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https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Under the Influence: Addiction and Literary Politics in Five Scottish Contemporary Novels Joyce Janet McKerrow University of Glasgow Department of Scottish Literature March 2002 M.Phil. ProQuest Number: 10753943 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10753943 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY U * a R A R v J, \'XX\0- Co 1 ABSTRACT As Scotland begins a new era in its history after 300 years of being governed from Westminster, many contradictory effects on the cultural, historical, literary and economic life of the country have begun to be put into perspective. The focus of this thesis is the dystopic impulses in some key texts of contemporary urban Scottish literature since Alasdair Gray'sLanark was published in 1981. It argues that the defining moment in recent Scottish political and literary history was the failed 1979 Devolution Referendum and the devastating effects of eighteen years of Tory leadership on Scotland. Five chapters focus on works of urban fiction, mostly set in Glasgow and the West of Scotland: Alasdair Gray's 1982 Janine, James Kelman's How Late It Was, How Late, Janice Galloway's The Trick Is To Keep Breathing, Irvine Welsh's Trainspotting and A.L. Kennedy's So I Am Glad. Chapter Seven comprises a review of more recent work to illustrate the continuing vibrancy and diversity of contemporary Scottish fiction and to help put the literary and political history into a contemporary context. The main theme of this thesis is addiction, central to much of the content of these novels: to alcohol, drugs, sex, anorexia nervosa and bulimia. The principal argument of each novel suggests the incompatibility of the ideologies of the capitalist and imperialist systems with self-determination, social justice and questions of class and language. Patriarchy and the role of institutions are observed as repressive instruments of government and the embedded attitudes of state and family display a culture that exhibits many of the symptoms of the individual addict. The effects of the widening poverty gap as a result of the “Thatcher Revolution” in Scotland are examined through the disrupted lives of the novels' protagonists; the effects of church and state on the lack of community are also considered. Cross- generational family dysfunction or absence of family is also evident in all the narratives depicting a culture of dependency and blame and a preponderance of sexual immaturity. Scotland as a nation is portrayed as a victimized society with a history of an absence of entitlement, with respect not only to women, but also to men. Violent behavior is commonplace and condoned; the “hard man” is not purely a sensationalist fictional character. The impact of Scotland as a stateless nation is cumulative and has resulted in a certain social paralysis (denial) and •hdpelessi^ess (hangover), leading to varying responses for three of the male protagonists in the novels of Gray, Welsh and Kelman: from escape to attempted suicide. All but one of the novels uses first-person, interior monologue as a device to draw the reader into a more sympathetic understanding of the protagonists' pain and trauma, in 11 what are, generally disturbing and depressing narratives. The use of experimental literary devices and different literary genres is a hallmark of all the novels, from the mixing of realism and fantasy to the pared-down existential narrative illustrating the dysfunction and fragmentation of the protagonists. The voices of all but one clearly define the protagonists as coming from a working-class background. The fictional characters are all wrestling with their own demons in an effort to make some sense out of their lives, but humor is the saving grace of most, lifting the reader out of depths of despair that these stories might have engendered. There is, however a divide in the emotional and political perspective of the last two and most recent novels, enabling the protagonists to walk away from their dependent selves and serving notice to the repressive effects of church and state. Women, however, are portrayed as symbolic creatures of an abused nation, near parodies of sexual stereotyping or off in the margins and footnotes in the three novels written by men. The two female novelists treat their subjects differently. While the content of the novels is no less despairing the female protagonists argue compellingly that madness might well be a viable alternative to their present situation. Evident in both are intimate observations on the themes of sudden death, family dysfunction, oppression, suppression and loneliness, leading one protagonist to display violent and abusive sexual behavior and the other to be on the verge of a mental breakdown. However, these two novels by women also point more positively toward recovery, as if coming out a period of intense therapy. While all the novels portray a demonic view of Scottish life, there is honesty to the narratives, which helps to give them a distinctive voice and place internationally. If literature as protest is allied with political action in representing the need for Scotland to come to terms with itself and its history, these novels help take the first steps toward recovery and self-determination. PREFACE I would like to acknowledge the support of my supervisors Carol Anderson and Alan Riach. Carol’s patience and persistence was a constant support and encouragement to me. Alan’s editing of the final versions of the text pulled the meaning of my topic into focus and made me feel it was worthwhile. I’m also grateful to David Wilson for his Modem Celtic Literature and Politics course at the University of Toronto, which was the genesis for my thinking on this topic. Catherine Kerrigan’s Scottish Formations course at the University of Guelph introduced me to the work of Alasdair Gray and A.L. Kennedy, for which I thank her. Richard Bapty, subject librarian at the University of Glasgow, was of much help in my research. I owe a number of people debts of gratitude for their love, friendship and support during this venture. Judith Barraclough “bankrolled” two expensive transatlantic flights, for which I am indebted. My children Gillian, Fiona and their partners, Ian and Andrew were very supportive. They made me feel that my decision to study in Scotland was a good idea, not abandonment. I’m grateful to Pat Lumbers for “finding” the money to finance the trip. Marion and Alastair Scott performed surrogate parental duties in my absence and assuaged any guilt I might have had about it. Thanks to John Sugden and Wendy Tancock, who visited me in Glasgow and stored my kitchen cupboard. Thanks to Lesley Towers, Colleen Pollreis and Sigrid McFarland for a multitude of kindnesses. A number of friends and acquaintances opened their doors to me. Judith Barraclough and Peter Fletcher made me feel welcome and allowed me to flit in and out of their lives and their home over a two-year period. Sean Darner invited me to stay at his apartment while I was hunting for accommodation, for which I thank him. I gratefully acknowledge the friendships of all those at 12 Kelvin Drive, especially Paola and Mary, who kept my homesickness at bay. Louise Young lent me her Dumbarton Road apartment for a week when I was in residence, for which I thank her.Thanks to Sarah Jane Growe who turned over her guestroom and supported me in the writing of the final versions of this thesis. I’m grateful to the Lyons who gave me the run of their Guelph bed and breakfast while they were in Tunisia and Laura Macdonald who allowed me stay at her place in order to finish the writing. Thanks to Betsy and Richard Slye who gave me their spare room and the pleasure of their company. My Glasgow friends, Anne T. Wilson, Louise Young and Suzanne Wheelaghan kept me laughing and continue to make me smile. Thanks to Carol Wainwright and the late Hazel Henning for their support. Thanks also to Janice Mchugh for visiting me in Glasgow. I appreciated my Fitzsimon family’s love and support. Thanks to Harry Goldhar for his editing abilities and lectures on linear thought; Mary Wickens and Lori Barrett for library books; Heather Ross for technical support; Elissa Pane for assistance with the bibliography; Luba Spolsky for that autographed Kelman; Gail Lem for transporting books; Dennis Pilon for devolution research references and friends Gail Vanstone, Kevin Kurst and Joan Page for making me believe in myself.
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