The parable of the 'Canny Scot, or Guttural German' is strongly suggestive of a widespread recognition of discernibly Scottish linguistic forms, and of the familiarity of a global Anglophone readership with the concept and characteristics of the 'kailyard school' of Scottish literature.
From the mid-nineteenth century, the increasingly objectified Scottish linguistic tropes and cultural traits that would later become characteristic of the literary phenomenon of the 'kailyard school' were habitually exploited both within and outwith Scotland, and a symbolic, sentimental Scots imperialism of an 'intelligible foreignness' was often voiced through a selected lexicon of Lowland linguistic devices.
Notably, aspects of both of these traits have long been scrutinised by generations of critics of the 'kailyard school' of Scottish literature.
Tellingly, this kailyardic 'gesture' of Scottish linguistic objectification was well noted and widely derided within British newspapers during the 1890s, and in 1896 the Scottish Text Society formally resolved to 'protest against the degradation of the Scottish language which the "kailyard school" of literature has recently produced'.
(42) For the Auckland author, the literature of the Scottish 'kailyard school'--revered as the language of the 'parochial', becomes heavily aligned with the language of an almost evangelical 'power'--the 'simple things' and 'good work' envisaged to encapsulate an all-encompassing bond between 'mans' world and God's universe'.
Alistair McCleery writes on the various ways Scottish publishing has found to export Scottish literature and culture (from the novels of the Kailyard School
to Nelson's French Collection to the novels of Alexander McCall Smith), and Simon Warad examines more than a century's worth of changes in bookselling practices.