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This is a big bundle of essays and written talks, put down over a long number of years: Kelman hopes some of them make you smile.
James Kelman began as a writer of fiction and became a writer of nonfiction in the bargain. He had a short story set for his first ever publication that the printer refused to print on the grounds of "blasphemy." He searched the story for this "blasphemy" but couldn't find any. He solved the problem by submitting a different story. In the years to follow the hostility didn't vanish. He began to challenge, saying what he thought and why he thought it. Defending is a drain on one's energy. But when attacked directly it is hard to walk on.
This collection of twenty-four essays—personal, political, and in between—tells the intertwined tales of art, literature, history, culture, and life. They look and question not through an academic lens of literary theory and the great traditions but through lived experience and resistance to the status quo. From class, ethnicity, and other borders to one's ability as a writer to earn a living, or not, in order to survive in the drudgery of capitalism. And therefore, whose stories do we experience? Can we see ourselves in them? What is lost or hidden?
Amidst these questions are glimpses into the life of an artist and the connections made. Weaving stories of childhood, the importance of bookshops, to the people met along the way that make a world whole.
“James Kelman is an extraordinary writer—smart and incisive, witty
and warm, with prose so alive it practically sparks off the page.”
—Molly Antopol, author of The Unamericans
“Probably the most influential novelist of the post-war period.”
—The Times
“Kelman has the knack, maybe more than anyone since Joyce, of fixing
in his writing the lyricism of ordinary people’s speech … Pure aesthete,
undaunted democrat—somehow Kelman manages to reconcile his two halves.”
—Esquire (London)
“A true original … A real artist … it’s now very difficult to see
which of his peers can seriously be ranked alongside [Kelman] without
ironic eyebrows being raised.”
—Irvine Welsh, Guardian
“A writer of world stature, a 21st century Modern.”
—The Scotsman
“The real reason Kelman, despite his stature and reputation, remains
something of a literary outsider is not, I suspect, so much that great,
radical Modernist writers aren’t supposed to come from working-class
Glasgow, as that great, radical Modernist writers are supposed to be
dead. Dead, and wrapped up in a Penguin Classic: that’s when it’s safe
to regret that their work was underappreciated or misunderstood (or how
little they were paid) in their lifetimes. You can write what you like
about Beckett or Kafka and know they’re not going to come round and tell
you you’re talking nonsense, or confound your expectations with a new
work. Kelman is still alive, still writing great books, climbing.”
—James Meek, London Review of Books
“The greatest living British novelist.”
—Amit Chaudhuri, author of A New World, Frieze Magazine
“What an enviably, devilishly wonderful writer is James Kelman.”
—John Hawkes, author of The Blood Oranges
Be a Writer: Fuck Them All
Bonn. North Britland
“What I do is Write”
“Liberation begins in the Imagination”
By the Howe of the Hawk’s Nest
The Voice of Amos Tutuola
A Slant on James Connolly and the Scotch Ideas
Where Legends Come to Life
Wittgenstein, Rhees and Nowhere to Go: James Kelman
in Conversation
Agnes shrugged and got on with it
Artists and Injustice
No Music for Helen
Tillie Olsen Was There
June’s Laugh
When I was that age did Art exist?
The Picts Vanished
The Writer John Mulligan
Lubbock, Leningrad and Lafayette
English Literature and the Small Coterie
Keeping Scotland British, and Britain English
“Why ain’t the band playing?”
Death on the Clyde
Artists and Value
Boys and Grannies
Notes
Index
About the Author