Review:
"A set of strange tales that both frustrate and delight...[Kelman] is certainly more experimental, as this...collection shows, and he's also a lot funnier. As well as being a keen observer of society's underclasses and disenfranchised, Kelman also has a great eye for the absurdity of everyday life, something which comes to the fore in this collection...His impeccable command of language continues to make him an easy writer to admire." --"The Independent"
"As always, [Kelman's] at his best when transforming a fairly narrow spectrum of underclass experience into something uniquely pitched between Beckett and vernacular realism." --"The Guardian
""A masterful composer, Kelman makes writing look easy, and then infuses it with a sense of gravitas that can be, at times, breathtaking, in his own modest way." --"Booklist" (starred review)
"This stuff is bloody brutal, and absolutely perfect." --"New City Lit
"
"In Kelman's hands, words are deployed so seemingly realistically but, of course, so artfully, they feel closer to reality than hard truth. This collection is teeming with life, and with death, or worse, and, as the title indicates, it is our lives he is writing about, ours all. It is a tour de force from a writer who treats language as carefully as if it were gold, and ends up turning it into something even more precious." --"The Herald (Scotland)"
"Feisty and poetic." "--The Boston Globe"
"A set of strange tales that both frustrate and delight...[Kelman] is certainly more experimental, as this...collection shows, and he's also a lot funnier. As well as being a keen observer of society's underclasses and disenfranchised, Kelman also has a great eye for the absurdity of everyday life, something which comes to the fore in this collection...His impeccable command of language continues to make him an easy writer to admire." --"The Independent"
"As always, [Kelman's] at his best when transforming a fairly narrow spectrum of underclass experience into something uniquely pitched between Beckett and vernacular realism." --"The Guardian
""A masterful composer, Kelman makes writing look easy, and then infuses it with a sense of gravitas that can be, at times, breathtaking, in his own modest way." --"Booklist" (starred review)
"This stuff is bloody brutal, and absolutely perfect." --"New City Lit
"
"In Kelman's hands, words are deployed so seemingly realistically but, of course, so artfully, they feel closer to reality than hard truth. This collection is teeming with life, and with death, or worse, and, as the title indicates, it is our lives he is writing about, ours all. It is a tour de force from a writer who treats language as carefully as if it were gold, and ends up turning it into something even more precious." --"The Herald (Scotland)"
"Kelman's language is immediately exciting; like a musician, he uses repetition and rhythm to build structures out of short flights and circular meanderings. The working-class Glaswegian author knows exactly how his words will scathe delicate skins; he has a fine sense of attack." --"The New Yorker
"
"Feisty and poetic." "--The Boston Globe"
"A set of strange tales that both frustrate and delight...[Kelman] is certainly more experimental, as this...collection shows, and he's also a lot funnier. As well as being a keen observer of society's underclasses and disenfranchised, Kelman also has a great eye for the absurdity of everyday life, something which comes to the fore in this collection...His impeccable command of language continues to make him an easy writer to admire." --"The Independent"
"As always, [Kelman's] at his best when transforming a fairly narrow spectrum of underclass experience into something uniquely pitched between Beckett and vernacular realism." --"The Guardian
""A masterful composer, Kelman makes writing look easy, and then infuses it with a sense of gravitas that can be, at times, breathtaking, in his own modest way." --"Booklist" (starred review)
"This stuff is bloody brutal, and absolutely perfect." --"New City Lit
"
"In Kelman's hands, words are deployed so seemingly realistically but, of course, so artfully, they feel closer to reality than hard truth. This collection is teeming with life, and with death, or worse, and, as the title indicates, it is our lives he is writing about, ours all. It is a tour de force from a writer who treats language as carefully as if it were gold, and ends up turning it into something even more precious." --"The Herald (Scotland)"
About the Author:
James Kelman, a writer of novels, short stories, plays, and political essays, was born in Glasgow in 1946. He won the Cheltenham Prize for "Greyhound for Breakfast" (1987) and the James Tait Black Memorial Prize for "A Disaffection" (1989), which was also short-listed for the Man Booker Prize. His fourth novel, "How Late It Was, How Late," won the Booker Prize in 1994. Kelman was awarded the Glenfiddich Spirit of Scotland Award in 1998. His short-story collection "The Good Times" (1999) won the Stakis Prize for Scottish Writer of the Year. In 2008 he won Scotland's most prestigious literary award, the Saltire Society Scottish Book of the Year Award, for "Kieron Smith, Boy." He is the author of a television screenplay, "The Return" (1991), and has written many plays for radio and theater. Kelman has taught creative writing at the University of Texas, Goldsmiths College of the University of London, and the University of Glasgow. His most recent novel, "Mo Said She Was Quirky," was published by Other Press in 2013.
"About this title" may belong to another edition of this title.