Less chat, more reviews, to wit: “A truly funny book, so funny in fact you will find yourself putting it down at regular intervals to give yourself a breather from laughing –
or perhaps just to savour a master-writer at his mischievous best,” says
Verbal about Bateman’s I Predict A Riot, while the
Mirror weighs in with, “Colin’s latest foray into Belfast’s rapidly-diminishing criminal underworld is a riot of colour and absurdity, where even the bad guys are strangely loveable, and in one way or another everyone ultimately gets what they want, if not what they deserve.”
Reviewing The Evidence had a gander at Brian McGilloway’s Borderlands: “This is an impressive debut, the writing is tight, the plot is complex but well paced, the characters are well drawn, the cross-border aspect was new to me, and the resolution was surprising.” Lovely … “Disregard the dull title and duller cover, this is a fabulous thriller,” says
Heatseeker Reviews about Cora Harrison’s newbie, My Lady Judge, before finishing up with, “this charming book could be the start of a million-selling series.” Crikey! Here’s one we missed from the
Washington Post last March, on Adrian McKinty’s The Bloomsday Dead: “ … a very Irish novel, which is to say it is jam-packed with both violence and poetry … there is a certain cosmic level at which the endless blood lust of our species is not so much tragic as comic. McKinty has tapped into this level.” And that’s a good thing, right? Cool. Meanwhile, the buzz about Tana French’s In The Woods just keeps on getting buzzier:
“The Irish author’s debut is a tense thriller about a police investigation of two murdered children … there are many twists and turns, with a big surprise ending,” says the
Sacramento Bee, and
The Scotsman chips in with, “French writes evocatively, and with a bagful of surprises. If in the end this disappoints, it is because she shirks one of the issues with which she has repeatedly teased readers.” Yet more cracking reviews for John Connolly’s The Unquiet: “This frightening work of darkness and beauty, written by one of the true masters in the thriller and horror genres, is not to be missed,” says
Book Reporter, while Publishers Weekly (“Connolly is a master of suggestion, creating mood and suspense with ease, and unflinchingly presents a hard-eyed look at the horrors that can lurk in quiet, rustic settings.”) and Booklist (“The disquieting subject, coupled with Connolly’s dark, lyrical prose, will leave unshakable images lurking on the edge of the reader’s consciousness.”) are busy bigging him up over on
Amazon US … “What confirms Paul Carson’s skill as a storyteller is the delicacy and the subtlety with which he deals with the fate of Frank’s relationship with Lisa,” says the
Irish Emigrant of his latest, Betrayal,
while Cormac Millar’s The Grounds merited “ … no ordinary crime novel, but rather a complex, intertextual and extratextual, literary work … (a) funny and clever novel from a powerful new voice in Irish crime fiction,” from
Miglior Acque last year – but better late than never, eh? Finally,
Entertainment Weekly is still reeling from reading The Midnight Choir: “Gene Kerrigan builds that machine with a few too many disparate characters, but the lethal precision of his closing punches leave quite a lasting mark,” says Adam B. Vary, before awarding an A-. Phew! Scorchio!
or perhaps just to savour a master-writer at his mischievous best,” says Verbal about Bateman’s I Predict A Riot, while the Mirror weighs in with, “Colin’s latest foray into Belfast’s rapidly-diminishing criminal underworld is a riot of colour and absurdity, where even the bad guys are strangely loveable, and in one way or another everyone ultimately gets what they want, if not what they deserve.” Reviewing The Evidence had a gander at Brian McGilloway’s Borderlands: “This is an impressive debut, the writing is tight, the plot is complex but well paced, the characters are well drawn, the cross-border aspect was new to me, and the resolution was surprising.” Lovely … “Disregard the dull title and duller cover, this is a fabulous thriller,” says Heatseeker Reviews about Cora Harrison’s newbie, My Lady Judge, before finishing up with, “this charming book could be the start of a million-selling series.” Crikey! Here’s one we missed from the Washington Post last March, on Adrian McKinty’s The Bloomsday Dead: “ … a very Irish novel, which is to say it is jam-packed with both violence and poetry … there is a certain cosmic level at which the endless blood lust of our species is not so much tragic as comic. McKinty has tapped into this level.” And that’s a good thing, right? Cool. Meanwhile, the buzz about Tana French’s In The Woods just keeps on getting buzzier: 
“The Irish author’s debut is a tense thriller about a police investigation of two murdered children … there are many twists and turns, with a big surprise ending,” says the Sacramento Bee, and The Scotsman chips in with, “French writes evocatively, and with a bagful of surprises. If in the end this disappoints, it is because she shirks one of the issues with which she has repeatedly teased readers.” Yet more cracking reviews for John Connolly’s The Unquiet: “This frightening work of darkness and beauty, written by one of the true masters in the thriller and horror genres, is not to be missed,” says Book Reporter, while Publishers Weekly (“Connolly is a master of suggestion, creating mood and suspense with ease, and unflinchingly presents a hard-eyed look at the horrors that can lurk in quiet, rustic settings.”) and Booklist (“The disquieting subject, coupled with Connolly’s dark, lyrical prose, will leave unshakable images lurking on the edge of the reader’s consciousness.”) are busy bigging him up over on Amazon US … “What confirms Paul Carson’s skill as a storyteller is the delicacy and the subtlety with which he deals with the fate of Frank’s relationship with Lisa,” says the Irish Emigrant of his latest, Betrayal, 
while Cormac Millar’s The Grounds merited “ … no ordinary crime novel, but rather a complex, intertextual and extratextual, literary work … (a) funny and clever novel from a powerful new voice in Irish crime fiction,” from Miglior Acque last year – but better late than never, eh? Finally, Entertainment Weekly is still reeling from reading The Midnight Choir: “Gene Kerrigan builds that machine with a few too many disparate characters, but the lethal precision of his closing punches leave quite a lasting mark,” says Adam B. Vary, before awarding an A-. Phew! Scorchio!
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