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MASARYK UNIVERSITY Power and Corruption in Irvine Welsh's Filth

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MASARYK UNIVERSITY Power and Corruption in Irvine Welsh's Filth MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature Power and Corruption in Irvine Welsh’s Filth Master’s Diploma Thesis 2019 Supervisor: Written by: Mgr. Lucie Podroužková, Ph.D. Bc. Kateřina Barranco 1 Abstract The objective of the thesis is to demonstrate how Filth addresses its two most prominent themes – power and the corruption within Scottish societal institutions. It will focus predominantly on the Scottish police force, which the main protagonist is a member of, and will subsequently deal with the post-Thatcherite period in Scotland and the UK in which the novel is set. While British society continues to progress socially, economically and politically during this time, some of its institutions and their practices remain stuck in the past - the consequences of which mean that they are barriers to social progression in the eyes of the author. Key Words Irvine Welsh, power, corruption, Scotland, Scottish society, police, institutions, post- Thatcherism, racism, homophobia, misogyny, sectarianism. Anotace Cílem teto práce je analyzovat způsob, jakým se román Špína zabývá dvěma hlavními tématy - mocí a korupcí v rámci skotských společenských institucí. Práce se soustředí zejména na skotskou policii a hlavního hrdiny, který je členem této instituce. Dále se práce soustředí na období post-Thatcherismu ve Skotsku a Velké Británii, kde se děj románu odehrává. Zatímco Britská společnost se nadále vyvýjí po sociální, ekonomické a politické stránce, některé společenské instituce setrvávají se svými praktikami v minulosti, v čemž vidí autor románu hlavní překážku společenského rozvoje. Klíčová slova Irvine Welsh, moc, korupce, Skotsko, skotská společnost, policie, instituce, post- Thatcherismus, rasismus, homofobie, mizogynie, sektářství. 2 Prohlášení Prohlašuji, že jsem závěrečnou diplomovou práci vypracovala samostatně, s využitím pouze citovaných literárních pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. V Brně 30.3. 2019 .................................. Kateřina Barranco 3 Acknowledgement I would like to gratefully and sincerely thank to Mgr. Lucie Podroužková, Ph.D and Dr. Sam Beaton for their patient guidance, encouragements and valuable advice. 4 Contents Introduction ...................................................................................................................... 6 1. Power .................................................................................................................. 10 1.1. The Games and Symbolic Power............................................................... 10 1.2. Gender Power Struggle ............................................................................... 12 1.2.1. Misogyny .................................................................................................... 13 1.2.2. Rape as an Extreme Form of Male Domination .................................. 18 1.3. Racism ............................................................................................................ 19 1.3.1. Racism Awareness................................................................................... 20 1.4. Homophobia and sexual Prejudice ........................................................... 23 1.5. Sectarianism .................................................................................................. 26 1.6. Power and Thatcherism .............................................................................. 29 1.6.1. Miners’ Strikes .......................................................................................... 30 1.7. Robertson and Power without a Badge.................................................... 34 1.8. Matter of Size ................................................................................................. 40 1.9. The Tapeworm and Childhood Trauma .................................................... 42 1.9.1. Ian Robertson ............................................................................................ 44 1.9.2. The Face of a Beast.................................................................................. 47 1.9.3. Rhona ......................................................................................................... 49 1.10. Carole .............................................................................................................. 50 1.10.1. Domestic Violence ................................................................................... 53 1.10.2. The Revenge .............................................................................................. 55 2. Corruption .......................................................................................................... 57 2.1. The Freemason’s Code................................................................................ 57 2.2. Drugs............................................................................................................... 60 2.3. Prostitution .................................................................................................... 65 2.4. The Job ........................................................................................................... 66 Conclusions .................................................................................................................... 69 Works Cited .................................................................................................................... 71 5 Introduction Drug abuse, exorbitant sex, violence and other taboo subjects never used to be associated with Scottish literature until the appearance of Irvine Welsh. In the first half of the twentieth century, the Scottish Renaissance Movement poet Hugh MacDiarmid believed that Scottish literature that had become too influenced by English writing and intended to rectify this by integrating the Scottish vernacular, political views and renewed national image into his poetry. It is important for Welsh not to disown England’s influence on Scotland as well as Scotland’s complex identity instead of trying to reduce it like MacDiarmid tried (Cartaino 1). Welsh himself sees MacDiarmid as “a symbol of all that’s horrific and hideous about Scotland and Scottish culture” (Schoene 11). However, the influence and impact of Trainspotting – both as a novel and film – has been heralded by some as being one of the most significant Scottish cultural products of the 20th century in terms of impact and influence; subsequently rendering Welsh as a cult writer. (Paget qtd. in May 2016:5). Herbrechter explains Welsh’s success by the social message his writings carry, and the identification of their readership with his texts rather than by their “undeniable quality” (110). As Welsh points out in an interview: “Half of the people who have bought the books have never bought a book before, never even read a book before…” (Berman 58). After the success of Trainspotting, Welsh has become a bestselling author, and his fourth novel Filth, published in 1998, can be classified as detective fiction. The novel centres on the main character’s investigation of the potentially racially-motivated murder of a Ghanaian ambassador’s son. Negative reviews which jibed the novel as a “shambolic scatological mess” and “exercise in misanthropy and hatefulness” did not stop this “detective novel” from becoming Welsh’s biggest seller outside Trainspotting in the UK and an international bestseller, selling more than 250,000 copies in the first two years. (Morace 88) Although Karnicky states that it is important to note that Filth is Welsh’s first novel which doesn’t focus on the lower-class, drug-taking residents of Edinburgh (Karnicky 150), 6 Kelly argues that Welsh’s experiments with crime writing does not represent such a radical change from his earlier fiction as it may at first seem; as he continues dealing with the sociological implications opened up by the genre. As he states, “Welsh also makes subversive use of the detective thriller in Filth to turn the genre’s formal logic of pursuing crime towards a questioning of the very legitimacy of the police and the state” (Kelly 153). Numerous critics have compared Filth to Don DeLillo’s massive novel Underworld, with both titles being published in the same year. Unlike Underworld, which may be regarded as historically thorough, intellectually concerning, and narratively challenging, Filth is regarded by some as nasty, atrocious and short. (Morace 89) As for Irvine Welsh, well, it always looked more like word-processing, than writing, but surely now the game’s up for the foul-mouthed chancer? Compare his most recent novel, the dire, unfunny, remorselessly vulgar Filth to, say, Don DeLillo’s Underworld and it is clear that while American literature’s concerns are politics, history, adultery, money and war, Welsh’s go no further than a tapeworm and the c-word” (Maconie qtd. in Kelly 151). The novel that focuses its attention on institutions, notably the state police, mimics the narrative logic of crime fiction. It starts with a seemingly racially motivated murder and the more or less fruitful attempts of the police serious crimes unit to solve it. Filth’s main story line depicts the final weeks in the life of its power thirsty narrator- protagonist Detective Sergeant Bruce Robertson - a hard-drinking,
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