New Releases by James Kelman

James Kelman has made use of the short form all of his writing life, calling on the different traditions where such stories are central within the culture, beginning and ending in freedom, the freedom to create. People should know that their stories count, no matter how personal, how emotional, how eccentric, how trivial, how stupid or how self-centred they may appear. Just make them, and make them your own, in spite of hostility, of negativity, of the threat of punishment: go to it. Language is with the user and you are the user. Make these stories and make them your own.

James Kelman's inimitable voice brings the stories of lost men to light in these twenty-one tales of down on their luck antiheroes who wander, drink, hatch plans, ponder existence, and survive in an unwelcoming and often comic world. Keep Moving and No Questions is a collection of the finest examples of Kelman's facility with dialog, stream-of-consciousness narrative, and sharp cultural observation. Class is always central in these brief glimpses of men abiding the hands they've been dealt. An ideal introduction to Kelman's work and a wonderful edition for fans and Kelman completists, this lovely volume will make clear why James Kelman is known as the greatest living modernist writer. Five of the stories collected here are brand new, and the rest have been significantly revised by the author for this definitive edition.

Incendiary and heartrending, the sixteen essays in The State Is the Enemy lay bare government brutality against the working class, immigrants, asylum-seekers, ethnic minorities, and all who are deemed of “a lower order.” Drawing parallels between atrocities committed against the Kurds by the Turkish State, and the racist police brutality, and government sanctioned murders in the UK, James Kelman shatters the myth of Western exceptionalism,revealing the universality of terror campaigns levied against the most vulnerable, and calling on a global citizenship to stand in solidarity with victims of oppression. Kelman’s case against the Turkish and British governments is not just a litany of murders, or an impassioned plea—it is a cool-headed take down of the State and an essential primer for revolutionaries.

“The world is full of information. What do we do when we get the information, when we have digested the information, what do we do then? Is there a point where ye say, yes, stop, now I shall move on.” James Kelman here offers something of why a book such of this is in front of the public. The State relies on our suffocation, that we cannot hope to learn “the truth.” But whether we can or not is beside “the point.” Finally, there is no “point.” We must grasp the nettle, we assume control and go forward. Kelman says, “I wanted to convey some of that sensibility with the idea of being in conversation with Noam Chomsky, of being in his presence, a sort of seminar. It is not influence. I don’t see it as ‘being influenced’ by Chomsky. He belongs to the great tradition of teaching, of learning. We learn from him through what he does.” At its core, this exhilarating collection of essays, interviews, and correspondence—spanning the years 1988 through 2018, and reaching back a decade or more previous—is about the simple concept that ideas matter. And not only that ideas matter. But that ideas—in this case, through the lens of two engaged intellectuals—mutate, inform, inspire, and ultimately provide more fuel for thought, the actions that follow such thought, and for carrying on, and doing the work.

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Jack Proctor, a celebrated older writer and curmudgeon, goes off to residency where he is to be an honored part of teaching and giving public readings, he soon finds the atmosphere of the literary world has changed since his last foray into the public sphere. Unknown to most, unable to work on his own writing, surrounded by a host of odd characters, would-be writers, antagonists, handlers, and members of the elite House of Art and Aesthetics, Proctor finds himself driven to distraction (literally in a very very tiny car). This is a story of a man attempting not to go mad when forced to stop his own writing in order to coach others to write. Proctor’s tour of rural places, pubs, theaters, fancy parties, where he is to be headlining as a "Banker-Prize-Winning-Author" reads like a literary version of Spinal Tap. Uproariously funny, brilliantly philosophical, gorgeously written this is James Kelman at his best.

Helen travaille de nuit dans un casino comme croupière, et vit dans un minuscule appartement de la banlieue londonienne, avec sa petite fille de six ans et son compagnon, Mo, anglo-pakistanais, qui trouve qu'elle est tordue. Plus que tordue, dit-elle.Les pensées filent en roue libre – racisme ordinaire, sexisme à la petite semaine, ...

"Thought-provoking" short stories from the Man Booker Prize–winning author of How Late It Was, How Late and Kieron Smith, Boy ( Scotsman). A trucker passes through a town he used to know and a local tries to sell him his sister; a couple put their children to bed and hear a loud scratching at the wall; a Principal and his associate examine the dead body before them; a man looks into a mirror and reflects on becoming more like his father. Sparky, touching, and brilliantly daring, these stories uncover human feeling in the ordinary and the everyday, and are a reminder of Kelman's exceptional talent. Shortlisted for the Saltire Fiction Book of the Year · Longlisted for the Edge Hill Prize. "Kelman brings alive a human consciousness like no other writer can." —Alan Warner, award-winning author of The Man Who Walks "The mixture of the precisely but surreally bureaucratic and the casually macabre is perfectly judged." — The Times "Kelman is on another level to most of the living writers in the UK." — The Guardian "Kelman has always been a true and honest writer; which is why he is one of the fairly few who really matter." — Scotsman "Kelman's language is immediately exciting; like a musician, he uses repetition and rhythm." — The New Yorker

Booker Prize winner James Kelman's new novel, Dirt Road, tells the story of a teenage boy who travels with his father from Scotland to Alabama to visit with relatives after the death of his mother. In the American South, he becomes swept up into the world of zydeco and blues. ""A powerful meditation on loss, life, death, and the bond between father and son. . . . Kelman has created a fully–realized, relatable voice that reveals a young man’s urgent need for connection in a time of grief." —Publishers Weekly (starred review) After his mother’s recent death, sixteen–year–old Murdo and his father travel from their home in rural Scotland to Alabama to be with his émigré uncle and American aunt. Stopping at a small town on their way from the airport, Murdo happens upon a family playing zydeco music and joins them, leaving with a gift of two CDs of Southern American songs. On this first visit to the States, Murdo notices racial tension, religious fundamentalism, the threat of severe weather, guns, and aggressive behavior, all unfamiliar to him. Yet his connection to the place strengthens by way of its musical culture. Murdo may be young but he is already a musician. While at their relatives’ home, the grieving father and son experience kindness and kinship but share few words of comfort with each other, Murdo losing himself in music and his reticent and protective dad in books. The aunt, “the very very best,” Murdo calls her, provides whatever solace he receives, until his father comes around in a scene of great emotional release. As James Wood has written of this brilliant writer’s previous work in The New Yorker, “The pleasure, as always in Kelman, is being allowed to inhabit mental meandering and half–finished thoughts, digressions and wayward jokes, so that we are present” with his characters. Dirt Road is a powerful story about the strength of family ties, the consolation of music, and one unforgettable journey from darkness to light.

Un dimanche matin à Glasgow, Sammy, un ancien détenu pour vol à l’étalage, se réveille dans une ruelle, chaussé de souliers qui ne lui appartiennent pas, et tente de se rappeler ses deux dernières journées de beuverie. Sauvagement battu par la police, il se retrouve à nouveau en prison et, petit à petit, se découvre complètement aveugle.

A collection of short stories by the Booker Prize-winning Scottish master Giving voice to the dispossessed and crafting stories of lives held in the balance, James Kelman reaches us all. Penetrating deeply into the hearts, minds, and desperation of characters who find themselves in everyday situations—in the hospital, at a bus stop, in a living room with the endless roar of the vacuum cleaner and a distant wife—Kelman follows their streams of consciousness and brings their worries to life. With honesty and dark humor, he confronts the issues of language, class, politics, gender, and age—identity in all its forms.

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.

Rejected by his brother and largely ignored by his parents, Kieron Smith finds comfort - and endless stories - in the home of his much-loved grandparents. But when his family move to a new housing scheme on the outskirts of the city, a world away from the close community of the tenements, Kieron struggles to find a way to adapt to his new life. Warm, funny, with searing insight and astonishing empathy, in Kieron Smith, James Kelman has created an unforgettable boy.

Jeremiah Brown is a man of extremes. So when he nips out for a quick drink on the eve of returning to his native Scotland after twelve years in America, anything could happen. Anything at all. Just one quick drink to help him sleep but there's something about this town and this bar that reminds him of his ex. Soon the memories are flooding in and as the night goes on and the decision to stop smoking looks increasingly ill-timed for a card-carrying alien of questionable politics, Jeremiah getting on that flight tomorrow starts to seem far from certain. Is there any such thing as a certainty? Not tonight. Tonight the only thing certain is that you have to be very careful in the land of the free.

James Kelmans großer, 1994 mit dem Booker Prize ausgezeichneter Roman liegt nun erstmals in deutscher Übersetzung vor. Spät war es, so spät erzählt die Geschichte eines Glasgower Kleinganoven, der erblindet und unfreiwillig in die Mühlen des Polizeiapparats gerät. Spät war es, so spät ist eine schwarze Komödie über das Leben, virtuos erzählt, schonungslos und ergreifend zugleich.

James Kelman has long been regarded as one of the finest writers of fiction in the world. In this brilliant collection of essays he deals with matters literary, artistic, political and philosophical. In the essay '"And the Judges Said..."' Kelman outlines some of the influences that led him to create literary art, from the music he heard as a teenager to American and Russian writers, to the lives of the Impressionists. Elsewhere he looks at the role of elitism in literature, the central importance of Chomsky's work in 20th century thought and the work of the Caribbean Artists Movement. There are essays on the struggle to save the steel industry in Scotland and on the situation of the Kurds in Turkey; at the core of the collection is an extended essay on Franz Kafka.

A groundbreaking, verbally dazzling work of compelling importance from a modern master. Since the publication in 1994 of the Booker Prize-winning," How late it was, how late, James Kelman has been working on Translated Accounts. The new novel is set in an unnamed territory or country that appears to be under military rule. It is narrated in the first person, but the narrator remains anonymous, as do most of the other characters. The language used is an atypical English form, but akin to the basic translation that might appear within a department of an overseas 'foreign office.' Perhaps someone transcribed first-hand accounts of certain incidents, events and states of mind, as narrated by participants in the struggle and then passed on the transcriptions for translation; or perhaps the accounts were simply translated first-hand into English and edited later. In either case the results were dispatched to a more senior civil servant who later handed them over to an appropriate state agency.

Robert Hines est un jeune employé de bus de Glasgow, il rêve de devenir conducteur mais aux yeux des inspecteurs de la compagnie, il est trop original, il a trop de mal à se plier aux règles, aux horaires. Confronté à un quotidien " désastreux et étrangement banal ", il n'y survit que grâce à son amour pour sa femme et son fils et une imagination magnifiquement anarchique. Dans ce roman drôle, intelligent et réellement original, James Kelman met en scène avec une verve et un humour sans complaisance le dur milieu ouvrier de Glasgow : la religion, le foot, l'alcool, les copains, la pesanteur aliénante des réunions enfumées... Il décrit une vie de travailleur, sans héroïsme, simplement humaine, en créant un personnage attachant et inoubliable.

Stories about the Scottish working class. In Pulped Sandwiches, construction workers discuss death, Oh My Darling is on a husband who indulges in pawing his wife in public, while in I Was Asking a Question Too, a man plasters the walls of his apartment with wise sayings from books.

In Scotland, the portrait of a petty crook who had one run-in with police too many. It is a series of reflections as he sits in jail, contemplating his fate. He had been in trouble before, but this time it's different, the latest brawl with police cost him his eyesight. Now in addition to all his other troubles he is blind.

Na zijn vrijlating uit de gevangenis wordt een Engelsman blind als gevolg van een incident met de politie, wat echter moeilijk te bewijzen is.