Farewell from Fair Isle

Malachy Tallack's last blog from Britain's remotest place reflects on a very different way of living


When I began writing these short pieces for the New Statesman a year ago, I was reacting in part to what I felt were misrepresentations and misunderstandings of life in the Northern Isles that were appearing with some regularity in the national media.

The islands, and Fair Isle in particular, were portrayed as somehow old fashioned – relics of an era long since forgotten elsewhere. The people who lived here were too often caricatured as naïve and idealistic, backward-looking, or, worse, as mere museum pieces, existing solely for the entertainment of our visitors.

I wanted to write an alternative story; one that did not treat island life as an eccentric curiosity, or as a polar opposite to the ‘normal life’ that is lived elsewhere. I wanted to write about the realities of living here – the problems as well as the pleasures – and to do this without adding too much of a romantic sheen. I also wanted to ask myself what exactly it is that makes places like Fair Isle different, and specifically what it is about this particular community that visitors and islanders find so refreshing and worthwhile. On this last point I am quite sure that I have not succeeded, but I wanted to offer here a few final thoughts.

There is a common misconception about Fair Isle’s community, which I think is perpetuated by the tendency to consider it as being a cohesive unit, rather than a nebulous group of individuals. Fair Isle is not a community that is sustained by any kind of heady idealism, or by a desire for ‘like-minded’ communal living. It is a community of individuals, often with very different opinions and ideas, who simply choose to consider their neighbours’ interests as well as their own.

We do this, I think, for two reasons, both of which involve a recognition of something that can elsewhere remain hidden. Firstly, there is the recognition that each person has some sort of role, no matter how ill-defined, within the community. Many of us have jobs that are needed for the maintenance of essential services; others may simply offer a different way of looking at things. But each of us relies, quite literally, upon a network of other people, sharing this island with us. While this fact remains true wherever you live, it is often difficult to see.

The second reason is that people here recognise that the community, as a social group, is itself worth sustaining – that there is something here to sustain. Most people feel no need to define that something, just to acknowledge it. It is related, I would suggest, to an entirely natural and instinctive desire to be part of a functioning social group. After all, that is how human beings, as social animals, have evolved. But it is a feeling that is increasingly hard to find in other places today.

The community works so long as most people, most of the time, are able to remember and accept that their own interests are not always consistent with those of their neighbours, and that everyone benefits by acting with this in mind. This seems to me to be an entirely healthy and natural social order, and one that is completely alien to the hierarchical structures of power and wealth that now binds society together throughout most of the West. It is this naturalness that I think visitors notice when they come here, even for a short time; the feeling that, somehow, this is how it is meant to be.

Anyone who travels in the remote parts of Scotland, and particularly in the Western and Northern Isles, will have come across the evidence of abandonment. Old crofts and cottages lie derelict, ruined. Whole villages and islands that once were populated are now entirely empty of people. It can be a depressing sight. This island could very easily have gone the same way. But it did not.

For me, Fair Isle is a place of great hope. People here work hard to maintain something that they truly believe in, something that they cannot find anywhere else. What they find on this island is a real community of individuals, a natural and native order of things, and a satisfaction that springs not so much from a way of life, but a way of living.

Many thanks to Dave Wheeler for all his wonderful photographs.

Malachy Tallack is 26 and lives in Fair Isle. He is a singer-songwriter, journalist, and editor of the magazine Shetland Life.
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Indie band The 1975 want to “sue the government” over the Electoral Commission’s latest advert

Frontman Matt Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

How do you make registering to vote in the EU Referendum cool? It sounds like something  from The Thick of It, but judging by the Electoral Commission’s latest TV ad for their new voting guide, this was a genuine question posed in their meetings this month. The finished product seems inspired by teen Tumblrs with its killer combination of secluded woodlands, vintage laundrettes and bright pink neon lighting.

But indie-pop band The 1975 saw a different inspiration for the advert: the campaign for their latest album, I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It (Yes, a title perhaps even more cumbersome than “The EU Referendum - You Can't Miss It (Phase One)”).


Lead singer Matt Healy posted a picture of the guide with the caption “LOOK OUT KIDZ THE GOVERNMENT ARE STEALING OUR THOUGHTS!!” back on 17 May. The release of the TV spot only furthered Healy’s suspicions:

Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

The 1975’s manager, Jamie Oborne, was similarly outraged.

Oborne added that he was particularly “disappointed” that the director for the band’s video for their song “Settle Down”, Nadia Marquard Otzen, also directed the Electoral Commission’s ad. But Otzen also directed the Electoral Commission’s visually similar Scottish Referendum campaign video, released back in September 2014: almost a year before The 1975 released the first promotional image for their album on Instagram on 2 June 2015.

Many were quick to point out that the band “didn’t invent neon lights”. The band know this. Their visual identity draws on an array of artists working with neon: Dan Flavin’s florescent lights, James Turrell’s “Raemar pink white”, Nathan Coley’s esoteric, and oddly-placed, Turner-shortlisted work, Bruce Nauman’s aphoristic signs, Chris Bracey’s neon pink colour palette, to just name a few – never mind the thousands of Tumblrs that undoubtedly inspired Healy’s aesthetics (their neon signs were exhibited at a show called Tumbrl IRL). I see no reason why Otzen might not be similarly influenced by this artistic tradition.

Of course, The 1975 may be right, in that they have helped to popularise this particular vibe, moving it out of aesthetic corners of the internet and onto leaflets dropped through every letterbox in the country.  But if mainstream organisations weren’t making vaguely cringeworthy attempts to jump on board a particular moment, how would we know it was cool at all?

Anna Leszkiewicz is a pop culture writer at the New Statesman.