Douglas Stuart reflects on his literary journey
Douglas Stuart, whose debut novel Shuggie Bain won the prestigious Booker Prize in 2020, revealed that his manuscript faced rejection 40 times before finding a publisher, reports BritPanorama. Initially underestimated by editors who struggled to market the story of a boy navigating a troubled upbringing in 1980s Glasgow, the novel ultimately became a bestseller, marking a significant milestone as only the second Scottish winner of the award.
Stuart, whose own background as a working-class orphan turned high-flying fashion designer adds depth to his writing, continues to gain acclaim. His follow-up novel, Young Mungo, released in 2022, was similarly well-received, and his latest work, John of John, has been selected for the Oprah Book Club. The trajectory of his career underscores a remarkable transformation from outsider to a central figure in contemporary literature.
“I had always felt very outside the literary community in Britain,” Stuart acknowledged. His evolution reflects a newfound acceptance within literary circles, though he insists he doesn’t feel entirely like part of that world. During a recent visit to family in Glasgow, he expressed his feelings of disconnect from his past, stating, “I never wanted to be perceived as weak.”
His writing serves as a medium for personal reflection and understanding. “I’m writing to understand myself but maybe also to make sure everybody else understands me,” he explained, noting that friends who read Shuggie Bain were surprised by the details of his life. Influenced by a 2019 trip to the Outer Hebrides, John of John explores generational expectations and hidden truths within a devout island community, reflecting a gentler tone compared to his earlier works.
Stuart’s experiences of loss and a complex relationship with home inform his narratives. He described losing his mother at 16 as a pivotal moment, stating, “When you lose your mum, you lose your house, your wardrobe, your everything.” This personal history shapes his approach to storytelling, delving into classes and identities often overlooked in mainstream narratives.
After leaving fashion, where he felt his creativity was stifled, Stuart began writing for enjoyment, eventually leading to the conceptual groundwork for Shuggie Bain. He revealed that his initial draft spanned an overwhelming 1,800 pages, reflecting an organic yet unpressured writing process.
Stuart’s novels resonate particularly well with audiences in the U.S., where he finds that class, rather than nationality, is the common ground for readers. He recalled the significance of seeing Shuggie Bain sold in supermarkets, emphasizing its reach beyond literary accolades.
As a novelist representing queer, working-class experiences, Stuart carries the weight of representation with mixed feelings. He voiced concerns about the declining engagement with literature among working-class men, observing that many feel excluded from reading. “We’re going to end up with more people in power who lack empathy and that hurts all of us,” he warned.
The completion of John of John closes a thematic triptych for Stuart, as he explores how external pressures have shaped both his characters and himself. While he jokes about the potential reunion of his protagonists, he remains uncertain about his next project, likening himself to a field emptied of crops awaiting renewal.
John of John is published by Picador, £20
