This week we discuss a condition we all suffer from, chronic Scottishness or more specifically a symptom of this life long affliction, Scottish Miserabilism. Much of Scotland’s cultural output is synonymous with tragic down and outs, bleak realism and the negative story, we want to ask why? You can find our latest Culture Patter Podcast below or on all podcast platforms – @ThePatterPod
By Jamie Watt
‘Scottish Miserabilism’ – not a genre perse but a trope, a dark vein that runs through the cultural landscape of our nation. Engrained in our collective psyche, it influences how the world views Scotland and how we perceive ourselves. Much of Scotland’s artistic output is synonymous with tragic down-and-outs and bleak realism. We want to discuss ‘why?’
What are the contributing factors of SM, what historical events made the negative story so enduring in Scotland?
Socio-economic issues and legacy of Thatcherism has undoubtedly influenced modern Scotland. The deindustrialisation of the 80’s pushed proud workers into unemployment, unsatisfying jobs or poverty. Drug use spiked, as did gang violence, vandalism and incarceration. During this period naturalistic writers of ‘Clydesideism’ like James Kelman and William McIlvanney became key voices in Scottish literature. Kelman’s Miserabilist masterpiece ‘How Late it was How Late’, controversially won the 1994 Booker Prize. Throughout this period, the failures of the Modernist vision of council estates came into focus. Communities were uprooted and housed in beak, cold environments, lacking in recreational facilities. They fell victim to neglect from council authorities, under pressure from increased budgetary cuts. These environments quickly descended into post-industrial wastelands. The council flat has become emblematic of one extreme of the Caledonian Antisyzygy (the duelling polarities within the Scottish psyche) the other being the High Romantic Highland castle.
Miserabilism can be understood as a retaliation against this Romantic, idealised notion of Scotland, prevalent until the early 20th century. A repudiation of the twee, coothie, over-sentimentalised, shortbread tin depiction of Scotland. And, despite the self-perpetuating negativeness of miserabilism, it can have constructive role in analysing the hypocrisies, shortcomings and taboo subjects of modern Scotland. Transgressive in tone, is used by artists to commentate and bring into focus the ugly realities of the marginalised in Scotland. SM can spark debate and, at best, become a catalyst for social change.
Is Scotland suffering from a Calvinist hangover? Does it play a role in the evolution of Miserabilism? A strict Presbyterian doctrine manifest in Scotland in the 16thcentury, as the Kirk preached the humble life was the path to paradise – sticking your neck out or being ambitious were frowned upon. Is this attitude the embryonic Caledonian Cringe? – The doctrine of self-hatred that refers to the Scots’ lack of personal and political confidence in their ability to govern themselves.
Scotland’s populous is demonstrably inclined to be more pessimistic by nature. One 2015 poll suggests Scot’s are 5% more likely to believe they’re going to hell compared to Britain as a whole, with 14% believing they await a fiery fate.https://www.scotsman.com/news/uk-news/i-will-go-hell-one-seven-scots-fear-1495727
Is SM and the Caledonian Cringe a symptom of a lack of national confidence? Modern Scotland find herself in a unique constitution situation. There is an ambiguity surrounding what ‘Scottishness’ is. Despite being one of the oldest nations on earth our parliament is only 25 years old. At present we are a pseudo-nation, within a Union whose future grows increasingly unclear. We are a wealthy nation but generations of political miss-management at home and under Westminster rule has meant, historically, one of Scotland’s truths is extreme inequality.
How Scotland is portrayed in art and media matters. Prior to the 2014 Independence Referendum David Cameron met with Sony over the release of Outlander. The establishment feared it would fuel nationalistic sentiment and manged to delay release. There was a political incentive, to repress the celebratory or Romantic notion of Scotland. These pieces of film/media/art have influence, they seep into the national psyche. Is it in Unionists’ interest to perpetuate Miserabilist stereotypes?
After recording this episode, we acknowledge the difficulty that we had, as four Scots, in discussing Scottishness – it became like fish trying to describe water. We live and breath a Scottish reality and the aspects and qualities we think are unique to Scotland might be anything but. However, rather coming to concrete conclusions our objective with the Pater Podcast is to discuss and explore. We welcome any feedback or critiaue, so please get in touch.
thepatterpod.com 