Scotland Quotes

Long before the arrival of reality TV - before speed cameras, before recording angels on buses and lampposts - I felt I was living in a country that already knew how to watch itself. It was journalism that held the responsibility for seeing who we were and noticing what we did.
Novelists are no more moral or certain than anybody else; we are ideologically adrift, and if we are any good then our writing will live in several places at once. That is both our curse and our charm.
Once upon a time, I thought that politics was the name we gave to our higher instincts. That was before Margaret Thatcher, who came to power when I was 11 years old.
The characters in 'Be Near Me' come from a genuine place, a Britain that is more than one country and more than one ideal.
The idea that people in novels should be more sympathetic than people in life simply baffles me.
The working class of England take their deracination completely for granted. Disenchantment is the happy code that informs every byway of the underclass: service jobs, celebrity dreams, Lotto wins, leisured poverty on pre-crunch credit cards, it's all there, part of the story of an English people whose grandparents never had it so good.
The working class of England today have no vision of society beyond the acquisitive - no version of themselves or their habits as anything other than transitional, on their way up or on their way out. The working class, at best, is a waiting room for people who aim to become middle class if possible.
There's a horrible fallacy that exists in the popular discussion of fiction these days: the idea that a successful central character need be 'likeable' or 'sympathetic'. It is surely more important that they be human, no? More crucial that they breathe?
We now live in the era of fake consensus, or phoney populism, a condition in which galleries and homes are seen to succeed best where they manage feelings of non-difference.
We sometimes forget that human invention can also be a subject of human invention: that might seem a modern notion, or a postmodern one, but novelists have taken time - sometimes time out from their realist fixations - to source and satirise the speech and power we rely on.
When I look back at my childhood on the Ayrshire coast, I recall a basic devotion to the idea that human nature and national character are as unknowable as the weather's rationale.
When I was growing up, my idea of a writer was someone like Sven Hassel, that mysterious Danish author who wrote thrillers about men clambering over walls and getting tangled in barbed wire.
When I was growing up, there was a feeling in one's living room as much as in one's local gallery that a little elitism was good for the soul.
When I was very young, I thought the theatre was a place where higher beings went about their celestial business, as if they knew nothing of ordinary life and its political mysteries.
When you grow up by the sea, you spend a good deal of time looking at the horizon. You wonder what on Earth the waves might bring - and where the sea might deposit you - until one day you know you have lived between two places, the scene of arrival and the point of departure.
Writing a novel is an act of self-annihilation as much as self-discovery. You can kill whole appetites and flood whole depths while plumbing them, but if you are serious about it you also get to put something into the world that wasn't quite there before.
You'll find that no pride is greater than the pride that comes with being thick. Britain is filled with people who are really proud of their stupidity.
A lot of players try to buy penalties, and sometimes defenders can't do a lot about it.
A point at Old Trafford is never a bad result.
A team like Liverpool you are not going to turn down.
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AuthorName
Alan Cox
Profession
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BirthDate
22 July, 1968
Country
Wales
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