By Irvine Welsh
How very important is a good ride?
A rampaging strength of nature is wreaking havoc at the streets of Edinburgh, yet has best shagger, drug-dealer, gonzo-porn-star and taxi-driver, 'Juice' Terry Lawson, eventually met his fit in typhoon 'Bawbag'? Can Terry notice the destiny of the lacking good looks, Jinty Magdalen, and continue her fool savant lover, the man-child Wee Jonty, out of criminal? Will he discover the genuine reasons of unscrupulous American businessman and reality-TV megastar, Ronald Checker? And, crucially, will Terry be capable to negotiate lifestyles after a bad occasion robs him of his sexual virility, and will a brand new fascination for the sport of golfing aid him to stay without... an honest RIDE?
A first rate Ride sees Irvine Welsh again on domestic turf, leaving us within the able palms of 1 of his so much compelling and renowned characters, 'Juice' Terry Lawson, and introducing one other sure for cult prestige, Wee Jonty MacKay: a guy with the genitals and mind of a donkey.
In his funniest, filthiest publication but, Irvine Welsh celebrates an un-reconstructed misogynist hustler -- a principal personality who's shameless but additionally, oddly, first rate -- and unearths new methods of creating wild comedy out of beautifully darkish fabric, taking up many of the final taboos. So fasten your seatbelts, simply because this is often one trip which may definitely get a bit bumpy.
Read or Download A Decent Ride (Terry Lawson, Book 3) PDF
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Additional info for A Decent Ride (Terry Lawson, Book 3)
In silent comedy, the gags are focal. What we are asking is whether or not automatism is the theme that governs most of the more elaborate and memorable gags in The General. Themes of The General 35 Scanning the ﬁlm from beginning to end, we note that automatism gags occur throughout. When The General is ﬁrst hijacked, Johnnie, who had been washing up, beckons bystanders, and lights out on foot after the train. The chase begins, recorded by an overhead long-shot. Johnnie and four volunteers run towards the camera.
On several occasions, he becomes quite aggravated with her: when she sweeps the cab, when she discards a piece of knotty pine, when she ties the evergreens, and twice when she offers tiny pieces of wood for ﬁres. The aggravation on these occasions places the bond of affection between Johnnie and Annabelle on a somewhat earthly rather than transcendent plane. One would think that if Keaton were involved in glorifying romantic love, as Chaplin does, Keaton’s depiction of the woman would verge on a comparable degree of idolatry, such as, the use of giant close-ups and luminous lighting, which would make the veritable religiosity, the very sanctiﬁcation of love as a divine power, visually overpowering.
Since the locomotive is on a curving section of track, we are able to see directly behind the train as it turns the track. Perhaps, due to the curve, this is the ﬁrst time since the depot that Johnnie can look behind the train. First, he bends out of the side window slightly. Then, he pokes his body far out. Finally, he realizes he is alone. Again, the character’s presuppositions about a situation have caused him to fail to attend to the world. Johnnie evinces an almost static conception of the environment, one which fails to acknowledge the possibility of deviation from his mental picture of things.
A Decent Ride (Terry Lawson, Book 3) by Irvine Welsh