There’s a reluctance to accept Kelman for what he is, a perfectionist and a radical Modernist writer of exceptional brilliance, and this reluctance is not just bourgeois superciliousness. There’s a generous but misdirected romanticism, too, which would like to imagine Kelman warbling his native fucknotes wild, simply sluicing a measure of his authentic working-class soul onto the page without the mediation of rational thought: a one-shot exotic. The real reason Kelman, despite his stature and reputation, remains something of a literary outsider is not, I suspect, so much that great, radical Modernist writers aren’t supposed to come from working-class Glasgow, as that great, radical Modernist writers are supposed to be dead. Dead, and wrapped up in a Penguin Classic: that’s when it’s safe to regret that their work was underappreciated or misunderstood (or how little they were paid) in their lifetimes. You can write what you like about Beckett or Kafka and know they’re not going to come round and tell you you’re talking nonsense, or confound your expectations with a new work. Kelman is still alive, still writing great books, climbing.
James Meek in the LRB on Kelman's Kieron Smith.