By Irvine Welsh
An epic novel in regards to the bonds of friendship from the writer of Trainspotting.
The tale of 4 boys turning out to be up within the Edinburgh initiatives, Glue is ready the loyalties, the stories, and the secrets and techniques that carry acquaintances jointly via 3 a long time. the men develop into males: Juice Terry, the work-shy fanny-merchant, with corkscrew curls and sticky palms; Billy the boxer, pushed, managed, taking part in to his strengths; Carl, the Milky Bar child, drifting alongside to his personal soundtrack; and the doomed Gally, particularly thin-skinned and at risk of disaster at each turn.
We stick to their lives from the seventies into the hot century—from punk to techno, from velocity to E—as they fight with the conditioning of sophistication and tradition, peer strain, and their parents’ hopes that perhaps their sons will do higher than they did. What binds the 4 of them is the friendship shaped through the tasks, their college, and their ambition to flee from either. Their loyalty is fused in road morality: again up your friends, don’t hit ladies, and, most vital, by no means snitch—on anyone.
Glue has the Irvine Welsh trademarks—crackling discussion, scabrous set items, and black, black humor—but it's also a grown-up publication approximately turning out to be up, in regards to the approach we are living our lives, and what occurs to us while issues turn into unstuck.
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Extra resources for Glue (Terry Lawson, Book 1)
Sample text
I would also like to thank Dan Franklin, Pascal Cariss and Jason Arthur at Jonathan Cape. Pieces in this book were compiled by Professor James Diedrick. I gratefully salute his skill and acuity. R. Leavis and Lionel Trilling, and on lesser figures like Ian Robinson and Denis Donoghue). 'Literature and society' was, at one time, a phrase so much on everyone's lips that it earned itself an abbreviation: Lit & Soc. And Lit & Soc, I seemed to remember, had been for me a long-running enthusiasm. But when I leafed through the massed manuscripts I found only a handful of essays, all of them written, rather ominously, in the early Seventies (when I was in my early twenties).
Why oh why, he typically asks, is Hollywood so obsessed by Vietnam and so unmoved by the struggle in Kuwait, which, 'amazingly enough', has yet to be celebrated on film? If Dan Quayle were a lot brighter, this is what he would sound like. Despite its contemporary attire, Medved's theme, or plaint, is as old as time. It is Ubi sunt? all over again. Where are they now, the great simplicities of yesterday? In years past, in the heyday of Gary Cooper and Greta Garbo, Jimmy Stewart and Katharine Hepburn, the movie business drew considerable criticism for manufacturing personalities who were larger than life, impossibly noble and appealing individuals who could never exist in the real world.
America is that the moviegoing public doesn't like violence. ' Certainly, Hollywood vs. America got Hollywood thinking, at least for a weekend or two (late nights in the dens of the Moorish mansions). And it got America thinking, too, and the controversy that gathered around it managed to trickle up as high as Janet Reno and Bill Clinton. It was a book, and a mood, whose time had come: the feeling that Hollywood had gone too far in its divergence from the American mainstream; the feeling that Hollywood loved everything that America hated (violence, sex, swearing, drugging, drinking and smoking), and hated everything that America loved (religion, parents, marriage and monogamy, plus the military, policemen, businessmen and America).