#glaswegian

December 19th 1923 saw the birth of Gordon Jackson who became a much loved actor on stage, TV and film. Gordon Jackson was born the youngest of a family of five children in Glasgow in 1923. He attended Hillhead High School, but while there took part in a number of BBC radio shows including Children’s Hour. After leaving school at the age of 15, he went to work as a draughtsman at Rolls-Royce. In 1942, Ealing Studios were looking for a young Scot to act in The Foreman Went to France and Jackson was suggested. Further film work followed, including San Demetrio London, and The Captive Heart. Perhaps the most memorable film in which he starred during this period was Whisky Galore! In 1949, Jackson starred opposite the Scottish actress Rona Anderson in the film Floodtide. The two married on 2 June 1951, and had two sons. He also made his London stage debut in 1951 in Seagulls Over Sorrento. During the 1950s and 1960s Jackson appeared in TV shows such as The Quatermass Experiment, The Adventures of Robin Hood, ABC of Britain, The Navy Lark, Gideon’s Way and The Avengers as well as in films such as The Great Escape, The Bridal Path and the The Ipcress File. Real fame came with his role as the butler, Hudson, in sixty episodes of the period drama Upstairs, Downstairs that ran from 1971 to 1975. In 1974, he was named British Actor of the Year; in 1976, and won an Emmy Award for Outstanding Single Performance by a Supporting Actor. In 1977 he took on the role of George Cowley in The Professionals which ran for 57 episodes. He was involved in a wide range of projects during the 1980s, including narrating afternoon cookery shows in New Zealand and films such as A Town Like Alice (in which his performance won him a Logie Award), The Shooting Party and The Whistleblower.

So I just say “Tom Holland”.

today I came across something overtly that is usually a covert problem, and I wanted to take a chance to talk about the questions it raises about what it means to be 'normal' and speak 'normal english' in an anglocentric, global world.

let's start at the beginning. I was aimlessly googling around and came across this article, discussing ergodic literature:

I hope that you will see what angered me right away, but if not:

brogue? inaccessible, insufferable brogue? that is so difficult to read you might want to relieve your frustrations by harming a housepet, or striking a loved one?

what????? the fuck??????

my dearly beloathed. this is not a made up sci-fi language. this was not written for your convenience.

this is the glaswegian dialect.

this is how it is written. scots, which is very similar to this, is a language whose speakers have been systematically taught to change and hide and modify their speech, to not speak it in the classroom, to conform. this is NOT comparable to any of the made-up dialects or ways of writing in cloud atlas or any other specularative fiction. the suggestion of ir is deeply insulting.

(the line between various 'dialects' and 'languages' I speak about here is by definition sometimes political, sometimes arbitrary, and often very thin. what goes for the glaswegian dialect here in terms of discrimination goes for scots in general - which is, in fact, even more 'inaccessible' than glaswegian because it has a greater quantity of non-english and therefore non-'familiar' words. speakers of different englishes will face more or less discrimination in different circumstances. caveat over.)

you can find it on twitter, in books, in poetry; and more than that, on the streets and in living rooms, in places that this kind of england-first discrimination hasn't totally eradicated.

an imporant note - this book in question is called Naw Much of a Talker, and it was written originally in Swiss-German and then translated into Glaswegian to preserve similar themes and questions of language and identity. rather than detracting from anything I'm saying, I think the fact this is a translated piece of fiction adds to it - it has literally been translated so it is more accessible, and the article writer did not even realise. it also highlights the fact as well that these are questions which exist across the globe, across multiple languages, of the constant tension everywhere between the 'correct' high language and the 'incorrect, backward' 'low' language or dialect. these are all interesting questions, and someone else can tackle them about german and swiss german -

but I am going to talk today about scots and english, because that is how the writer of this article engaged with this piece and that is the basis upon which they called it 'insufferable brogue', the prejudice they have revealed about scots is what I want to address.

so here, today, in this post: let's talk about it. what is 'normal' english, why is that a political question, and why should we care?

as we begin, so we're all on the same page, I would like to remind everyone that england is not the only country in the united kingdom, and that the native languages of the united kingdom do not only include english, but also:

scots

ulster scots (thank you @la-galaxie-langblr for the correction here!!)

scottish gaelic

welsh

british sign language

irish

anglo-romani

cornish

shelta

irish sign language

manx

northern ireland sign language

and others I have likely forgotten

there are also countless rich, beautiful dialects (the distinction between dialect and language is entirely political, so take this description with a pinch of salt if you're outside of these speaker communities), all with their own words and histories and all of them, yes all of them, are deserving of respect.

and there are hundreds and thousands of common immigrant languages, of languages from the empire, and of englishes across the globe that might sound 'funny' to you, but I want you to fucking think before you mock the man from the call centre: why does india speak english in the first place? before mocking him, think about that.

because it's political. it's ALL political. it's historical, and it's rooted in empire and colonialism and all you need to do is take one look at how we talk about Black language or languages of a colonised country to see that, AAVE or in the UK, multi-cultural london english, or further afield - the englishes of jamaica, kenya, india. all vestiges of empire, and all marked and prejudiced against as 'unintelligent' or lesser in some way.

and closer to home - the systematic eradication and 'englishification' of the celtic languages. how many people scottish gaelic now? cornish? manx? how many people speak welsh? and even within 'english' itself - how many people from a country or rural or very urban or immigrant or working class or queer background are discriminated against, because of their english? why do you think that is?

if you think that language isn't political, then you have likely never encountered discrimination based on how you, your friends, or your family speak.

you are speaking from a position of privilege.

'but it's not formal' 'but it's not fit for the classroom' 'but it sounds silly'. you sound silly, amy. I have a stereotypically 'posh' english accent, and I can tell you for a fact: when I go to scotland to visit my family, they think I sound silly too. but in the same way as 'reverse racism' isn't a fucking thing - the difference is that it's not systemic. when I wanted to learn gaelic, my grandmother - who speaks gaelic as her own native language - told me, no, you shouldn't do that. you're an english girl. why would you want to learn a backward language like gaelic?

discrimination against non-'english' englishes is pervasive, systematic and insidious.

it is not the same as being laughed at for being 'posh'. (there's more about class and in-group sociolinguistics here, but that's for another post)

and who told you this? where is this information from? why do you think an 'essex girl' accent sounds uneducated? why do you think a northern accent sound 'honest' and 'salt of the earth'? what relationship does that have with class? why does a standard southern british english sound educated and 'intelligent'? who is in charge? who speaks on your television? whose words and accents do you hear again and again, making your policies, shaping your future? who speaks over you?

think about that, please.

and before anyone says: this is so true except for X lol - I am talking about exactly that dialect. I am talking about that accent you are mocking. I am talking about brummie english, which you think sounds funny. I'm talking about old men in the west country who you think sound like pirates, arrrrr.

(actually, pirates sound like the west country. where do you the 'pirate accent' came from? devon was the heart of smuggling country in the uk.)

so. to this person who equated a book written in scots, a minority and marginalised language, to being 'insufferable, inaccessible brogue':

and also to anyone who is from the UK, anyone who is a native english speaker, and anyone abroad, but especially those of you who think your english is 'natural', who have never had to think about it, who have never had to code-switch, who have never had to change how they sound to fit in:

it might be difficult to read - for you. it might be strange and othering - to you.

but what is 'inaccessible' to you is the way that my family speaks - your english might be 'inaccessible' to them. so why does your 'inaccessible' seem to weigh more than theirs?

and why does it bother you, that you can't understand it easily in the first go? because you have to try? or because perhaps, just perhaps, dearly beloathed author of this article, after being catered to your entire life and shown your language on screen, constantly - you are finally confronted by something that isn't written for you.

and for the non-uk people reading this. I would like you to think very carefully about what a 'british accent' means to you.

there is no such thing. let me say it louder:

THERE IS NO SUCH THING AS A BRITISH ACCENT

there are a collection of accents and languages and dialects, each with different associations and stereotypes. the clever aristocrat, the honest farmer, the deceitful *racial slur*. there are accents, languages and dialects that you hear more than others because of political reasons, and there are accents, languages and dialects which are more common than others because of discrimination, violence and the path of history.

if you say 'british accent', we - in the UK - don't know exactly what you mean. much more than the US, because the english-speaking people have been here longer, we have incredibly different accents just fifty miles away from one another.

but we can guess. you probably don't mean my grandmother's second-language english - even though, by american conversations about race, she is the whitest person you could possibly find. you don't mean my brother, who sounds like a farmer.

you mean my accent. tom hiddleston's accent. benedict cumberbatch. dame judy dench. sir ian mckellen. and they are all wonderful people - but what sort of people are they, exactly? what sort of things do they have in common? why is it that you associate their way of speaking with all of the charming eloquence of 'dark academia' or high levels of education, and my family's english with being 'backward' or 'country bumpkins' or 'uneducated' or, more insidiously, 'salt-of-the-earth good honest folk'?

we are an old country with old prejudices and old classes and old oppression and old discrimination and old hate. my brother speaks with a 'farmer' west country accent; my aunt with a strong doric accent that most english people cannot understand; my father with a mockable birmingham accent; my grandmother with a gaelic accent, because despite the fact that she is from the UK, as scottish as you can get, english is not her first language.

these people exist. my grandmother is a real person, and she is not a dying relic of a forgotten time. her gaelic is not something to drool over in your outlander or braveheart or brave-fuelled scottish romanticism, the purity and goodness of the 'celt' - but there are fewer people like her now. and I would like to invite everyone to think about why that is the case.

if you don't know, you can educate yourself - look up the highland clearances, for a start, or look at the lives of anglo-romani speakers in the UK and the discrimination they face, or irish speakers in northern ireland. like many places, we are a country that has turned inward upon itself. there will always be an 'other'.

and then there's me. raised in southern england and well-educated and, however you want to call it, 'posh'. so why is it that it is my voice, and not theirs, which is considered typically british all over the world?

I think you can probably figure out that one by yourself.

when you talk about the 'british accent', this is doing one of two things. it's serving to perpetuate the myth that the only part of the UK is england, rather than four countries, and the harmful idea that it is only england in the UK that matters. (and only a certain type of people in england, at that.)

secondly, it serves to amalgamate all of the languages and accents and dialects - native or poor or immigrant or colonial - into one, erasing not only their history and importance, but even their very existence.

dearly beloathed person on the internet. I have no idea who you are. but the language scots exists. I'm sorry it's not convenient for you.

but before I go, I would like to take a moment to marvel. 'insufferable, inaccessible brogue'? what assumptions there are, behind your words!

is it 'insufferable' to want to write a story in the language you were raised in? is it 'inaccessible' to want to write a story in the shared language of your own community?

I don't think it is.

I think it takes a special sort of privilege and entitlement to assume that - the same one that assumes whiteness and Americanness and Englishness and able-bodiedness and cisness and maleness and straightness as being the 'standard' human experience, and every single other trait as being a deviance from that, an othering. that's the same entitlement that will describe Turning Red as a story about the chinese experience - but not talk about how Toy Story is a story about the white american middle class experience.

people do not exist for your ease of reading. they do not exist to be 'accessible'. and - what a strange thing, english reader, to assume all books are written for you, at all.

and despite the fact that the text that prompted this was written by one group of white people, translated into the language of another group, and critiqued by a third - this is a conversation about racism too, because it is the same sort of thinking and pervasive stereotyping which goes into how white people and spaces view Black language and language of people of colour around the world. it's about colonialism and it's about slavery and it's aboutsegregation and othering and the immigrant experience and it's about the history of britain - and my god, isn't that a violent one. it's inseparable from it. language is a tool to signify belonging, to shut people out and lock people in. it's a tool used to enforce that othering and discrimination and hate on a systemic level, because it says - I'm different from you. you're different from me. this post is focusing more on the native languages of the UK, but any question of 'correct language' must inevitably talk about racism too, because language is and has always been a signifier of group belonging, and a way to enforce power.

it is used to gatekeep, to enforce conformity, to control, to signify belonging to a particular group, to other. talking about language 'correctness' is NOT and never CAN be a neutral thing.

it reminds me of a quote, and I heard this second hand on twitter and for the life of me cannot remember who said it or exactly how it goes, but the gist of it was a queer writer addressing comments saying how 'universal' their book was, and saying - no, this is a queer book. if you want to find themes and moments in it that are applicable to your 'default' life, 'universals' of emotion and experience, go ahead. but I have had to translate things from the norm my entire life, to make them relatable for me. this time, you do the translation.

I do not speak or write scots or glaswegian, but I grew up reading it and listening to it (as well as doric and gaelic in smaller measures, which are still familiar to me but which I can understand less). for me, that passage is almost as easy to read as english - and the only reason it is slightly more difficult is because, predictably, I don't have a chance to practice reading scots very often at all. it isn't inaccessible to me.

(I was about to write: can you imagine looking at a book written in french, and scowling, saying, 'this is so insufferably foreign!' and then point out how ridiculous that would be. but then I realise - foreign film, cinema, lyrics increasingly in english, reluctance to read the subtitles, the footnotes, to look things up, to engage in any active way in any piece of media. this is an attitude which even in its most mockable, most caricature-like form, is extremely prevalent online. *deep sigh*)

because. what is 'inaccessible'? it means it is difficult for people who are 'normal'. and what is 'normal', exactly? why is a certain class of people the 'default'? could that be, perhaps, a question with very loaded and very extensive political, social and historical answers? who is making the judgement about what language is 'normal'? who gets to decide?

I'd also like to note that this applies to everyone. it doesn't matter if you are a member of an oppressed group, or five, or none, you can still engage in this kind of discrimination and stereotyping. my scottish family, who have themselves had to change the way they speak and many of them lost their gaelic because of it, routinely mock anglo-romani speakers in their local area. I have an indian friend, herself speaking english because of a history of violence and colonialism, who laughed for five minutes at the beginning of derry girls because the girls sounded so 'funny', and asked me: why did they choose to speak like that? my brother, who sounds very stereotypically rural and 'uneducated', laughs at the essex accent and says that he would never date a girl from essex. I had a classmate from wales who was passionate about welsh language rights and indigenous and minority language education but also made fun of the accent of her native-english speaking classmate from singapore. it goes on and on and on.

take the dialect/language question out of the topic, and I think this reveals a much broader problem with a lot of conversations about media, and the implicit assumptions of what being 'normal' [read: white, anglo-centric, american, male, straight, young, able-bodied, cis, etc] actually means:

if something is written about an experience I do not share, is it inaccessible? or is it just written for someone else?

so, please. next time you want to write a review about a dialect or language you don't speak, think a little before you open your mouth.