One night in summer 2015, under a vast night sky mural in the Òran Mór Arts Centre auditorium in Glasgow, there was a film showing. In fact, two. The subject of both, Alasdair Gray, once an intense, asthmatic working-class boy from northeast Glasgow and now Scotland’s most celebrated literary artist, was in the audience, fidgeting and scratching as he watched. Above us, I could see his Garden of Eden mural writ large on the ceiling, despite the low light. I was also scratching myself—seeing Alasdair do it always made my eczema worse. I was waiting for the right moment to ask him to sign a picture for my baby daughter. He was eighty, at the time. I was afraid I might not see him again; I was living in England. Now, in the weeks after his death, days after I’ve moved back to Glasgow again, I wonder how to make sense of his loss. Our conversation that night, conducted while watching the pop-up screen, made me re-engage with his work in a new way. And it gives me something to do now he’s gone.

Over the twenty years we knew each other Alasdair was always charitable with me, unfailingly kind and supportive, even though the publication of the biography I’d written about his life, a not entirely uncritical book, was difficult for him. But honesty matters, now: ours was a pretty one-sided relationship. I was forty-five years younger than Alasdair, a young fan when we met in 1999. I was one among so many aspiring writers, keen to learn, dizzied by his achievements, and by the way he seemed both extraordinary and ordinary. Gray referred to himself as “an increasingly fat Glasgow pedestrian”; the novelist Will Self called him “a little grey diety.” Alasdair used Tipp-Ex to write his name onto his rucksack in distinctive capitals—he designed his own font—then carried it around the streets of Glasgow’s West End while locals and tourists whispered about who they’d just spotted on the street. He was the internationally regarded author and illustrator of Lanark, Poor Things, Unlikely Stories, Mostly, and 1982, Janine. He was responsible, along with the likes of Liz Lochhead, James Kelman, Agnes Owens, and Edwin Morgan, for transforming the Scottish literary landscape Morgan had once called “a wasteland” into the rich, varied, diverse, and outward-looking place it is today. He made Glasgow the subject of his life’s work, creating “imagined objects,” as he called his creations, about his disappearing, changing city. In Lanark, the famous line, “not even the people of Glasgow live in it imaginatively” was rendered obsolete by his own achievements. No wonder people whispered when he passed them on Byres Road.

I first met Alasdair when I served him a drink at a pub, then was his tutee at the University of Glasgow when I was working on my debut novel (he once rewrote an entire chapter by hand, sticking bits of paper on with glue to cover over my words). Later, I worked for him as secretary, dogsbody, driver, and much else besides. My writer’s education took place in his bedroom, on a cheap chair at his bulky old computer, while he waved his finger shakily over my shoulder, shuffling words around on the screen, writing his books off the top of his head as I typed. He sang music hall ditties on the toilet. He was free, and maddened, and maddening, too. He was utterly single-minded at times, easily distracted at others. He was disarmingly honest and was often taken advantage of by others. From the day I began work at his home, Alasdair insisted on paying me a “tradesman’s wage,” which was sometimes more than he was earning himself, and certainly more than I’d been paid at the pub. Over the four years I worked with him, Alasdair turned plays into novels, recycled emblems and vignettes, reused and reworded old sentences he felt he hadn’t got quite right decades earlier. He wrote a novel based on rejected radio plays from the seventies and once fell asleep trying to finish off a political book, having got horribly distracted by the Act of Union of 1707. It was not a regular job.

Read More

José Clemente Orozco, The Hanged Men from The American Scene, no. 1, 1933–34, published 1935. © 2020 Artists Rights Society (ARS), New York / SOMAAP, Mexico City.

Who were these bloated neutered monsters hanging in the branches, who become the branches, the forest, barklike limbs, truncated, cut down, howling, angled, parched, rocked by the wind-kicked flames that lick, then tickle, then singe, then engulf?

Why so many here in such disarray of splay? Who is the victor? Who wins when the torture is complete, this death upon death? Who gazes upon the eyeless socket, the seedless groin, the voiceless lips that crack under suspicion? What is this thing born guilty before being proved human? How is it able to possess a supernatural capacity to be lazy, shiftless, yet to rape, be conniving, thieving, uppity, unctuous enough to speak, to yell at, scream at, lash out in frustration at your changing rules, your shifting laws, your erased boundaries? How has it deserved this fate? And why will it not die? How are you unable to kill it to your satisfaction?

Erasure, no time for it—is there a crayon black enough to portray the heart of the American Scene? Nineteen thirty-five was also the year of my great-grandfather’s unceremonious Southern death. The drama of the Jim Crow lynch system, medieval in its execution, modern in its speed and dissemination of photos and souvenirs. The laws were simple: to be black, in skin or heritage, is a death sentence. The body that houses the supernatural ailment “nigger” is readily dissolved by the teamwork, rope, and flame of white supremacy. The prize? Skin, kinky blood-matted hair, a severed ear, finger, or penis, a postcard made the night of the “picnic.” Skinned. Cleansed. Sacrificed, but to what bloodthirsty god? Read More

Varlam Shalamov in 1929. Public domain, via Wikimedia Commons.

“Every story of mine is a slap in the face of Stalinism,” Varlam Shalamov wrote to his friend Irina Sirotinskaya in 1971, “and like any slap in the face, has laws of a purely muscular character.” He returns to the idea a little later in the letter, contrasting his own ideal of prose to the expansive “spadework” of Tolstoy: “A slap in the face must be short, resonant.” Most of Shalamov’s stories are indeed short, some extremely so, and constitute an argument both with the great nineteenth-century Russian novels and with the wretched ones of the Stalinist era that sought to pour the pap of socialist realism into a pseudo-epic form. The slap works simultaneously as a figure for aesthetic form and political protest, and in Shalamov’s late essays and letters, it functions as a motto of sorts, a creed of laconic defiance echoing, distantly, the Russian futurist manifesto A Slap in the Face of Public Taste and—more intimately and immediately—the famous opening of Nadezhda Mandelstam’s memoir Hope against Hope: “After slapping Aleksey Tolstoy in the face, M. immediately returned to Moscow.”

Mandelstam sent the manuscript of her memoir about life with the poet Osip Mandelstam to Shalamov in 1965, and while neither could hope to publish their prose in the Soviet Union at that time, the two established in the correspondence that followed a shared sense of purpose. He writes: “If I had to give a literature course on the second half of the twentieth century, I would start by burning all the textbooks on the podium, in front of the students. The link between eras, between cultures has been broken; the exchange has been interrupted and our mission is to pick up the ends of string and tie them back together.” She replies: “I don’t think we should burn textbooks: it’s too classical a gesture … Let’s just not use any”; her main concern, too, she writes, is “the link that connects one era to another, the only thing that allows society to be human, a human being to be human.” Read More