James Kelman Quotes & Sayings

I used to think there was something up with any female that liked me, I mean, if she didni get bored with my company, there had to be something up with her. Otherwise how come she wasni with somebody else? If she was normal she would be. Ergo she had to have a personality problem. — James Kelman

Funny how ye tell people a story to make a point and ye fail, ye fail, a total disaster. Not only do ye no make yer point it winds up the exact fucking opposite man, the exact fucking opposite. That isnay a misunderstanding it's a total
whatever. — James Kelman

Ye wake in a corner and stay there hoping yer body will disappear, the thoughts smothering ye; these thoughts; but ye want to remember and face up to things, just something keeps ye from doing it, why can't ye no do it; the words filling yer head: then the other words; there's something wrong; there's something far far wrong; ye're no a good man, ye're just no a good man. Edging back into awareness, of where ye are: here, slumped in this corner, with these thoughts filling ye. And oh christ his back was sore; stiff, and the head pounding. He shivered and hunched up his shoulders, shut his eyes, rubbed into the corners with his fingertips; seeing all kinds of spots and lights. Where in the name of fuck ... — James Kelman

And you'd be left there like a fucking dumpling. You'd be standing there. A fucking dumpling man I'm telling ye. — James Kelman

My culture and my language have the right to exist, and no one has the authority to dismiss that. — James Kelman

In prose fiction the freedom to work honestly exists, although you may have to fight for it. In those other areas of literature, I mean drama, there is only silence. That sort of aesthetic integrity does not exist in radio and television, and seldom on film. — James Kelman

There existed very long saxophones from years ago. The player sat on their chair like a cellist; that same sort of feeling to it as well - unlike for example the way a harpist would be: the whole act differing in a very fundamental sense. Although harpists are fine. There is nothing to be said against harpists by any means whatsoever. — James Kelman

Theoretical webs, dirty webs, fusty webs, old and shrivelling away into nothingness, a fine dust.Who needs that kind of stuff. Far far better getting out into the open air and doing it, actually doing it, something solid and concrete and unconceptualisable. — James Kelman

Folk take a battering but, they do; they get born and they get brought up and they get fuckt. That's the story; the cot to the fucking funeral pyre. — James Kelman

Ninety-nine per cent of traditional English literature concerns people who never have to worry about money at all. We always seem to be watching or reading about emotional crises among folk who live in a world of great fortune both in matters of luck and money; stories and fantasies about rock stars and film stars, sporting millionaires and models; jet-setting members of the aristocracy and international financiers. — James Kelman

Waiting rooms. Ye go into this room where ye wait. Hoping's the same. One of these days the cunts'll build entire fucking buildings just for that. Official hoping rooms, where ye just go in and hope for whatever the fuck ye feel like hoping for. — James Kelman

Creativity is not passive, I don't see the creation of art as passive. — James Kelman

Obviously as a writer you have to reflect on why your work is provoking such hostility, because all you want to do is write your stories as best you can. You're forced to reflect on, why is my work so upsetting for people? The agenda behind it is clear. They don't want to see these people in literature. These areas of human experience [I write about] should not appear in public; we don't want to know. We know that people are in the street, that they have no money and are maybe begging, but we don't want to see them in literature. They should be swept under the carpet. — James Kelman

But lassies are trained for it, in a manner of speaking; it's part of the growing-up process for them, young females. It doesn't happen with boys, just if you're a lassie, you've got to learn how not to talk; plus how not to look, you get trained how not to look. How not to look and how not to talk. You get trained how not to do things. — James Kelman

The beauty of prose fiction that I see is simply that in order to create something you need only pay attention to personal exigency. — James Kelman