> (It's revived under Robert Crawford and Bill Herbert, but
> that was much
> later.)
I think Crawford would be a little surprised to be fingered in this context,
but writers of his generation and younger are less bothered by the
pin-dancing issues and are correspondingly comfortable with whichever
variant attracts them as a craft resource.
The big shift happened in the mid 1990s when Scots was given an 'official'
standing by being brought into the schools curriculum. A lot of people who'd
had their shoulders to the boulder for years found the boulder suddenly
gone. For people constitutionally built for oppositionalism, this was quite
a shock.
*
Pin-dancing anecdote: George Philp holding forth on the orthography of the
oo/ou sound in Scots. Sheena Wellington intercedes: George, if I giey'a
cloot, I expectye to mop the flair. If I giey'a clout, I expectye to be OAN
the flair!
P
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