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 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.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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.

Fou de musique, Murdo, seize ans, quitte l''Écosse avec son père pour rendre visite à sa famille dans le sud des États-Unis, une façon de surmonter le deuil de sa mère et de sa sœur, emportées par un cancer à quelques années d''intervalle. Entre deux bus longue distance, il s''égare et tombe sur une répétition improvisée dans un jardin avec des musiciens de zydeco qui l''invitent à jouer avec eux en Louisiane. En attendant, Murdo se réfugie dans sa chambre au sous-sol, échafaude des plans sur des atlas remplis de noms nouveaux et cherche un moyen de rejoindre le grand festival. Avec son père, les relations sont difficiles, marquées par l''incompréhension et la maladresse, malgré tous leurs efforts et l''amour qu''ils se portent. Spécialiste des âmes d''écorchés, Kelman nous embarque ici dans la tête d''un adolescent banal et génial, anxieux et naïf, avec la juste distance et une incroyable tendresse. Un immense roman sur le deuil impossible et la musique qui sauve, et fait entrer la lumière.

Intimate new stories from the Booker Prize-winning James Kelman. He ''brings alive a human consciousness like no other writer can'' ALAN WARNER

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, résistance au quotidien –, Helen somnole, se souvient, rêve et s''obsède, comme une Molly Bloom de banlieue, en moins frivole. Vingt-quatre heures dans la vie d''une femme, entre la bouilloire qui fuit et le sommeil qui ne vient pas, l''avalanche des problèmes matériels et une vie exiguë qui paraît sans issue. Le monologue intérieur d''un personnage à la Ken Loach, dans la langue bouillonnante de James Kelman, toujours au plus près de ce qu''on n''appelle plus la classe ouvrière.

James Kelman''s newest comprehensive guide and reference source is an excellent way to study the history of banking & finance. Beginning with the earliest forms of banking in Mesopotamia and Greece and covering the more recent banking crises of the 20th & 21st Centuries, this easy-to-read guide will help you better understand the role that banking and global finances play in our lives.

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. Les choses empirent encore : sa petite amie disparaît, la police l’interroge pour un crime mystérieux, il erre dans les rues pluvieuses de Glasgow, en tentant vainement de donner un sens au cauchemar qu’est devenue sa vie. Le médecin qu''il finit par consulter refuse d’admettre qu’il est aveugle et sa tentative d’obtenir des indemnités d’invalidité l’amène à se confronter à la bureaucratie kafkaïenne de l''État providence. Le livre est un long flux de conscience où Sammy essaye d’accepter sa cécité, de trouver un secours médical, de comprendre où a disparu sa petite amie et d’échapper à la police qui le croit lié à un type qu’ils soupçonnent de terrorisme politique. Le protagoniste navigue avec un curieux détachement entre ingénuité et acceptation, avec une combinaison de courage et de méfiance qui sonne vrai, de même que certains dialogues entre mettant en scène les diverses autorités, les flics et plus tard son fils adolescent, modèles de rudesse, de tension et d’humour. Ce récit fait d’une prose torrentielle qui ne faiblit jamais, dans le langage non censuré du prolétariat écossais, est une parabole politique subtile et noire sur la lutte et la survie, riche d’ironie et d’humour noir.

The majority of the 18 stories in A Lean Third have been substantially revised by the author, making these new versions of great interest to academics and fans alike. Of particular note is a 3000 word afterword, written especially for this edition. The author gives revealing insights into the background of many of the stories and his lifestyle at the time of writing. A fascinating and essential new edition.

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.

The traditional songs of Ireland have a haunting, emotionally charged atmosphere of their own, tinged as they are with a sense of heartfelt longing and loss. The three songs in this collection, Danny Boy, Roisin Dubh and Carrickfergus have been masterfully arranged by 2009 Emmy nominated British composer, Howard Goodall.

La 4ème de couverture indique : An anonymous narrtor relates accounts of certain incidents and struggles in an unnamed place that appears to be under military rules"

An award-winning novel of urban boyhood: “No other . . . comes as close as this to Catcher in the Rye.” —The Literary Review A Man Booker Prize–winning author brings us inside the head of a young boy in a novel that offers a “splendid evocation of childhood in mid-20th-century Glasgow” (The Washington Post). Here is the story of a boyhood in a large industrial city during a time of great social change. Kieron grows from age five to early adolescence amid the general trauma of everyday life—the death of a beloved grandparent, the move to a new home. A whole world is brilliantly realized: sectarian football matches; ferryboats on the river; the unfairness of being a younger brother; climbing drainpipes, trees, and roofs; dogs, cats, sex, and ghosts—all rendered in the unmistakable perspective of youth, offering “a vivid reminder that childhood is a foreign country” (Kirkus Reviews). “A book full of the wonder of growing up . . . A magnificent and important novel.” —Financial Times “Recalls the modernist experiments of Joyce and Woolf . . . Kelman is a writer of singular will and sincerity.” —The New York Times Book Review “As an urban coming-of-age, the novel also reminded me of A Tree Grows in Brooklyn. . . . This funny, sad and deeply entrancing novel works as dreams do: by seduction, by raising strange spirits, and by delivering a world entire. It represents a triumph for Kelman, as hard and uproarious as a Glasgow Saturday night.” —The Washington Post “Kelman’s raw, blunt narration drives home all of Kieron’s loneliness, sadness and feelings of inadequacy. If you can roll with the Scots dialect, the narrative is rewarding, bleak and marvelous.” —Publishers Weekly

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.

Tammas is 20, a loner and a compulsive gambler. Unable to hold a job for long, his life revolves around Glasgow bars, living with his sister and brother-in-law, betting shops, and casinos. Sometimes Tammas wins, more often he loses. But gambling gives him as good a chance as any of discovering what he seeks from life since society offers no prospect of a more fulfilling alternative.

In the superbly crafted and critically acclaimed You Have to Be Careful in the Land of the Free, James Kelman has created an unforgettable character and a darkly comic portrait of a post-9/11 America. Jeremiah Brown, a Scottish immigrant in his early thirties, has lived in the United States for twelve years. He has moved as many times, from the East Coast to the West Coast and back again, all in the hope his luck would change. To add to his restlessness and indecision, he now has a nonrefundable ticket to Glasgow--by way of Seattle, Canada, Iceland, and England--to visit his mother. On his last night in the States, Jeremiah finds himself in a town south of Rapid City, moving from bar to bar, attracting and repelling strangers, losing count of the beers he has drunk. All the while he is haunted by memories and by an acute sense of foreboding.

In Where I Was, James Kelman introduces us to a superb collection of memorable characters, down on their luck but far from hopeless.

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.