Showing posts with label Harry Rigby. Show all posts
Showing posts with label Harry Rigby. Show all posts

Saturday, June 29, 2013

EIGHTBALL BOOGIE by Declan Burke

Down in the Old Quarter, you flip a double-headed coin, two out of three it comes down on its edge.
  ‘Last time, it doesn’t come down at all ...


When the wife of a politician keeping the Government in power is murdered, freelance journalist Harry Rigby is one of the first on the scene. But Harry's out of his depth: the woman’s murder is linked to an ex-paramilitary gang’s attempt to seize control of the burgeoning cocaine market in the Irish northwest. Harry’s ongoing feud with his ex-partner Denise over their young son’s future doesn’t help matters, and then there’s Harry’s ex-con brother Gonzo, back on the streets and mean as a jilted shark …

Praise for EIGHTBALL BOOGIE:
“Harry Rigby, the ultimate anti-hero, fights his own demons (including a death wish except for protecting his son) and some of the corrupt and powerful in and around his home town when murder comes a knockin’ at Christmas ... nothing short of brilliant writing is the highlight of EIGHTBALL BOOGIE ... absolutely brilliant writing.” - Charlie Stella

“There’s a lot to like in Declan Burke’s debut, including some cracking plot twists. I’d recommend it to anyone who wants an entertaining way to spend a few hours.” - Val McDermid

“I have seen the future of Irish crime fiction and it’s called Declan Burke. Here is talent writ large - mesmerizing, literate, smart and gripping. If there is such an animal as the literary crime novel, then this is it. But as a compelling crime novel, it is so far ahead of anything being produced, that at last my hopes for crime fiction are renewed. I can’t wait to read his next novel.” - Ken Bruen

“Burke writes in a staccato prose that ideally suits his purpose, and his narrative booms along as attention grippingly as a Harley Davidson with the silencer missing. Downbeat but exhilarating.” - The Irish Times

“Harry Rigby resembles the gin-soaked love child of Rosalind Russell and William Powell ... a wild ride worth taking.” – Booklist

“One of the sharpest, wittiest books I’ve read for ages.” - The Sunday Independent

“Eight Ball Boogie proves to be that rare commodity, a first novel that reads as if it were penned by a writer in mid-career ... (it) marks the arrival of a new master of suspense on the literary scene.” - Hank Wagner, Mystery Scene

“The comedy keeps the story rolling along between the sudden eruptions of violence … Burke’s novel is not just a pulp revival, it’s genuine neo-noir.” – International Noir

EIGHTBALL BOOGIE on Kindle UK (£3.99)

EIGHTBALL BOOGIE on Kindle US ($4.99)

Thursday, May 23, 2013

“Publish Or I’m Damned.”

So spake Karlsson, a hero-of-sorts of ABSOLUTE ZERO COOL, a novel published by Liberties Press in 2011. Ironically, given that the tale incorporates a writer’s struggle to get published, Karlsson and AZC had been rejected by a whole slew of publishers – to the point where I was roughly six weeks away from self-publishing the story – before Sean O’Keeffe of Liberties Press stepped in.
  The novel, described as a cross between Raymond Chandler and Flann O’Brien by John Banville, was subsequently shortlisted for the Irish Book Awards in 2011, and won the Goldsboro ‘Last Laugh’ award for comic crime novels at Crimefest in 2012.
  So it’s entirely apt, I think, that yours truly, Sean O’Keeffe and Liberties Press’ marketing manager Alice Dawson will be talking about the tricky path to publication at the Dublin Writers Festival later this month. To wit:
Publish and Be Famed
You’ve slaved away over your keyboard for months, if not years. You’ve researched and imagined, reworked and revised and now, at last, your book is finished. But what happens now? Who guides you down the path to publication? How is your book designed, edited, marketed and promoted? In association with the Dublin Book Festival, Dublin Writers Festival brings together Declan Burke, author of the Harry Rigby Mysteries and one of the most innovative voices in Irish crime fiction, with key personnel from his publishers, Liberties Press, to look at the process of publishing a novel from first idea to the printed page. For anyone interested in unpacking the mysteries of publishing, this event is a must.

Venue: Smock Alley Theatre
Date: Friday May 24th
Time: 1:05 pm
Tickets: €10 / €8
  For all the details, clickety-click here.
  The full programme for the Dublin Writers Festival can be found here.

Thursday, March 7, 2013

Harry Rigby: ‘A Master of Situational Ethics’

It’s not often I get a nice review in Booklist (no link, sadly – subscription only), so if it’s okay with all of you I’m going to go ahead and broadcast this review of SLAUGHTER’S HOUND in full. To wit:
Slaughter’s Hound. By Declan Burke. Mar. 2013. 384p. Dufour/Liberties, paper, $24.95 (9781907593499).

Honest jobs are hard to come by when you’re released from a mental institution after killing your brother. So Harry Rigby gets by driving a cab and delivering drugs in the Irish town of Sligo. One of his best customers is former cellmate Finn Hamilton--until the night Finn drops onto Harry’s cab from his ninth-story balcony. The police are very interested in what Harry saw that night, as are Finn’s pregnant girlfriend, patrician (and terrifying) mother, and his possibly insane teenage sister. A master of situational ethics, Harry initially has no problem getting paid to retrieve certain items from Finn’s apartment. It turns out, though, that Harry’s not the only one nosing around. He tries to keep his ex-wife and son out of the investigation, but his two worlds can’t help bleeding into one another. Burke (Absolute Zero Cool, 2012) has always been known for black humor, and he has found a wonderful new outlet for it in Harry Rigby. -- Karen Keefe
  Incidentally, if there’s anyone out there who would like to receive an e-friendly review copy of SLAUGHTER’S HOUND or its predecessor EIGHTBALL BOOGIE, please feel free to drop me a line at dbrodb[at]gmail.com. And if the spirit moves you to click the Twitter or Facebook link below, I would be very grateful indeed.

Saturday, June 16, 2012

Advertisement: EIGHTBALL BOOGIE by Declan Burke

The future of Irish crime fiction.’ - Ken Bruen

When the wife of a politician keeping the government in power is murdered, Sligo journalist Harry Rigby is first on the scene. There he quickly discovers that he’s out of his depth when it transpires that the woman’s murder is linked to an ex-paramilitary gang’s attempt to seize control of the burgeoning cocaine market in the Irish Northwest. Harry’s ongoing feud with his ex-partner Denise over their young son’s future doesn’t help matters, and then there’s Harry’s ex-con brother Gonzo, back on the streets and mean as a jilted shark …

EIGHTBALL BOOGIE for Kindle UK / Kindle US and Many Other Formats at $2.99

Wednesday, February 29, 2012

Crime Fiction and Contemporary Ireland: The Truth!

It’s off to Maynooth University with yours truly next Tuesday, for an event titled ‘Crime Fiction and Contemporary Ireland’, which will be hosted by one Rob Kitchin of Blue House fame. I’m really looking forward to it, even if it’s the case that I’ll stuck between two of Ireland’s finest journalists (and equally fine novelists) in Gene Kerrigan and Niamh O’Connor, both of whom, it’s fair to say, have their fingers firmly on the erratic pulse of that intensive care patient known fondly to the world’s financial markets as Ireland, Inc. Meanwhile, I’m a guy who reviews books and movies for a living. I’ll be so far out of my depth I may wind up with a crippling case of the bends.
  I think it’ll be an interesting event, though. Last year, when DOWN THESE GREEN STREETS came out, one negative review more or less sneered at Irish crime writing on the basis that it feeds like a parasite off the misery of the country without offering any solutions to the mess. Which I thought was a bit rich, seeing as how a whole raft of politicians and economists are paid to come up with solutions to various economic messes, and fail miserably at every hand’s turn.
  Anyway, there are a number of Irish crime writers who are engaged with charting the woes of contemporary Ireland through their fiction, although there are as many again who haven’t the slightest interest in doing so. It’s all valid, I think. The most important thing any book can offer is an interesting story, well written. If a writer chooses to give that story an immediacy and urgency that derives from a timely investigation of the setting’s current ills and travails, then that can add another dimension. By the same token, agit-prop is no one’s idea of good art. So there’s a fine line to be negotiated.
  My current book, ABSOLUTE ZERO COOL, has a bit of fun with the notion of agit-prop, setting up a hospital as a metaphor for the country itself, with a demented hospital porter hell-bent on blowing it up in order to alert the nation to the dangers of depending too heavily on the kindness of strangers. My new book, SLAUGHTER’S HOUND, which I’ve just finished, is also influenced by current events - I find it very difficult to ignore that kind of thing, simply because it would be unrealistic for characters not to be engaged on a daily basis with the wider context of how their lives are being lived, or - more accurately, perhaps - how they are forced to live their lives.
  The extract below is from SLAUGHTER’S HOUND, and comes when the main character, and narrator, the former private eye Harry Rigby, is conversing with a previously wealthy woman, Saoirse Hamilton, whose son, Finn, has committed suicide two days previously, due to his financial circumstances. Saoirse Hamilton, as you can imagine, is rather bitter, and keen to foist the blame for Finn’s death (and by extension Ireland’s woes) onto someone, anyone, other than herself:
  ‘This is an old country, Mr Rigby. There are passage tombs up on the hills of Carrowkeel and their stones gone mossy long before the pyramids were built. There were Greeks sailing into Sligo Bay when Berlin was still a fetid swamp in some godforsaken forest. Take a detour off our shiny new roads and you’ll find yourself in a labyrinth, because no Roman ever laid so much as a foundation brick on this island. Hibernia, they called it.’ A wry smile. ‘Winterland.’
  ‘Well, the roads run straight enough now.’
  ‘Indeed. Irish tyres hissing slick on the sweat of the German tax-payer, who will tell you that he has paid for every last yard of straight road built here in the last forty years. You know,’ she said, ‘there have always been those who turned their back on Brussels and Frankfurt, and not everyone who professes to ourselves alone is a Sticky or a Shinner. But I could never understand that. I quite liked the idea that Herr Fritz was spreading around his Marshall Plan largesse to buy himself some badly needed friends.’ She shrugged. Her voice gone dead and cold, as if she spoke from inside a tomb. ‘Perhaps I was wrong. Herr Shylock has returned demanding his pound of flesh, and it appears he is charging blood debt rates. Straight roads, certainly, and more suicides in the last year than died in traffic accidents.’
  ‘It won’t last,’ I said. ‘Nothing ever does.’
  A hard flash of perfect teeth. ‘My point entirely, Mr Rigby. I’m told that the latest from Frankfurt is that our German friends are quietly pleased that the Irish are not Greeks, that we take our medicine with a pat on the head. No strikes, no burning of the bondholders, or actual banks. Apparently they’re a little contemptuous, telling one another as they pass the latest Irish budget around the Reichstag for approval that we have been conditioned by eight hundred years of oppression to perfect that very Irish sleight of hand, to tug the forelock even as we hold out the begging bowl.
  ‘They are children, Mr Rigby, our German friends. Conditioned themselves, since Charlemagne, to believe want and need are the same instinct. Hardwired to blitzkrieg and overreach, to forget the long game, the hard lessons of harsh winters bogged down in foreign lands.’ Tremulous now. Not the first time she’d delivered this speech. ‘The Romans were no fools. Strangers come here to wither and die. Celt, Dane, Norman and English, they charged ashore waving their axes and swords and we gave up our blood and took the best they have, and when they sank into our bogs we burned them for heat and carved our stories from their smoke and words.’
  SLAUGHTER’S HOUND is due to be published in June, which is around about the time when the Irish people will be going to the polls to vote in a referendum on whether Ireland should change its constitution to allow for the EU’s new fiscal treaty pact to take effect here. Essentially, I think, the battle for Yes and No will be fought on the basis of how steaming mad the Irish people are at their loss of economic sovereignty at the hands of a German-dominated EU - which isn’t strictly true, by any means, and ignores the extent to which Ireland was culpable in its own downfall (SLAUGHTER’S HOUND is to a large extent a novel about the consequences of not taking responsibility for your actions).
  Contrary to the doomsayers, I believe the Yes vote will edge the referendum, this on the basis of ‘that very Irish sleight of hand, to tug the forelock even as we hold out the begging bowl’ - we’ll be offered a deal on the debt Ireland has been burdened with, and we’ll vote pragmatically, if not on behalf of ourselves, then on behalf of our children.
  But I digress. Where was I? Oh, yes - ‘Crime Fiction and Contemporary Ireland’, Maynooth University, March 6th, 5pm. If you’re in the vicinity, we’d love to see you there …

Thursday, May 5, 2011

We Are All In The Gutter, But Some Of Us Are Looking At The Stars

Off with yours truly this evening to the award-winning Gutter Bookshop in Temple Bar, where Brian McGilloway will be holding court and reading from his latest offering, LITTLE GIRL LOST, in the company of Sean Black, who may or may not be reading from his forthcoming tome, GRIDLOCK, which should be touching down at a shelf near you on August 4th. Should be a good evening, with perhaps a Pimms or two to follow, given that today is LITTLE GIRL LOST’s official publication date. If you’re around about Dublin this evening, Friday May 6th, wondering where all the Irish literary stars are hanging out, swing by the Gutter Bookshop around 6.30pm and we’ll give you directions.
  Incidentally, Brian - due to the magic of electronic recording devices and suchlike - will be interviewed by Sean Rocks on RTE’s Arena arts programme this evening. Clickety-click here at about 7.30pm for the Derryman’s dulcet tones …
  In other Irish crime fiction-related news, the very generous Michael Malone interviews yours truly over at his blog, May Contain Nuts. Sample Q&A:
Q: One of the many things in EIGHTBALL BOOGIE that fascinated me was Harry Rigby’s relationship with his psycho brother. Tell us where that came from.

A: “As with all the ostensibly bad guys in my books - Rossi in THE BIG O, Karlsson in ABSOLUTE ZERO COOL - I have a lot of sympathy for Gonzo, who is Harry’s brother in EIGHTBALL BOOGIE. He’s an exaggerated version of the milder kind of sociopath that people tend to meet in their lives - the bullying boss at work, the aggressive moron who lashes out at the end of the night after one too many beers, the passive-aggressive manipulator we’ve all met at some point in our lives. Gene Kerrigan makes the point that most criminals aren’t all that different to law-abiding citizens, they simply want to pay their mortgage off quicker, and are prepared to do whatever it takes to achieve their goals ...”
  For the rest, clickety-click here
  Elsewhere, the estimable Peter Rozovsky of Detectives Beyond Borders fame reviewed Gerard O’Donovan’s PRIEST for the Philadelphia Inquirer last weekend. Peter being Peter, a straightforward review wouldn’t suffice, and so the novel is reviewed in the context of O’Donovan’s ambition, as quoted by Peter, to ‘put the crucifix back at the heart of Irish writing’. Which is an entirely admirable ambition, in my opinion, so long as said crucifix is being used as a stake in the heart of an Irish church that has abused the trust of its faithful by sheltering sexual deviants who preyed on vulnerable young children. But that’s just me. Anyway, you can find Peter’s review here
  Finally, good news for The Artist Formerly Known As Colin Bateman: DR YES has been short-listed for the Crimefest ‘Last Laugh’ award, a gong that Bateman has taken home in the past. By which I mean, he has won it in the past, not that he snuck in and stole it and smuggled it back to Norn Iron. Anyway, the competition will be fierce this year: also shortlisted are Chris Ewan for THE GOOD THIEF’S GUIDE TO VEGAS, and the entirely bonkers OLD DOGS, by the lovely Donna Moore. Good luck to all concerned, and all the shortlists for the Crimefest weekend can be found here

Wednesday, May 4, 2011

“Harry J. Rigby: A Passive Self-loathing Loser In A Violent, Unhappy World.”


As all Three Regular Readers will know, I had an article published in the Irish Times a couple of weeks ago on ebooks, which I mention again because it prompted journalist Helena Mulkerns to get in touch with me. Helena is currently writing a feature for the New York Times’ International Edition on the same subject, which is nice, but what was nicer was that Helena - way back in the day, before EIGHTBALL BOOGIE was published - put together a mock cover, blurb, etc., for the book, for an MA in Publishing she was taking at the time. The result is what you see above, and very smart it is too, and particularly the blurb, although the cover image is pretty funky too.
  Anyway, it’s been a busy old week for EIGHTBALL BOOGIE. As I mentioned last week, and as of Sunday, I increased the ebook’s price from $0.99c to $2.99 as part of an experiment, the results of which I’ll post at the end of the month.
Meanwhile, Paul Brazill posted this interview with yours truly that verges on the surreal, while Michael Malone posted Part 1 of an interview I did for May Contain Nuts, both of which were huge fun to do.
  EIGHTBALL also managed to pick up two reviews in the last few days. The first, at Mystery File, comes courtesy of Michael Shonk, with the gist running thusly:
“This is not the Ireland I grew up reading about. Not a lovable cop or leprechaun in sight. Instead there is Harry J. Rigby, a passive self-loathing loser in a violent, unhappy world, a place where everyone is corrupt and soulless. Where all you can dream for is to find one part of your miserable life that will give you reason to wake up in the morning. Even the harsh ugly land is doomed from the corrupt system that sacrifices clean air, land and water for a profit. This is a land of noir where fate is the heartless father of hopelessness … There are sections of this book that are a delight to read, usually when Harry is dealing with the crimes. There are sections of this book that can be difficult to get through, usually when Harry is whining about his personal problems. But stay with it, you will be rewarded with an exceptionally intense ending.” - Michael Shonk
  It’s an interesting warts ‘n’ all review. For the rest, clickety-click here
  Elsewhere, Tim Niland at Music and More has this to say:
“Burke writes very well, with a snarky and sardonic sense of humour, delving deep into the depths of noir that should make fans of Ken Bruen and Allan Guthrie happy. The complex and ever changing narrative is wrapped up nicely in the end and overall Burke does a fine job telling a compelling crime story.” - Tim Niland
  For more, clickety-click here. And if you’re of a mind to check out EIGHTBALL, herewith be the link

Wednesday, July 14, 2010

I Will Arise And Go Now, And Go To Innisfree …

J. Sydney Jones (right), author of REQUIEM IN VIENNA and THE EMPTY MIRROR, was kind enough to host an interview with yours truly over at his blog, Scene of the Crime. The gist of Sydney’s interviews concern themselves with settings, and how a particular setting influences a novel. I talked mostly about my home town, Sligo, the setting for EIGHTBALL BOOGIE and THE BIG EMPTY. To wit:
“Historically, Sligo town is a fascinating place. There are records of the ancient Greeks trading at Sligo port; Sligo Abbey was founded in 1252. It’s an old town, then, and the centre of the town reflects that: the streets are narrow, and there are plenty of interesting alleyways down which a man might wander who is not himself mean. The modern town incorporates many sprawling suburbs, some of which are more salubrious than others, which again makes for an interesting juxtaposition. In certain parts of Sligo, literally crossing the road can make the difference between real estate selling for €80,000 and €400,000. That in itself creates a certain tension.
  “There’s a saying in the West of Ireland that the Celtic Tiger never learned in swim, which is why it never crossed the Shannon into Connacht (said Tiger, presumably, being too dim to use one of the many bridges that cross the Shannon). Sligo was one of those towns that didn’t benefit hugely from the boom years, although it has transformed itself in the last decade or so. Today it’s a brash, progressive place – you can sip your café mocha on the remodelled riverfront with the best of them – but there is a sense that many of the changes are superficial, and you don’t have to go very far from the centre of town before you notice the shabby and threadbare corners, the boarded-up shop-fronts. All in all, I find it a fascinating place – but then, I’m biased. I love it.”
  Not that you’d know it from the excerpt Sydney posts from THE BIG EMPTY, a Harry Rigby private eye novel of mine currently out under consideration. To wit:
It was better out in the suburbs, and it was mostly all suburbs, but the town was a heart-attack of concrete and chrome. Old streets, high and narrow, arteries that had thickened and gnarled so the traffic trickled or didn’t move at all. The light a frozen glare shot with greens and reds, blinking pink neon, fluorescent blues. Boom-boom blasting from rolled-down windows, the deep bass pulsing out muscles of sound.
  On a bad night it took fifteen minutes to crawl the two hundred yards along Castle Street into Grafton Street. The mob shuffling out of the chippers wore hoodies over baggy denims, the dragging hems frayed. Night of the Living McDead. The girls in cropped tops over bulging bellies with hipster jeans showcasing cheese-cutter thongs. In case someone might think they weren’t wearing any underwear at all, maybe.
  I skipped O’Connell Street, heading east along John Street, turning north down Adelaide and then west at the new bridge onto Lynn’s Dock, a grapefruit moon hanging low above the quays. Finn playing The Northern Pikes, Place That’s Insane. On along Ballast Quay to the docks proper, a spit of land jutting out into the sea, maybe forty acres of crumbling warehouse facing open water. Behind the warehouses lay a marshy jungle of weeds. Once in a while there was talk of turning it into a nature preserve, a bird sanctuary, but no one ever did anything about it. The birds came and went anyway.
  Down at the breakwater the Port Authority building was nine stories of black concrete, a finger flipping the bird to the town. Sligo’s Ozymandias, our monument to hubris, built back in the ’60s when Lemass had all boats on a rising tide and the docks were buzzing, a North Atlantic entry point for Polish coal, Norwegian pine, Jamaican sugar, Australian wool. Oil tankers moored down at the deepwater. Russians slipped ashore and never went to sea again. The first African, a Nigerian, was a celebrity. They called him Paddy Dubh and he never had to pay when he bought a pint of stout.
  Then the ’70s slithered in. Crude oil went through the roof. The coal stopped coming, then the sugar. The channel silted up. Paddy had to buy his own stout. Things got so bad the Industrial Development Authority had to buy the PA building and then lease back two of the nine stories to the Port Authority. Even that was a farce, the IDA loaning the PA the money to pay the lease.
  Then the ’80s, a good decade to be a weed or a rat. Everyone forgot about the docks, or tried to …”
  For the interview in its entirety, clickety-click here ...

Sunday, May 2, 2010

Like Slaughterers To The Lamb

Googling yourself, like an on-line version of eavesdropping at the keyhole, can be a chastening experience, which is why I tend to keep it to the minimum. By the same token, Googling yourself can throw up some interesting snippets, such as Clair Lamb’s recent piece for Books and Authors, titled ‘Where Green Meets Red: The Golden Age of Irish Crime Writing’. Basically, it’s a list of the hottest contemporary Irish crime writers, and great was the excitement when I realised I’d come in third. Then I noticed the first two writers were Colin Bateman and Ken Bruen, and that the list was alphabetical. Oh well. To wit:
3) Declan Burke is a journalist and reviewer who has published two critically-acclaimed crime novels: Eightball Boogie (2004), which introduced Dublin PI Harry Rigby, and The Big O, a caper novel that drew comparisons with Carl Hiaasen and Elmore Leonard. The Big O, in particular, has great fun with the rampant greed and suspended rules of life during the Celtic Tiger years. In addition to writing his own books, Burke maintains a blog that is the single best online source of news about Irish crime fiction.
  The only appropriate response to that is, ‘Gee, shucks.’ For the rest of the Top Ten, clickety-click here
  Meanwhile, during my Google-esque perambulations, I also stumbled across this little chunk-a-love from the University of Minnesota:
Ireland may have a long and distinguished literary heritage, but in one major area, crime fiction, its contribution has been mysteriously lacking ... until recently. This course offers a snapshot of contemporary Irish crime fiction as a form practiced by serious writers, from the hard-boiled to the historical, from psychological thrillers to police procedurals. Discuss the development of Irish crime fiction, particularly the disparate social and cultural influences that have left their stamp on the genre. You will answer questions such as: What is it that makes these crime novels Irish? Is it the setting, the writer’s voice, or the characters? What part has Irish history played in the development of crime fiction, and how does placing a story in Ireland add layers of meaning to the events in each novel? In three monthly sessions structured like a book club, you will read in advance and be ready to discuss: (May 6) The Big O by Declan Burke, a fast-paced comic crime caper, described as “Elmore Leonard with a hard Irish edge”, and The Wrong Kind of Blood by Declan Hughes, about a private eye who comes back to Ireland to bury his mother; (May 27) The Ghosts of Belfast by Stuart Neville, in which an IRA assassin lives with the ghosts of all 12 people he’s murdered, and Borderlands by Brian McGilloway, a police procedural set in the border lands between Northern Ireland and the Republic; and (June 3) My Lady Judge by Cora Harrison, a historical mystery.
  Thank you kindly, U of M. This is very probably the only time in my life (adjusts monocle) that I’ll be described as a ‘serious writer’ …

Monday, July 27, 2009

Nobody Move, This Is A Review: THE BIG EMPTY by Declan Burke

God bless the interweb, I say, where a man can have a novel reviewed even though it’s never been published. Corey Wilde over at The Drowning Machine was kind enough to request a Word document of THE BIG EMPTY, a sequel to EIGHTBALL BOOGIE, when I mentioned in passing that I was planning to upload it to Kindle. As it happens, I decided while giving the story one final proof-through that I wouldn’t upload it to Kindle, that I’d release it into the wild to do some scavenging and see if it mightn't bring home any bacon. I’ll keep you posted, although I wouldn’t hold my breath if I were you …
  In the meantime, you’ve no idea of exactly how good life would be right now if Corey Wilde was CEO of World Publishing. To wit:
SYNOPSIS: Ex-con Harry Rigby drives a cab, mules a small amount of grass, and now and again he acts as father figure to his young nephew, Ben. An odd kind of a father figure, because Harry killed his brother, Ben’s father. That’s how Harry got to be a con in the first place. When Harry delivers some grass to an acquaintance named Finn Hamilton, he’s just in time to witness Finn’s nine-floor swan dive. Suddenly everyone wants something from Harry: the cops, Finn’s shyster lawyer and accompanying goon, Finn’s sexually combustible mama and his more-than-a-smidgen dysfunctional sister with the long claws. For Harry, keeping himself alive while trying to get his hands on Finn’s much sought after laptop and gun is one thing. Protecting the one person he loves most, that’s a whole different problem.

REVIEW: I miss having a photo of a book jacket to post at the top left of my review. That’s because there is no book jacket for THE BIG EMPTY. I’m sure the publishers put it down to the recession that they haven’t found a place for this sharply funny, jaggedly violent tale of a man walking a tightrope above a twisty canyon of family deceit and dirty money. Whatever the reason, recession or otherwise, it’s a shame. Declan Burke writes with a razor wit so fine that the reader feels the sting of a thousand cuts by the end of Harry’s journey ...
  Burke creates a palate of characters to root for or against, or even just to marvel at. The late Finn’s femme fatale mother is a devious creature whose literary ancestry hearkens back to female characters produced by Raymond Chandler and Tennessee Williams. Solicitor Gillick, Finn’s shyster, conjures up images of Orson Welles in ‘Touch of Evil.’ Ben is no cardboard child; he’s a breath of fresh air, being both as smart and aware as only a 10-year-old can be, and at the same time as naive as one would expect (or at least hope for) from a child his age; slightly rebellious but still more obedient than he will be at fifteen. He’s a kid you can love because he’s genuine, being neither a plaster saint nor the demon seed. And that’s true of Harry as well. The reader can believe in Harry as much for his failings as for his strengths. And when Harry has been pushed to his limits, when he finally is bent on payback, prefixing ‘Dirty’ to his name would not be a misnomer. He does some things I’ve myself wanted to do to a lawyer or two. And it doesn’t hurt that Harry cracks wiser than Philip Marlowe.
  The pace and tension ratchet up with every complication or obstacle Harry encounters. And the author wisely opted to give Harry enough native wit to parry and sort out the tightly knitted problems and mysteries rather than relying on chance or the one lone missing miracle clue that suddenly ties it all together. Life is not so neat as Jessica Fletcher would have her viewers believe. Some of the mysteries and puzzles may be solved by this story’s end, but no one’s life is ever going to be as it was, and some mysteries may never be solved. Beyond the wisecracking and the hot tempo, this book has a heart easily wounded. Harry Rigby is that heart. The reader, and Harry, are left in no doubt that where there are wounds, there will be scars.
  Can it really be recession that’s keeping a fast, witty work of crime fic like this off the bookstore shelves? Maybe. Maybe not. Maybe Harry Rigby, or someone like him, should have a little talk with the publishers. - Corey Wilde

Wednesday, June 17, 2009

Running On Empty

Last week I rather rashly posted up the opening snippet from my work-in-progress, aka THE BIG EMPTY, which is a sequel to my very first novel, EIGHTBALL BOOGIE. It features Harry Rigby, erstwhile ‘research consultant’ and now, after serving the best part of five years in prison for manslaughter, a taxi-driver (not pictured, right), on the basis that killing your own brother is a pretty good way of making yourself the least private eye in town. Anyway, I said last week I’d post up the rest of the first chapter of THE BIG EMPTY, so here goes.

1.

At the inquest they reckoned Finn punched down through the Audi’s boot from nine floors up. The boot concertina’d, puncturing the petrol tank. Shearing metal sparked.
  Ka-boom …
  The explosion blasted out the Audi’s windows. Mine too, front and back, jolting the cab off its front wheels. The airbag absorbed most of the flying glass but it punched me in the chest so hard it damn near broke ribs.
  My fault, of course. I wasn’t tensed up expecting a guy to plummet nine floors into an Audi’s petrol tank. I was just sitting there smoking and tapping the steering-wheel to ABC, When Smokey Sings. Wondering if it wasn’t too late to swing around by The Cellars for a late one, maybe a game of pool.
  Then, ka-boomski, I was semi-conscious, pain grating down my left side. Maybe I even blacked out. The heat got me moving, reaching around the deflating airbag to turn the key in the ignition, rolling the cab back until it was out of range. Then I squeezed out from behind the airbag and staggered to the Audi.
  The heat was fierce but I was still half-dazed, so I dived in and grabbed his ankles. One of his moccasins slipped off as he came free and at first I thought I’d ripped him in half. Then I thought he’d dropped a dwarf on the Audi. Strange the things you think about when you’re trying not to think at all.
  I dragged him away from the flames. That left a trail of blood and frying flesh stuck to the tarmac. The smell set my guts heaving, a sickly-sweet stench of burning pork. Then I realised why he seemed so short.
  The impact had driven his head and shoulders back up into his torso. If you looked closely enough, there was still some remnant of what had once been his neck. But the head had smashed like pulpy melon.
  I rang it in while globs of grey matter spat and shrivelled on the Audi’s glowing metalwork.


How it began was a balmy night, twenty past ten, the caller ID flashing Finn-Finn-Finn. I put down the book, turned on the radio to check his mood.
  Not good. Tindersticks, Tiny Tears.
  I picked up anyway. ‘How goes it?’
  ‘Not bad. You busy?’
  ‘Nope.’
  ‘How’s the weather?’
  ‘Balmy. You off on holidays?’
  ‘Hoping to.’
  ‘For how long?’
  ‘Three weeks if I can do it.’
  ‘You deserve it, man. See you later.’
  ‘Sweet.’
  I rang Herb.
  ‘Yello.’
  ‘Finn was on.’
  ‘What’s he looking?’
  ‘Same as last time.’
  ‘Alright. Give me ten minutes.’
  ‘It’ll be that by the time I get there. Put the kettle on.’
  I switched off the cab’s light and eased out of the rank, turning right onto Wine Street towards the Strandhill Road. At the lights Tiny Tears segued into Take Me Out, Franz Ferdinand. He followed that with The Jam, Town Called Malice. By then I was turning off Strandhill up into Larkhill and zapping Herb’s gate.
  Finn played good music but you had to be in the mood. Some nights he went off on a jag: Cohen, Drake, Walker, Waits. Santa Claus with a straight razor in his mitt, black dogs howling down the moon. Spend long enough driving a cab listening to Finn, you’ll wind up with a Mohawk cruising underage whores, trying to think of a politician it’d be worth the bullet to plug.


Herb was out back in the greenhouse, his mop of curly red hair just visible above staked rows of green. I ambled on down.
  He looked to be receiving communion: hands together, palms up, a jagged leaf trapped between his thumbs. I waited as he drew his palms up along the length of the leaf in a delicate operation: too much pressure and the leaf breaks off, not enough and the oil stays put. Herb could’ve done it on the back of a jet-ski.
  When the leaf slid away, he began rubbing the heels of his palms together. A long brown needle appeared.
  ‘Finn’s same again,’ he said.
  ‘What about it?’
  ‘That’s three bags, right?’
  ‘Yep.’
  ‘He got three last month too.’
  Herb didn’t do half-measures. Primo bud, 50-gram bags: sweet as Bambi going down, a kick like Thumper dreaming snares.
  ‘He has his guy down in the college,’ I said.
  ‘Except now it’s May and the students are gone home. Who’s he dealing to, the janitors?’
  ‘Want me to have a word?’
  ‘Don’t make like it’s a big deal. Just suss him out.’
  ‘Can do.’
  We headed up to the house. I made the coffee. Herb built a jay, just the single brown needle in a couple of skins. He never touched the grass he sold on. That came in from Galway to be cut with the oregano he grew in the greenhouse alongside the tomatoes, chilies, red and green peppers. In among the legit flora was Herb’s homegrown, a cross-pollination it had taken him two years to get just right. It’d been worth the wait. If you ever see a levitating rhino, you’re smoking Herb’s brew. Or the rhino is.
  He sprawled in his Ezy-Chair flipping channels, the sound down. ‘How’re the idiots?’ he said, handing the joint across.
  Herb didn’t get out a lot. It wasn’t a phobia, he just didn’t like people. Herb’s credo: always assume everyone’s an idiot.
  He’d been a photographer once, a good one, hooked up with an agency. We’d been a team freelancing local news and syndicating to the nationals. I did the hack work while Herb combined shutterbug with digging up background material on the web.
  Then Herb got his face stove in. Someone had told someone else that Herb had a photograph the someone else wanted. I was the someone who’d done the telling. Inadvertently, as it happened. Not that the who mattered. The bruisers were still walking around, free to stove at will. Herb stayed home, his complexion pasty, skin doughy. The way it can get when most of both jaws and one cheekbone are underpinned by steel plate.
  They’d wrecked his computers too, his dark room, everything worth anything. So Herb had the house torched, cashed in the insurance. Moved out to Larkhill, installed security gates, CC cameras. Invested in a little grass. Now he was a local player, freelance, paying subs to the Morans and clearing two or three grand a month.
  Chickenfeed, for some. And Herb could’ve been doing treble that, multiples, if he’d gotten into coke and E, maybe even smack. But Herb liked it steady, sure and under the radar. The way he saw it, no cop was busting his hump for Public Enemy No # 1,027.
  The cab was an idea I’d picked up inside. A front to get him onto the Revenue’s books and keep them sweet. So no one got the urge to pick up the phone and ring the Criminal Assets Bureau, wondering how no-income Herb could afford a four-bed on its own grounds out in the burbs. The little tax he did pay he claimed back in VAT, running expenses, all that, with the bonus of the cab being good cover for punting deals on to his regulars.
  ‘Had a guy in the back earlier on,’ I said. ‘He reckoned he could get me a gun.’
  ‘You ask him if he could get you a gun?’
  ‘Nope.’
  ‘Fucking idiot. By the way.’ He fumbled with his cell phone, tossed it across. He’d called up a text message: Herbie – cn u remind Hry he has Ben’s PARENT-TEACHER mting tmoro 2pm? Ta, Dee.
  ‘Shit,’ I said.
  ‘Will you make it?’
  ‘Have to. Dee reckons she has a stock-take on at work.’
  ‘So when are you supposed to sleep?’
  ‘My zeds wouldn’t be one of Dee’s priorities, Herb.’
  He shrugged and switched off the TV. Turned on the stereo, tuned it to Finn. Nick Drake, Black Dog. One of Finn’s favourites. We listened in silence. Herb cracked first.
  ‘I got some Motown in there,’ he said, pointing at his CD rack. ‘I want you to bring it down to the docks, tie that part-time fucking philanthropist to his chair and tell him he’s getting no more score until I hear Smokey.’
  ‘Will do.’ I nodded at the TV. ‘Anything good on later?’
  ‘You coming back?’
  ‘Might as well stay up after I knock off. Want me to grab a DVD?’
  ‘Something black-and-white,’ he said. ‘The kind where they crack wise and smoke a lot.’


I swung around by Blockbusters and picked up Duck Soup, Groucho on the cover tipping ash off his cigar. By then the orange light was showing, so I crossed town to the all-night station on Pearse Road, filled up.
  It was better out in the suburbs, and it was mostly all suburbs, but the town was a heart-attack of concrete and chrome. Old streets, high and narrow, arteries that had thickened and gnarled so the traffic trickled or didn’t move at all. The light a frozen glare shot with greens and reds, blinking pink neon, fluorescent blues. Boom-boom blasting from rolled-down windows, the deep bass pulsing out muscles of sound.
  On a bad night it took fifteen minutes to crawl the two hundred yards along Castle Street into Grafton Street. The mob shuffling out of the chippers wore hoodies over baggy denims, the dragging hems frayed. Night of the Living McDead. The girls in cropped tops over bulging bellies with hipster jeans showcasing cheese-cutter thongs. In case someone might think they weren’t wearing any underwear at all, maybe.
  I skipped O’Connell Street, heading east along John Street, turning north down Adelaide and then west at the new bridge onto Lynn’s Dock, a grapefruit moon hanging low above the quays. Finn playing The Northern Pikes, Place That’s Insane. On along Ballast Quay to the docks proper, a spit of land jutting out into the sea, maybe forty acres of crumbling warehouse facing open water. Behind the warehouses lay a marshy jungle of weeds. Once in a while there was talk of turning it into a nature preserve, a bird sanctuary, but no one ever did anything about it. The birds came and went anyway.
  Down at the breakwater the Port Authority building was nine stories of black concrete, a finger flipping the bird to the town. Sligo’s Ozymandias, our monument to hubris, built back in the ’60s when Lemass had all boats on a rising tide and the docks were buzzing, a North Atlantic entry point for Polish coal, Norwegian pine, Jamaican sugar, Australian wool. Oil tankers moored down at the deepwater. Russians slipped ashore and never went to sea again. The first African, a Nigerian, was a celebrity. They called him Paddy Dubh and he never had to pay when he bought a pint of stout.
  Then the ’70s slithered in. Crude oil went through the roof. The coal stopped coming, then the sugar. The channel silted up. Paddy had to buy his own stout. Things got so bad the Industrial Development Authority had to buy the PA building and then lease back two of the nine stories to the Port Authority. Even that was a farce, the IDA loaning the PA the money to pay the lease.
  Then the ’80s, a good decade to be a weed or a rat. Everyone forgot about the docks, or tried to.
  Bob Hamilton came in like the cavalry. He’d pretty much dry-lined every last square inch of Thatcher’s London, and when they finally kicked out the Iron Lady, Big Bob took that as his cue. Came home in ’91, sniffed the wind. Liquidated every last asset of Hamilton Holdings and diversified into Irish real estate. Joined the Rotary Club, the Tennis Club and damn near every other club in town bar the Tuesday night chess in the Trades. Turned up on the board of the local IDA about four months before he bought up sixteen acres of docklands, which included the PA building and not a lot of anything else.
  A rumour went around that Big Bob was insider trading: investment on its way, a port rejuvenation, Bob all set to make a killing. No one believed it. Not the bit about insider trading; no one gave a Jap’s crap about that. It was the one about investment that got the lines all a-chortle over at the brew.
  The investment never did arrive, although there was a killing of sorts three years later when Bob’s brand new Beamer wound up in the deepwater late one January evening, Bob still at the wheel. Finn told me the official verdict was death by misadventure but the inquest failed to offer a satisfactory reason as to why the Beamer’s windows might have been open down at the deepwater late one January evening.
  There were few lights still working down at the docks. The quays lay open, no guard rail, the sheer drop interrupted only by rusting containers, trailers of mouldy timber, piles of abandoned scrap metal. I tooled along the quays in second gear, the tarmac pot-holed and cracked, verges crumbling. If you squinted, the road looked like a Curly Wurly. High weeds lined both sides of the road, clumping in the bricked-up doorways of the warehouses. The day had been hot and it was still warm, the acrid hum of melting tar thickening the air.
  I turned into the PA’s yard and saw a sleek maroon Saab gleaming under the single bare light over the door. Finn’s pirate station was a one-man show and DJs playing Leonard Cohen don’t get groupies since John Peel passed on, bless his cotton socks, so I crossed the yard in a wide arc and eased in behind Finn’s battered black Audi, parking tight to the wall.
  The Saab flashed me. I waited. Nothing else happened, so I got out and locked the car, strolled around to the PA’s door.
  The driver got out of the Saab and put a hand up, palm out. ‘Far enough, pal.’
  ‘How far wouldn’t be enough?’
  ‘Just about there.’
  He was built like an upside-down cello. A straight jab to the chin would need to set up base camp on his sternum before making its final assault. Out back a short ponytail compensated for the balding on top. He wore a white shirt, a thin black tie. Through the Saab’s open door I could see a black peaked cap on the passenger seat, its peak shiny patent leather.
  I pulled up six inches shy of where I guessed his swing would land. ‘I’m expected,’ I said.
  ‘Not by me you’re not.’
  ‘True.’
  The trouble there is, if one guy gets to thinking he can tell you what you can do, it’s only a matter of time before the rest start feeling the same. Then you’re on the skids. And I was already on the skids.
  ‘I’m going up,’ I said.
  ‘Fine by me, pal. Just not yet.’
  I craned my neck to glance straight up at the ninth floor, the window’s yellow glow. ‘He makes you wear a hat?’ I said.
  That didn’t work him at all. ‘You know what I like?’ he said. ‘Cars, threads and quim. This way, I get paid to drive and wear good suits.’
  ‘Two out of three ain’t bad.’
  ‘I make out.’ He up-jutted his chin. ‘Finn’s expecting you?’
  ‘Yep.’
  He looked meaningfully at the cab. ‘Something wrong with his Audi?’
  ‘Other than it’s not a Porsche?’
  ‘Too fucking right. Jimmy,’ he said then, by way of introduction.
  ‘Rigby.’
  He leaned in, sniffed the air, making a point of it, letting me know he’d marked my cards. ‘Stay useful, Rigby.’
  ‘I’ll try.’

  © Declan Burke, 2009

Tuesday, October 21, 2008

No Man Left Behind: O Rigby, Where Art Thou?

I was rummaging around in the back of the drawer the other night when I came across the old EIGHTBALL BOOGIE reviews I’d clipped out and kept. EIGHTBALL was my first serious attempt at a novel, a PI story set in Sligo in the northwest of Ireland featuring the ‘research consultant’ Harry Rigby. I thought the concept was hilarious, and I’d already written a goodly chunk of the second draft before my flatmate came home one day with a copy of THE GUARDS and said, “Hey, have you heard of this Ken Bruen guy?”
  Buggery.
  Anyhoos, Lilliput published the novel a couple of years later, in 2003. I was pretty green at the time, so when they said, “We’ll take care of the publicity, you don’t worry about it,” I took them at their word. When the reviews started coming in, I reckoned I was maybe onto something, to wit:
“I have seen the future of Irish crime fiction and it’s called Declan Burke.” – Ken Bruen

“Consummately slick … the characters just crazed enough, the plot just about crazy too … Burke drops neither ball nor pace through one of the sharpest, wittiest books I’ve read for ages.” – Sunday Independent

“There’s a lot of smart and snappy dialogue and a reasonably preposterous plot that moves as fast as a speeding bullet. Declan Burke is a definite find.” – Irish Independent

“Burke has balanced tragic and comic by dreaming up the most insensitive smart-ass he could, and letting him loose in a very fast-paced plot. The writing is splendid and gives new meaning to the term razor-sharp fiction.” – Irish Examiner

“Burke writes a staccato prose that ideally suits his purpose, and his narrative booms along as attention grippingly as a Harley Davidson with the silence missing. Downbeat but exhilarating.” – Irish Times

“Rigby resembles the gin-soaked love child of Rosalind Russell and William Powell ... a wild ride worth taking.” – Booklist

“A manic, edgy tone that owes much to Elmore Leonard … could be the start of something big.” – The Sunday Times

“Eight Ball Boogie proves to be that rare commodity, a first novel that reads as if it were penned by a writer in mid-career ... (it) marks the arrival of a new master of suspense on the literary scene.” – Mystery Scene

“Declan Burke has written a wonderful book … fast-paced and filled with wonderful characters through out, a PI story that moves forward like freight train.” – Crime Spree Magazine

“It was a vintage year, too, for new Irish talent. Watch out for EIGHTBALL BOOGIE by Declan Burke, a pacy, picaresque thriller.” – ‘Books of the Year’, Irish Independent, 2003
  EIGHTBALL BOOGIE was also long-listed for the Sunday Independent / Hughes & Hughes Irish Novel of the Year in the Crime Fiction section, alongside Ken Bruen, Ingrid Black and Michael Collins, and was subsequently published in Holland and France, but Lilliput declined to publish the follow-up, which was another Rigby story. Only by then I’d ploughed on and written a third in the series.
  Buggery.
  I miss Harry Rigby sometimes. For all his faults and failings, or perhaps because of them, he’s the most autobiographical character I’ve ever written. Maybe some day I’ll get around to visiting him again, see how he’s doing. The last I heard, he’d been gypped by a friend, who set him up as a patsy and then lit out for Crete at the end of THE BIG EMPTY.
  Hey, maybe Rigby’s out in Crete now, looking for his erstwhile buddy. Y’think I could get a (koff) research grant to go see how he’s getting on?
  Finally, here’s Declan Burke circa 2003 (right). That shock of carefully tousled hair, the burgeoning lamb-chop sideburns, the statement of serious intent that is the black polo-neck … Beautiful, eh?
Declan Burke has published a number of novels, the most recent of which is ABSOLUTE ZERO COOL. As a journalist and critic, he writes and broadcasts on books and film for a variety of media outlets, including the Irish Times, RTE, the Irish Examiner and the Sunday Independent. He has an unfortunate habit of speaking about himself in the third person. All views expressed here are his own and are very likely to be contrary.