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Essay / Research Paper Abstract
A 5 page essay that analyzes the writing style of Irvine Welsh in 4 short episodes from Trainspotting and Acid House. The writer argues that in representing the speech patterns of working class people, Welsh also addresses the outlook of a subclass of young people who have become trapped in drug addiction and its repercussions. The result of Welsh's approach to storytelling creates an intriguing cultural critique because it presents the perspective of these characters without apology, allowing the reader to see them and draw their own conclusions. No additional sources cited.
Page Count:
5 pages (~225 words per page)
File: D0_khwelsh.rtf
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Unformatted sample text from the term paper:
music inherent in heavy Scottish brogue. In representing the speech patterns of working class people, Welsh also addresses the outlook of a subclass of young people who have become trapped
in drug addiction and its repercussions. The result of Welshs approach to storytelling creates an intriguing cultural critique because it presents the perspective of these characters without apology, allowing the
reader to see them and draw their own conclusions. Welshs novel Trainspotting is made up of short pieces that collectively add up to a whole, but it is rather
like examining something by looking at it through windows that each show a part of the object, without any window showing the entire object under examination. In "Growing up in
Public," Welsh pictures an adolescent working class girl with her family, as they are gathered for all of the ritual that accompanies a death. Nina is at that stage
of adolescence where she wants to divorce herself from her childhood and her family in order to carve out her own identity. At first, Nina is presented as feeling
no emotional connection to the deceased, her uncle, although she can remember being close to her uncle and aunt at one time. Welsh recounts that "To hear her relatives recount
these days of infancy and childhood made her squirm with embarrassment. It seemed an essential denial of herself as she was now. Worse, it was uncool" (Trainspotting 33).
As this demonstrates, Nina is quite consumed with carving out a more adult identity for herself. However, at the end of this brief scenario, after reacting with laughter when she,
at first, thinks that her uncle, who is lying upstairs in his bed, is not really dead, Nina finds her self "crying like a baby. Crying with raw power and
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