The Trainspotting lads are back...and in worse shape than ever. In the last gasp of youth, Simon "Sick Boy" Williamson is back in Edinburgh. He taps into one last great scam: directing and producing a porn film. To make it work, he needs bedfellows: the lovely Nikki Fuller-Smith, a student with ambition, ego, and troubles to rival his own; old pal Mark Renton; and a motley crew that includes the neighborhood's favorite ex-beverage salesman, "Juice" Terry. In the world of Porno, however, even the cons are conned. Sick Boy and Renton jockey for top dog. The out-of-jail and in-for-revenge Begbie is on the loose. But it's the hapless, drug-addled Spud who may be spreading the most trouble. Porno is a novel about the Trainspotting crew ten years further down the line: still scheming, still scamming, still fighting for the first-class seats as the train careens at high velocity with derailment looming around the next corner.
To choose life or not to choose life; that is the question. Enjoyed the film? Want to know more? Go behind the scenes with the ultimate film guides and get the bigger picture. Discover how Trainspotting broke new ground within British cinema and became the highest placed film of the 1990's. Understand how the film related to the 90's culture of Britpop and 'Cool Britannia' and how music played an important role in the significance of certain scenes. Consider the film's importance within British Cinema and how it differed from the dogged realism of other British movies. What did Trainspotting contribute to the debate on drugs and how did the media react to the film's release? What were the reasons behind casting Ewen Bremner as Spud and what role did costumes have on character portrayal? Satisfy your curiosity with the ultimate film guides. Read biographies of key players, critics reviews and finally see the film the director wanted you to see. ...don't be in the dark about film
Now a Major Motion Picture Here is the Trainspotting crew ten years further down the line: still scheming, still scamming, still fighting for the first-class seats as the train careens at high velocity with derailment looming around the next corner. In this world, even the cons get conned. Sick Boy and Renton jockey for top dog, and out-of-jail and in-for-revenge Begbie is on the loose. But it’s drug-addled Spud who may be creating the most trouble.
Chronicles the misadventures of Mark Renton and his friends as they cope with economic uncertainties, family problems, drug use and the opposite sex in 1980s Edinburgh in this new novel from the author of Trainspotting and Filth.
*THE SUNDAY TIMES BESTSELLER* Mark Renton is finally a success. An international jet-setter, he now makes significant money managing DJs, but the constant travel, airport lounges, soulless hotel rooms and broken relationships have left him dissatisfied with his life. He’s then rocked by a chance encounter with Frank Begbie, from whom he’d been hiding for years after a terrible betrayal and the resulting debt. But the psychotic Begbie appears to have reinvented himself as a celebrated artist and – much to Mark’s astonishment – doesn’t seem interested in revenge. Sick Boy and Spud, who have agendas of their own, are intrigued to learn that their old friends are back in town, but when they enter the bleak world of organ-harvesting, things start to go so badly wrong. Lurching from crisis to crisis, the four men circle each other, driven by their personal histories and addictions, confused, angry – so desperate that even Hibs winning the Scottish Cup doesn’t really help. One of these four will not survive to the end of this book. Which one of them is wearing Dead Men’s Trousers? Fast and furious, scabrously funny and weirdly moving, this is a spectacular return of the crew from Trainspotting.
Jim Francis has finally found the perfect life – and is now unrecognisable, even to himself. A successful painter and sculptor, he lives quietly with his wife, Melanie, and their two young daughters, in an affluent beach town in California. Some say he’s a fake and a con man, while others see him as a genuine visionary. But Francis has a very dark past, with another identity and a very different set of values. When he crosses the Atlantic to his native Scotland, for the funeral of a murdered son he barely knew, his old Edinburgh community expects him to take bloody revenge. But as he confronts his previous life, all those friends and enemies – and, most alarmingly, his former self – Francis seems to have other ideas. When Melanie discovers something gruesome in California, which indicates that her husband’s violent past might also be his psychotic present, things start to go very bad, very quickly. The Blade Artist is an elegant, electrifying novel – ultra violent but curiously redemptive – and it marks the return of one of modern fiction’s most infamous, terrifying characters, the incendiary Francis Begbie from Trainspotting.
Continuum Contemporaries will be a wonderful source of ideas and inspiration for members of book clubs and readings groups, as well as for literature students.The aim of the series is to give readers accessible and informative introductions to 30 of the most popular, most acclaimed, and most influential novels of recent years. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question. The books in the series will all follow the same structure:a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or TV adaptations, literary prizes, etc.; a wide range of suggestions for further reading, including websites and discussion forums; and a list of questions for reading groups to discuss.
First there is an opportunity, then there is a betrayal. Twenty years have gone by. Much has changed but just as much remains the same. Mark Renton returns to the only place he can ever call home. They are waiting for him, of course: Spud, Sick Boy, and Frank Begbie. But they are not alone. Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance. Mark Renton returns, to the chaos of life and death.
This book charts the course of Scottish Critical Theory since the 1960s. It provocatively argues that 'French' critical-theoretical ideas have developed in tandem with Scottish writing during this period. Its themes can be read as a breakdown in Scottish Enlightenment thinking after empire - precisely the process which permitted the rise of 'theory'.The book places within a wider theoretical context writers such as Muriel Spark, Edwin Morgan, Ian Hamilton Finlay, James Kelman, Alexander Trocchi, Janice Galloway, Alan Warner and Irvine Welsh, as well as more recent work by Alan Riach and Pat Kane, who can be seen to take the 'post-Enlightenment' narrative forward. In doing so, it draws on the work of the Scottish thinkers John Macmurray and R.D. Laing as well as the continental philosophers Gilles Deleuze and Paul Virilio.
"Trainspotting: filled with graphic realism and wild comedy, the stage adaptation of Irvine Welsh's phenomenally successful novel skims in and out of blighted lives spinning raw tales of everyday addiction: two dossers are called up to interview for the same shite job neither wants; a gallus lassie, goaded by four failed-Oxbridge twats from the Uni, takes bloody revenge; a skag boy tries to kick it one last time. Gruesome, political, violent and funny - Trainspotting is not to be missed." "Headstate: Originally conceived as a 'pre-club night' rather than a long-running play, this theatre piece, developed in concert with the Boilerhouse Theatre Company, is both a snapshot of and a hard-edged investigation into uncomfortable contemporary truths. Mickey sells love; Tina has given it away; John denies it; and Martin Sykes, the butcher, will always use it for a scam. Headstate is a shocking and humorous look at modern Britain: where we are now and how we got here."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Scientific Essay from the year 1998 in the subject English Language and Literature Studies - Literature, grade: 2 (B), Ruhr-University of Bochum (English Seminar), course: Literature III: Literature Translation, 3 entries in the bibliography, language: English, abstract: "Trainspotting" is the title of a novel, written by the contemporary Scottish author Irvine Welsh. The plot is set in contemporary Edinburgh, i.e. Leith, and deals with the lives and experiences of a group of heroin junkies. The chapter we are looking at deals with a nightly walk through the meadows that three of the characters set off to after a visit in a Pub. They are in search of two other mates of them. During their stroll they meet two girls they know and come across a squirrel which two of them attempt to hurt. The attempt is prevented by the third.
A comprehensive introduction to working-class literature over the last 150 years showing how many of these texts have consistently challenged dominant literary, critical and social values. It combines an extensive survey and bibliography with a commitment to working-class writing as a vital area of literary study.
At Edinburgh's Department of Environmental Health, hard-drinking, womanising officer Danny Skinner wants to uncover secrets: 'the bedroom secrets of the master chefs', secrets he believes might just help him understand his self-destructive impulses. But the arrival of the virginal, model-railway enthusiast Brian Kibby at the department provokes an uncharacteristic response in Skinner, and threatens to throw his mission off course. Consumed by loathing for his nemesis, Skinner enacts a curse, and when Kibby contracts a horrific and debilitating mystery virus, Skinner understands that their destinies are supernaturally bound, and he is faced with a terrible dilemma.
Braveheart and Trainspotting, both set in Scotland, hit the big screen in 1995. The first was an American award-winning big-budget epic movie that featured an Australian as a Scottish National Hero and was filmed in Ireland. The latter, a Scottish production and the most successful British film of the year, was a comparatively low-budget production, completely financed by Channel four. Both share in common the fact that they reached a huge audience world-wide, which may have been highly influenced by the films’ depictions of Scotland 1. As the American cinema market is the most important for domestic films, the way in which Scotland is presented in Braveheart is consciously chosen to primarily please the expectation of the American audience in the first place but also the moviegoers of Europe and the rest of the world. Trainspotting was primarily aimed at a British audience although an international success was naturally hoped for. In this essay I will analyse the ways in which nationality in the two films is represented. First I will deal with Braveheart and examine the application of Tartanry images in the representation of Scotland. Consequently, I will argue that the depiction of the Scots is divided by class lines, with Robert the Bruce as a special case. In addition, I will evaluate the representation of the English as well as the Irish and the French nation. In the second part of the essay I will concentrate on Trainspotting and its debunking of the stereotypical Highland-iconography. An analysis of the use of local culture in the film is followed by a closer look at how the film undermines the discourse of Tartanry and the issue of national pride. 1 When asked in a survey to name one image which best sums up Scotland, 16% of people in Bangladesh chose Braveheart. Other main associations were kilts, whisky, bagpipes and highlands/mountains (cf. McLoone 2001: 187).
An epic novel about the bonds of friendship from the author of Trainspotting. The story of four boys growing up in the Edinburgh projects, Glue is about the loyalties, the experiences, and the secrets that hold friends together through three decades. The boys become men: Juice Terry, the work-shy fanny-merchant, with corkscrew curls and sticky fingers; Billy the boxer, driven, controlled, playing to his strengths; Carl, the Milky Bar Kid, drifting along to his own soundtrack; and the doomed Gally, exceedingly thin-skinned and vulnerable to catastrophe at every turn. We follow their lives from the seventies into the new century—from punk to techno, from speed to E. Their mutual loyalty is fused in street morality: Back up your mates, don't hit women, and, most important, never snitch—on anyone. Glue has the Irvine Welsh trademarks—crackling dialogue, scabrous set pieces, and black, black humor—but it is also a grown-up book about growing up—about the way we live our lives, and what happens to us when things become unstuck. "Stocked with his usual quirky, sympathetic characters, this rollicking new tale sparkles with the writer's trademark satiric wit. Its heft and narrative breadth should convince any remaining skeptics that Welsh—now effectively the grand old man of in-your-face Scottish fiction—is a writer to be taken seriously."—Publishers Weekly starred review