Novelist, playwright, essayist, and master of the short story. Artist and engaged working-class intellectual; husband, father, and grandfather as well as committed revolutionary activist.

From his first publication (a short story collection An Old Pub Near the Angel on a tiny American press) through his latest novel (God's Teeth and other Phenomena) and work with Noam Chomsky (Between Thought and Expression Lies a Lifetime--both published on a slightly larger American press), All We Have Is the Story chronicles the life and work--to date--of "Probably the most influential novelist of the post-war period." (The Times)

Drawingdeeply on a radical tradition that is simultaneously political,philosophical, cultural, and literary, James Kelman articulates thecomplexities and tensions of the craft of writing; the narrative voiceand grammar; imperialism and language; art and value; solidarity andempathy; class and nation state; and. above all, that it begins and endswith the story.

"One of the things the establishment always doesis isolate voices of dissent and make them specific--unique if possible.It's easy to dispense with dissent if you can say there's him in proseand him in poetry. As soon as you say there's him, him, and her there,and that guy here and that woman over there, and there's all these otherwriters in Africa, and then you've got Ireland, the Caribean--suddenlythere's this kind of mass dissent going on, and that becomes somethingdangerous, something that the establishment won't want people to relateto and go Christ, you're doing the same as me. Suddenly there's amovement going on. It's fine when it's all these disparate voices; youcan contain that. The first thing to do with dissent is say 'You're onyour own, you're a phenomenon.' I'm not a phenomenon at all: I'm just apart of what's been happening in prose for a long, long while." --JamesKelman from a 1993 interview