A brief (and inadequate) introduction to the writing and writers of Shetland

Shetland literature has a short history. Or, more accurately, the long history of Shetland literature has been truncated — the result of a double disadvantage, as far as official histories are concerned: an oral culture, in which few people could read or write, and a language that died out before literacy became widespread.The Northern Isles of Orkney and Shetland would once have been rich in songs, poems and stories, spoken and sung in Norn (the closest extant relative of which is Faroese). But after Shetland became part of Scotland, in the late fifteenth century, the language was gradually replaced by a distinctive local variant of Scots. And by the time cultural collectors began to take an interest in such things, a few hundred years later, Norn was pretty much gone. Only a single full-length ballad, ‘Hildina’, was ever transcribed.Romanticising the pastWhen writers from Shetland did begin to publish their work, in the early nineteenth century, the islands were already being written about by authors from elsewhere. Most significantly, Walter Scott used the islands as the setting for his 1822 novel The Pirate, in which he imagined a rather glamorous version of Shetland’s history, with a particular emphasis on its Norse heritage. That portrayal, by one of the world’s most famous authors, was influential, but it also highlights a conundrum for writers in the islands: A romanticised, exoticised depiction of Shetland may be more appealing to readers than one that shows the... Continue reading at 'British Council global'

[ British Council global | 2020-02-13 12:54:04 UTC ]

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