James Kelman (born 9 June 1946) is a Scottish novelist, short story writer, playwright and essayist. His fiction and short stories feature accounts of internal mental processes of usually, but not exclusively, working class narrators and their labyrinthine struggles with authority or social interactions, mostly set in his home city of Glasgow. Frequently employing stream of consciousness experimentation, Kelman's stories typically feature "an atmosphere of gnarling paranoia, imprisoned minimalism, the boredom of survival.".[1][2]
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.
In 1998, Kelman received the Stakis Prize for "Scottish Writer of the Year" for his collection of short stories The Good Times, one of several books of his stories that have been published.[8] In 2012, a film was made based on the short story "Greyhound For Breakfast".[9]
Kelman's most recent novel, God's Teeth and Other Phenomena (2022), was described in a review by Gerry Hassan as a "tour de force [that] works as both a roman a clef, a writing primer and a guide to the world of literature and publishing. ... an astonishing book that confirms James Kelman's right to be seen as a global literary figure beyond any doubt."[14]
Kelman's 1994 Booker Prize win was, at the time, controversial due to what some saw as the book's casual use of strong language: one of the judges, Rabbi Julia Neuberger, denounced the awarding of the prize to Kelman's book as "a disgrace".[17][18] Another judge, critic James Wood, recalls that "Kelman turned up at the foolishly formal, black-tie award dinner in a regular business suit and an open-necked shirt, the rebellious semiotics of which were quickly understood, and spoke about how the writer must stand up to oppression: 'My culture and my language have the right to exist, and no one has the authority to dismiss that. . . . A fine line can exist between élitism and racism. On matters concerning language and culture, the distance can sometimes cease to exist altogether.'"[6] 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.[19]
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.[5][20]
In 2020, Douglas Stuart on becoming the second Scottish writer to be awarded the Booker Prize, for his novel Shuggie Bain, said that his life was changed by Kelman's win with How Late It Was, How Late: "It is such a bold book, the prose and stream of consciousness is really inventive. But it is also one of the first times I saw my people, my dialect, on the page."[21] As Stuart noted: "When James won in the mid-90s, Scottish voices were seen as disruptive and outside the norm."[22]
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".[23] At the time of Glasgow's Year as City of Culture, Kelman 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"[24] 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'".[24]
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 socialistanarchist, saying "the parliamentary opposition parties are essential to the political apparatus of this country which is designed to arrest justice".[24][26]
In 1990, Kelman took part in an evening of international prose readings at the ninth International Book Fair of Radical Black and Third World Books, subsequently joining the Book Fair's organising committee and establishing the associated Scottish Book Fair of Radical Black and Third World Books, held in Glasgow, 1993 and 1995.[27][28]
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."[29] He has voiced criticism of Scottish arts funding council Creative Scotland.[30][31]
Personal life
In 1969, Kelman married Marie Connors from South Wales.[32] He lives in Glasgow with his wife and their children, and has also lived in London, Manchester, the Channel Islands, Australia and America.[33]
Bibliography
Short story collections
An Old Pub Near The Angel (1973)
Three Glasgow Writers (1976, with Alex Hamilton and Tom Leonard)
