The Rose of England
At morn the rosebud greets the sun
And sheds the evening dew,
Expanding ere the day is done,
In bloom of radiant hue;
And when the sun his rest hath found,
Rose-petals strow the garden round!
Thus that blest Isle that owns the Rose
From mist and darkness came,
A million glories to disclose,
And spread BRITANNIA’S name;
And ere Life’s Sun shall leave the blue,
ENGLAND shall reign the whole world thro’!
– H.P. Lovecraft, The Scot, No. 14 (October 1916), 7. (Yes, seriously, that HPL writing about the Rose of England in a magazine called The Scot)
Among my many offline projects, one subject I’ve been researching is Scottish Pulp. Scotland has its own rich history with pulp fiction, and the Americas’ ancestral links to the hame country mean there are plenty of stories of Scotland and Scots to be found in the pages of Weird Tales, Astounding Stories, Argosy, Adventure, and beyond.
One recurrent theme: American authors tend to like the Scots and Scotland a lot more than most Scottish authors. Even some of our greatest pulp authors seemed incapable of completely shaking the Cringe, or the more insidious and pathological “Caledonian Antisyzygy.” There are obviously cultural and historic considerations surrounding the age of pulps (two World Wars in particular), but the inferioritists who belittle Scotland and the Scots in fiction do not restrict their disdain to the Scots themselves. Just look at how a film about Scottish history that won 5 Academy Awards, 5 ACCAs, 3 BAFTAs, a Golden Globe, & a Writer’s Guide of America Award (among many others) is viewed by so many (though not, clearly, everyone): the Braveheart effect long predated that film.
Scotland does not have its own distinctive film industry or its own broadcasters, and our theatrical, musical, & literary institutions are heavily dominated by supposed “British” sensibilities to this day. The advent of radio and television broadcasting meant that this “British” culture – one as alien to the vast majority of English people as it was to the Scots, Welsh, and Northern Irish – could be projected into every household with a transceiver with an immediacy and power impossible with print. Thus, in the 20th Century, we often looked to those creators who are outwith that particular sphere of influence to present an outsider’s interpretation of Scotland and the Scots, be they members of the grand diaspora or not – from Talbot Mundy’s Scottish adventurers and Harold Lamb’s Nial O’Gordon to Diana Gabaldon’s 1990s’ novel (now turned television sensation in the 21st Century) Outlander.
On the other hand, sometimes you get folk like Howard Phillips Lovecraft.