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Hame is a satirical takedown of romanticised Scotticism with its bards, bagpipes, and tartan trews. The basic premise is that Mhairi McPhail, a Scot by birth but with a New York accent, is returning to her homeland to establish a museum on the Isle of Fascaray dedicated to the Isle's famous son, the poet Grigor McWatt. The novel is made up from interleaved sections of Mhairi's diary, her published work A Granite Ballad - The Reimagining of Grigor McWatt, various essays and writings of McWatt from published sources, and McWatt's poems. Together they make up the story of McWatt, compared and contrasted to the experience of Mhairi as an incomer. But they also paint a portrait of a Scottish island community; of the Scots arts and literature community; of Gaelic and Scots; of Scotland as a whole. The result is hilarious. As real islanders worry about the weather and fuel supplies; shopping trips to the mainland; how to get seven days' work done in six - McWatt and those like him spend their time banging out doggerel poetry in a mish-mash of Scottish dialects purporting to be a language; pontificate on the decline of traditional values; and drinking in the comfort of bars in Edinburgh's New Town. Fascaray itself is a fictional island, but much of it bears a close resemblance to Lewis, with a fair dose of the Inner Hebrides thrown in (especially Islay and Jura) and even the odd nod to the St Kilda archipelago. The issues feel authentic: the tension between preserving the natural beauty and exploiting natural resources; the tensions between the faiths; and the quest to curate/create a visitor attraction that will bring the tourists rolling in. Some of the events are real: the annual guga hunt is a real thing in Ness; the threat of offshore wind farms (and onshore wind farms) have divided real island communities; islanders really have protested against the establishment of Sunday ferry crossings; and the Morvern peninsula really is being slowly excavated. The literary angle to Hame also rings true. In small communities across Scotland, poets and writers are local legends despite the dubious quality of their works. Their works are published by small presses that survive on arts council subsidies, sold in souvenir shops and read by nobody. The writers augment their earnings by penning diaries and editorials for local newspapers. McWatt was a mainstay of the Auchwinnie Pibroch - his opinions given credence because of his fame, and his fame deriving from giving opinions. McWatt's poems are truly terrible: translations of great works into Scots dialect. The typical reader is unlikely to understand all of the verse - the dialect is too obscure - but will understand enough to see how the metre and the imagery have been ripped away from the original poems. And please don't be tempted to translate the verse back into English as that would be just as pointless as McWatt's original translation. The whole Scots dialect thing is paraded for comic effect; we can imagine arty Glaswegians professing to understand all the Scots because it is their language (and requires less effort to learn than the real language of Gaelic), yet failing to agree with each other about what the words actually mean. Hame is an absolute gem of a work; relatively long and at risk in the early sections of not having enough of a story to hang together. But as the book builds momentum, so the stories build and the multiple strands come together. The ending - the twist - is perfectly predictable but no less funny for its obviousness. It is rare to coe across a book with quite so much going on and for it all to land. *****