In the Eighties, central Scotland was hit with the kind of mass unemployment, addiction and poverty that often weakens school performance. By the time I started high school in the Nineties the classroom was, for many, nothing more than a box you were confined to while the clock ticked and the clouds moved past the window. Lessons regularly slipped towards chaos, and for the teachers who struggled to impose themselves, impenetrability became a survival instinct.

In the midst of this I remember an English class where the teacher made small and regular efforts to impart something personal to her pupils. “I’ve read a brilliant book,” she announced one afternoon, just as the bell rang. “By a new, young Scottish author, if anyone’s interested?” The classroom emptied in record time, but I was intrigued. At 15, culturally isolated in a small town, I had no idea that young Scottish people were writing novels. It would have been fatal to my credibility to be seen to be interested, but I memorised the title and walked to the local library after school that day.

Morvern Callar, by Alan Warner, tells the story of a 21-year-old supermarket employee living in a nameless Scottish port town. When she finds her self-serious boyfriend dead on the kitchen floor by his own hand, she steals the unpublished novel he has written and sells it, using the advance to go clubbing in Spain. It was first published in 1995; my teacher must have read it upon release, and I shortly after that.

Trainspotting didn’t enter my teenage consciousness until it’s adaptation for the cinema in 1996, so until Morvern Callar arrived my experience of literature had been strictly dustbowls and waistcoats — school texts like Of Mice and Men, To Kill A Mockingbird, and An Inspector Calls. Our teachers worked hard to convince us of the relevance of things that had happened in Salinas, California, or Maycomb, Alabama, but now we had a local book; suddenly it seemed as though Morvern Callar — dangerous, youthful, Scottish — was lurking right outside the classroom window. I devoured the novel, as did my friends, as, eventually, did my mum and dad and sister. The thing that captured all our imaginations was the strange familiarity of the protagonist’s voice: Morvern was an enigmatic and illusory presence, but she still spoke like someone we knew from down the shops.

We all speak a dialect and this, whether we like it or not, forms part of our identity. Yet the use of dialect in modern novels has fostered debate on many fronts. How to represent class and nationality in literature is a question that stretches back to Dickens and the Brontës and beyond to the 18th century, when authors began to experiment with a wider variety of local speech. Today, authors are often under pressure to tone down dialect in novels for the sake of reader accessibility.

One only has to consider the furore over another Scottish novel — James Kelman’s How Late it Was, How Late — to get a sense of the controversy surrounding dialect. The novel, written in what critics described as working-class Glaswegian vernacular, won the Booker Prize in 1994 to the horror of the columnist Simon Jenkins, who claimed it was “literary vandalism” and compared Kelman to an “illiterate savage”. One judge, Rabbi Julia Neuberger, said the book was not “publicly accessible” and threatened to resign if it won.

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Perhaps it was the swear words that did it: an estimated 4,000 fucks. But Kelman wasn’t the literary disruptor some people painted him as: “Most of my stories were written from within my own culture,” he said, “so you use the language as people use it.” His book, which tells a day in the life of a newly blind ex-con called Sammy, is a letter-perfect feat of ventriloquism. The reader is fully immersed in the thoughts and speech of the Glaswegian protagonist and every aspect of his life in Nineties Scotland — the DSS, the worn cassettes (Dylan, Kristofferson, Cash,), the pubs called Glancy’s. We are treated not only to Sammy’s personality, but the personality of place.

But for many readers, schooled on did, do and done and raised on prize-winners from a mainstream novelistic tradition, the dialect understandably made the novel a slog. It was hard for some to see beyond the spelling — ye for you, didnay for didn’t, wasnay for wasn’t — and there were suggestions that Kelman’s writing was inaccessible to the very people he was apparently writing about, and for.

While critics lined up to disparage Kelman’s stylistic choices, it was Jenkins who perhaps pinpointed where the real controversy lay when he claimed Kelman had done no more than “transcribe the rambling thoughts of a blind Glaswegian drunk”. As is so often the case, arguments about language and spelling were a flimsy cover for efforts to define who belongs in literature, which writers are worthy of the major prizes, and which emotional crises can be considered valid novelistic fodder. Can the alley-bound, newly-blind Glaswegian ever be considered the equal of the Hampstead fig-eater, gazing down from his nine-over-six window?

Perhaps, though, it all comes down to the mundane question of sales. The head of books at WH Smith noted snidely that sales of Kelman’s book had quadrupled after winning the Booker Prize — from eight to 30 copies a week! By contrast, the 2020 Booker Prize was won by another Scottish novel, Douglas Stuart’s Shuggie Bain — a no-less brutal tale of courage and love, but one that wielded dialect very sparingly. The book was an international hit, selling more than 1.5 million copies around the world. Despite his reluctance to write in dialect, Stuart spoke of his own debt to Kelman: “How Late it Was, How Late changed my life… It is also one of the first times I saw my people, my dialect, on the page.”

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Of course, dialect is not the only way to create a sense of local identity. Alan Warner’s Morvern Callar is a far more accessible novel than Kelman’s, but it loses nothing in terms of intimacy and locality. Warner rejected the phonetic spellings (or “eye dialect”) used by Kelman, instead modifying standard English words with suffixes (silentness, queerish) to give Morvern a wide-eyed individuality that echoed the kind of front-room talk you might hear from your grannie and your auntie. The use of archaic colloquialisms (totey-wee, blethering, midden) and the proliferation of local nicknames — serve to illustrate the tight-knit informality of the community she comes from.

I hadn’t read Morvern Callar in a decade when I returned to it during the pandemic, bored and homesick on furlough in London. The feelings it gave me as a teenager in a small working-class town were undiminished as an adult in London — that there is darkness and poetry outside our front doors; that events worthy of literature can take place anywhere. I had probably decided I wanted to be a writer back in 1995, but as is often the case, school then jobs and life in general got in the way. With months off work I decided, finally, I’d have a go at writing my own book.

After living away from Scotland for such a long period, it wasn’t as straightforward as sitting down and writing from scratch. Dialogue is often mentioned as one of the trickiest part of writing to master, and if you are trying to replicate a specific dialect — even one you grew up with — it is doubly hard. I used my own way of speaking, the speech of my family and friends, as well as online resources like The British Library archives to polish the dialect of individual characters. The process revealed the threads of Doric dialect that I’d picked up from my father, who grew up in the northeast of Scotland: words like pechin (tired), birl (spin), and muckle (big), and the habit of dropping the “s” from the end of many pluralised words (“down the stair, seven year ago”).

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Reading a book written in dialect requires commitment from the reader. And yet so many of the attributes that readers prize in a book — atmosphere, authenticity, a sense of place — are enhanced by characters who speak and think in distinctive ways. The structure of our language defines not only our own identity, but how we experience the world, and opening ourselves to other ways of speaking can help us better understand other lives. For me, writing in dialect helps readjust the boundaries of who belongs in literature.

I never told my English teacher that I had been listening that day in class, or that I tracked down and read the book she recommended. Yet Morvern Callar is a book whose voice strongly informed my own attempts at writing. It taught me that there was profundity in my small-town experience. And it showed me that you could, in Scotland, write about those experiences.

The point is to get students to reflect on what is often immediately apparent about a person — such as sex, age, physical build, race — and what emerges with longer acquaintanceship. Students may bring up things like accents, levels of education or cultural knowledge — but almost always a little nervously, as if not quite sure if these are legitimate objects of interest. I’ve never had a student spontaneously suggest that one thing you might notice is somebody’s social class, and embarrassment always comes from my suggesting it. These days, it’s just not what the novelist should be thinking about.

Douglas Stuart’s debut novel Shuggie Bain, for instance — a coming-of-age story set in working-class Glasgow — was sufficiently out of fashion to lead 30 publishers to reject the manuscript. After its eventual release, it became a huge triumph. This week, Stuart publishes another novel set in the same world.

Young Mungo follows a boy whose mother is a hopeless alcoholic on the breadline; his elder brother is a thuggish criminal, living with his underage girlfriend and their baby. But his sister, Jodie, is intelligent, orderly, practical, full of possibilities: “She’s gonnae be a doctor, or an astronaut.” Mungo has ambitions, too, although he has never been outside the East End of Glasgow. He falls in love with Jamie, and together they dream of escape. But it’s not a geographical escape; there’s no doubt that it’s their social class they need to leave.

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Such frank investment in social improvement now seems unusual in a novel. Stuart knows better; in an interview he has remarked that the one positive consequence of the urban deprivation he observes is that it gave rise to masterpieces of the written word. But few novelists would be brave enough to write of Jodie’s future as a place where she “would round out her vowels and suppress her glottal stop; she would like her bread to be brown and her films to be foreign”. The urge to better oneself through education is not something novelists want to be seen praising. After all, it might look as if you thought some people were better than others, and even that some of the people left behind, like Mungo, who “would work where he could, and he would steal what he could,” might bear some responsibility for their own lives. If you’ve invented all of these cases, the misbehaviour starts to look fairly terrible to the contemporary eye. And so the subject of social advancement has largely been left to the memoirists, who can at least show that they are writing the truth, or at least “their” truth.

But social class — how people may be trapped in their circumstances, and struggle to escape them — has been at the core of the novel since the beginning. The form thrives on the differences between people, and the place people take in the world. They can be as vast as between Dickens’s Lady Dedlock and Jo the crossing sweeper, or as minute, but real, as those between Austen’s Emma and her vulgar enemy Mrs Elton. But we have to be able to tell characters apart for the novel to make sense; a story set in a society where social differences had been genuinely erased might be quite hard to follow.

Novels, too, are dynamic forms. They tell of changes in circumstances, and how characters end up in places they could not foresee. Very often, these journeys are social odysseys. Defoe’s Moll Flanders, rampaging through rich merchants and bankers as husbands before ending up as a common thief, starts it off. Proust’s Madame Verdurin, starting in obscure circumstances and ending as the Princesse de Guermantes, is an almost indecently frank example; Elizabeth Taylor’s Angelica Deverell shows that the habit of rising in society is not forbidden to artists and writers. All in all, it is not just class that has always driven the novel, but how it changes.

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But now, through a combination of nervousness, embarrassment, and an apparent concern by novelists that their observations on difference shouldn’t be mistaken for snobbishness, the subject is being cast aside. In part, I think, this is because social class seems much more complex and puzzling than it used to be. What to make of a Russian oligarch with his house in Belgrave Square? Or the Syrian professor and refugee, now driving an Uber to get by?

In part, too, it must be affected by a general squeamishness about making personal observations of a specific sort. Some readers have started to object when a novelist makes a factual note about a character’s physical nature, or their race. This style of objection might be making novelists nervous about plain statements of class. You can talk about a character’s wealth or poverty, but it is quite hard to imagine a serious novelist writing about a character’s relationship to money and status in the direct and contemptuous way Evelyn Waugh writes about John Beaver, or Rex Mottram.

What we call class is a complex but coherent association of culture, power, money, behaviour, speech and — more now than 50 years ago — education. It’s a compelling subject, but, strikingly, we seem only to be comfortable with it in fiction in the safely removed form of the historical novel or novels of different cultures: the Indian novel in English still talks bluntly about social status. Novelists who made their mark with exquisitely differentiated fiction about class, such as Martin Amis or William Trevor, are markedly dropping out of fashion.

What is taking the place of this traditionally central concern? The main interests of the novel now are such things as race, particularly racial injustice, sex and sexual preference, and (a surprisingly common interest) the world as seen by individuals who are somehow hindered by an external factor, such as a mental illness. Indeed, perhaps Stuart gets away with his analysis of class because both his novels are also concerned with one of these external factors, gay male sexuality. These factors will successfully distinguish characters; they will do a good job of showing how an individual is treated by society. They are all important and interesting subjects. But as motors of fiction they have one marked limitation — they are all unchangeable characteristics.

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In Great Expectations, Pip’s story of transforming himself into a gentleman powerfully drives the narrative through a minute attention to a shifting social standing. It’s hard to imagine how a novel focused on these other fictional concerns — even if it could reveal how essential and insurmountable differences between people often become apparent through crushing injustice — could reproduce such a journey.

Perhaps there is a larger pressure at work here, about a sort of social media-driven desire on the novelist to present themselves in as amiable a light as possible. A novelist who writes with their full attention on racial status in a post-imperial society is obviously commendably engaged; a novelist who writes about the different styles of speech of rich and poor is running the risk of being labelled the worst of men, a rampant snob. It might be easier to suppress those observations altogether, however conspicuous and interesting they are.

I walk my dog most mornings in Battersea Park. There, a huge range of society mixes; young professionals, retired working class families, those in social housing, and the seriously rich of Chelsea. You would have to be unusually slow not to register the dramatic differences between some of these people, and how they manifest themselves in behaviour, speech, the names of dogs, even the dogs themselves (Labradors and French bulldogs called Reggie are upper middle class; Alsatians and Staffordshire bull terriers called Killer or Sheba, probably working class). This is the sort of thing that novelists used to be very interested in. Now, it seems to me that there is a disinclination to talk about what is as plain as a pikestaff, because what sort of writer would even try to deduce anything from an Alsatian being called Sheba?

For this reason, Young Mungo, an excellent novel, nevertheless feels somewhat old-fashioned. But it’s very good to see a novelist entering with some of the old gusto into working class culture, exploring how its products might inhabit it, or want to get out of it at the first opportunity. Stuart is rare among contemporary novelists in saying, without the slightest apology, things like: “Clothes are often a signal for social class.” And so they are: and yet we are not expected to notice it, or remark upon it. What this sort of thing is starting to require is real nerve.