James Kelman

James Kelman (born 9 June 1946) is a Scottish novelist, short story writer, playwright and essayist. His novel A Disaffection was shortlisted for the Booker Prize and won the James Tait Black Memorial Prize for Fiction in 1989. Kelman won the 1994 Booker Prize with How Late It Was, How Late.[1] In 1998 Kelman was awarded the Glenfiddich Spirit of Scotland Award. His 2008 novel Kieron Smith, Boy won both of Scotland's principal literary awards: the Saltire Society's Book of the Year and the Scottish Arts Council Book of the Year.[2]

James Kelman
Born (1946-06-09) 9 June 1946
Glasgow, Scotland
OccupationWriter
NationalityScottish
GenreScottish literature
Notable awardsBooker Prize
1994 How Late It Was, How Late
Saltire Awards
2008 Kieron Smith, Boy

Life and work

Born in Glasgow, Kelman says:[3]

My own background is as normal or abnormal as anyone else's. Born and bred in Govan and Drumchapel, inner city tenement to the housing scheme homeland on the outer reaches of the city. Four brothers, my mother a full time parent, my father in the picture framemaking and gilding trade, trying to operate a one man business and I left school at 15 etc. etc. (...) For one reason or another, by the age of 21/22 I decided to write stories. The stories I wanted to write would derive from my own background, my own socio-cultural experience. I wanted to write as one of my own people, I wanted to write and remain a member of my own community.

During the 1970s he published a first collection of short stories. He became involved in Philip Hobsbaum's creative writing group in Glasgow along with Tom Leonard, Alasdair Gray, Liz Lochhead, Aonghas MacNeacail and Jeff Torrington and his short stories began to appear in magazines.[4] These stories introduced a distinctive style, expressing first person internal monologues in a pared-down prose using Glaswegian speech patterns, though avoiding for the most part the quasi-phonetic rendition of Tom Leonard. Kelman's developing style has been influential on the succeeding generation of Scottish novelists, including Irvine Welsh, Alan Warner and Janice Galloway. In 1998, Kelman received the Stakis Prize for "Scottish Writer of the Year" for his collection of short stories The Good Times.

In 2019, James Kelman's official website was launched, JamesKelman.Net, which is accessible via:

Critical reception

Kelman's Booker Prize win was, at the time, controversial due to what some saw as the book's casual use of bad language: one of the judges, Rabbi Julia Neuberger, denounced the awarding of the prize to Kelman's book as "a disgrace".[5] Kelman has since said that his Booker Prize win, specifically the negative publicity and attacks made as a result, made publishers more reluctant to handle his work.[6]

The debate surrounding the use of this "offensive" language has been picked up by Kelman himself, who argues that the "Standard English" of traditional English novels is unrealistic. In his essay "The Importance of Glasgow in my Work", he compares the presentation of working class and Scottish characters with those of the traditional "upper class" English protagonist:

Everybody from a Glaswegian or working class background, everybody in fact from any regional part of Britain – none of them knew how to talk! What larks! Every time they opened their mouth out came a stream of gobbledygook. Beautiful! their language a cross between semaphore and Morse code; apostrophes here and apostrophes there; a strange hotchpoth of bad phonetics and horrendous spelling – unlike the nice stalwart upperclass English Hero (occasionally Scottish but with no linguistic variation) whose words on the page were always absolutely splendidly proper and pure and pristinely accurate, whether in dialogue or without. And what grammar! Colons and semi-colons! Straight out of their mouths! An incredible mastery of language. Most interesting of all, for myself as a writer, the narrative belonged to them and them alone. They owned it.[7][8]

Political views and activism

Kelman's work has been described as flowing "not only from being an engaged writer, but a cultural and political activist".[9] At the time of Glasgow's Year as City of Culture he was prominent in the Workers' City group, critical of the celebrations. The name was chosen as to draw attention to the renaming of part of the city centre as the Merchant City, which they described as promoting the "fallacy that Glasgow somehow exists because of (...) 18th century entrepreneurs and far-sighted politicians. (The merchants) were men who trafficked in degradation, causing untold misery, death and starvation to thousands"[10] The Workers' City group campaigned against what was seen as the victimisation of People's Palace curator Elspeth King and a Council attempt to sell off one third of Glasgow Green. Their activities drew the ire of Labour Party councillors and commentators, with Kelman, and his colleagues Hugh Savage and Farquhar McLay, being described as "an 'embarrassment' to the city's 'cultural workforce'".[10]

Kelman was involved in the Edinburgh Unemployed Workers Centre, giving a speech at its opening,[11] and has expressed support for the Autonomous Centre of Edinburgh (ACE), its successor organisation.[12]

Kelman has been a prominent campaigner, notably in issues of social justice and traditional left-wing causes, although he is resolutely not a party man, and remains at his heart a libertarian socialist anarchist, saying "the parliamentary opposition parties are essential to the political apparatus of this country which is designed to arrest justice".[10][13] He lives in Glasgow with his wife and children, though has also lived in London, Manchester, the Channel Islands, Australia and America.

In his introduction to Born up a Close: Memoirs of a Brigton Boy (2006), an edition of Glaswegian political campaigner Hugh Savage's writings, Kelman sums up his understanding of the history of national and class conflict as follows:

In an occupied country indigenous history can only be radical. It is a class issue. The intellectual life of working class people is ‘occupied’. In a colonised country intellectual occupation takes place throughout society. The closer to the ruling class we get the less difference there exists in language and culture, until finally we find that questions fundamental to society at its widest level are settled by members of the same closely knit circle, occasionally even the same family or ‘bloodline’. And the outcome of that can be war, the slaughter of working class people.

Despite reservations about nationalism, Kelman has voiced his support for Scottish independence, stating "Any form of nationalism is dangerous, and should be treated with caution. I cannot accept nationalism and I am not a Scottish Nationalist. But once that is said, I favour a Yes or No decision on independence and I shall vote Yes to independence."[14] In 2012 a film was made based on the short story "Greyhound For Breakfast". He has voiced criticism of Scottish arts funding council Creative Scotland.[15][16]

Bibliography

Short stories

Novels

Essays
  • Some Recent Attacks: Essays Cultural & Political. Stirling: AK Press. 1992. p. 92. ISBN 1-873176-80-5.
  • And The Judges Said (2002)
  • The Freedom to Think Kurdistan (2019)

Plays
  • Hardie and Baird & Other Plays (1991)

Edited
  • An East End Anthology, ed. Jim Kelman (1988)
  • Hugh Savage, Born up a Close: Memoirs of a Brigton boy, ed. James Kelman (2006)

Book-length critical works on Kelman
  • Dietmar Böhnke, Kelman Writes Back (1999)
  • H. Gustav Klaus, James Kelman: Writers and their Work (2004)
  • J.D. Macarthur, Claiming Your Portion of Space': A study of the short stories of James Kelman (2007)
  • Simon Kovesi, James Kelman (Manchester University Press, 2007)
  • Scott Hames (Ed.), The Edinburgh Companion to James Kelman (Edinburgh University Press, 2010) ]
  • Mitch Miller & Johnny Rodger, The Red Cockatoo: James Kelman and the Art of Commitment (Sandstone Press, 2011)
  • Aaron Kelly, James Kelman: Politics and Aesthetics (Peter Lang, 2013)
gollark: I'm TJ09.
gollark: Little do you know, that's going to be the onsite april fools' too.
gollark: And KILL IT.
gollark: Well, I'll look at it.
gollark: Well, have TJ00-7 join, then.

References
  1. Winder, Robert (12 October 1994). "'Foul-mouthed' novel is pounds 20,000 Booker winner". The Independent. Retrieved 10 May 2013.
  2. "Kieron Smith, boy is Scottish Book of the Year 2009". Scottish Arts Council. Retrieved 17 January 2014.
  3. Kelman, James (1992). The Importance of Glasgow in my Work (in Some Recent Attacks). Stirling: AK Press. pp. 78–84. ISBN 1-873176-80-5.
  4. Kravitz, Peter (1997). The Picador book of contemporary Scottish fiction. Picador. pp. xiii–xv. ISBN 0330335502.
  5. Lyall, Sarah (29 November 1994). "In Furor Over Prize, Novelist Speaks Up For His Language". The New York Times. Retrieved 30 January 2014.
  6. article6036703.ece
  7. Kelman, James (1 January 1992). Kelman, James (ed.). The Importance of Glasgow in My Work, IN: Some recent attacks: essays cultural & political (PDF). Stirling: AK Press. pp. 78–84. ISBN 1873176805.
  8. "The Mystery of the Missing Scots". Litro Magazine. Retrieved 9 February 2016.
  9. Some Recent Attacks: Essays Cultural and Political (1 ed.). Stirling: AK Press. 1992. ISBN 1-873176-80-5.
  10. Kelman, james (1992). "Foreword". Some Recent Attacks: Essays Cultural and Political (1 ed.). Stirling: AK Press. pp. 1–4. ISBN 1-873176-80-5.
  11. Kelman, James (10 August 2012). And the Judges Said&…: Essays. Birlinn. ISBN 9780857901415.
  12. Kelman, James (10 August 2012). And the Judges Said&…: Essays. Birlinn. ISBN 9780857901415.
  13. Kelman, James (10 August 2012). And the Judges Said&…: Essays. Birlinn. ISBN 9780857901415.
  14. "Scottish independence: Author James Kelman plans to vote Yes 'with caution'". Retrieved 11 May 2012.
  15. "Artists slam Creative Scotland". 9 October 2012. Retrieved 24 December 2017 – via www.BBC.co.uk.
  16. "Arts body shake-up after protest". 23 October 2012. Retrieved 24 December 2017 – via www.BBC.co.uk.
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