By Irvine Welsh
How vital is an honest 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 realize the destiny of the lacking attractiveness, Jinty Magdalen, and preserve her fool savant lover, the man-child Wee Jonty, out of legal? Will he discover the true causes of unscrupulous American businessman and reality-TV celebrity, 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 dwell without... an honest RIDE?
A good Ride sees Irvine Welsh again on domestic turf, leaving us within the able arms of 1 of his such a lot compelling and well known characters, 'Juice' Terry Lawson, and introducing one other certain for cult prestige, Wee Jonty MacKay: a guy with the genitals and mind of a donkey.
In his funniest, filthiest ebook but, Irvine Welsh celebrates an un-reconstructed misogynist hustler -- a critical personality who's shameless but in addition, oddly, first rate -- and reveals new methods of creating wild comedy out of superbly darkish fabric, taking over the various final taboos. So fasten your seatbelts, simply because this can be one experience which may definitely get a bit bumpy.
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Extra info for A Decent Ride (Terry Lawson, Book 3)
This anarchic dimension involved an unsettling of social conventions through cross-dressing and gags that lacked the restrained decorum concerning sexuality, fetishism, “perversion” (including cannibalism), bureaucracy, family, work, and animality. A quarter of a century later, though some of the topical allusions may be lost, the sharp Predecessors to the carnivalesque dimensions of the Flying Circus can be found in British film comedy. For example, the Carry On films, produced from the late 1950s to the 1970s, offered a ribald, earthy form of humor and identified with a repertory group of actors (Charles Hawtry, Joan Sims, Kenneth Williams, Sid James, and Hattie Jacques) who tackled in satiric and slapstick fashion revered British institutions—the army, the medical profession, classical history, patriotism, leisure life, and sports.
No sooner does he leave and the sketch resumes than he appears again to complain of a changed caption. After portraying the forcible removal of a man with a space suit who is obviously out of place, the sketch is again interrupted by an abrupt cut to Karl Marx embracing Che Guevara. The return to the “Communist Situating Comedy Quiz” sketch is an instance of the hybrid, nonlinear, and unpredictable character of the shows, disrupting expectations of narrative continuity, underscoring the arbitrariness of narration, and highlighting the irreverent treatment of cultural icons by situating them incongruously within a game show context rather than in a news format.
Rather, the animation functions to highlight the atemporal and hallucinatory character of the Flying Circus world. The emphasis on sadistic acts by cartoon figures through images of dismemberment, decapitation, cannibalism, explosions, and various forms of physical mutilation are an invitation to contemplate a world that contradicts altruistic and benign conceptions of behavior. The fanciful animation, like the appealing images of each of the Pythons, allows entry into a world of unreason where time and space are disordered, as in the case of “The Wacky Queen” sketch that combines photographic cutouts and speeded-up motion as if a silent film has been shown at the wrong speed.
A Decent Ride (Terry Lawson, Book 3) by Irvine Welsh