Abstract
Even in an age of hyper‐consumerism accustomed to an endless supply of instant classics by new writers, Irvine Welsh's Trainspotting (1993) stands out as much for creating a cultural phenomenon as for launching an individual career, for appealing to postliterate youth as well as broadsheet reviewers, for helping put contemporary Scottish fiction on the world literary map, and for creating a sense of national self‐confidence that played a part in the passage of the 1997 referendum on devolution.
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