Award winning novelist Alan Bissett is a passionate ‘yes’ when it comes to independence for Scotland. In this exclusive interview for Avocado Sweet, he discusses the impact independence may have on the country’s culture. You can see Bissett perform his one man show – Ban this Filth  – at the Scottish Storytelling Centre as part of the Edinburgh Festival Fringe from 1 to 11 August. 

Does Scotland have a distinct culture of its own?  If so, how does it differ from the rest of the UK and indeed the world?

Well, cultures cross-fertilise all the time, and we’re all these days influenced by American popular culture, which has become the de facto language of globalisation and imperialism. But regional cultures distinguish themselves in several ways: language; place; politics. Scotland is no exception to that. A novel written by a Scot set in France, in English, about an Italian, might technically be a ‘Scottish novel’, but there is nothing distinctively Scottish about it. What distinguishes Scotland (or anywhere) is attention to the rhythms of the local and a connection to the folk consciousness or history of that place.  In that respect, when you think about it, our art is the same as everyone else’s. And not.

Does cultural activity become Scottish when it occurrs in Scotland or when it is undertaken by a Scottish person? I’m thinking about people like Lloyd Cole and Franz Ferdinand here as well as the old debate about Sean Connery living outwith Scotland.

As far as I’m concerned art is Scottish if it’s made by a native Scot (living here or elsewhere) or if it’s made by a non-native Scot who lives here and makes art about Scotland. Everything else just has a ‘Scottish connection’ – no more or less valuable, but not ‘Scottish’, as such.  The Harry Potter books are not Scottish just because they happened to be written in Edinburgh. Englishness runs through them like the writing in a stick of rock, and that’s fine.

Let’s reverse the question: are Andrew O’Hagan, Ali Smith and Jackie Kay – Scots who live in England and sometimes write about England – considered English writers? I’m sure almost nobody would say yes, and nor would they demand: ‘WHY DON’T YOU CONSIDER THEM ENGLISH?’ But to say, ‘JK Rowling is not really a Scottish writer,’ gets people a bit more anxious. I’m not sure why.

I don’t think we should get too hung up about those things. In the end, what an artist is saying matters more than the cultural identity of that artist.

As a pro independence writer you must believe that culture in Scotland would benefit from separation – in what ways do you see this being the case?

Because there will be an enormous upsurge of confidence in Scotland and it will be the job of the artists to articulate that, ask questions where necessary and imagine new directions.  I’m sure old traditions and forms will be rediscovered and given a contemporary spin and we’ll realise we need to stop looking to London for validation. I really think it’ll be the start of a huge renaissance in every aspect of Scottish culture. We’ll be shaping and defining for posterity one of the biggest events in our history. What artist wouldn’t want to be part of that?

Do you think that culture is a strong platform on which to base a pro independence argument – particularly among young people?

Yes. We’re not politicians and we’re not toe-ing a party line. We can say things in a manner that politicians can’t and we can expose truths in exciting, creative ways.  Reaching young people is difficult though, since so much of their culture comes from outwith Scotland.  None of us are on E4 and we can’t exactly hang about outside their schools singing protest songs. You’ve got to just hope they somehow start to feel what we’re doing ambiently in the air around them, and bend towards it like flowers towards sunlight.

What did you think of Alasdair Gray’s recent remarks English people colonising the Scottish cultural scene and the reaction to the remarks?

It’s a difficult one.

I can’t imagine many countries in which all – all – of the top arts posts are given to people who aren’t from that country. That surely is highly irregular. What is the message being sent to Scots about that?  I’m fairly certain the English would feel it strange if all of their top arts jobs were staffed by, say, the Americans or French (or Scots, for that matter). It would never happen.  But when it happens in Scotland we are expected to feel that this is a natural state of affairs, and that even pointing it out is tanamount to bigotry.

That said, I understand why English people here may have felt slighted or unwelcomed by Gray’s remarks and that’s definitely something of which we must be mindful.  But the point Gray made was not that the English are doing anything wrong, as such – after all, if you simply apply for a job and get it that’s hardly your fault – but that Scots feel so little confidence in ourselves that we automatically appoint from outside. How did that happen?  What does that mean?

Ultimately, though, we have to get over it and work towards the integration of all visitors to Scotland.

Are artists, writers and musicians from Scotland are identified too closely with their Scottishness? 

Here’s an interesting thing. Why are Scottish artists refered to, even in Scotland, as ‘Scottish artists’?  If Martin Amis was being introduced onstage in England he’d never be introduced as an ‘English writer’, simply as a writer.  Likewise with German, American or Chinese writers in their home territory.  But in Scotland we attach that prefix because we, generally, receive most of our culture from elsewhere. This makes being a ‘Scottish’ writer somehow anomalous and exotic. When your identity exists is in opposition to the norm – and in the context of the UK, that is the case with Scottishness – that identity becomes fetishised, for better or worse. Personally, I’m pleased that people are interested in my Scottishness but when your identity is not taken for granted as normal, a certain disempowerment is always implied.

Has your own Scottish identity has played a part in your own work and your career?

A huge amount.  It don’t think it’s the only defining feature of my work, but it’s obviously a large one. I’m not embarrassed about that, but you don’t want it to be the only thing you’re talked about in connection with either. You’re only ever partially in control of the perception of yourself, however. You put things out there; people make their aggregate judgement. That’s all part of the ebb and flow of culture, of the dialogue between the self and society.  Just how it is.

Much has been made of the spirit of innovation and inventiveness that has characterised Scotland throughout its history – does this spirit still prevail?

Yes.

What are your hopes for Scotland’s cultural future, whether or not independence is achieved?

My hope is that, either way, Scottish culture will still be present and available to Scots in all its multifariousness and awkwardness.  If Scotland votes yes, it’s on, in a big way.  If Scotland votes no, it’ll depend upon the hard work of artists to keep proving that Scotland still exists.