Welsh, Irvine. (b. 1958).
W o r k
- preoccupied with Scottish identity, Scottish prejudice, and Scottish axiom
- uses phonetic transcription of his native Edinburgh Scots dialect, also experiments with typography
- his novels share a number of characters and settings, give the impression of a shared universe within his writing
- focuses on working class: analyses the rise and fall of council housing scheme, denial of opportunity, class divisions, emigration, low-paid work, Irish republicanism, sectarianism, football and hooliganism, sex, suppressed homosexuality, etc.
- a series of loosely connected stories of characters tied together by decaying friendships, heroin addiction, and attempts to escape the oppressive boredom of their lives
The Acid House (1994):
- a collection of short stories using the setting and some of the themes of his first novel
- the title story deals with the minds of a baby and a drug addict who swap bodies
- features a brutally vicious sociopathic police officer and his tapeworm inverted into a sympathetic character
- includes typographic experiments presenting the tapeworm's thoughts
- a return to the locations, themes, and episodic form of Trainspotting
- the stories of four Scottish boys spanning over four decades and the bonds that hold them together (as glue)
- a sequel to Trainspotting
- explores the impact of pornography on the individuals involved in producing it and on society as a whole
- examines the impact of ageing and maturity in individuals against their will
(Photo: Steve Double).
AuthorIrvine Welsh. (b. 1958). Scottish.
WorkNovelist. Playwright. Screenwriter. Author of Trainspotting (1993).
GenrePostmodernism. New Scottish Renaissance of 1980s and 1990s.
"Ah've goat tae fuckin move man! he shouts, standing up. He moves ower tae the windae and rests against it, breathing heavily, looking like a hunted animal. There's nothing in his eyes but need."
From Trainspotting (1993).