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Imagining Scotland Imagining Scotland National Self-Depiction in Sir Walter Scott's Waverley , Lewis Grassic Gibbon's Sunset Song , Irvine Welsh's Trainspotting and Alasdair Gray's Lanark Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg vorgelegt von Christian Kucznierz Mühlfeldstr. 12 93083 Obertraubling 2008 Regensburg 2009 Erstgutachter: Prof. Dr. Rainer Emig Zweitgutachter: PD Dr. Anne-Julia Zwierlein Acknowledgements In the six years it took to finish this study, I was working simultaneously on my professional career outside of the university. It was Prof. Dr. Rainer Emig's constant encouragement which helped me not to lose sight of the aim I was pursuing in all those years. I would like to thank him for giving me the chance to start my dissertation, for his support, his valuable advice and the fact that I could call on him at any time. Furthermore, I would like to thank PD Dr. Anne-Julia Zwierlein, who on rather short notice agreed to supervise my work, and whose ideas helped to give my thesis the necessary final touches. I would also like to thank my wife, Sandra, and my family, who have been patient enough to understand that my weekends, holidays and evenings after work were mostly busy – and that my mind much too often strayed from important issues. Without their support and understanding, this thesis would never have come into existence. Obertraubling, 2009 Table of Contents page 1. How does Scotland imagine itself? 5 2. Imagi-Nation: Literature and Self-Depiction 8 2.1. The Printed Word, Community and Identity 9 2.2. Narratives 12 2.2.1 Narrating History: Hayden White 13 2.2.2. Making Myths: Roland Barthes 16 2.2.2.1. The Transformation of Reality 18 2.2.3. Narrating Culture: Cultural Memory 19 2.3. Imagi-Nation: A Provisional Appraisal 20 3. The Search for Scottish Writing: What makes Literature 21 Scottish? 3.1. Overview Scottish Literature 21 3.1.1. The Middle Ages 21 3.1.2. The 16 th Century 23 3.1.3. The 17 th Century 25 3.1.4. The 18 th Century 25 3.1.5. The 19 th Century 28 3.1.6. Towards the Present: Kailyard and Scottish Renaissance 31 3.2. The Shadow of Scott-land and the Search for Scottish 35 Horizons 3.2.1.Scott and Scotland 35 3.2.2. New and Old Traditionalists: Craig, Wittig, Ferguson 40 and Craig revisited 3.3. Scotland the Myth 50 4. The Novels analyzed 51 4.1. Waverley , the Picture in the Hall 58 4.1.1. The Content 58 4.1.2. Arranging the Painting 59 2 4.1.3. The Painting 61 4.1.4. The Emptiness of Edward Waverley 63 4.1.5. Time, Distance and Reality 68 4.1.6. Character-istics 70 4.1.7. Conclusion 84 4.2. Sunset Song : The Standing Stone 86 4.2.1. The Content 87 4.2.2. The "Song": Structure equals Content 89 4.2.2.1. The Musical Quality 89 4.2.2.2. Repetition 92 4.2.2.3. Voices 94 4.2.3. The Conflict 100 4.2.4. Conclusion 112 4.3. Trainspotting : The Empty Hull 114 4.3.1. The Content 115 4.3.2. Structure: The Web of Experience 116 4.3.2.1. Conscious Disappointments – The Irony of 117 Trainspotting 4.3.2.2. Knotting the Web: How Trainspotting works 118 4.3.2.3. Bad Language 122 4.3.3. Failed Communities 125 4.3.3.1. Mark Renton 125 4.3.3.2. Sick Boy 127 4.3.3.3. Frank Begbie 129 4.3.3.4. Spud 133 4.3.4. Addictions revisited 135 4.3.5. Exit 139 4.3.6. Conclusion 142 4.4. Lanark – the Hilltop 143 4.4.1. The Content 143 4.4.2. The Composition 144 4.4.3. Triangulation 146 3 4.4.3.1. The Personal Fixation 154 4.4.3.2. The Geographical Fixation 159 4.4.3.3. The Temporal Fixation 172 4.4.4. Conclusion: Multiple Vision 179 5. Gallery of Images 182 5.1. Crossing the Borders: Narratives, History and Myth 183 revisited 5.1.1. The Historical Novel: Basic Definitions 184 5.1.2. History and the four Novels 187 5.1.3. The Need for a Plot: The Return of Historicism 191 5.1.4. Epics for the Modern World 194 5.1.5. The Dangers of a Scott-Land – and the Chances for the 195 Historical Novel 5.1.6. New Meanings in old Shapes: The Creation of Myths 197 5.2. Elevated Vision: Lanark, Images and the Wish for Eternity 199 5.3. Letters to Scotland 202 Bibliography 206 4 1. How does Scotland imagine itself? How does Scotland imagine itself? This question forms the guideline for this study. This question may appear rather simple, yet proves rather complex. Scotland's history is defined by a rupture: It was in 1603 that Scotland became part of the United Kingdom through the Union of Crowns. This union was cemented by the Union of Parliaments 1707. Does that mean that Scotland has imagined itself as part of Great Britain? If so, why has it always stressed its distinct cultural heritage, its linguistic diversity? Cairns Craig explains this as a reaction to a central problem Scotland had to face: It lay on the periphery of a core culture. There appeared to be the need to stress its diversity in order to avoid integration – and the failure to do so resulted in an uneasy balance between Scotland and England and lead to a certain Scottish condition he examined in Out of History .1 If Scotland saw itself as a nation, then it is noteworthy that the country missed out on the nationalism that most other European countries experienced throughout the 18 th and 19 th century. Christopher Harvie claims that Nationalism was only "a marginal component of a Scottish politics which was fundamentally religious". 2 In the same work on page 39, Harvie goes on to say that outbreaks of nationalism in the 19 th century can be seen as a countermovement when assimilation had gathered too much momentum. Scotland had 1 Cairns Craig. Out of History . Narrative Paradigms in Scottish and British Culture. Edinburgh: Polygon, 1996. 2 Christopher Harvie. Scotland and Nationalism. Scottish Society and Politics 1707-1977 . London: George Allen and Unwin, 1977, p. 28. 5 become a region; and yet this was not quite true because "an identification with Scotland was being assiduously cultivated as a means of evading the unpopularity which attached to the British at the zenith of their imperialism". 3 Divided loyalties became a strong feature of Scottish history. The Jacobite Risings of 1715 and 1745 were first proofs of separatism. The 19 th century, on the other hand, boosted unionism: "There were few rewards in being anti-imperialist in a community which benefited so much by imperialism"; 4 "the industrial revolution […] seemed to create a common history for England and Scotland". 5 The World Wars and the economic decline of the 1970s and 1980s offered reasons for attacking the Union, and the nationalists never hesitated to do so. Scotland was more than ever divided between those who saw Unionism as the solution and those who felt that the connection to the South bled the country to death. 6 The election of its first parliament in 1999 after almost 300 years turned Scotland into something like a federal state within Great Britain, which only stresses Scotland's difficult status between independence and assimilation. This brief outline shows that Scotland has been through certain re-adjustments of its identity, has re-created itself and has never fully discarded the concept of being different. The question to be answered in the present study will be that of how this re-creation, this self- imagination has found entry into literature. With the examination of four novels by Scottish authors – Sir Walter Scott's Waverley , Lewis Grassic Gibbon's Sunset Song , Irvine Welsh's Trainspotting and Alasdair Gray's Lanark – I claim that Scotland has always been an imagined nation and that in imagining itself it has relied on the 3 Harvie. Scotland on Nationalism , p. 40. 4 Harvie. Scotland and Nationalism , p. 41. 5 Harvie. Scotland and Nationalism , p. 73. 6 Harvie. Scotland and Nationalism , pp. 42ff. 6 concept of the historical novel – which, in its English form, owes its creation to a Scottish author: Sir Walter Scott. Just like any social entity, Scotland needed a device through the help of which it could see and construct itself. The historical novel was, I claim, this device because of its evocative power and the possibility it possessed to obtain the status of almost an alternative historiography – and because it is an ideal medium for the perpetuation of myth. These points shall be discussed below. 7 2. Imagi-Nation: Literature and Self-Depiction Collective identity necessarily is always fictional. There is no "given" identity other than a personal identity which in turn is a creation of the mind. Collective identities are, however, necessary for any social group in order to survive. As social beings, humans interact and form allegiances. The creation of a collective self, of a social entity works through definitions; the basic concept is that of "otherness": we are that which the others are not. In order to achieve this consciousness of "being what the others are not", a group has to decide on what makes them different from the "other". This definition will be based on language, past events, shared geographical space or common physical appearance.
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