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Living in a bedsit, just coping with the boredom of being a busconductor, and fully aware that his plans to emigrate to Australia won't come to anything, Robert Hines is a young Glaswegian leading a pretty drab life. There are compensations, however, in his wife and child, and his eccentric, anarchic imagination. Kelman provides a brilliantly executed, uncompromising slice of Glasgow life – an intelligent, funny and humane novel.
WINNER OF 1994 THE BOOKER PRIZE. Sammy's had a bad week. Most of it's just a blank space in his mind, and the bits that he can remember, he'd rather not. His wallet's gone, along with his new shoes, he's been arrested then beaten up by the police and thrown out on the street - and he's just gone blind. He remembers a row with his girlfriend, but she seems to have disappeared; and he might have been trying to fix a bit of business up with an old mate, he's not too sure. Things aren't looking too good for Sammy and his problems have hardly begun. 'A passionate, scintillating, brilliant song of a book' Guardian
James Kelman, the Man Booker Prize–winning author of How Late It Was, How Late, tells the story of Helen—a sister, a mother, a daughter—a very ordinary young woman. Her boyfriend said she was quirky but she is much more than that. Trust, love, relationships; parents, children, lovers; death, wealth, home: these are the ordinary parts of the everyday that become extraordinary when you think of them as Helen does, each waking hour. Mo Said She Was Quirky begins on Helen’s way home from work, with the strangest of moments when a skinny, down-at-heel man crosses the road in front of her and appears to be her lost brother. What follows is an inspired and absorbing story of twenty-four hours in the life of a young woman.
Tammas is twenty, a loner and a compulsive gambler. Unable to hold a job for long, his life revolves around Glasgow bars, home with his sister and brother-in-law, the dog track, betting shops, casinos and occasionally a day at the races. Sometimes Tammy wins, more often he loses, but betting gives him as good a chance as any of discovering what he really seeks from life since society offers him no prospect of a better or more fulfilling altenative.
A collection of the latest work on the city, presenting contemporary theories, methods and perspectives in an accessible format for upper-level undergraduates and postgraduates in geography, cultural studies and sociology.
Murdo, a teenager obsessed with music, dreams of a life beyond his Scottish island home. His dad Tom has recently lost his wife and stumbles towards the future, terrified of losing control of what remains of his family life Both are in search of something as they set out on an expedition into the American South. As they travel they encounter a new world and we discover whether the hopes of youth can conquer the fears of age. Dirt Road is a major novel exploring the brevity of life, the agonising demands of love and the lure of the open road. It is also a beautiful book about the power of music and all that it can offer.
This book presents an analysis of representations of white, heterosexual, working-class masculinities in British culture between 1945 and 1989 to trace the development of the sociocultural and material conditions that shaped the masculinities which are helping to shape contemporary culture. This book seeks to fan the ‘spark of hope’ in the past that informs our present. The period which saw the establishment of the welfare state and the construction and breakdown of the post-war consensus in British politics was of great significance in the formation and maintenance of working-class masculinities and their correspondent representations. The author engages with a variety of cultural texts across various modes and media including films (Alfie), plays (Don’t Look Back in Anger), television (Boys from the Blackstuff), and music (The Beatles), and employs the analysis of the representation of working-class masculinities as a lens through which to examine a range of historical and cultural moments. This book reinstates class as a central precept in the study of British cultural representations and offers a timely intervention in ongoing debates around class and gender identities in Britain. The book will be key reading for students and researchers with interests in twentieth-century social and cultural British history, masculinities and gender studies, twentieth-century British literature, British television, and cultural studies more broadly.
The essays collected in Posting the Male examine representations of masculinity in post-war and contemporary British literature, focussing on the works of writers as diverse as John Osborne, Joe Orton, James Kelman, Ian Rankin, Carol Ann Duffy, Alan Hollinghurst, Ian McEwan, Graham Swift and Jackie Kay. The collection seeks to capture the current historical moment of 'crisis', at which masculinity loses its universal transparency and becomes visible as a performative gender construct. Rather than denoting just one fixed, polarised point on a hierarchised axis of strictly segregated gender binaries, masculinity is revealed to oscillate within a virtually limitless spectrum of gender identities, characterised not by purity and self-containment but by difference and alterity. As the contributors demonstrate, rather than a gender 'in crisis' millennial manhood is a gender 'in transition'. Patriarchal strategies of man-making are gradually being replaced by less exclusionary patterns of self-identification inspired by feminism. Men have begun to recognise themselves as gendered beings and, as a result, masculinity has been set in motion.
"The end of the twentieth century is marked by historic changes in nation-states and in the concepts of the nation and of nationalism. The ten essays in this volume give to the reader an inquiry into the problem of the nation with, and sometimes surpassing, the help of Russian philosopher Mikhail Mikhailovich Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Everywhere today, we are urged to “connect.” Literary critics celebrate a new “honesty” in contemporary fiction or call for a return to “realism.” Yet such rhetoric is strikingly reminiscent of earlier theorizations. Two of the most famous injunctions of twentieth-century writing—E. M. Forster’s “Only connect . . .” and Fredric Jameson’s “Always historicize!”—helped establish connection as the purpose of the novel and its reconstruction as the task of criticism. But what if connection was not the novel’s modus operandi but the defining aesthetic ideology of our era—and its most monetizable commodity? What kind of thought is left for the novel when all ideas are acceptable as long as they can be fitted to a consumer profile? This book develops a new theory of the novel for the twenty-first century. In the works of writers such as J. M. Coetzee, Rachel Cusk, James Kelman, W. G. Sebald, and Zadie Smith, Timothy Bewes identifies a mode of thought that he calls “free indirect,” in which the novel’s refusal of prevailing ideologies can be found. It is not situated in a character or a narrator and does not take a subjective or perceptual form. Far from heralding the arrival of a new literary genre, this development represents the rediscovery of a quality that has been largely ignored by theorists: thought at the limits of form. Free Indirect contends that this self-awakening of contemporary fiction represents the most promising solution to the problem of thought today.