Aidan Martin (2020) Euphoric Recall

‘My name is Aidan and I am an addict.’

So what, you might say. You probably know the trajectory that follows.

You’ve got Damian Barr, who grew up near Ravenscraig steelworks, a solid working-class town. Him being gay wasn’t his fault—or even a fault—but being a fucking Tory, Maggie & Me, was just a step too far.

Deborah Orr, Motherwell: A Girlhood, which just about sums it up.

You’ve got Kerry Hudson’s whimsical, Tony Hogan Bought Me an Ice-cream Float Before He Stole My Ma (fiction) and Lowborn (factual) that deals with what it means to be working-class poor.

Meg Henderson’s wonderful Finding Peggy, but a bit before Hudson’s time.  

Darren McGarvey, with his Poverty Safari.

Janice Galloway’s autobiographies This is Not About Me and All Made Up are my clear favourites.

She mentored Graeme Armstrong and The Young Team, the story of Azzy and Airdrie, if you’re fucking asking, and it’s told in dialect.  

Scottish actor and comedian, Jane Godley, described as Nicola Sturgeon’s alter-ego (before she fucked up and went a bit too far and behaved like a politician—grabbing the money). Handstands in the Dark: A True Story of Growing Up and Survival, which told a tale of incest and marrying into a gangster’s family in the East End of Glasgow was, to my thinking, underrated before clicking on to Amazon to find over 2000 five-star ratings, which shows I was deluding myself, but not as much as Sturgeon.

We can even fling in Alan Bisset, Boyracers, which tries to do the impossible and make Falkirk cool.

And if we’re stretching it, Maggie O’Farrell  I Am I Am I Am, seven brushes with death. She’s from Northern Ireland, but kinda Scottish.

The real daddy of fictionalised memoir, Booker Prize winner Douglas Stuart and Shuggie Bain. A gay boy growing up in Glasgow’s housing estates and watching his mother slide under the couch with drink, while drowning, but claiming to be simply waving and doing her hair.

What does Aidan Martin add to this amorphous list, or, in other words, what kind of story can a guy in his late twenties tell us that we’ve not already heard?  In terms of markets, what’s his Unique Selling Point?

Livingston isn’t very cool, which is a good starting point.

First chapter, ‘Groomed’. He’s standing outside McDonalds. ‘Heart racing.’ I don’t like heart racing, because it’s clichéd city.  But we know what he’s talking about. He’s not there to have a Big Mac and chips. It’s in the chapter title. He’s fifteen and meeting an older man, with a North English accent, who calls himself Derek.

White-van man is a world of disappointment, but he’s organised. He’s got a room in a hotel booked and a cover story. He’s brought a bottle of Buckfast for Aidan, because that’s what you do. Fantasy is never reality.

‘Escapism,’ Sexual addiction, alcohol addiction, drug addiction.    

 ‘You’re fuckin’ dead, after class…

‘Truth be told I wasn’t as violent as the lads I was always fighting. Some of them seemed at ease taking it to the next level. But the idea of jumping on someone’s head or stabbing them felt sickening to me. Survival was day to day.’

Plotting of beginning, middle and end is quite straight forward. Aidan is suicidal, but the reader knows that if he’s written a book he can’t be much good at killing himself. The writer’s job isn’t to make things simpler, but more complex.  

Grandpa dead. Grandma deteriorating fast with depression and diagnosed as bipolar. His wee brother, ‘DJ was diagnosed with Rhabdomyosarcoma one of the rarest soft tissue cancers in the world’.   

Bargaining with yourself. ‘Money was getting tight, so we started on the cheaper drugs too. Back on the eccies, speed and valies. We had a few attempts at crystal meth, and I found myself smoking an unknown stuff from foil.’

Aidan had yet to hit his rock bottom, in Alcohol and Drug Anon language. But he’d a Higher Power looking out for him. This is shown in graphic form.

 ‘I self-harmed with knives…some otherworldly force flung the knives out of my hand.

All I can say is I know it truly happened.’

The reader knows Aidan is going to make it. But he’s honest about it. His relapses were to do with a lack of humility. I’ve heard the same story in so many forms. My brother, for example, telling me he was just going to have a few pints. Aye, we knew, what that meant. Deep down, so did he.

We’re in the world of repetition. Even the language becomes boring and clichéd. Recovery is slow. Aidan at 25 is at West Lothian College. He will have relapses. He will find himself. The reader knows that. God help us, if I start quoting Rumi and Leonard Cohen, We’re all broken. There’s a crack in everything. That’s how the light gets in.

I’m a reading addict. The pleasure of recognition lies not in revelation—although that has its place—but in resonance.  

‘I am grateful to be clean.’

Hallelujah has nothing to do with religion, but everything to do with a clean heart that cries out. Read on.

Graeme Armstrong (2020) The Young Team

Gore Vidal is attributed with the quote, ‘Every time a friend succeeds, I die a little’. Graeme Armstrong is not a friend of mine. But the title of his book, The Young Team needs no detailed sociological explanation. I don’t need to go searching for definitions in The Urban Dictionary.  I’m proud to be working class, less proud to have a chib mark on my face and knocked guys out and been a baw hair away from being killed. I know about drink and drugs. When I started writing short bits about people I knew that had died, the bodies started stacking up. Many of them were suicides. Armstrong is telling me nothing new. But he’s on my turf. When I try and get my manuscripts for novels published and get knocked back that’s a lot of work. And I need to rise again. Go again. He succeeds. And part of me is glad, but part of me isn’t, because publishing is a small world. When I think of it I think of it, think of them, I recall the  D.H. Lawrence poem, The English Are So Nice.

Publishers are so nice

so awfully nice

they’re the nicest people in the world.

And what’s more they’re so very nice about being nice

about your being so nice as well!

If you’re not nice they soon make you feel it.

Publishers are middle-class. Armstrong and me are working class. His is a niche publication. He’s taking up my space, but it’s not his fault we live in a middle-class world. It’s not my fault. The exception to the rule is used to prove the rule. A bit like coloured cabinet ministers in Tory land. Look, we’re not racist, their leader can say. His success is my failure.

But Armstrong is braver than me. His first-person, personal account, is in Scottish dialect. That’s a killer. James Kelman gets away with it in books about working-class life such as Kieron Smith, boy—a coming of age novel that covers some of the same ground—because he won the Brooker Prize with How Late it was How Late. Armstrong’s two sponsors of the book, Kerry Hudson and Janice Galloway use dialect, but only in direct speech. Alan Bisset also wants to let his characters in Boyracers, speak like he speaks, with a Falkirk twang, but descriptions are in the Queen’s English. Carl MacDougall’s characters when they swear say ‘fuckin.’ No apostrophe. Bernard MacLaverty (an honorary Scot) characters say ‘fucken’ (or it might be the other way about – I can’t remember). William McIlvanney’s characters swear, but perhaps less than you’d think.  Maggie O’Farrell’s characters don’t swear much, but then again, they tend to be more middle-class and go to university. Geniuses such as Lewis Grassic Gibbons (James Leslie Mitchell) create their own hybrid written-spoken language of North East dialect for a young Chris Guthrie in Sunset Song to tell her story. Language can be a bit of a fuck-up and the more extreme can sound like pastiche of proper Young Team patter.

The beginning of the book, when the narrator is thirteen or fourteen-years old sets the tone. The book follows him and his muckers progress for about eight years. The Young Team, the Airdrie team, are living the life. The book is set out like a report. Part 1, Crucible. I’m not sure I like that. Or think it’s necessary. Let’s just tell the fuckin story, like Bernard Hare does in, for example, Urban Grimshaw and the Shed Crew  (but then again his chapters in his novel begin with crappy poetry). Here’s the beginning of the book. Judge for yerself.

Urban Legends 2004

The rain n wind ir fuckin howlin. We’ aw stood intae a wee corner oot the wet n away fae the eager eyes ae Strathclyde’s finest. At weekends our area is jumpin wae polis, aw lookin tae bust yi. They never wanted tae git their boots muddy, walkin doon the Mansion but, so yi wur usually safe here. There’s two community police that sometimes ventured doon n busted cunts rollin joints, the fat wan called Muldoon n the skinny wan we aw called the Roadrunner, cos he’s rapid. The elder wans had told us aboot the polis raidin it once before we knew of the place’s existence.

Writing the gallus is easy. Writing the vulnerable is what makes characters walk and talk and become human. Azzy might be a hard wee cunt, but he’s just a wee boy and as he grows up he discovers clan loyalty isn’t enough. It offers no way out and he has panic attacks and becomes depressed. He’s not the only causality. Every day is ground-hog day and it’s wearing on the body and mind. With no way out, some of the not-so-young team become smack addicts in their teens, some kill themselves, some are killed. There are statistics in the chapter headings. But Azzy carries on his battle and it becomes with himself.

Higher education is the escape route. Hmmm, I’m unconvinced. And for such a poverty-stricken area, The Young Team, wae Azzy it’s leader, seem to be smoking dope and drinking all the time. Aye, I get that. But where’s the cash coming from? That I don’t get. It’s never made clear, in the way the music the kids listen to is, the tracksuits and sannies they wear and the cars they drive when they become older are.

Aurally, aye, I say to the way it is written. But those that need to read a book like this would be put off by the language. The dialect makes reading hard work. The middle-classes are so nice. So very, very nice. They might be surprised by what Armstrong writes about. I’m not. I know the score.  Azzy is not very nice, but his life is worth reading. Read on.