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“Scots people were vigorous industrialists and slum builders, but they never reconciled themselves spiritually to their own urban creations... It was better to help to keep alive the native faith and virtues and idyllic memories of the people than to remind them of the scorching fires of Moloch through which they were passing.”
― William Power, Literature and Oatmeal

“On the whole popular fiction in Victorian Scotland is not overwhelmingly backward-looking; it is not obsessed by rural themes; it does not shrink from urbanisation or its problems; it is not idyllic in its approach; it does not treat the common people as comic or quaint. The second half of the nineteenth century is not a period of creative trauma or linguistic decline; it is one of the richest and most vital episodes in the history of Scottish popular culture.”
― William Donaldson, Popular Literature in Victorian Scotland: Language, Fiction and the Press

“The kail grows brittle from the cold in my dank and cheerless garden. A crust of bread gathers timid pheasants around me. The robins, I see, have made the coalhouse their home. Walter Lunny's dog never barks without rousing my sluggish cat to a joyful response. It is Dutch courage with the birds and beasts of the glen, hard driven for food; but I look attentively for them in these long forenoons, and they have begun to regard me as one of themselves. My breath freezes despite my pipe, as I peer from the door; and with a fortnight-old newspaper I retire to the ingle-nook. The friendliest thing I have seen today is the well-smoked ham suspended from my kitchen rafters. It was a gift from the farm of Tullin, with a load of peats, the day before the snow began to fall. I doubt if I have seen a cart since.”
― J.M. Barrie, Auld Licht Idylls

“George MacDonald is central to a Scottish tradition tormented by theology and with its roots in two worlds. He has been described as a link between John Galt and the kailyard, and his social novels, of which he wrote a good many, are certainly that. To my mind his deeper life is not in these solid, moralistic books, but in the stories usually described as fantasies. The most formidable of these is Lilith, one of the most ambitious books in Scottish literature. It aims to project a total metaphysical vision of the universe, in which evil gives way at last to good through repentance; even the Devil will finally repent.”
― J.B. Pick, The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction

“Since the success of the kailyard writers was comparatively short-lived, and their ambitions limited, it seems peculiar to non-Scottish readers that the persistence of the reaction to them was so intense that 'sentimentality' remains to this day a term of literary abuse to which no defence may be offered, and counter-kailyarders go to extraordinary lengths to eliminate from their work the least trace of theological light or metaphysical hope.”
― J.B. Pick, The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction

“Well, I suppose you have read the Green Shutters by this time. 'Tis a brutal and bloody work; too sinister, I should think, for a man of your kindlier disposition. There is too much black for the white in it. Even so, it is more complimentary to Scotland, I think, than the sentimental slop of Barrie and Crockett, and Maclaren. It was antagonism to their method that made me embitter the blackness; like old Gourlay I was "going to show the dogs what I thought of them." Which was a gross blunder, of course.”
― George Douglas Brown

“There grows a bonnie brier bush in our kail-yard,
And white are the blossoms on't in our kail-yard.”
― Ian Maclaren, Beside the Bonnie Brier Bush

“The gallery context of Scotch Myths puts the objects on display in an interrogatory framework in a way that their presence in souvenir shops does not. Similarly, the exhibition catalogue explicitly poses the correct questions and reinserts the objects into a history spanning the mid-eighteenth century to the present day: James Macpherson (1736-96), Ossianism; European Romanticism; Walter Scott (1771-1832), the appropriation of Scott and Scotland by Europe and America; the internal reappropriation by Scotland itself of earlier external appropriations, via the emergence of Kailyard; Scottish militarism in the context of nineteenth-century colonial wars, both World Wars and beyond; the dissemination of the ensemble of images and categories of thought within successive practices and technologies - literature, lithography, photography, the postcard, the music hall, films, television. It is one thing to see the imagery of Tartanry/Kailyard in its so-called natural habitats of the souvenir shop or the wall of a Scottish home; it is quite another thing to see it reproduced on orange crates from California.”
― Colin McArthur, Cencrastus No. 7: Winter 1981-82

“The Maggie [Alexander Mackendrick, 1954] represents Scotland at its most self-lacerative. Precisely at the moment, the early fifties, when the massive penetration of American capital into Scotland was gathering pace, The Maggie actually sets the two halves of the contradiction - american entrepreneur and Scottish workers in opposition to each other, but with almost wilful perversity the film has the Scots win hands down. In true Kailyard style, what is not achievable at the level of political struggle is attainable in the Scottish imagination.”
― Colin McArthur, Scotch Reels: Scotland in Cinema and Television

“A society beset by terrifying social problems was threatened by realism... exacerbated by the deep-seated evils of poverty and overcrowding generated by Scotland's pell-mell industrialisation. To expose these would be revolutionary; it would also break the discipline of puritanism by mentioning the unmentionable... The Kirk enforced silence out of conviction, the middle class out of fear. The bogus community of the Kailyard was an alternative to the horror of the real thing.”
― Christopher Harvie, Scotland and Nationalism: Scottish Society and Politics 1707 to the Present

“Still I maintain that in the Scotland of to-day there yet remain some types which differ from the types set forth by Kailyard novelists. Of course I know that virtue which has long left London and the South still lingers about Ecclefechan, I know a Scotsman is a grave sententious man, oppressed with the difficulty of the jargon he is bound to speak, and weighed down by the sense of being a North Briton. I know he prays to Mr. Gladstone and Jehovah, time about, finds his amusement in comparing preachers, can read and write, buys newspapers, tells stories about ministers, and generally deports himself in a manner which would land a weaker man in idiocy within a fortnight.”
― R.B. Cunninghame Graham, Success

“It is almost as difficult for a Scots intellectual to get out of the Kailyard as to live without an alias. The dilemma is not just an intellectual's one... the whole thing is related to the much larger field of popular culture. For Kailyard is popular in Scotland. It is recognisably intertwined with that prodigious array of Kitsch symbols, slogans, banners, war-cries, knick-knacks, music-hall heroes, icons, conventional sayings and sentiments (not a few of them 'pithy') which have for so long defended the name of 'Scotland' to the world. Annie S. Swan and A.J. Cronin provided no more than the decent outer garb for this vast tartan monster. In their work the thing trots along doucely enough, on a lead. But it is something else to be with it (e.g.) in a London pub on International night, or in the crowd at the annual Military Tattoo in front of Edinburgh Castle. How intolerably vulgar! What unbearable, crass, mindless philistinism! One knows that Kitsch is a large constituent of mass popular culture in every land: but this is ridiculous!”
― Tom Nairn, The Break Up of Britain: Crisis and Neo-Nationalism

“It must have been soon after that when ways and means were much under discussion that Leslie and Ray came to see us in Wokingham. Leslie was working at high pressure on all sorts of subjects but although he was beginning to find his financial worries lessen he still seemed not to have found and in my opinion did not exactly know what he might be able to do best. I suggested that he wrote a great Scots drama or novel. With one voice Leslie and Ray said it would never pay. I protested that it would if it was good enough - that Scotland was gasping for a picture of the true Scotland as he and I knew it - a picture that was neither A House with the Green Shutters nor yet A Bonnie Briar Bush, neither of which to me rang true.”
― Jean Baxter, Another Song at Sunset: Jean Baxter, Scots poet and friend of Lewis Grassic Gibbon

“So that was Kinraddie... the Scots countryside itself, fathered between a kailyard and a bonny briar bush in the lee of a house with green shutters.”
― Lewis Grassic Gibbon