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Scotia Extremis by Andy Jackson and Brian Johnstone sampler

Scotia Extremis brings together a gallimaufry of poets to take a sideways look at what makes - and makes up - Scotland by examining the country's 'icons'. Featuring specially commissioned works by the National Makar Jackie Kay, plus acclaimed poets including Robert Crawford, Imtiaz Dharker, Douglass Dunn, Vicki Feaver, John Glenday and almost 100 more, all are tasked with probing extremes.

Scotia Extremis brings together a gallimaufry of poets to take a sideways look at what makes - and makes up - Scotland by examining the country's 'icons'. Featuring specially commissioned works by the National Makar Jackie Kay, plus acclaimed poets including Robert Crawford, Imtiaz Dharker, Douglass Dunn, Vicki Feaver, John Glenday and almost 100 more, all are tasked with probing extremes.

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Scotl<strong>and</strong>: a Split Personality?<br />

I’ll ha’e nae hauf-way hoose, but aye be whaur / Extremes meet<br />

– Hugh MacDiarmid<br />

if a nation can be said to have a soul then the soul of the Scottish nation<br />

is surely one which is permanently strung out between the extremes that<br />

MacDiarmid evokes in what must be one of his most quotable lines. Taken<br />

from his great early poem A Drunk Man Looks at the Thistle, it seems to sum<br />

up both the irascible poet <strong>and</strong> his nation so well.<br />

It was not, of course, his only foray into examining the split psyche of the<br />

country. He also explored the notion of the Caledonian Antisyzygy, a term<br />

coined <strong>by</strong> G Gregory Smith in 1919 to encapsulate the conflicting extremes<br />

within the culture of Scotl<strong>and</strong> <strong>and</strong> which MacDiarmid exp<strong>and</strong>ed on in a<br />

1931 essay. In his original essay Smith wrote of Scottish literature as being<br />

‘remarkably varied, <strong>and</strong> becoming, under the stress of foreign influence, almost<br />

a zigzag of contradictions.’<br />

Perhaps the most famous examples of this ‘split personality’ in our country’s<br />

culture are Robert Louis Stevenson’s Strange Case of Dr Jekyll <strong>and</strong> Mr Hyde<br />

<strong>and</strong> James Hogg’s The Private Memoirs <strong>and</strong> Confessions of a Justified Sinner.<br />

Such dichotomies persist throughout Scottish literary history, however. The<br />

rural/urban split goes as far back as the 1480s <strong>and</strong> Robert Henrysoun’s The<br />

Taill of the Uponl<strong>and</strong>is Mous <strong>and</strong> the Burges Mous.<br />

In Scotl<strong>and</strong>, rivalries seem to be almost a given. It is not difficult to think<br />

of examples: Edinburgh / Glasgow, Rangers / Celtic, Native Tongue / English,<br />

Protestant/Catholic, not to mention Scottish/British that seemed to be the choice<br />

presented to Scots in 2014’s independence referendum. Within Calvinism,<br />

Scotl<strong>and</strong>’s very own rigorous form of Protestantism, there is the conflict between<br />

the saved – those predestined for heaven – <strong>and</strong> the eternally damned. Just read<br />

Burns’s Holy Willie’s Prayer for elucidation.<br />

The whole split personality of the country is perhaps best seen in two<br />

contrasting attitudes with which Scottishness is associated: the posturing of<br />

‘wha’s like us? – damn few an they’re aa deid’ <strong>and</strong> the cultural self-abnegation<br />

exemplified <strong>by</strong> the so-called ‘Scottish cringe’. Where else can anyone live – <strong>and</strong><br />

write – who lives in Scotl<strong>and</strong> other than ‘whaur extremes meet’?<br />

<strong>Brian</strong> <strong>Johnstone</strong>, February 2019<br />

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