for us already.
The great James Kelman has been engaged with this issue for decades. Condemned and excluded from the “high altars” of literature (despite his Booker Prize) because he has consistently dared to write in the vernacular – in the Glaswegian dialect, with all its emphatic swear words, which is as rich a language as you will find this side of speech.
The same with the great late poet Tom Leonard, who wrote about the miracle of the burd and the fishes:
ach sun
jiss keepyir chin up
dizny day gonnabootlika hawf shut knife
inaw jiss cozzy a burd
luvur day yi
ach well
gee it a wee while sun
thirz a lat merr fish in thi sea
Aside from (and as an essential part of) its poetic energy is the language itself. Leonard “normalises” normal speech, making the daily Glaswegian dialect part of the literary language of the world. As a native Gaelic speaker, I say Amen agus Amen to that. For our daily native language has also been long despised and marginalised. Nowadays, it’s sometimes “included” as a symbol of multiculturalism, like adding a lettuce to a pot of beef stew as the vegetarian option.
The problem is that, in reality, only a few people speak or use or write or read or understand it. The new census will tell us that around 1% of Scots speak Gaelic, so the existential question for any writer of the language remains: what’s the point in speaking to one out of 100 in my native language when I can speak to 100 out of 100 in this language I’m writing in?
It’s fine for folk to say: “O, I like hearing it.” Or: “I don’t understand a word of it, but it sounds wonderful.” That’s nice, but it takes the meaning out of the language, as if it was all sound and fury (to quote Faulkner) or peace and quiet (to quote Mr Badger and Mrs Fox), and not anguish and despair and hope and joy and fun and sadness and all the other million emotions that literature bears with it.
My native language (Gaelic) is in crisis not just because the actual number of speakers is declining (for obvious political, social and cultural reasons, ranging from loss of young people who can’t afford to live in their native land to wishy-washy government policies) but because the language that remains is diminished and weakened and fragmentary.
The things you want to say are inexpressible in any language, but trying to express them in a language which is now increasingly “learned” rather than organically transmitted is like trying to grow flowers in a desert. Oh, the joy of the distant, shimmering mirage, and the constant dryness all around.
Angus Peter Campbell is an award-winning writer and actor from Uist
Angus Peter Campbell: ‘Normalising’ normal speech in literature would benefit every language and dialect
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27.09.2023
I was down in Islay recently for the Islay Book Festival, and a splendid wee occasion it was, too.
It’s always good to meet fellow writers and readers, if only to encourage each other that reading and writing books is a good, and legitimate, activity.
I sometimes wonder, though, whether it’s too much of a middle-class activity. Or, maybe more precisely, where the working-class voices are. Almost invariably, the voices I hear around me at book festivals tend to be rather polished (mine included) – unless you go to a specifically targeted language festival. I miss hearing the broad Buchan fairmer loon accent or the accent of the Barra nurse or of the Invernessian scaffy at such literary festivals.
Literacy – the ability to read and write – is, of course, a wonderful thing. A cotter Gaelic lad like me is as entitled to it as the brightest Oxbridge don, but what literacy (almost inevitably?) does is smother, or silence, the oral voice. Primary and secondary school and college and university tend to “iron out” those beautiful, delicate native fluencies which are, almost subconsciously, edited as “errors” on the written page.
It’s a battle that us “regional” writers........
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