The phenomenal success of TRAINSPOTTING made Edinburgh the hottest literary spot on the map. The Scottish beats have infused their writing with a raw, youthful energy and daring that has attracted a wide audience. ACID PLAID includes stories by a host of explosively talented writers, many of whose work hits U.S. shores for the first time here.
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"Ritchie's hugely enjoyable anthology is both a reflection of, and a significant contribution to, the current resurgence in Scottish writing." --Times Literary Supplement Ever since the huge success of Irvine Welsh's Trainspotting made Edinburgh the hottest literary spot on the map, there has been a palpable sense that the so-called Scottish beats gave something new, something young and raw and energetic and exciting, to inject in to literary culture. Kirkus declared the Scottish beats to be "strong contenders for world-class literary status." The New York Times Magazine heralded the arrival of "a new, beer-soaked, drug-filled, profanity-laced, violently funny literature." Here, for the first time, is an overview of this much-heralded "new school of grit-lit coming out of Scotland" --Los Angeles Times. Acid Plaid features original and top-quality work from "and impressive array or Scottish writers" (British Esquire), some of them prominent and some still emerging, including a host of explosively talented young writers whose work has never hit American shores. Until now.
This new anthology of writing from Scotland consists of selections from a number of that country's best writers. In addition to Irvine Welsh, the author of the best-selling novel Trainspotting, the contributors include Duncan McLean, Janice Galloway, and Alan Warner, some of whom are known as the Scottish Beats. The book includes a smattering of just about everything: an essay, a skit, poetry, and fiction. In his introduction, editor Ritchie states that the book aims to indicate the richness and variety, the wit, verve, and range of Scottish literature today. Indeed, these pieces often carry a sharp bite, and a few have language that might ruffle the prudish. Some phrases may be troublesome for American readers, and a bit of editorial work by way of introduction might have made for easier reading. Nevertheless, recommended for all public libraries.?Ronald Ray Ratliff, Chapman H.S. Lib., Kan.
Copyright 1997 Reed Business Information, Inc.
No fewer than 24 contemporary Scottish writers are
represented in this vivid, all-encompassing anthology, poets and
essayists included, though most are fiction writers.
Familiar names--such as Trainspotting's Irvine Welsh, The
New Confession's William Boyd, and Morvern Callar's Alan
Warner--mingle with others who deserve to be better known in the
US, among them Janice Galloway and A.L. Kennedy, both
prize-winning novelists whose stories dispel any misperception
here of the current surge in Scottish literature as a
predominantly male phenomenon. From Welsh's view in the
vernacular of a soccer enthusiast, whose plans for watching the
weekend match on TV are modified somewhat when his wife's legs
are removed by a high-speed train as they cross the tracks while
hurrying home from the pub (``A Fault on the Line'') to Kennedy's
New York story of a young woman whose desert dreams and violent
fantasies have no room in the ``perfect'' relationship she's
enmeshed in (``Rockaway and the Draw''), these are often tales of
savagery, whether accidental or suppressed, blackly humorous or
between-the-eyes serious. The trademark images of punks and
ravers made popular by the Scottish Beats are here as well. But
as the anthology makes abundantly clear, these writers claiming
Scottish kinship are onto something more universal, poking into
the basics of the human condition in a way that makes for
uncommonly good reading. A memorable collection, with a crisply
contextual introduction by Ritchie. -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.
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