Book contents
- Frontmatter
- Contents
- Acknowledgements
- Biographical Outline
- References
- 1 Introduction: ‘Fucking Realism’
- 2 Footloose in Country and City: The Early Short Stories
- 3 Unsettlingly Settled: The Busconductor Hines and A Chancer
- 4 Authority Flouted: The Plays and Essays
- 5 Contacts, Tensions, Emotions: Greyhound for Breakfast and The Burn
- 6 Under Surveillance, Resisting: A Disaffection; How Late it Was, How Late and Translated Accounts
- 7 Postscript: You Have to be Careful in the Land of the Free
- Notes
- Bibliography
- Index
3 - Unsettlingly Settled: The Busconductor Hines and A Chancer
- Frontmatter
- Contents
- Acknowledgements
- Biographical Outline
- References
- 1 Introduction: ‘Fucking Realism’
- 2 Footloose in Country and City: The Early Short Stories
- 3 Unsettlingly Settled: The Busconductor Hines and A Chancer
- 4 Authority Flouted: The Plays and Essays
- 5 Contacts, Tensions, Emotions: Greyhound for Breakfast and The Burn
- 6 Under Surveillance, Resisting: A Disaffection; How Late it Was, How Late and Translated Accounts
- 7 Postscript: You Have to be Careful in the Land of the Free
- Notes
- Bibliography
- Index
Summary
After all the solitary and rootless lives in the short stories, the family and workplace setting of The Busconductor Hines (1984) appears to signal a change in Kelman's fictional direction:
Hines jumped up from the armchair, she was about to lift the huge soup-pot of boiling water. She nodded when he said, I'll get it. Taking the dishtowel from her he wrapped it round his left hand before gripping the metal support-ring; he held the handle of the pot in his right hand. He raised it slightly above the oven and paused, adjusting to its weight. Sandra had moved to shift a wooden chair out of his path.
The plastic babybath was positioned a yard from the fire with several sheets of newspaper spread beneath and around it. She had already emptied in a basinful of cold water. After each step across he was pausing to let the water settle. When he reached it he tilted the soup-pot a little at a time, until about a quarter of the water remained, then he emptied that straight in. What a weight, he said.
I put in too much … She had returned to the oven for a smaller pot of water which was also boiling …
Before putting the empty pots back into their place in the kitchencabinet she wiped them dry with the dishtowel. Then she undressed. She stopped, and walked to draw the venetian blind at the window above the sink. Hines smiled. Passing helicopters eh! (p. 9)
The opening of The Busconductor Hines achieves many things at once. It shows Rab Hines as an attentive, caring, tender fellow; a moment later he will offer to massage and wash Sandra's back. It places the couple socially, in a flat without bathroom and hot water, compelled to use old-fashioned methods for a proper wash (we are, after all, in the 1970s). The ‘babybath’ suggests a child in the house, though the little boy, no longer a baby, is not introduced until several pages later. The real shock is the spectacle of an adult using the small plastic tub, and the realization that, in order to enjoy the comfort of a hot bath that everyone nowadays just takes for granted, Sandra (and countless others in the same milieu) runs the risk of scalding herself.
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- James Kelman , pp. 30 - 44Publisher: Liverpool University PressPrint publication year: 2004