Signature writing style, although the protagonist is an eloquent speaker. A smart detective with a cruel streak stalks Edinburgh indulging his perverse desires, and looking for a killer. The main character is a brilliant, original piece of fiction, and the story is strong. As good as Trainspotting.

Written in deepest Edinburgh dialect, it’s difficult to read until you get the hang of the accent – “pished” and “ken” being two that are best spoken out loud. A direct sequel to Trainspotting, it has all the power and intelligence of the debut, with the same dark and thoughtful characters.

Original story-telling from a skilled writer of dialogue.

‘Life’s boring and futile. We start oaf wi high hopes, then we bottle it. We realize that we’re aw gaunnae die, withoot really findin oot the big answers. Basically, we live a short, disappointing life; and then we die.’

Ultra-original use of Scottish dialect makes it hard for non-UK readers to understand the narrative. Struggling through the dialogue is worth it though to follow the tales of drug abuse. Film version criticised for its glamorous treatment of drug addiction – the book handles only the despair.

Insight into substance abuse and depravity in 1990s Edinburgh. The writing is sharp and in a style like no other. Ultra-realistic but with touches of fantasy made it genre-defining as a type of modern realism. The film is a classis for similar reasons. The book is addictive in a good way.