Hieroglyphics by Anne Donovan (Canongate Books 2001)

Ma mammy thoat ah wis daft, naw, no daft exactly, no the way wee Helen fae doon the street wis. Ah mean she didnae even go tae the same school as us an she couldnae talk right an she looked at ye funny and aw the weans tried tae avoid playin wi her in the street. Ma mammy knew ah could go the messages an dae stuff roond the hoose and talk tae folk, ah wis jist daft at school subjects, the wans that that involved readin or writin oanyway. Fur a while efter she went up tae see the teacher ah got some extra lessons aff the Remmy wummin but ah hated it. She wis nice tae me at furst but then when ah couldnae dae the hings she wis geein me she began tae get a bit scunnered. A hink she thoat A wis lazy, and ah could never tell them aboot the letters diddlin aboot, and oanyway, naebdy ever asked me whit it wis like. They gave me aw these tests an heard ma readin and tellt ma ma ah hud a readin age of 6.4 an a spellin age of 5.7 and Goad knows whit else, but naebdy ever asked me whit wis gaun oan in ma heid. So ah never tellt them.

(From the short story, 'Hieroglyphics'.)

Now's The Time by John Harvey (Slow Dancer Press 1999)

Music has always been important for Charlie, you fancy - as background and as entertainment, as a way of easing a stressful life, papering over emptiness, and more positively, helping him to measure and assess emotion, helping him to understand. And where it had begun for him, this musical affiliation, this need? A tailoring uncle, returned from the States with a pile of chipped and scratched 78s and Charlie, in his early teens, open-minded and keen-eared, set loose amongst them. Bing Crosby. The Ink Spots. Sinatra. Dick Haymes. The Mills Brothers. Ella Fitzgerald's 'A-Tisket, A-Tasket' and 'Stone Cold Dead in the Market'. Teddy Wilson and his Orchestra with Billie Holiday (vocal refrain).

(John Harvey writing about his creation, Charlie Resnick, in the chapter entitled, 'Coda'.)

No One Belongs Here More Than You by Miranda July (Scribner 2007)

I am not the kind of person who is interested in Britain's royal family. I've visited computer chat rooms full of this type of person, and they are people with small worlds, they don't consider the long term, they aren't concerned about the home front; they are too busy thinking about the royal family of another country. The royal clothes, the royal gossip, the royal sad times, especially the sad times, of this one family. I was only interested in the boy. The older one. At one time I didn't even know his name. If someone had shown me a picture, I might have guessed who he was, but not his name, not his weight or his hobbies or the names of the girls who attended that co-ed university of his. If there were a map of the solar system, but instead of stars it showed people and their degrees of separation, my star would be the one you had to travel the most light-years from to get to his. You would die getting to him. You could only hope that your grandchildren's children would get to him. But they wouldn't know what to do; they wouldn't know how to hold him. And he would be dead; he would be replaced by his great -grandson's beautiful strapping son. His sons will all be beautiful and strapping royalty, and my daughters will all be middle-aged women working for a local nonprofit and spearheading their neighborhood earthquake-preparedness groups. We come from long lines of people destined never to meet.

(From the short story, Majesty)

Children of Albion Rovers edited by Kevin Williamson (Rebel Inc. 1996)

Gillian stepped back, put her feet together and described an area of the pavement with her hands. It was here, she said, that Carlyle saved himself from despair. He'd become a man with an emptiness where his spirit used to be. He'd lost faith in God, and belief in the Devil. He'd lost faith in love. He saw no rewards in heaven or punishments in hell. His sense of right and wrong seemed like rubbish left behind by illusions of God. It seemed that people just lived afraid of pain, and wanting pleasure. He could imagine people finding a reason for living in their work, but he had no work to show for his time on earth, He was 28 years old. Something inside him was angry but it didn't seem to have anything to do with the boredom of the universe he was stuck in. He hardly noticed other people, they were like parts in a machine to him. The world was the machine, and it didn't do him the favour of wanting him to suffer. No, because it ground him down automatically. He would have killed himself, but there was a small bit of religious teaching stuck in his brain, and anyway, he couldn't be bothered. And all the while he felt frightened. He didn't know what he was afraid of. Until he came here, to Leith Walk, and one moment he didn't know and the next moment he knew. He was frightened of death, nothing more or less, because in the end that was all there was to be afraid of. And when he knew it, he looked at death, and said: Come on, then. I'll meet you and I'll take you on. He stood there, a man still young, miserable with the grey world and his being lost in it, and he reached out over forty years ahead and shouted at death that he could see it hiding there and it might as well come out because he could look at it and still live on as a free man until the final reckoning came. And he felt so strongly and angry after that, burning up with hatred for death, and so he was alive.

John was quiet for a bit. Then he said: Let's call our first child Leith.

My surname's Walker.

Well. mine's Keith.

Come on, finish your bridie and go back to work.

John got up and stood closer to Gillian. Your hair's just like the adverts, he said. It smells like turkish delight.

(From 'The Brown Pint of Courage' by James Meek)

The Great Profundo and other stories by Bernard MacLaverty (Penguin Books 1987)

After I had finished my first painting under his direction he went up to it and looked all over its surface from six inches. He nodded with approval.
'I'll call you my drapery man.'

'What?'

'An eighteenth-century caper. Portrait painters got a man in to do the time-consuming bits - the lace and the satin stuff. The best of them was Vanaken. Hogarth drew this man's funeral with all the best painters in London behind the coffin weeping and gnashing their teeth.' [From 'The Drapery Man']

The Hope That Kills Us edited by Adrian Searle (Polygon 2003)

I mind seein him playin for the Huns in a European match on Sky wan night. Some bunch ae German basturts that were far tae guid for the Huns, eh. 4-3 doon on aggregate, and Tam gets the ba aff their star midfielder like sweeties aff a bairn and gans doon the inside right channel. And I'm stannin in this pub in Ferrytoon, and I'm shoutin at Laudrup, 'Make the run! Make the fuckin run!' Cause I can see where Tam wants tae play it, I can see it openin up.

So Laudrup makes the run, but the sweeper's right oan tae him, ken, Laudrup's left it tae late. So the ba goes out and the camera pans ontae Tam's pus, and he's got this expression, like, Ah cannae dae anythin wi this cunt. Ah wis pishin masel laughin in this pub. Me and Brian Laudrup! Neither of us guid enough for Tam! [From Andrew C Ferguson's 'Nae Cunt Said Anythin']