Ten years on from Trainspotting, Simon 'Sick Boy' Williamson is back in Edinburgh after a long spell in London. Having failed spectacularly as a hustler, pimp, husband, father and businessman, Sick Boy taps into an opportunity, which to him represents one last throw of the dice. However, to realize his dream of directing and producing a ...Read MoreTen years on from Trainspotting, Simon 'Sick Boy' Williamson is back in Edinburgh after a long spell in London. Having failed spectacularly as a hustler, pimp, husband, father and businessman, Sick Boy taps into an opportunity, which to him represents one last throw of the dice. However, to realize his dream of directing and producing a pornographic movie, Sick Boy must team up with old pal and fellow exile Mark Renton and a motley crew that includes the city's favourite ex-aerated-water-salesman, 'Juice' Terry Lawson. In the world of Porno, however, nothing is straightforward, as Sick Boy and Renton find out that they have unresolved issues to address, concerning the increasingly unhinged Frank Begbie, the troubled, drug-addled Spud, but, most of all, with each other.Read Less
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Publishers Weekly, 2002-10-07 The Trainspotting gang returns in a sequel to Welsh's cult novel, this time trying to scheme their way into the annals of adult entertainment. Ten years older, but criminally irresponsible as ever, Sick Boy, Renton, Begbie and Spud are still focusing on illicit drugs and seedy sex. Budding entrepreneur Sick Boy or Simon, as he prefers to be called now comes up with the brilliant idea of starting a porno flick company in Edinburgh, and hunts down Renton in Amsterdam, where his former friend owns a nightclub. With the help of Nikki Fuller-Smith, a ravishing and frustrated undergraduate film student and part-time sex worker aching for fame, the two begin filming and marketing their first movie, making it all the way to the top of the industry before the inevitable crash. Meanwhile, homicidal Begbie and pathetic Spud lurk in the background, waiting to crash the party. To boost the hormonal rush of the narrative, Welsh tells the story from different points of view, the thickness of the dialect varying convincingly from voice to voice (English Nikki quotes from Middlemarch, while the nearly incomprehensible Begbie says things like "Ah lits um go tae git the bat wi baith hands"). As has been noted many times, Welsh has an uncanny talent for dialogue, and his writing is often diamond sharp (a sexual encounter is described as "raging bull and mad cow get on board the love boat"). If this follow-up feels less urgent than the original, it is no reflection on Welsh, but rather on the growing familiarity of the terrain he has so inimitably staked out. 10-city author tour. (Oct.) Copyright 2002 Cahners Business Information.
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