â
By definition, you have to live until you die. Better to make that life as complete and enjoyable an experience as possible, in case death is shite, which I suspect it will be.
â
â
Irvine Welsh (Trainspotting)
â
Choose a life. Choose a job. Choose a career. Choose a family. Choose a fucking big television. Choose washing machines, cars, compact disc players and electrical tin openers... Choose DSY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing, spirit crushing game shows, stucking junk food into your mouth. Choose rotting away in the end of it all, pishing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourself, choose your future. Choose life... But why would I want to do a thing like that?
â
â
Irvine Welsh (Trainspotting)
â
Some people are easier to love when you don't have to be around them.
â
â
Irvine Welsh
â
Love does not exist, it's like religion, the state wants you to believe in that kind of crap so they can control you, and f**k your head up.
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â
Irvine Welsh (Trainspotting)
â
We start off with high hopes, then we bottle it. We realise that weâre all going to die, without really finding out the big answers. We develop all those long-winded ideas which just interpret the reality of our lives in different ways, without really extending our body of worthwhile knowledge, about the big things, the real things. Basically, we live a short disappointing life; and then we die. We fill up our lives with shite, things like careers and relationships to delude ourselves that it isnât all totally pointless.
â
â
Irvine Welsh (Trainspotting)
â
Mates are a waste of fucking time. They are always ready to drag you down tae their level of social, sexual and intellectual mediocrity.
â
â
Irvine Welsh (Trainspotting)
â
Now there is apparently a causal link between heroin addiction and vegetarianism.
â
â
Irvine Welsh (Trainspotting)
â
You fucking knew that fucking cunt would fuck some cunt.
â
â
Irvine Welsh (Trainspotting)
â
Sometimes ah think that people become junkies just because they subconsciously crave a wee bit ay silence.
â
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Irvine Welsh (Trainspotting (Mark Renton, #2))
â
People think it's all about misery and desperation and death and all that shite, which is not to be ignored, but what they forget is the pleasure of it. Otherwise we wouldn't do it. After all, we're not fucking stupid. At least, we're not that fucking stupid.
â
â
Irvine Welsh (Trainspotting)
â
Thir must be less tae life than this
â
â
Irvine Welsh (Trainspotting)
â
Everything in the street today seems soft focus.
â
â
Irvine Welsh (Trainspotting)
â
Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol, and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on Sunday morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pissing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourselves. Choose your future. Choose life⌠But why would I want to do a thing like that? I chose not to choose life. I chose somethinâ else. And the reasons? There are no reasons. Who needs reasons when youâve got heroin?
â
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Irvine Welsh (Trainspotting)
â
The train was nearly twenty minutes late, an excellent performance by British Rail standards.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
take your best orgasm, multiply the feeling by twenty, and you're still fuckin miles off the pace
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
It's easy tae be philosophical when some other cunt's got shite fir blood.
â
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Irvine Welsh (Trainspotting)
â
The fact that you use the term "cunt" in the same breath as "sexist", shows that you display the same muddled, fucked-up thinking oan this issue as you do oan everything else.
â
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Irvine Welsh (Trainspotting)
â
... Basically, we live a short, disappointing life; and then we die. We fill up oor lives wi shite, things like careers and relationships tae delude oorsels that it isnae aw totally pointless.
â
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Irvine Welsh (Trainspotting (Mark Renton, #2))
â
You just want tae fuck up on drugs so that everyone'll think how deep and fucking complex you are. It's pathetic, and fucking boring.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Fuckin failures in a country of failures. Its nae good blamin it oan the English fir colonising us. Ah don't hate the English. They're just wankers. We are colonised by wankers. We can't even pick a decent, vibrant healthy society to be colonised by. No..we are ruled by effete arseholes. What does that make us? The lowest of the low, the scum of the earth. The most wretched servile, miserable, pathetic trash that was ever shat intae creation. Ah don't hate the English. They just git oan wis the shite thev got. Ah hate the Scots.
â
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Irvine Welsh (Trainspotting)
â
Iggy Pop looks right at me as he sings the line: 'America takes drugs in psychic defence'; only he changes 'America' to 'Scatlin', and defines us mair accurately in a single sentence than all the others have ever done.
â
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Irvine Welsh (Trainspotting)
â
Itâs all okay, itâs all beautiful; but ah fear that this internal sea is gaunnae subside soon, leaving this poisonous shite washed up, stranded up in ma body.
â
â
Irvine Welsh (Trainspotting)
â
But ah cannae even endorse these sentiments as they are at best peripheral tae the moment.
â
â
Irvine Welsh (Trainspotting)
â
He emphasised basic truths: you are not dying yet, you have to live your life until you are. Underpinning them was the belief that the grim reality of impending death can be talked away by trying to invest in the present reality of life. I didnât believe that at the time, but now I do. By definition, you have to live until you die. Better to make that life as complete and enjoyable an experience as possible, in case death is shite, which I suspect it will be.
â
â
Irvine Welsh (Trainspotting)
â
It wis like auld times, but in a sense that only served tae remind us ay how much things hud changed.
â
â
Irvine Welsh
â
They mean well, and they mean well tae me, but there's nae way under the sun that they can
appreciate what ah feel, what ah need.
Protect me from those who wish tae help us.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Ah realise now thit death is usually a process, rather than an
event. People generally die by degrees, incrementally. They rot away slowly in homes and hoespitals,
or places like this.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
On the issue of drugs, we wir classical liberals, vehemently opposed tae state intervention in any form.
â
â
Irvine Welsh (Trainspotting)
â
He notes the depressing haste with which the successful, in the sexual sphere as in all others, segment themselves from the failures.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Choose Trainspotting.
â
â
Harry Whitewolf (Rhyme and Rebellion)
â
I pay more tax registered in Holland than I would in the USA, but better gieing to the Dutch to build dams than the Yanks to build bombs.
â
â
Irvine Welsh (Dead Men's Trousers)
â
Living like this is a full-time business.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
They mean well, and they mean well tae me, but there's nae way under the sun that they can appreciate what ah feel, what ah need.
Protect me from those who wish tae help us.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Ah walk doon Hammersmith Broadway, London seeming strange and alien, after only a three-month absence, as familiar places do when youâve been away. Itâs as if everything is a copy of what you knew before, similar, yet somehow lacking in its usual qualities, a bit like the wey things are in a dream. They say you have to live in a place to know it, but you have to come fresh tae really see it.
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Irvine Welsh (Trainspotting)
â
Ah don't hate the English. They're just wankers. We are colonised by wankers. We can't even pick a decent, vibrant, healthy culture to be colonised by. No. We're ruled by effete arseholes. What does that make us?
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
The pit of melancholy was a bottomless one, and he was descending fast, falling further away from the good times. Such times often seemed tantalisingly within reach; he could see them, going on all around him. His mind was like a cruel prison, giving his captive soul a sight of freedom, but no more.
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Irvine Welsh (Trainspotting)
â
Ah didnae really know much aboot women. Ah didnae really know much aboot anything.
â
â
Irvine Welsh (Trainspotting (Mark Renton #2))
â
Still, failure, success, what is it? Whae gies a fuck. We aw live, then we die, in quite a short space ay time n аw. That's it; end ay fuckin story.
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Irvine Welsh
â
Sex generally makes them intae real relationships, or ends them. Ye go backwards or forwards after shagging, but maintaining the status quo is difficult.
â
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Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Rents bir keresinde, polisin ve yargĹçlarÄąn gĂśrev duygusunu tetiklemek için esmer bi tenden daha iyisi yoktur, demiĹti; çok doÄru.
â
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Irvine Welsh
â
The best way ah knew tae strike a chord without compromising too much tae the sickening hypocrisy, perversely peddled as decency, which fills the room, is tae stick tae the clichĂŠs.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
ÂżEstĂĄs jodido?", pregunto.
"No lo sĂŠ. Si te soy sincero, serĂĄ el sexo lo que mĂĄs echarĂŠ de menos. Eso y el tener a alguien, Âżsabes?"
Tommy necesita a la gente mucho mĂĄs que la mayorĂa.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life.
â
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Irvine Welsh (Trainspotting)
â
me doy cuenta de que por lo general la muerte es un proceso, mĂĄs que un suceso. Generalmente la gente se muere poco a poco, acumulativamente. Se pudren lentamente en residencias u hospitales, o sitios como ĂŠste
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Money gives you the luxury of not caring about it. You can affect to find it crass and vulgar, but see how crass and vulgar it is when thereâs none of it in your pocket.
â
â
Irvine Welsh (T2 Trainspotting (Mark Renton #3))
â
Any cunt withoot the virus could git run ower the morn. Thatâs the wey ye huv tae look at it. Cannae jist cancel the gig. The show must go oan.
â
â
Irvine Welsh (Trainspotting)
â
-ye always want what ye cannae have and the things that ye dinnae really gie a toss aboot get handed tae ye oan a plate.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
This internal sea. The problem is that this beautiful ocean carries with it loads ay poisonous flotsam and jetsam ⌠that poison is diluted by the sea, but once the ocean rolls out, it leaves the shite behind, inside ma body. It takes as well as gives, it washes away ma endorphins, ma pain resistance centres; they take a long time tae come back.
â
â
Irvine Welsh (Trainspotting)
â
Johnny wis a junky as well as a dealer. Ye hud tae go a wee bit further up the ladder before ye found a dealer whae didnae use. We called Johnny âMother Superiorâ because ay the length ay time heâd hud his habit.
â
â
Irvine Welsh (Trainspotting (Mark Renton #2))
â
It was, as the song said, âcall to arms music,â and seemed to have little to do with Scotland and New Year. It was fighting music. Stevie didnât want to fight anyone. But it was also beautiful music.
â
â
Irvine Welsh (Trainspotting)
â
Football divisions were a stupid and irrelevant nonsense, acting against the interest of working-class unity, ensuring that the bourgeoisie's hegemony went unchallenged.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
You can only learn through failure, and what ye learn is the importance ay preparation.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
I'm glad our slivers of existence intersected in a Venn diagram between the crushing slabs of oblivion on either side of them
â
â
Irvine Welsh (Dead Men's Trousers)
â
QuizĂĄ me haya acostumbrado tanto a las mentiras, que la verdad me suena indecentemente falsa. Pero bueno.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
It was Begbie who ensured he could never return. He had done what he wanted to do. He could now never go back to Leith, to Edinburgh, even to Scotland, ever again. There, he could not be anything other than he was. Now, free from them all, for good, he could be what he wanted to be. He'd stand or fall alone. This thought both terrified and excited him as he contemplated life in Amsterdam.
â
â
Irvine Welsh (Trainspotting)
â
Algunos pobres cabrones simplemente estĂĄn mucho mĂĄs predispuestos hacia la adicciĂłn a ciertas drogas que otros.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
ááááááá á¤ááááĄáá¤ááĄááá, á ááŞá áĄááĄáŽááᥠáááŞáááá áĽááĽá á¨áá áá ááááááᥠáááááá¨á áá áĄáŽáááá á á áááá áá.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
He really is a cunt ay the first order. Nae about that. The big problem is, he's a mate na aw. Whit kin ye dae?
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
This thought though, is nowhere near sufficient tae stop us fae daein what ah huv tae dae.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Los colegas son una puta pĂŠrdida de tiempo. Siempre estĂĄn dispuestos a arrastrarte hasta su nivel de mediocridad social, sexual e intelectual.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Renton looks at her and sees her pain and anger. It cuts him
up. It confuses him. Kelly has a great sense of humour. What's wrong with her? The kneeâjerk
thought: Wrong time of the' month is forming in his head when he looks about and picks up the
intonations of the laughter around the bar. It's not funny laughter.
This is lynch mob laughter.
How was ah tae know, he thinks. How the fuck was ah tae know?
â
â
Irvine Welsh (Trainspotting)
â
Ah sortay jist laugh whin some cats say that racism's an English thing and we're aw Jock Tamson's bairn up here . . . it's likesay pure shite man, gadges talkin through their erses.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
â Square go then smart cunt!
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Women give more than men; young people more than their elders; people who appear to be of the most modest means seem more generous than the affluent looking.
â
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Irvine Welsh (Trainspotting)
â
They call um Sick Boy, no because heâs eywis sick wi junk withdrawal, but because heâs just one sick cunt.
â
â
Irvine Welsh (Trainspotting)
â
It's mibbe nae mair vermin thin you or me, likesay... whae's tae say what's vermin...they posh wifire think people us ur vermin, likesay, does that make it right thit they should kill us, ah goes.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
... ona aĹktan sĂśz ettim. o ise aĹkÄąn din gibi bir Ĺey olduÄunu, aslÄąnda var olmadÄąÄÄą halde sistemin bizi daha kolay kullanmak için uydurduÄu bir Ĺey olduÄunu sĂśyledi.
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â
Irvine Welsh (Trainspotting)
â
Bazen insanlarÄąn junkie olmayÄą farkÄąnda olmadan sÄąrf bir parça sessizlik istedikleri için seçtiklerini dĂźĹĂźnĂźrĂźm.
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â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
[...] but it's aw hate, hate, hate wi some punters, and whair does it git us likesay, man? Whair the fuck does it git us?
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Planet Ay The Apes hus insinuated hissel intae the company. The thought ay that cunt shaggin wee Maria Anderson is not aesthetically appealing. The thought ay that cunt shaggin anybody isnae aesthetically appealing. If he tries tae talk tae ma Ma, ahâll gless the fuckerâs primate pus.
â
â
Irvine Welsh (Trainspotting)
â
They filed out into the cold night at closing time, heading for Begbie's place with a carry-out. They'd already spent twelve hours drinking and pontificating about Matty's life and his motivations. In truth, the more reflective of them realised, all their insights pooled and processed, did little to illuminate the cruel puzzle of it all.
They were no wiser now than at the start.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, Choose washing machines, cars, compact disc players, and electrical tin openers. Choose good health, low cholesterol and dental insurance. Choose fixed- interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisure wear and matching luggage. Choose a three piece suite on hire purchase in a range of fucking fabrics. Choose DIY and wondering who you are on a Sunday morning. Choose sitting on that couch watching mind-numbing sprit- crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pishing you last in a miserable home, nothing more than an embarrassment to the selfish, fucked-up brats you have spawned to replace yourself. Choose your future. Choose life... But why would I want to do a thing like that?
â
â
John Hodge (Trainspotting: A Screenplay (Based on the Novel by Irvine Welsh))
â
I donât go birdwatching. I am birdwatching. Birdwatching is a state of being, not an activity. It doesnât depend on place, on equipment, on specific purpose, like, say, fishing. It is not a matter of organic trainspotting; it is about life and it is about living.
â
â
Simon Barnes (How to Be a Bad Birdwatcher)
â
Everytime ye go to jail, the probability ay ye ever becoming free fae that kind of life decreases. It's the same every time ye go back tae smack. Ye decrease yir chances of ay ever bein able tae dae withoot it.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Si por mi fuera, pillarĂa todos los libros que hay, harĂa una pila enorme con ellos y los quemarĂa todos. Los libros sĂłlo sirven para que los listos farden acerca de toda la mierda que han leĂdo. Todo lo que necesitas saber lo puedes sacar de la prensa y de la tele. Capullos pretenciosos. Ya les darĂŠ yo jodidos libros.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
ÂżHasta quĂŠ punto puede alguien conocer de verdad a cualquier otra persona?
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Underpinning them was the belief that the grim reality of impending death can be talked away by trying to invest in the present reality of life.
â
â
Irvine Welsh (Trainspotting)
â
The disease which racked his body was a sweetheart compared to the more obscure one that possessed his sick mind.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Si por mi fuera, pillaria todos los libros que hay, haria una pila enorme con ellos y los quemarĂa todos. Los libros sĂłlo sirven para que los listos farden acerca de toda la mierda que han leĂdo. Todo lo que necesitas saber lo puedes sacar de la prensa y de la tele. Capullos pretenciosos. Ya les darĂŠ yo jodidos libros.
â
â
Irvine Welsh
â
ĐĐľ ПОМоŃ
да каМа на ĐиСи Са ĐşŃпОна в ĐŃŃĐžŃНонд. ĐапŃавО никакŃв ŃанŃ. ЊОП вСоŃ
"понŃиŃŃа", воднага ĐşŃпиŃ
йиНоŃа. ĐŃŃанаŃ
йоС ĐżŃкнаŃа паŃа. ТОСи дон ОйаŃĐľ ŃŃ Đ¸ĐźĐ°ŃĐľ ŃОМдон дон. ТŃŃйваŃĐľ да иСйиŃаП: иНи йиНоŃа, иНи пОдаŃŃĐş Са ноŃ. ĐикакŃв ŃанŃ. ĐĄŃаваŃĐľ Đ´ŃПа Са Đги ĐОп. ĐиŃНоŃ
, ŃĐľ ŃĐľ По ŃаСйоŃĐľ.
- ĐнаŃи ĐźĐžĐśĐľŃ Đ´Đ° Ńи ĐşŃĐżĐ¸Ń Ńийан ĐąĐ¸ĐťĐľŃ ĐˇĐ° ŃĐşĐ°ĐżĐ°Đ˝Đ¸Ń Đги ĐОп, а но ĐźĐžĐśĐľŃ Đ´Đ° ŃĐľ ĐżŃĐľĐśĐ°ĐťĐ¸Ń ĐˇĐ° пОдаŃŃĐş!
Đ ŃОва Đľ ĐиСи Ń ŃĐľŃĐžŃиŃниŃĐľ Ńи вŃĐżŃĐžŃи - гаднОŃĐž ĐžŃŃМио на гадМоŃаŃа и ĐżŃиŃ
аŃиŃĐľ.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Society invents a spurious convoluted logic tae absorb and change people whae's behaviour is outside its mainstream. Suppose that ah ken aw the pros and cons, know that ah'm gaunnae huv a short life, am ah sound mind, ectetera, ectetera, but still want tae use smack? They won't let ye dae it. They won't let ye dae it, because it's seen as a sign ay thir ain failure. The fact that ye jist simply choose tae reject whut they huv tae offer.
â
â
Irvine Welsh (Trainspotting)
â
High cunts are a big fuckin drag when yir feeling like this, because thir too busy enjoying their high tae notice or gie a fuck about your suffering. Whereas the piss-held in the pub wants every cunt tae git as ootay it as he is, the real junky (as opposed tae the casual user who wants a partner-in-crime) doesnae gie a fuck aboot anybody else.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Whin yir oan junk, aw ye worry aboot is scorin. Oaf the gear, ye worry aboot loads ay things. Nae money, cannae git pished. Goat money, drinkin too much. Cannae git a burd, nae chance ay a ride. Git a burd, too much hassle, cannae breathe withoot her gittin oan yir case. Either that. or ye blow it, and feel aw guilty. Ye worry aboot bills, food, bailiffs, these Jambo Nazi scum beatin us, aw the things that ye couldnae gie a fuck aboot whin yuv goat a real junk habit. Yuv just goat one thing tae worry aboot. The simplicity ay it aw. Ken whit ah mean?
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Society invents a spurious convoluted logic tea absorb and change people whae's behaviour is outside its mainstream. Suppose that ah ken all the pros and cons, know that ah'm gaunnae huv a short life, am ay sound mind etcetera etcetera, but still want tae use smack? They won't let ye dae it. They won't let ye dae it, because it's seen as a sign ay thir ain failure. The fact that ye jist simply choose tae reject whit they huv tae offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind-numbing and spirit-crushing game shows, stuffing fucking junk food intae yir mooth. Choose rotting away, pishing and shiteing yourself in a home, a total fucking embarrassment to the selfish, fucked-up brats ye've produced. Choose life.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Thing is, as ye git aulder, this character-deficiency gig becomes mair sapping. Thir wis a time ah used tae say tae aw the teachers, bosses, dole punters, poll-tax guys, magistrates, when they telt me ah was deficient:'Hi, cool it, gadge, ah'm jist me, jist intae a different sort ay gig fae youse but, ken?' Now though, ah've goat tae concede thit mibee they cats had it sussed. Ye take a healthier slapping the aulder ye git. The blows hit hame mair. It's like yon Mike Tyson boy at the boxing, ken?
Every time ye git it thegither tae make a comeback, thir's jist a wee bit mair missin. So ye fuck up again. Yip, ah'm jist no a gadge cut oot fir modern life n that's aw thir is tae it, man. Sometimes the gig goes smooth, then ah jist pure panic n it's back tae the auld weys. What kin ah dae?
â
â
Irvine Welsh (Trainspotting)
â
Society invents a spurious convoluted logic tae absorb and change people whae's behaviour is outside its mainstream. Suppose that ah ken aw the pros and cons, know that ah'm gaunnae huv a short life, am ah sound mind, etcetera, etcetera, but still want tae use smack? They won't let ye dae it. They won't let ye dae it, because it's seen as a sign ay thir ain failure. The fact that ye jist simply choose tae reject whut they huv tae offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life.
â
â
Irvine Welsh (Trainspotting (Mark Renton, #2))
â
Two choices; one: tough it oot, back in the room, two: phone that cunt Forrester and go tae Muirhoose, get fucked aboot and ripped oaf wi some crap gear. Nae contest.
In twenty minutes it wis: â Muirhoose pal? tae the driver oan the 32 bus and quiveringly stickin ma forty-five pence intae the the box.
Any port in a storm, and itâs raging in here behind ma face.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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We took morphine, diamorphine, cyclozine, codeine, temazepam, nitrezepam, phenobarbitone, sodium amytal dextropropoxyphene, methadone, nalbuphine, pethidine, pentazocine, buprenorphine, dextromoramide chlormethiazole. The streets are awash with drugs that you can have for unhappiness and pain, and we took them all. Fuck it, we would have injected Vitamin C if only they'd made it illegal.
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Irwin Welsh
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Eroinden sĂśz ederken kendimi ĹaĹÄąrtÄącÄą Ăślçßde iyi, sakin ve berrak hissediyordum.
"Tam olarak bilmiyorum, Tom, bilmiyorum. Bi Ĺekilde her Ĺeyi daha gerçekçi kÄąlÄąyor. Hayat sÄąkÄącÄą ve anlamsÄąz. BĂźyĂźk umutlarla baĹlÄąyoruz, sonra çuvallÄąyoruz. Hepimiz bi gĂźn bĂźyĂźk sorulara cevap bulmadan ĂśleceÄimizi keĹfederiz. HayatÄąmÄązÄąn gerçeÄini farklÄą biçimlerde yorumlayacak dolambaçlÄą dĂźĹĂźnceler geliĹtiririz, bedenimizle bĂźyĂźk Ĺeylere, gerçek Ĺeylere dair kayda deÄer bi bilgiye uzanmaksÄązÄąn. AslÄąnda, kÄąsa ve hayal kÄąrÄąklÄąklarÄąyla dolu bi hayat yaĹar, sonra da ĂślĂźrĂźz. Kendimizi her Ĺeyin tamamen anlamdan yoksun olmadÄąÄÄąna inandÄąrmak için hayatlarÄąmÄązÄą bokla doldururuz; kariyerle, iliĹkiyle falan. Eroin dĂźrĂźst bir uyuĹturucudur, çßnkĂź bu yanÄąlsamalarÄą sÄąyÄąrÄąp atar. Eroin çaktÄąÄÄąnda iyiysen, kendini ĂślĂźmsĂźz hissedersin. KĂśtĂźysen zaten var olan sÄąkÄąntÄąyÄą artÄąrÄąr. Tek dĂźrĂźst uyuĹturucudur. Bilincini deÄiĹtirmez. Bi anda çarpar ve gevĹetir. Ondan sonra dĂźnyanÄąn sefaletini olduÄu gibi gĂśrĂźr, kendini buna karĹÄą duyarsÄązlaĹtÄąramazsÄąn.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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To those of us gathered here today, Matthew Connell filled a number of different roles in our lives. Matthew was a son, a brother, a father and a friend. Matthew's last days in his young life were bleak, suffering ones. Yet, we must remember the real Matthew, the loving young man who had a great lust for life. A keen musician, Matthew loved to entertain friends with his guitar playing...
Renton could not make eye contact with Spud, standing next to him in the pew, as nervous laughter gripped him. Matty was the shitest guitarest he'd known, and could only play the Doors' 'Roadhouse Blues' and a few Clash and Status Quo numbers with any sort of proficiency. He tried hard to do the riff from 'Clash City Rockers', but could never quite master it. Nonetheless, Matty loved that Fender Strat. It was the last thing he sold, holding onto it after the amplifier had been flogged off in order to fill his veins with shite. Perr Matty, Renton thought. How well did any of us really know him? How well can anybody really know anybody else?
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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- Makes nae fucking difference. Rents n Stevie came up fae London for this. If Rents n Stevie kin come up fae fucking London, Sick Boy kin come up fae fuckcing France.
Spud's senses were dangerously dulled with the alcohol. Stupidly, he kept the argument going. - Yeah, but, eh... France is further away... wir talking aboot the south ay France here, likesay. Ken?
Begbie looked incredulously at Spud. Obviously the message had not got across. He spoke lower, higher and with a snarl twisting his cruel mouth into a strange shape below his blazing eyes.
- IF RENTS N STEVIE KIN COME UP FI FUCKING LONDON, SICK BOY KIN COME UP FAE FUCKING FRANCE!
- Yeah... right enough. Should've made the effort. Mate's funeral likesay, ken. Spud thought that the Conservative Party in Scotland could do with a few Begbies. It's not what the message is, the problem is just communication. Begbie is good at getting the message across.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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-ááŽáá, áŁáááááá áŁááá ááááá áá, áááá áá ááááááá ááá áááááĄáĄ ááá ááá áááááááŽáá ááááááááá, á á á¨ááááááĄáᥠáá ááá˘áááááĄ. ááŁááááá á¨áááááŁáá¨ááá, áááá˘á á á áááᥠááá ááááá ááááááá, ááá á áááŞáááá, áááááŁááá, - ááĽáá áá áŚá áá ááá¤ááá áááá á˘á§á.
ááá á ááááá áááá¨ááááŽáŁáá áĽááá áá áá áŤáááááááá, á°ááá, áááááááá áá ááŚááááŠááá. áááá˘áá á ááŚá᪠áĄáŽáá ááááááá ááá ááááá, á ááááááŞ, áááĄá ááá áá, áĄááááŽáá ááááááááááá. áŤááááá ááááá˘á áá áŹááááááá á ááá áá§á. áááááá, áááááá áŹááŁáĄáá áĄááŹá§áá áĽáááááᥠááĄááá.
á áááááᥠáŹááá ááŚáááŠááá. áá áĄááŞááááᥠáááá¨á áŠáááááá áá ááŁá˘ááááá á˘áááááááĄáááá áĄáá¨ááááá áááŚá áááá. ááááááááááá ááá áŁááŠáŽááááá áĄááŹáááá áá áá áŤááááá, á áá áŞáá˘á᪠áá ááĄáᥠáááá áááŚááá áááĄáŤáá ááááá.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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ááĄáá áᣠááĄá, ááááááá áááŚáááá ááá , á á ááá ááá ááŽáŁááá ááááááᥠáá áŤááá áááᥠááá áááááĄ. ááááá áááŤááááá, á ááŞá ááá áŤááá, á á ááá ááááŞá áááá ááá áááááŹáá, ááá á áááááá áááŁááááá, á áááááá᪠áááĄáŁáĄáŁáá áŹááᥠáá ááŽááᥠááááá áááᥠáá ᪠áá áŞááááááĄ. áááá᪠áá ááá áŠááŞááŁáááá ááŹáááá á. ááá áŤááá, á á áááááá§áá¤áŁá , áŁáááá áŤááá¨á áááŤáá ááá.
áááŚáááŤáá. ááá áá áá á ááá , á ááááá áĄáááᥠáááŤááá. ááá á áááá¨á ááá áááĽááĄ, áĄááŽááá áá áŁáŞáááŁá á áĄááĄááááᥠá¨ááá áŤáááá áááŹáŁáŽáááĄ. ááá§ááá áŽááᥠáááĄááá áá ááŽáááá, á á áŽáááá á ááŚá᪠áááááá á, á¨áááááááŁáá áá áŹááááááá ááááááá ááá ááá§áá. áá˘á ááááááá áá á áᥠááŽáááá!.. ááá ááááŞá áááá ááá áááŹáááĄ, ááááá ááááá¨áááááá áá ááá˘áá á, ááĄáŁáĽááá ááĄáááá áĄááá áá áááŁááááááĄ.
- áŁáŁáŁ, á¨á áááááŽáĄáá áááŁáá ááááá á!.. ááá áááááááá, áĄáááá áááŤááá, á¨á áááá, á¨ááá?!⌠ááááááá, á¨á ááŽááá á áááááááá á! - ááĄá áááááá, ááááŤáŁá á áŞáŽááá áĄááŽááŞá ááá -ááááĽá, á ááááá᪠ááŽááá áᥠáá áááááááááĄ. áááŁáááá áááááĄáŁáá áá á ááááá ᥠááŁáááŹáŁááá áĄáá¤ááá¨á áá áĄááŹáááááá áááááá. áĄáááááŚáá , á˘á áááááĄááááŁá áŻáŁáŻáᥠá°ááááĄ, áááá áŚááááá áá áá ááááá áááá áá. áááá áŁááŠáŽáŁáá áááá ááá˘áááá áá áá áŹááŽáááᥠááĽáááá ááŁá á˘á§áá, áĄáááá áá ááŽááááá, á á á˘áá ááĄ.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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Why is it that because ye use hard drugs every cunt feels that they have a right tae dissect and analyse ye? Once ye accept that they huv that right, yeâll join them in the search fir this holy grail, this thing that makes ye tick. Yeâll then defer tae them, allowin yersel tae be conned intae believin any biscuit-ersed theory ay behaviour they choose tae attach tae ye. Then yir theirs, no yir ain; the dependency shifts from the drug to them. Society invents a spurious convoluted logic tae absorb and change people whaeâs behaviour is outside its mainstream. Suppose that ah ken aw the pros and cons, know that ahâm gaunnae huv a short life, am ay sound mind etcetera, etcetera, but still want tae use smack? They wonât let ye dae it. They wonât let ye dae it, because itâs seen as a sign ay thir ain failure. The fact that ye jist simply choose tae reject whit they huv tae offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats yeâve produced. Choose life. Well, ah choose no tae choose life. If the cunts cannae handle that, itâs thair fuckin problem. As Harry Lauder sais, ah jist intend tae keep right on to the end of the road âŚ
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Irvine Welsh (Trainspotting)
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--Thing is though, Spud, whin yir intae skag, that's it. That's aw yuv goat tae worry aboot. Ken Billy, ma brar, likes? He's jist signed up tae go back intae the fuckin army. He's gaun tae fucking Belfast, the stupid cunt. Ah always knew that the fucker wis tapped. Fuckin imperialist lackey. Ken whit the daft cunt turned roond n sais tae us? He goes: Ah cannae fuckin stick civvy street. Bein in the army, it's like being a junky. The only difference is thit ye dinnae git shot at sae often bein a junky. Besides, it's usually you that does the shootin.
--That, eh, likesay, seems a bit eh, fucked up like man. Ken?
--Naw but, listen the now. You jist think aboot it. In the army they dae everything fir they daft cunts. Feed thum, gie the cunts cheap bevvy in scabby camp clubs tae keep thum fae gaun intae toon n lowerin the fuckin tone, upsetting the locals n that. Whin they git intae civvy street, thuv goat tae dae it aw fir thumsells.
--Yeah, but likesay, it's different though, cause . . . Spud tries to cut in, but Renton is in full flight. A bottle in the face is the only thing that could shut him up at this point; even then only for a few seconds.
--Uh, uh . . . wait a minute, mate. Hear us oot. Listen tae whit ah've goat tae say here . . . what the fuck wis ah sayin . . . aye! Right. Whin yir oan junk, aw ye worry aboot is scorin. Oaf the gear, ye worry aboot loads ay things. Nae money, cannae git pished. Goat money, drinkin too much. Cannae git a burd, nae chance ay a ride. Git a burd, too much hassle, cannae breathe withoot her gittin oan yir case. Either that, or ye blow it, and feel aw guilty. Ye worry aboot bills, food, bailiffs, these Jambo Nazi scum beatin us, aw the things that ye couldnae gie a fuck aboot whin yuv goat a real junk habit. Yuv just goat one thing tae worry aboot. The simplicity ay it aw. Ken whit ah mean?
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Irvine Welsh (Trainspotting)
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BaĹarÄą ve baĹarÄąsÄązlÄąk arzunun tatmin edilmesi ya da içinde kalmasÄą anlamÄąna gelir. Arzu ya kiĹisel dĂźrtĂźlerimize baÄlÄą olarak baskÄąn bir biçimde içseldir, ya da esasen reklamlarla veya medyanÄąn ve popĂźler kĂźltĂźrĂźn sunduÄu rol modelleriyle uyarÄąlmĹŠbir biçimde, dÄąĹsal. Tom benim baĹarÄą ve baĹarÄąsÄązlÄąk kavramlarÄąmÄąn toplumsal dĂźzeyden çok kiĹisel dĂźzeyde geçerli olduÄu gĂśrĂźĹĂźnde. Toplumsal ĂśdĂźlĂź kabul etmediÄim için baĹarÄą (ve baĹarÄąsÄązlÄąk) sadece anlÄąk olabilirdi benim için, çßnkĂź bu deneyim toplumsal destek gĂśren bir servet, gßç ve statĂź dĂźĹmanlÄąÄÄąyla, ya da baĹarÄąsÄązlÄąk sĂśz konusu olduÄunda utanç ve ayÄąplamayla sĂźrdĂźrĂźlemezdi. Bu yĂźzden, Tom'a gĂśre, bana sÄąnavlarda baĹarÄąlÄą olduÄumu ya da iyi bir iĹim olduÄunu ya da gĂźzel bir piliçle çĹktÄąÄÄąmÄą sĂśylemenin bir yararÄą yoktu; bu tĂźr ĂśvgĂźler bir Ĺey ifade etmiyordu benim için. Tabii ki, gerçekleĹtiklerinde bu Ĺeylerin keyfini çĹkarÄąyordum, fakat deÄerleri kalÄącÄą olamazdÄą, çßnkĂź onlarÄą deÄerlendiren toplumun kabulĂź sĂśz konusu deÄildi bende.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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Ah donât really know, Tam, ah jist dinnae. It kinday makes things seem mair real tae us. Lifeâs boring and futile. We start aof wi high hopes, then we bottle it. We realise that weâre aw gaunnae die, withoot really findin oot the big answers. We develop aw they long-winded ideas which just interpret the reality ay oor lives in different weys, withoot really extending oor body ay worthwhile knowledge, about the big things, the real things. Basically, we live a short, disappointing life; and then we die. We fill up oor lives wi shite, things like careers and relationships tae delude oorsels that it isnae totally pointless. Smackâs an honest drug, because it strips away these delusions. Wi smack, whin ye feel good, ye feel immortal. Whin ye feel bad, it intensifies the shite thatâs already thair. Itâs the only really honest drug. It doesnae alter yer consciousness. It just gies ye a hit and a sense ay well-being. Eftir that, ye see the misery ay the world as it is, and ye cannae anaesthetise yirsel against it.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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Me contĂł un montĂłn de cosas que yo no querĂa oĂr, cosas que mi madre y mi padre nunca supieron, y que odiarĂan saber. Lo cabrĂłn que era Billy con ella. CĂłmo en ocasiones la golpeaba, la humillaba, y la trataba en general como un trozo de mierda excepcionalmente corrompida.
"ÂżPor quĂŠ te quedaste con ĂŠl?"
"Era mi chico. Siempre piensas que serĂĄ diferente, que puedes hacerle cambiar, que tĂş puedes suponer la diferencia."
Eso lo entendĂa, Pero es un error. Los Ăşnicos hijoputas que supusieron alguna vez una diferencia para Billy fueron los Provisionales, y ellos tambiĂŠn eran unos cabrones. No tengo ninguna ilusiĂłn sobre ellos como luchadores de la libertad. Los muy hijoputas convirtieron a mi hermano en un montĂłn de comida para gatos. Pero ellos sĂłlo tiraron de la palanca. Su muerte fue concebida por esos cabrones anaranjaos que venĂan por aquĂ todos los meses de julio con sus fajines y sus flautas, llenando la estĂşpida cabeza de Billy con insensateces acerca de la corona y la naciĂłn y toda esa mierda. Ellos irĂĄn a casa felices por el dĂa de hoy. Pueden contarles a todos sus colegas cĂłmo muriĂł asesinado por el IRA uno de la familia mientras defendĂa el Ulster. Eso alimentarĂĄ su ira sin objeto, harĂĄ que les inviten a copas en los pubs, y consolidarĂĄ su credibilidad memo-bastarda entre otros tontolabas sectarios.
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Irvine Welsh (Trainspotting)
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áá áááŞááááá˘áá, áŞáá˘á áá áá§ááĄ, ááááá¤ááĽá á. ááá˘á, áĄááááá áááŞá-ááááĽá, á á á°ááááĄááĽáĄáŁááááĄá˘á áá á ááá , ááŁáá áááŞááá áá ááĄáááᥠááŹááááááá ? áááŁ, ááĄááá ááá áŹááŁááááŁáá á áá˘áá ááá -ááááĽá, áá¤ááĽá áá. ááĄá, áĄáŁá ááááááá áááááĄáááŻá, á á ááá áá ááááĄáŁááá§ááá, áá á áááá áá. áááᥠááĽáá ááááá, á á ááááááááá, áá ááŽáá áááááŞ, á§ááááá¤áá á áŁááá áááĄáááŻááĄ. ááá á áŠááᥠáááᥠááŽáááá ááĽá˘ááŁá á ááá¨á ááŽáááá áá ááá áŹáá áááááááááá, áá á áááá áŁááá ááááááᥠáááŚááŞáá áŁáááááá¨á. áá ááŽáá áá áá ááááá á ááááá á ááááŽáĄááá áááááááᥠáĄáá¨áááá áá áĄááŽááááĄááááá. áááááá á¨á áŹááááá áá, áŤááá ááááá¨á. áŁáŞáá á˘ááá áá ááá áááááá áá áááá áŁáááááá! á¨ááá ááááŚááĄ, á áááááá᪠áá áááááá˘á¨á áá áŻáááá ᥠááááá˘áĄ ááŁááááááá, áŞáŽáááá, áááááááá. áááááááááááĄáááᥠááááá˘áᥠáááááááá áááááá, á á áŽááááááŁá á ááĄá áááŚá ááá á¨á. áĽáááŞá ááááááá ááááŤáá á, ááá á áááá ááá ááááá áááááááá ááááĄáááŁá á, ááĄá˘áá˘áŁá á ááááá˘á áá ááŤáŁááááŁáá ááá§ááá, áááááááᥠáááá˘á¨á áá᪠ááááá áááĽáá. ááŁááŞá, áááᥠáĄááŽáᥠááááááá˘á§ááááááᥠá á ááŁá§áŁá áááá, ááá ááá ááá¤áŁá¨ááááá áá ááĄá˘áá ááŁáá áĄááŞááá ááááá áááááá. áá á áá ááááᥠá°ááááá, á ááááá᪠áááá áŽááᥠáŹáá áááááĄááááá, á°ááá, ááá˘áá á áŹáá áááĄááŽááᥠáŁááá áᥠáŹá§áááááá, á áááá áŚá᪠áááá᪠áááááááá áá áŠááᥠá ááááá¨á.
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Irvine Welsh (Trainspotting (Mark Renton, #2))
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_ áĄáááá¤á áá áááá¨á ááĄááŽáŁá áááá, á¨áááá? áŠááá áá ááááá᪠áááá áá§á, áĄáááá¤á áá áááá¨á, áá áááá ááááááŁ.
_ áááá, ááĄá⌠áá á, áĽááááá˘ááá, á¤ááá˘á¨á ááá§ááá, _ ááŽá ááᥠááŠááŠááᥠáŻááá.
_ áá ááááá ááŚáá áááááá áŁááá, áŚááá ááá ááŞáŽáááᥠáááĄá áĄáŁáá. ááŞáááá áá áŹááᥠáá§á, áŠááá áĄááŹá§ááá áááá. ááĄááá ááá áá á§áááŹáááá áá§á, _ áĽááᥠááááááá áŞá ááááááá áááĄááá. áŽáá ááááá áŠááŁáŹá§áá áá áĄááŹá§ááááááá áááŁáŽáá áĄáááŁááá á áŁáĄáŁáĄáŁá á ááá ááᥠáááá. _ ááŞá, á¨áááá, áá áĄáááááŚáá á á˘áá˘áŠáá á áĄááŞááŞáŽááᥠááááááá áááŤáŁáááá. áá áá ááŚá᪠áá áááá, áá á á áá ááááŹá§áááá.
ááá á áĄáá¤áŁááᥠááŚáááĄ, ááŞááá ááááĽááá ááŁáááŁá áᥠáááŁáááᥠáá áŻáááᥠáŽááá¨á áŁá˘ááááĄ:
_ áááŚá, á¨áááá, áááᥠááá˘á áá áá¤áá á áááĽááĄ, áááá áá ááááá, á á á¨áá ááĽáááááĄ. _ ááá á áĽáááááá áŁááá áááá áá áááááĄ, á¤ááŽáá áŤáááᥠááááĄ; ááĄááá áá áŤááááá, ááááĽáᥠááááá áááá ááĄ.
_ áŚááá ááá ááááááŞáá, áĽááááá˘ááá! _ ááá°ááááᥠáŻááá ááááááááĄ. _ áŚááá ááá áááááŞáᥠá¨áá˘áááááááá áŻáá ááĄáááŞááá! _ ááá á á˘áá¨áĄá᪠á¨áááá°áá áááĄ, áĄááŽáá áŁááá ááŚáá áá, á áá áááá áŞáááááááᥠáá§áááᥠáá áá ááá˘ááááááá áá ááá áááááŁá¨ááááĄ, á ááááá᪠áŁááá ááĽááĄ. á¤áĄááĽáááá˘áááááŁá á áááá˘áááá: áááĄá ááá˘áá ááááĄáááá áááááááá áááááá, áááĄá ááá˘áá á áĄáááááŽááĄáááá, á áááááĄá᪠áááŁáŞáááááá áááááá áááĄáŞááááá áá ááá áá¤ááĄáááá; ááááá ááá ááĄáááᥠáŠááĄáŹááááááá áá ááá˘áá áááᥠáá áĄáĄ... ááááᥠááááá ááŚáŁáŻá áŞáááááááá ááĽááĄ, ááááᥠáááá áááááŁáŹáá ááĄ. ááŚáᥠáĄááŚáááᥠááŁáŞááááááá ááááááŽáŁáááᥠáá ááááᥠáááááá§áᤠááááááá áĄ. ááááᥠáááááĄá áááááááá áĄááá áááá, áŻáááᥠáááá _ áááĄá á¤áĄááĽáá˘á áááŁáááá. ááá˘áá ááĄáá ááááááŁá á ááááŽáááá áá. ááááŽááŞ! áŚááá ááá áŹá§ááááá áá áááŁá¨áááᥠá¨áá˘ááááááá áŻáá ááĄáááŞááᥠáá áá áá˘áááŁá áŻáááááŞáááĄ!
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Irvine Welsh (Trainspotting (Mark Renton, #2))