is a sequel to Trainspotting
, and builds on the success of that caustic and very funny novel by taking some of the characters through some radical new catastrophes. Sick Boy returns to Edinburgh with his ventures as a pimp and hustler in London having gone pear-shaped. Desperate for money, he comes up with a new idea, one that (he hopes) will really rake in the cash: the production of a low-rent porn film. Now Welsh introduces us to a new development: the novels Sick Girl, Nicola Fuller-Smith, the object of Sick Boy's fevered lust, whom he also believes will be his passport to all kinds of substance-abusing happiness needless to say, hes in for a rude awakening.
Other favourite characters from Trainspotting make a welcome reappearance: Renton, Begbie (even more psychotically dangerous than in the earlier book) and the unfortunate Spud, still unable to kick the drugs. Welsh fans need not hesitate: this is every bit as exuberant, hilarious, disgusting and irresistible as its predecessor.--Barry Forshaw
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
The Trainspotting gang returns in a sequel to Welsh's cult novel, this time trying to scheme their way into the annals of adult entertainment. Ten years older, but criminally irresponsible as ever, Sick Boy, Renton, Begbie and Spud are still focusing on illicit drugs and seedy sex. Budding entrepreneur Sick Boy or Simon, as he prefers to be called now comes up with the brilliant idea of starting a porno flick company in Edinburgh, and hunts down Renton in Amsterdam, where his former friend owns a nightclub. With the help of Nikki Fuller-Smith, a ravishing and frustrated undergraduate film student and part-time sex worker aching for fame, the two begin filming and marketing their first movie, making it all the way to the top of the industry before the inevitable crash. Meanwhile, homicidal Begbie and pathetic Spud lurk in the background, waiting to crash the party. To boost the hormonal rush of the narrative, Welsh tells the story from different points of view, the thickness of the dialect varying convincingly from voice to voice (English Nikki quotes from Middlemarch, while the nearly incomprehensible Begbie says things like "Ah lits um go tae git the bat wi baith hands"). As has been noted many times, Welsh has an uncanny talent for dialogue, and his writing is often diamond sharp (a sexual encounter is described as "raging bull and mad cow get on board the love boat"). If this follow-up feels less urgent than the original, it is no reflection on Welsh, but rather on the growing familiarity of the terrain he has so inimitably staked out.
Copyright 2002 Reed Business Information, Inc.
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