Sunday, August 31, 2008

Those About To Write The Shop-And-Fuck Novel, We Salute You

Yours truly had a piece in the Sunday Independent yesterday about the current explosion in Irish crime fiction, the idea being to promote next weekend’s Books 2008 Irish crime writing series. Here’s one reason:
Perversely, the influence of chick lit can’t be discounted as a factor in the emergence of crime fiction. The shop-and-fuck novels might be criticised for skating along the surface of the Celtic Tiger, and charting the new Irish obsession with vacant consumerism, but their best-selling status gave a huge boost to genre fiction in a country that has traditionally been more concerned with literary issues. Where chick lit celebrated the gaudy delights of the Celtic Tiger, crime fiction proposes to penetrate to its dark heart, which is likely to get a lot darker now that the recession has kicked in and that big fat pie starts to shrink.
  In the interests of openness, transparency and plagiarism accusations, I should say that I ripped that off from a quote John Connolly gave me for another article I’ve written on the same subject for the Evening Herald, which will appear later this week. Turning a buck writing about Irish crime fiction – who’d a thunk it, eh?

Not Quite As Smart As The Average Bear

I mentioned during the week that I’d be chairing a discussion in the Spoken Word tent at the Electric Picnic. Easy money, right? Not only would I get to share a stage with writers of the quality of Julie Parsons (right), Declan Hughes and Brian McGilloway, we’d be spraffing about Irish crime fiction. How could it possibly go wrong? Well, it’s like this …
  The fatal boo-boo Julie, Declan and Brian made was allowing the Yogi Bear-style Grand Viz drive from Dublin down to the picinick at Stradbally. Generally a reliable sort behind the wheel, the Grand Viz somehow managed to miss the motorway turn-off for the Electric Picnic and get us all lost somewhere in Kildare. With time ticking away, many and desperate were the calls made to the gig organiser, the unflappable Cormac Kinsella. Happily, the radio-waves were thick with the phrases, ‘Not a problem’, ‘It’ll be grand’, and ‘No bother’.
  Anyhoos, we finally stumbled on-stage about 15 minutes late, only to discover there were three mikes for the four of us. Undeterred, we ploughed on, and the trio kicked off with superb readings – Julie from I SAW YOU, Declan from THE DYING BREED, and Brian from BORDERLANDS (he’d planned to read from his latest novel, GALLOWS LANE, but with typical generosity had given his copy away earlier in the day).
  Then the discussion began, just at the point when a guy decided to have a baby on the stage next door. Amazingly, and despite the unique attraction in the vicinity, the Spoken Word tent filled up, and the audience were – given our tardy arrival and the horrific screams wafting in from next door to drown out practically every word said – surprisingly generous, loud and warm in their applause.
  It’s a glamorous lark and no mistake, this writing life.
  Every cloud has its silver lining, though, and after the gig a glamorous blonde stepped forward from the audience to say that she’d found the discussion fascinating, and that she’d really enjoyed it. What was nice about that, apart from the glamorous blonde bit, was that she just so happens to be the lady I’ve been dealing with at the Arts Council, which august body may or may not be funding a project currently under consideration.
  Said project is – clumsy working title alert! – ‘a history of Irish crime fiction’, to be written by Irish crime writers such as John Connolly, Declan Hughes, Ruth Dudley Edwards, Colin Bateman, et al, each writing a chapter according to their own speciality, with yours truly, Adrian McKinty and Gerard Brennan sharing the editing duties. It’s still but a twinkle in our collective eye, but there’s a lot of enthusiasm and potential synergy out there, so here’s hoping it’ll get off the ground. Stay tuned for further details …
  Next weekend it’s the Books 2008 Irish crime writing series, but right now it’s Sunday morning and the Princess Lilyput’s big day (right). Thanks to everyone who left comments on the Bell’s palsy post yesterday, by the way … If the events of yesterday didn’t explode it into a full-blown stroke, nothing will. Peace, out.

Saturday, August 30, 2008

For Whom The Bell’s Palsy Tolls

It’s been a busy-busy-busy week for your genial host (right), folks, what with everyday life cranking up a couple of notches, the Electric Picnic gig to prepare for, and Princess Lilyput’s christening to come on Sunday, so apologies for the go-slow on ye olde blogging in the last few days. I’ve also been feeling exhausted, which I put down to the frantic schedule and burning the candle at both ends, but it appears there’s a more sinister reason.
  For lo! I toddled along to the doctor yesterday complaining that my devastating blend of windswept, rugged handsomeness and winsome boyish charm were being undermined a tad by the fact that, during the week, I’d developed a smile akin to that of The Joker. The diagnosis? Bell’s Palsy.
  Now, I don’t know about you, but the word ‘palsy’ gives me the shivering fits. According to the Doc, it’s a relatively common condition caused by the inflammation of a facial nerve, which results in semi-paralysis of the facial muscles. It’s an ‘idiopathic’ condition, meaning that they have no idea why it flares up, and it’s generally a temporary one, providing you diagnose and treat it early enough. So that’s me on a course of steroids for the next week or so, and I’ll probably have to get some physiotherapy on the affected muscles too.
  Bummer, huh? Still, at least it’s not a mini-stroke, which was my first reaction when I caught myself yawning in the mirror. And I’m in good company. Ever wonder where George Clooney’s cute sloppy smile comes from? Yep, it’s Bell’s Palsy. Now all I have to do is get myself properly handsome, steal some talent, become a multi-millionaire and squire half the world’s starlets around the planet, and George and I can hang out on set swapping ‘palsy pals’ gags while the Coen Brothers rush about trying to make THE BIG O as good as George and I deserve.
  It’s only a matter of time, people. You have been warned …

Thursday, August 28, 2008

The Embiggened O: Where The Hell Is Lord Lucan When You Really Need Him?

Three cheers, two stools and a resounding huzzah for the PR folk at Harcourt Houghton Mifflin, who have been beavering away behind the scenes jazzing up THE BIG O’s Amazon.com page. Apart from the unseemly blight of the Publishers Weekly review, which is the only negative review THE BIG O has received in the 18 months since its first publication, and that on the basis that it’s not up to Elmore Leonard’s standard (!), the page now features quotes from Kirkus Reviews (starred), Crime Spree magazine, Jason Starr and John Connolly. Which is nice.
  The real bonus, though, is that they’ve also uploaded the first few chapters for your perusal. Which means, given that the chapters are dialogue-heavy and average out at about two pages each, that you could have read the first three chapters in the time it took you to read this load of muck. Anyhoos, the link is here if you’re so inclined, and any and all feedback will be gratefully received …
  Meanwhile, with just under a month to go to the official publication date, I’m wondering if this isn’t as good as it gets. The book is pristine, HHM have created a wonderful cover with which I am well pleased, the advance reviews have been fantastic (PW notwithstanding), and the generosity of various media outlets across the interweb offering promotion opportunities has been well-nigh staggering. In fact, I’m wondering if I shouldn’t just go ahead and pull a Lord Lucan and bow out while everything is still going so well. Any pithy words of advice, o sage and all-knowing readership?

Wednesday, August 27, 2008

Let’s Get Physical

The three most exciting things to happen around Chez Grand Viz this year are, in order of importance, the arrival of the Princess Lilyput, the publication of THE BIG O Stateside, and this. The Higgs’ Boson vid I stole from Pushed To One Side, a blog that really should have a jib for us all to admire the cut of. Physics is where it’s at, people. Peace, out.

A Funny Thing Didn’t Happen On The Way To The Theatre Last Night …

Off to The Gate for Pinter’s No Man’s Land last night, where I had the very good fortune to find myself sitting beside Barry McGovern (right, realising who he is sitting beside), the finest Beckett actor of his generation and arguably the finest Beckett actor ever. I told him that I had seen him in Romeo and Juliet at The Abbey a few months ago, when he stepped in at the last minute to play Friar Laurence, and did so whilst carrying the book of the play as if it were some holy relic he’d been entrusted with to defend with his life. “I hope that that didn’t spoil it for you,” says he. “Not at all,” says I, “it only gave it an added frisson.”
  Frisson! What I should have said was, “Not at all, sir, it would have been a privilege to be in the same theatre as you even if you were sweeping out the stalls.”
  But I didn’t. When the play was over, Michael Gambon hushed the applause to announce that Harold Pinter himself was in the audience, which provoked a standing ovation. I didn’t get to speak to Pinter, of course, but that’s just as well, because the conversation would probably have gone something like this:
DB: “Alright, Squire? How’re they hanging?”
HP: “…”
DB: “I’ll get my cloak.”
  Ah, the theatre. The roar of greasepaint, the smell of the crowd, etc.

Tuesday, August 26, 2008

Andrew Nugent: Soul Brother

Our favourite crime-writing monk is back-back-back, folks. Andrew Nugent’s SOUL MURDER hits a shelf near you on October 2nd, with the blurb elves wittering thusly:
A riveting crime novel by Irish Benedictine Monk Andrew Nugent, which explores the terrible darkness in our souls. When a house master is found dead at a leading boys’ boarding school in Ireland, Superintendent Denis Lennon and Sergeant Molly Power of the Irish Police Force struggle to uncover any probable motive for this brutal killing. Perhaps it was a bungled kidnapping attempt? Or a revenge attack? Or simple robbery but with extreme malice? But when the existence of a letter from an old boy is discovered, their investigation becomes much more complicated. Something very sinister has provoked this violent bloodshed and, with so much at stake, will the killer stop at one murder?
  Our guess is no. SOUL MURDER is Nugent’s third offering, with the general gist of the verdict on THE FOUR COURTS MURDER and SECOND BURIAL running thusly:
‘An erudite, witty and altogether delightful debut, full of characters laced with eccentricity and Irish charm’ – Kirkus Reviews (starred)

‘It would take an iron will not to find oneself swept along by the pace at which the story is told’ – The Irish Times

‘Excellent ... Nugent deploys all the intellect and linguistic brilliance required of his former profession, coupled with the deep humour, understanding and genuine interest in his fellow human beings essential to his vocation’ – The Guardian
  Come on, admit it – aren’t you just the teensiest bit intrigued as to how a Benedictine monk would go about writing crime fiction?

Monday, August 25, 2008

Mad About The Boyne

I bumped into yon John Boyne this morning. He was in terrifically good form, which was unsurprising given that was standing in the foyer of the cinema which had just preview screened the movie of THE BOY IN THE STRIPED PYJAMAS, with the added bonus that the movie is a smashing version of the book. I personally prefer his most recent novel MUTINY ON THE BOUNTY to THE BOY IN THE STRIPED PYJAMAS, but the movie really cuts to the heart of what made the latter a multi-million selling phenomenon.
  David Thewlis turns in an excellent performance as the epitome of the banality of evil in his role as a concentration camp commandant, and the father of Bruno, the flawed hero of the piece who meets the strange boy in the striped pyjamas who lives on a farm behind barbed wire. It’s young Jack Scanlon as Shmuel who steals the show, however – with his rotten teeth, shaven head and potato-shaped skull, the emaciated little boy is a heartbreaker, and Scanlon’s naturalistic performance is the stand-out.
  Fans of the novel will be pleased to hear that the downbeat ending has not been altered so as not to offend the sensibilities of the mainstream movie audience, but while the finale makes perfect sense in terms of the story’s narrative arc, I still have my reservations about the direction of its emotional thrust, and would have preferred to see the emphasis placed on Shmuel rather than Bruno. Not that I told John Boyne that, of course, mainly because to change the emphasis would make a farce of the narrative arc that had gone before. And it would have been rude.
  Anyhoos, the official word from Chez Grand Viz is that John Boyne is a charming and surprisingly understated bloke for a multi-million selling author, and I’d be surprised if the movie of THE BOY IN THE STRIPED PYJAMAS didn’t sell another multi-million of the novel. While you’re in the bookshop? Buy MUTINY ON THE BOUNTY too. You won’t be disappointed.

Four Readings And A Christening

It’s a busy time at Chez Grand Viz, folks. Princess Lilyput (right) will be christened this coming Sunday, and has insisted her minions rush about “just, like, doing stuff” between now and then, and loath we are to disobey. We’re looking forward to it, though. I remain unconvinced about the religious / spiritual aspect of the ceremony, but I’m loving the idea of officially introducing the little girl to our extended families, our friends and the community at large. A manly tear may well be shed …
  Before we get to Sunday, however, there’s Saturday’s Electric Picnic gig to be negotiated, during which yours truly will be chairing a panel on Irish crime fiction in the company of Declan Hughes, Julie Parsons and Brian McGilloway. I’ll be doing a follow-up post in the aftermath, so if there’s any questions you ever wanted to ask of any of the trio, now would be a good time to let me know.
  The weekend after that is the crime writing series as part of the Books 2008 festival, where I’ll be participating on two panels in the company of John Connolly, Dec Hughes, Tana French, Gene Kerrigan, Ruth Dudley Edwards, Brian McGilloway, Arlene Hunt, and sundry other ne’er-do-wells from the Irish crime writing scene. It should be a blast, not least because blogger non pareil Peter Rozovsky is travelling to Ireland to take a gander at the Irish crime writer in its native habitat, and may even consent to partake in a ceremonial dry sherry to mark the occasion.
  Once the dust settles on that particular Donnybrook, there’s a two-week run-in to the official publication of THE BIG O in North America, during which I’ll be typing my delicate little fingers down to stumps in a bid to secure as much coverage for our humble tome as is humanly possible. Any and all offers of even a single atom of publicity oxygen will be very gratefully received. Your reward will be in Heaven. Peace, out.

Sunday, August 24, 2008

The Best Things In Life Are Free … Books

Michael Joseph / Penguin are the metaphorical Magwitch-style benefactors of this week’s giveaway comp, and they’re offering you – yes, YOU! – the chance to win one of three copies of Kevin Lewis’ latest novel, FALLEN ANGEL. First, the blurb elves:
DI Stacey Collins has seen the darker side of humanity all too often. A single mum and former child from the grim Blenheim estate, she knows only too well what terrors the world can hold. But even her jaded eyes have never witnessed a crime of such unspeakable horror. A body, broken and lifeless, is found in the gloom of a London church. Kidnapped and horrifically murdered, young Daniel Wright never knew his tormentor. And it is only the beginning. Soon Collins finds herself both haunted by the demons of her past and battling in the name of innocence itself. Some angels never find their path to heaven ...
  So there you have it. To be in with a chance of winning a copy of FALLEN ANGEL, just answer the following question.
Is the best movie ever made with ‘angel’ in the title:
(a) Angels With Dirty Faces;
(b) Angel Heart;
(c) Der Blaue Engel;
(d) Tupac Shakur: Thug Angel;
(e) The Angel, The Bicycle and The Chinaman’s Finger?
  Answers via the comment box, please, leaving a contact email address (using (at) rather than @ to confuse the spam-munchkins), by noon on Tuesday, August 26th. Et bon chance, mes amis

Saturday, August 23, 2008

Nobody Move, This Is A Review: Jar City

I caught a preview of Jar City yesterday, an Icelandic thriller based on Arnaldur Indridason’s novel of the same name. I haven’t read the novel, so I can’t judge how closely or otherwise the filmmakers based their story on the source material, but I’d be very surprised if Indridason’s fans were disappointed. I loved it.
  It’s a gritty, bleak story set against a barren and blasted backdrop, in which the investigation of a murder unravels a complex web of corruption, blackmail and unsolved killings. It’s a multi-layered piece, in which themes are gently teased out as a number of stories run parallel to one another, most of them centring on the character of Detective Erlendur, played by a laconic Ingvar Eggert Sigurðsson. Father-daughter relationships play a prominent part, and provide the obvious emotional engagement for the audience, but there’s quite a lot happening here that is more subtly achieved. Not least is the use of natural light – or the artifice that persuades us that natural light is used – to give the impression the entire country is smothered with gloomy foreboding.
  Bergsteinn Björgúlfsson’s camerawork is superb, and Iceland – or the parts of it used here – looks achingly beautiful. The cast is uniformly good, with Sigurðsson outstanding, and the director, Baltasar Kormákur, maintains a pleasingly downbeat tone right up the very end, when things unfortunately turn disappointingly formulaic. Nevertheless, this is for the most part a terrific crime thriller, and a wonderful advertisement for Icelandic cinema.

Friday, August 22, 2008

The Embiggened O: Bringing It All Back Home

Yep, it’s a Red Letter Day, folks. One month exactly to the day when THE BIG O hits the shelves of North America, September 22nd, a box full of gorgeous hardbacks arrived at Chez Big Viz, to the delight of large and Lilliputian. In fact, so excited was Lilyput that she lost the run of herself entirely and tried to bite a chunk out of the cover’s corner. You don’t make that mistake twice …
  Anyhoos, it’s here, and suddenly the whole deal seems that bit more real. Actually, it feels a bit surreal. As if the world has taken a step closer to yours truly, or I to it. Everything seems to be in sharper focus. I suppose it’s the adrenaline buzz, but I feel like a kid on Christmas Eve.
  Harcourt – or Houghton Mifflin Harcourt, to give it its full name – have done a wonderful job on the book. I was very happy indeed with the Hag’s Head version, but I’m equally happy this one too. Kudos there to jacket designer Kelly Eismann …
  North America is a big, big place, of course, and I’m under no illusions as to how hard THE BIG O will have to work if it’s to make even the slightest impact on its release. But that’s the easiest kind of hard work I’ll ever do. I’ve worked in bars and on building sites, pumped petrol in all weathers, and worked every half-assed job you can think of. Knuckling down to promote your second-favourite baby is child’s play by comparison, and just as enjoyable.
  Speaking of which … If anyone out there is getting along to next weekend’s Electric Picnic in Stradbally, Co. Laois, I’ll be chairing a discussion on Irish crime fiction with a panel that includes Declan Hughes, Julie Parsons and Brian McGilloway. That happens at 4.30pm in the Spoken Word tent, and if it’s hammering down rain, as it is very likely to be in this wettest of Irish summers, you’ll be warm and cosy listening to us droning on. Hell, you can even bring your iPods so long as you don’t turn ’em up too loud …

Bruen Up A Storm

God bless The Rap Sheet, which does all the heavy lifting by interrogating Reed Farrel Coleman (Jim Winter on thumbscrew duties) and discovering that he has a new novel coming out next year called TOWER, a collaboration with (dum-dum-DUM!) Sir Kenneth of Bruen. That makes it, by my reckoning, at least four novels Ken Bruen was writing at some point in the last twelve months – TOWER, ONCE WERE COPS, SANCTUARY and THE MAX, his latest Hard Case Crime collab with Jason Starr.
  Meanwhile, Brandon Books are issuing AMERICAN SKIN in hardback on this side of the pond, with the very handsome tome hitting a shelf near you on September 9th. Paula Murphy of the Mater Dei Institute of Education at Dublin University is on the case, with an extended essay entitled ‘Ken Bruen’s AMERICAN SKIN and Postmodern Media Culture’, which kicks off thusly:
Analyzing Ken Bruen’s novel AMERICAN SKIN, this essay argues that his crime novel illustrates the necessary tension of postmodern identity in the Western world; a tension between individual national and cultural identities and the universalizing force of globalization. The novel is set in Ireland and America and has characters from each country. However, rather than resolve the tension between native and acquired identities that the novel sets up, Bruen chooses to set his novel in the larger socio-cultural scene of the globalized, postmodern world. Consequently, the novel uproots identity from its national context and situates it in the heterogeneous flux of postmodern culture …
  For lots more in a similar vein, jump on over here

Wednesday, August 20, 2008

A Past That Was Never True

As mentioned earlier in the week, Brian McGilloway (right) is blogging over at Moments in Crime to support the publication of BORDERLANDS in the U.S., and maybe he should think about blogging on a more regular basis. To wit:
“I set out to write a non-Troubles book, because I didn’t want that to be the only thing that Ireland (and especially the North) is known for. I realise that it is still there, in our past, and it would be the elephant in the corner if it didn’t feature in our fiction. But I think too many people suffered for us as writers to use that history in a lazy or manipulative way, for entertainment or titillation or a romanticized version of a past that was never true.”
  Well said, that man. Meanwhile, Brian’s also chipping in at the Macmillan New Writers blog with his teacher’s hat (mortarboard?) on:
“Over the past few years I’ve managed to include THE MOONSTONE, ORANGES FROM SPAIN, Ian Rankin’s A GOOD HANGING, THE OUTSIDERS and THE GODFATHER into my classes, alongside THE GREAT GATSBY and HAMLET, which are two of my favourite texts from my own days at school. This year I’ll be teaching DRACULA amongst other things to one of my classes … I suppose what I’m wondering is, if you could choose one book that isn’t ordinarily taught in school to be added to the curriculum, what would it be and why? And furthermore, are there any books you’d like to see removed from school reading lists? Personally, I could happily survive a few terms without Thomas Hardy…”
  Methinks every teenager should read THE CATCHER IN THE RYE, THE SUMMER OF ’42, and THE LORD OF THE FLIES.

Shssssh, It’s Paul Charles

Brandon Books get in touch to let us know that Paul Charles has a new novel hitting the shelves on September 9th, THE BEAUTIFUL SOUND OF SILENCE. Charles’ previous offering THE DUST OF DEATH was a break with his DI Christy Kennedy series, and was set in Donegal, but Charles is back on his old stomping ground of London’s Camden Town again for the ninth Kennedy mystery, with the blurb elves wibbling thusly:
In the ninth DI Christy Kennedy mystery, Kennedy investigates the murder of a colleague whose ‘the ends justify the means’ work ethic created numerous enemies. An annual Halloween Bonfire goes horribly wrong when a body is spotted in the middle of the fire’s glowing timbers. Identifiable only through his dental records, the victim is retired police Superintendent David Peters, an ex-colleague of DI Christy Kennedy. As Kennedy and his team settle down to a painstaking search through Peters’ cases, they soon discover that for the superintendent the means justified the end in solving them, and each case they review throws up another suspect …
  So why should you care about Paul Charles? “A writer who treads in the classic footsteps of Morse and Maigret,” says The Guardian. “This series deserves recognition on a par with those of Inspectors Jury, Morse and Tennyson,” says Publishers Weekly. “Paul Charles is one of the hidden treasures of British crime fiction,” says John Connolly.
  Wouldn’t it ironic if THE BEAUTIFUL SOUND OF SILENCE was the one to get the mainstream press beating the drums for Paul Charles? No? Okay then.

Tuesday, August 19, 2008

Around The Web In 80 Seconds*

Crumbs! There’s nothing like eBay to give you a sense of perspective. An ARC of THE BIG O just went over there for $3, which is a long, long way from the heady heights of the $195.36 it was selling for on Amazon not so long ago. Talk about a credit crunch …
  Anyhoos, on with the more interesting stuff. Over at The Blog of Revelations, Peter Murphy reports that David Simon will be in Dublin on September 19 for a special screening of The Wire, which will be followed by a public interview. Jump on this for all the details
  Brian McGilloway’s BORDERLANDS hits the U.S. shelves this week, and Brian’s blogging his heart out over at Moments in Crime all week, with today’s instalment concerning itself with why he picked up the quill in the first place. To wit:
“It was as a fan of these series that, four or five years ago, I had a strong sense that many of them were nearing an end: Rebus was reaching retirement; Morse had died; Robicheaux thought he was taking a heart attack in LAST CAR TO ELYSIAN FIELDS. I decided that, in case these series should stop, I would need a new book to read, featuring that sense of place and central character linked. And so I wrote BORDERLANDS …”
  Which is nice. Meanwhile, over at the Book Witch’s impossibly glamorous lair, the Witch is talking up Oisín McGann’s SMALL-MINDED GIANTS, which Eoin Colfer recommended to her. Quoth la Witch:
“The cover of SMALL-MINDED GIANTS says this is a book for older readers, and there may be some truth in this. It’s a violent story, in a way, and the future looks bleak. Oisín has written a thriller with lots of action, and none of the clever gadgets or the backup that Alex Rider enjoys.”
  If it’s good enough for Eoin Colfer and the Witch, it’s good enough for us. Finally, Sam Millar gets in touch to let us all know that BLOODSTORM has reached American shores, complete with a funky new cover, and that the early reviews have been very positive indeed. First our good friends at Publishers Weekly:
“BLOODSTORM is the first in a powerful new crime series from Irish author Millar. Extremely original, it is a chillingly gripping book, and the consistently tough prose should help gain Millar more fans in the U.S. with a taste for the hard-boiled.”
  Nice. And then there’s the folk at Booklist:
“Irish crime writer, Sam Millar (THE REDEMPTION FACTORY) is back with a brand new anti-hero, Karl Kane … crime noir doesn’t get much darker or grittier than this shocking tale of corruption and revenge …”
  Nicer still. We’ve said it before and we’ll say it again – it’s always Millar time at Crime Always Pays.

* Providing you don’t click any of the links, of course

Sunday, August 17, 2008

Tied Up With A Black Velvet Brand

By email, yesterday:
I see that John Banville [right] is on the Books 2008 program under his Benjamin Black name, but still not part of the crime fiction program. Don’t worry, I’m sticking with the crime fiction part, but that was nonetheless interesting to see. A snipe on Banville’s part at the genre that he has condescended to join?”
  Erm, probably. Although a straw-poll among the contributing Irish crime writers as to whether Black’s novels would render him worthy of inclusion might produce some interesting results. On the basis of THE LEMUR, I’d say yes.
  Meanwhile, if anyone can offer a phrase about crime fiction they’re heard more often in 2008 than, “That’s not surprising, since Benjamin Black is really John Banville, the Irish writer who won the 2005 Man Booker Prize …” (© Canada.com), we’d love to hear it.
  Do you think if Rob Smith wins the Booker he’ll adopt a pseudonym for writing literary fiction?

The Time Of Gifts That Keeps On Giving

I watched a BBC 4 documentary on Patrick Leigh Fermor (right) last week, which was terrific stuff, as it covered his writing and personal lives in equal measure. One of the best travel writers of his generation, if not the best, Fermor is best known for the first two parts of a proposed trilogy, A TIME OF GIFTS and BETWEEN THE WOODS AND THE WATER, in which he recounts his experiences of walking from England to the Balkans in the late 1930s. He’s still adamant that the third part of the trilogy is on its way, although the fact that he’s 94 and contemplating a major rewrite on the book does not augur well.
  The documentary, incidentally, didn’t mention his superb books on Greece, MANI: TRAVELS IN THE SOUTHERN PELOPONNESE and ROUMELI: TRAVELS IN NORTHERN GREECE. It did spend some time on his audacious coup during WWII, when Fermor led a commando group that parachuted onto Crete to kidnap the German general in charge of the Cretan occupation. ILL MET BY MOONLIGHT, an account of the raid, was written by Fermor’s second-in-command, Captain Billy Moss, and the story was later made into a movie starring Dirk Bogarde as Fermor.
  Fermor is still revered today in Crete as an honorary Cretan, particularly among the mountainous regions, and accolades don’t come much higher than that.
  Fermor is a writer with rare descriptive powers, so it was nice that the documentary featured old footage of the author reading aloud from his work. But here’s the rub – I’m willing to make an exception for Patrick Leigh Fermor, on the basis that he is an exceptional human being and his writing is strongly autobiographical.
  In general, though, I haven’t the faintest interest in hearing authors real aloud from their books, and especially works of fiction. I just don’t get the appeal. And it’s irrelevant as to whether the authors are great showmen and entertainers (Declan Hughes and John Connolly spring to mind), or whether they’re crap at public speaking (c.f. yours truly). The whole point of writing fiction, after all, is to create a voice, or voices, which the reader then brings to life in his or her own mind. Is it not?
  Right now I’m reading Cormac McCarthy’s CITIES OF THE PLAIN. I’d hate to hear McCarthy read aloud from it and discover that he sounds like Truman Capote. I’d never be able to read his novels again.

Friday, August 15, 2008

The Blog Of Revelations

Peter Murphy is a name I think you’ll be hearing a lot of in 2009. His debut novel, JOHN THE REVELATOR, will be published by Faber and Faber in February, but you can get on the bandwagon early by jumping over to his Blog of Revelations, where he’s currently wibbling about the arrival of Richard Price’s LUSH LIFE at the Revelatorium and linking to an interview he conducted with Price for Hot Press back in 2003, which is terrific stuff. Meanwhile, here’s one we prepared earlier

Lest We Forget


On the 10th anniversary of the Omagh bombing, today’s Irish Times’ editorial asks a stark question. To wit:
The revulsion that followed Omagh had within it an element of shame. Why did it take the obscenity of Omagh to create a genuine, shared sense that such vile deeds are utterly beyond the Pale? And given the effect that the reaction to Omagh had on terrorism in Ireland, what might have happened had we reacted earlier?
Excuse me? ‘We’? With due and heartfelt respect to the families of the Omagh dead, I haven’t the slightest intention of taking even one iota of responsibility for the actions of the sadly deluded killers on all sides during the 30 years of the Northern Ireland ‘Troubles’. I never planted a bomb, I never wanted a bomb planted, and I never cheered when a bomb went off. Peace, out.

Read Read And Weep

Our good friend David Thompson of the Busted Flush Press drops by with yet another suggested blog-post, to wit:
“Have you read Cornelia Read’s ‘Hungry Enough’ from A HELL OF A WOMAN? It happens to be one of my favourites of the collection, and it was just nominated for a Shamus Award! I’ve attached the pdf of the story, and you’re welcome to post it on your blog for everyone to read. :-)”
  Man, but I’m a sucker for those smiley faces …
Hungry Enough
“I absolutely adore driving drunk,” said Kay. “It’s so damn easy.”
The top was down on her little two-seater Mercedes—one of those burnished days, after a week of rain.
  She surprised me by careening right onto Hollywood Boulevard, off Cherokee.
  “Darling girl,” I protested, “the Cahuenga Building went that-a-way. I’m an hour late as it is.”
  The wind was ruining our hair.
  She plucked a strand of platinum from her lipstick. “One tiny stop, Julia. I have a few things for you at the house.”
  Kay’d offered me birthday lunch at Chasen’s, her treat. I held out for Musso and Frank’s so I had the option of walking back to work.
  “You gave me your solemn oath,” I said. “Only reason I agreed to that fifth martini.”
  “Wouldn’t you rather arrive sober than punctual?”
  “I need this job, Kay.”
  “You need a husband, Julia,” she said. “You’re twenty-five years old.”
  “I seem to recall having already suffered through this lecture. Somewhere between cocktails three and four.”
  “Honey,” she said, “it’s practically 1960 and you’re dying on the goddamn vine.”
“I happen to like the vine. Marvelous view. Fee fi fo fum, et cetera, et cetera . . .”
  “Three years in Los Angeles, and what do you have to show for it?”
  I had one ingénue turn on Perry Mason and a succession of glossy headshots to show for it, as Kay knew perfectly well. She, meanwhile, had a rich producer husband.
  “Another Greyhound bus pulls into this town every five minutes,” she continued, “packed to the gills with fresh-faced little mantraps—”
  “—I cannot believe you’re willing to be seen driving this tacky thing,” I said. “Powder blue with white upholstery?”
  “Says she who takes dictation from the man in a powder blue suit,” said Kay. “Promise me you’re not sleeping with him. He wears socks with clocks on them, for chrissakes.”
  “Promise me this color scheme wasn’t your idea.”
  “Of course not. I found it in the driveway last week, complete with jaunty bow over the hood. Another little kiss-and-make-up incentive from Kenneth.”
Kenneth, her rich producer husband, snared last year at a Sunday brunch swim party in Bel-Air. He’d been sunning himself on a raft in the water’s shallow end. Kay sauntered up in a bathing suit and heels, crooked one finger, and said, “Hey you, out of the pool.”
Tuesday morning, his third wife chartered a plane to Reno.
  I caught her eye in the rear-view mirror. “Darling, this car practically shouts divorcée—”
  “—A girl can dream, can’t she?”
  “For chrissake, Kay-Kay,” I said, “If you’re that unhappy, why not leave him?”
  “Because I finally have some leverage, Julia, now that I’ve seen what that plate glass is for.”
  This was an inch-thick slab suspended above their bed on golden cables. Kay had recently discovered her husband lying beneath the transparent platform while baby-oiled young blond men wrestled one another atop it. Defecation earned them bigger tips at the end of the night.
  “Did I tell you,” she said, “that he actually thought I’d go down on him while those appalling creatures moiled around in their own filth?”
  “Whereupon you told him he was out of his ever-loving mind and stalked out of the room,” I replied, leaving out the part about how she showed up at my place that night with a bottle of Seconal, already half-consumed.
  She turned to flash me a grin, then held up her wrist to flash something blue-white, flawless, and far more enduring. “Look what arrived with my breakfast tray, just this morning.”
  “Harry Winston?”
  “Cartier,” she said. “He’s learning.”
  She hauled the wheel left again, shooting us down a palm-tree-lined boulevard.
  I shrugged. “So you’ll put up with it. You’re one of the wives now.”
  “This year,” she said.
  I rolled my eyes. “And whose job it is to swab down the sheet of glass, afterwards?”
  “Search me,” she said, “but I hope to hell it’s that little shit Carstairs.”
  Carstairs was Kenneth’s secretary—a snippy little man who was still quite blond, possibly British, and ten years past earning his keep unclothed. He and Kay loathed one another.
  Trying to get him fired was her primary form of entertainment, after shopping.
  We pulled up to a stoplight. The man in the Cadillac next to us wrenched his neck, getting an eyeful of Kay.
  She ignored him with intent, one sly finger twisting the pearls at her neck. “I’m not ever going to be goddamn famous, now, am I?”
  “’Course you won’t,” I said. “Fame is reserved for those freshfaced little man-traps who can’t go home on the Greyhound.”
  “I’m better looking.”
  “Fairest one of all,” I said. “But you aren’t hungry enough. You never were.”
  “And you’re too goddamn smart.”
  “Have to be,” I said. “I’m a goddamn brunette.”
  “Mere lack of will. Doesn’t mean a life sentence.”
“I prefer that collar and cuffs match, thanks ever so.”
  She stomped on the brakes and swerved right, bringing the car’s powder-blue nose to a halt six inches shy of her driveway’s cast-iron gates.
  A uniformed flunky sprinted forth to swing them wide. Kay checked her makeup in the side mirror, ignoring the man’s salute.
  She punched the gas before he was quite out of the way, spraying his shins with gravel.
  I looked back and waved, mouthing a belated “thank you.”
  “I’m serious about your future,” said Kay. “Had we but known at Barnard you’d end up mooning over some cut-rate detective—”
  “—or that you’d end up playing beard for the man you married?”
  She laughed at that, rich golden peals that trailed behind us till the end of her curving drive.
  “What a monstrous pile it is,” Kay said, cutting her eyes at the Deco-Moorish façade she lived behind.
  She walked away from the Mercedes without bothering to close her door. Someone would take care of it. Someone always did.
  “I’ve got to call my service,” she said, as we walked inside, our heels clicking against marble and echoing back from the domed entry ceiling.
  “Why the hell do you have a service?”
  “Because Carstairs manages to lose every message intended for me.”
  She peeled off her white gloves, tossing them in the general direction of a gilt-slathered side table. I kept mine on.
  “I can’t stay all afternoon, Kay.”
  “Go upstairs to my dressing room,” she said. “I’ve laid out some things for you to try on.”
  “I don’t need your clothes.”
  “I spent the morning with that little woman at Bullock’s, picking out a few ‘delightful frocks’ for delivery here in your size. Allow me that one small pleasure.”
  “And if I should happen to come upon Kenneth, ogling something untoward above your marital bed?”
  “Tiptoe past without making a fuss. I’ll throw in a fur”
  “For chrissake, Kay.”
  “And solemnly swear you won’t have to kiss my ass for a week.”
  “Make it two.”
  “Greedy guts,” she said, as I started up the stairs.
  As it turned out, her husband couldn’t have ogled anything at all.
  There wasn’t much left of his face, after the slab of glass had swung down to catch him under the chin.
  The pair of golden cables at its footboard-end had given out.
  The closer one lay curled along the carpet at my feet. Three of its four strands had been neatly sliced, the last left to fray until it snapped.
  Kenneth wouldn’t have seen it coming, nor would his pack of wrestling boys.   There were four sockets in the ceiling, little brass-lined portholes cut into the plaster. Two were now empty.
  The cables had been severed up in the attic, out of sight.
  I lifted the phone on Kay’s side of the bed, pressed the second line’s unlit button, and dialed GLEnview 7537.
  There was a click before my employer picked up on the third ring, grumbling.
  “Philip?” I said. “I know I should have been back hours ago—”
  “—This is why I never wanted a secretary,” he cut in. “Too much damn trouble.”
  “It gets worse. I’d like to take you up on your offer of a birthday gift, after all.”
  “A little late to have something engraved.”
  “I’m with Kay. We need your help with a bit of a situation.”
  He took down her address when I explained what that situation was.
  “Twenty minutes,” he said. “Promise me you won’t touch anything.”
  “I’m wearing gloves,” I said.
  “That’s my girl.”
  Philip rang off, but I kept the receiver to my ear.
  “Don’t hang up just yet, Carstairs,” I said. “Have Kay wait for me on the terrace. Fix her a drink so she’ll stay put.”
  He exhaled.
  I knew he hadn’t yet called the police. The scent of ammonia was still too heavy in the room.
  “After that,” I said, “Come back up here with fresh rags. You missed a spot on the glass.”
  Philip walked into the library an hour later. I’d sent him upstairs alone.
  “Happy birthday,” he said, “though I’ll hold off on wishing you any returns of the day.”
  The room was all Gothic walnut, excised whole from some down-at-heel peer’s estate—the dozen muddy portraits of faithful dogs and dead grouse included.
  Carstairs made sure there was always a fire in the grate, air conditioning calibrated to offset its heat as needed.
  “Nasty little scene to stumble across, upstairs,” said Philip.
  “Horrible,” I said.
  “Has it hit you yet?” he asked.
  I shook my head.
  He took my hand in both of his. Pressed it a bit too hard.
  “It will,” he said, “and I want you sitting down when it does.”
  He glanced over at Kay, stretched out asleep on a leather sofa.
  “Your friend seems to be bearing up rather well.”
  “I made her take a Seconal.”
  “Only one?”
  “We had gin for lunch.”
  I let him pull me toward the fireplace.
  “You’re shaking.” He put an arm around my waist, lowered me gently into a wing chair, then sat in its mate a few feet away.
  “The boys are gone?” I asked.
  “Carstairs handled it. He’s had some practice.”
  “And you’re sure they won’t say anything?
  “Would you, Julia?”
  I looked at the fire. “Of course not.”
  He nodded. “I’ve told him to phone Kay’s doctor. Then the police. Then her lawyer.”
  My hands got jittery in my lap. “Philip, she didn’t do this.”
  “I’m happy to believe that,” he said. “You may have a bit more trouble convincing the detectives.”
  My gloves felt wet.
  He looked at his watch. “Tell them that the pair of you came by the office before she brought you here. That was a little after two. I gave you the rest of the afternoon off.”
  “A little after two,” I said. “What time did we get here?”
  “You don’t know. You called me the moment you found him, of course. I told you to let me handle it from there.”
  “Kenneth keeps some decent Scotch in that desk, if you’d like.”
  He shook his head. “Tell me how long you’ve known about the state of Kay’s marriage.”
  “A month. Something like that.”
  “And how long had she known, before confiding in you?”
  “Less than an hour. She drove straight to my apartment that night.”
  He thought about that. “Four weeks ago, Sunday?”
  “I suppose it was.”
  “You called in sick the next day.”
  “I apologize for that, Philip.”
  “No need,” he said.
  “We were up all night.” I looked to make sure Kay was still asleep. “She had a miscarriage.”
  “How far along?”
  “Not very. She hadn’t told Kenneth yet.”
  “Did she want the baby?”
  “Even after she walked in on him,” I said. “Maybe more.”
  “She thought it would help?”
  “Women so often do, don’t they?”
  “I’m happy to report I have no personal experience in that arena.”
  “Lucky you,” I said.
  He rose from his chair and walked behind it. “What do you really think—was it Kay, or was it Carstairs?”
  “I’ve already told you what I really think.”
  “So you have,” he said.
  “For God’s sake, Philip, can you imagine Kay with a hacksaw?”
  “I can’t imagine Kay filing her own nails.”
  “And she’s been with me since morning.”
  “I doubt it was done today,” he said. “Could have been any time over the last month.”
  “All the more reason it had to be Carstairs, then.”
  “Not sure I’m following your logic.”
  “Philip, Kay sleeps in that bed—”
  “—Still? You’re sure about that?”
  “I am,” I said. “Yes.”
  “Any proof other than your say-so that she hadn’t set up camp down the hall?” he asked. “Under the circumstances, one might presume she’d have wanted to ix-nay the arbor of connubial bliss with a stout ten-foot pole. Can’t imagine they’re short of alternate quarters, given the size of this place.”
  “Kay takes breakfast in bed every morning. Dry toast, black coffee, and half a grapefruit—broiled. I’m sure someone on staff could verify finding her there.”
  “Even so,” he said, “those last strands looked strong enough to hold, as long as nobody put extra weight on the glass.”
  “But what if they hadn’t been strong enough, despite appearances to the contrary? Philip, there’s no way she could have been certain. The glass might’ve just as easily killed Kay and Kenneth both, while they slept.”
  “I suppose so.”
  He crossed his arms and leaned on the top of his chair, looking at the fire.
  “Kay would have done it this morning, if at all,” I said. “You know I’m right.”
  “And you’ll tell the police she’s been with you since breakfast? Helping out at the office?”
  “She was at Bullock’s,” I said, “choosing dresses for me.”
  “Which left Kenneth free to pursue outside interests for several hours. Safe to say he had Carstairs make the arrangements, without help from the rest of staff. Boys delivered quietly at the service entrance, shuttled upstairs with none the wiser?”
  “Carstairs must have brought the things from Bullock’s upstairs himself,” I said. “He wouldn’t have let anyone else through to Kay’s dressing room.”
  “Ducks in a row for Kay, then,” said Philip. “Unless this was an elaborate suicide, Carstairs takes the rap.”
  It all hit me then—the bulldozed pulp of Kenneth’s face and everything else, straight through to that moment.
  I thought I would be sick, right there on the rug.
  Philip wandered over to Kay, still asleep on the sofa.
  “We’ll make sure the police get a good look at her hands,” he said. “Not a mark on them, and severing that cable must have been a bear.”
  He turned back toward me.
  I peeled off my gloves and raised both hands, turning them slowly for his inspection, front to back.
  Philip tried not to look relieved.
  “I’ll bring Carstairs in here,” he said. “Make sure he’s trussed up and ready to go.”
  He was wrong, of course. The cables had been a cinch to cut, four weeks ago Monday.
  I’d chipped the polish on one fingernail, but the second fresh coat of red had been dry a good hour before Kay woke up, back in my apartment.
  She’d have done the same to keep me from harm: without question, without hesitation and without my knowledge. Kay is my oldest friend, as I am hers. We take care not to burden each other with the onus of gratitude.
  Conscience now clear in that regard, I turned from the fire to watch her sleep—my hands still, my nausea at bay.
  Philip paused in the doorway, one foot across the threshold.
  We both heard the siren in the distance.
  “Wouldn’t hurt the appearance of things if you cried a little,” he said, not looking back. “Plenty of time before they get all the way up the drive.”

© Cornelia Read 2008

A HELL OF A WOMAN is published by the Busted Flush Press

Thursday, August 14, 2008

The Best Things In Life Are Free … Books

This week it’s the turn of Hachette Books Ireland to come up with the goodies and they’re offering three copies of Tana French’s THE LIKENESS for free, gratis and nuffink. First, the blurb elves:
Detective Cassie Maddox is still trying to deal with the events of IN THE WOODS. She is out of the Murder Squad and has started a relationship with fellow detective Sam O’Neill but is too badly shaken to commit to Sam or to her career. Then Sam is allocated a new case, that of a young woman stabbed to death just outside Dublin. He calls Cassie to the murder scene and she finds the victim is strangely familiar. In fact, she is Cassie’s double. Not only that, but her ID says she is Lexie Madison, the identity Cassie used years ago as an undercover detective. With no leads, no suspects and no clues, Cassie’s old undercover boss spots the opportunity of a lifetime: to send Cassie undercover in the dead girl’s place. She could pick up information the police would never hear and tempt the killer to finish the job. So Cassie moves into Whitethorn House, poses as a post-grad student, and prepares to enter Lexie’s world.
  Ooooh, spooky. To be in with a chance of winning a copy, just answer the following question.
Is Tana French as cute as:
(a) a button;
(b) a particularly cute button;
(c) a fox;
(d) a fox made out of particularly cute buttons?
  Answers via the comment box, please, leaving a contact email address (using ‘at’ rather than @ to confound the spam-munchkins), before noon on Tuesday, August 19. Et bon chance, mes amis

On Crime Fiction And Respectability

When an author references another writer’s novel twice in one book, it’s fair to presume that he or she is drawing attention and inviting comparisons. In THE KILLING CIRCLE, Andrew Pyper twice refers to THE MAGUS, the John Fowles novel which blends a number of genre staples, among them the thriller, the war novel, the supernatural and quasi-scientific propositions.
  Asked at an advanced age what he would change if he could live his life over again, Kingsley Amis thought for a moment and said, “Well, I wouldn’t read THE MAGUS.” I love it, although I know a lot of people hate it. But the point about THE MAGUS is that it’s a literary novel that has a hell of a lot of fun with mashing up genres.
  THE KILLING CIRCLE also blends genres, most obviously those of crime and horror, although, given that its narrator is an aspiring author who lacks the imagination to create a unique story, it’s also intended as a serious meditation on the writing process. In that context, the references to THE MAGUS are presumably intended as reminders to the reader that Andrew Pyper is engaged in a literary activity, despite the genre staples.
  Which brings me to a comment Adrian McKinty – yep, him again – left on a post further down the page, vis-à-vis the consecration of crime fiction as ‘interesting and important’. To wit:
“One thing though about Banville, Rushdie, Chabon etc. writing crime novels is that they would never have ventured into the territory in the first place had not the zeitgeist begun to see crime books not as disposable pulp fiction but actually as interesting and important. When the Library of America started bringing out Chandler, Hammett, Cain and Highsmith in annotated quality hardbacks, it was a sign that the critical community had embraced those writers and no longer despised them. The rising tide began to float the boats of the whole genre.”
  Writing about the inclusion of Rob Smith’s CHILD 44 on the Booker Prize long-list for the LA Times recently, Sarah Weinman made a similar point:
“And yet, if CHILD 44 -- a serial killer novel that takes place in the last years of Stalin’s Russia -- appears at first glance to be a brash upstart, a closer look suggests that its inclusion might not be so unlikely after all. Indeed, this is the most recent example of the blurring of the line between crime fiction and literature, which raises hope that the so-called genre wars are lurching toward, if not an end, then at least a tentative cease-fire.”
  Yes, yes – but is this actually a good thing? Crime writing has always had stylists as fine as anything the literary world can offer, if only the reader has eyes to see, but the idea that respectability is about to be conferred on the genre seems somehow grotesque, and not least because the respectability is to be conferred by the literary types.
  I write crime fiction, but I’m not a crime fiction nut. As I’ve said elsewhere, crime fiction only accounts for about a quarter of my reading, or maybe as much as a third. I read for all kinds of reasons, although mainly because I’d probably go blind if I didn’t. I can read Salman Rushdie and John McFetridge, say, as I did earlier this year, and be equally impressed by both.
  But when I read crime fiction, I read it for the adrenaline buzz of knowing that it is getting under the skin of the world we live in, broaching taboos and creeping down the dark alleyways that we’d prefer weren’t so dark, or there at all, and doing it with an authenticity and immediacy that makes it utterly believable, even if I’d rather it wasn’t true. And as far as I’m concerned, respectability is far more likely to blunt that edge than hone it. To mangle Groucho Marx, I don’t want to be in any club that’d have me.
  Every writer should aspire to be as good as Rushdie, Chandler, Highsmith and Fowles. But that’s not the same thing as aspiring to write a Booker Prize nominee, or to write a novel worthy of the approval of the self-anointed adjudicators of quality.
  I hope for Rob Smith’s sake that he wins the Booker Prize. But I hope for crime fiction’s sake that he doesn’t.

Wednesday, August 13, 2008

Nobody Move, This Is A Review: EIGHT-BALL BOOGIE by Declan Burke

It’s not often I get reviews in a foreign language, mainly because my books haven’t been translated into many foreign languages, but Yvon at Eireann, a blog dedicated to books of Irish and Brittany, has done EIGHT-BALL BOOGIE proud. To wit:

EIGHTBALL BOOGIE / Declan BURKE.
Note: 4.5 / 5

Punchball & skeet-shooting!


This is the first work of this Irish author to be translated into French, and the first which I have read, but in any case this book proves the good health of the Irish detective novel.
  The action takes place in a city of North-West Ireland, a city which wants to be modern; it attracts money and envy. The end of the year and its celebrations are approaching, but for some, Christmas will not be a distribution of gifts, but of beatings and problems of all kinds.
  Right from the first page, we are in the thick of things. It is five in the morning; in her plush house along the coast, Mrs Imelda Sheridan is stabbed to death! Harry, freelance journalist, investigates this death, because the husband of the deceased is a very well-known politician and a deputy of the district. As a representative of a small party, his voice can constantly change the course of certain things. In addition, Harry is charged by Dave Conway, a local businessman, to keep a watch on his wife because he has doubts about her faithfulness.
  To further complicate his life, Denise, the ex-wife of Harry, tells him that Gonzo, his brother who disappeared four years ago, is back in town. On top of all those problems, the investigation led by Harry seems to disturb, but who are the people upset? The men who beat him up do not usually leave their cards on the scene! Even the local police is interested in the visit of Conway to Harry’s office.
  In spite of this busy timetable, Harry finds time to remember his life and the importance of his brother in this life. As orphans, they were dragged around homes and religious institutions, closing ranks in the face of adversity, but the activities of Gonzo became increasingly erratic, destroying most of the affection Harry had for his brother before his sudden disappearance! And now Gonzo is back, unavoidably trailing behind him a stream of problems.
  Harry Rigby, whose official title is ‘research consultant’, is once again an anti-hero in the crime fiction world (which is besides more appealing). Injured by life, living an unhappy childhood, loving a woman he cannot marry anymore, he starts all over again – with another woman who does not love him. His job doesn’t make him richer in money or in spirit, and as icing on the cake, he has a brother who is a source of problems since his childhood. Gonzo, the youngest of the Rigby brothers, comes back suddenly after four years without keeping in touch. An ambiguous but normal situation settles in between the two brothers, with a mix of familial love and profound hatred. But one night takes a tragic turn as booze goes down quite well and Harry is going to finally discover why his brother disappeared during all these years. His ex-wife Denise, who only feels contempt for him, and his son Ben play the part of his family, at least what remains of it. As for Tony Sheridan, he is the classic example of a politician, ready for anything to have power, even if it means to be mixed up in some illegal tricks. Not to forget Joe Baluba, a colourful character who is also unfortunately pathetic because he has been injured by life.
He is going to help Harry, without reservation.
  Many supporting characters make this book very alive. As in any good detective novel (and this one is excellent), you can find a woman, preferably very beautiful, and in this one, you have two of them: Helen Conway, unfaithful wife (is she really?) and Katie Donnelly, independent journalist, who was doing a report on Imelda Sheridan at the time of her murder. An associated buddy of Harry, who is a computer specialist but is also addicted to drugs, and a bar owner who is a childhood friend, complete the
gallery of portraits, along with the ‘Laurel and Hardy’ of the city police force.
  Being a traditional detective novel, it is nevertheless very modern. The disillusioned and realistic author contemplates present-day Ireland and seems to say “Here is what this country became!”. And everything is looked over, from real estate speculation which transforms a traditional city into a urban nightmare to traffics of all kinds, traffics of influence and drugs, with opportunistic politicians passing briskly from one side to the other. Police officers are anything but representatives of law and order, except if it is their own law they represent. And in addition to the peace of mind of the decent people, the local speciality, which consists in paramilitaries of all sides, replaced the worship of heroes by the one of heroin! To spice all that, sprinkle one pinch of blackmail and some sex and you have a very good novel. Not to forget a sense of humour as black as a slowly poured Guinness.
  It is a bitter report of a world where facility, money and power reign supreme and there is something even more terrifying with synthetic drugs and the lucrative industry they created blending with well-established networks mixing avid businessmen and politicians.

  Many thanks to Joelle at Bibliodudolmen for providing the translation.

“Ya Wanna Do It Here Or Down The Station, Punk?”: Kevin Lewis

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
THE LADY IN THE LAKE by Raymond Chandler and TIGER IN THE SMOKE by Margery Allingham.
What fictional character would you most like to have been?
It’s not crime but definitely Indiana Jones.
Who do you read for guilty pleasures?
Viz.
Most satisfying writing moment?
Finishing my first crime novel, KAITLYN.
The best Irish crime novel is …?
THE KILLING OF THE TINKERS by Ken Bruen.
What Irish crime novel would make a great movie?
THE KILLING OF THE TINKERS.
Worst / best thing about being a writer?
Worst – the loneliness. Best – Seeing my work in book form ready for the readers.
The pitch for your next book is …?
I wanted to keep writing about what I know best – the sprawling and nasty urban estates, the crime and brutality of the gangs and the harsher realities of London life. My new novel, FALLEN ANGEL is the first novel in a new series featuring DI Stacey Collins – a single mum in her 30s, and a gritty hard-nosed detective in the Metropolitan Police.
Who are you reading right now?
A FAREWELL TO ARMS by Ernest Hemingway.
God appears and says you can only write OR read. Which would it be?
Write, because then I can read what I’ve written.
The three best words to describe your own writing are …?
Fast. Paced. Thrillers.

Kevin Lewis’ FALLEN ANGEL is published by Penguin Books

Tuesday, August 12, 2008

Yep, It’s Another ‘Dear Genre’ Letter

I got in touch with Adrian McKinty (right) earlier in the week, asking, for the purposes of a newspaper feature, why he believes there’s such an explosion in Irish crime fiction right now. Being McKinty, he answered the question asked, and then followed it up with a mini-essay on why crime fiction whups every other genre’s metaphorical ass. To wit:

Why is crime fiction so much more interesting than romance, horror, sci-fi and increasingly literary fiction? Here’s my attempt at an answer:

Romance
“When I used to work at Barnes and Noble I was punished for minor infractions of the corporate code by being put on the romance fiction information desk. This is a genre written by women of a certain age for women of a certain age. Most of the books resemble that second division musical Brigadoon: dodgy accents, dodgy historicism, dodgy plots. Once you meet the central characters in a romance novel you know how the book is going to finish. A long tease, a few obstacles, happy (or increasingly) unhappy ending.
  “Romance novels are often written by people who don’t understand that what makes Jane Austen good is her story arcs. There are some romanciers who relish wit and ironic humour but these, alas, are the exceptions rather than the rule – you can usually tell the ironic ones by their brilliantly outlandish covers. (Chick-lit is a sub genre of romance novel, with more sex and worse jokes.)

Horror
“I have never read a horror novel because I don’t like to be scared and also because of their daunting size. I’ve seen cinder blocks with less heft than most horror fiction texts. I’ve read some of Stephen King’s non-horror books, though. Apparently he wrote a lot of them while drunk in the early mornings. I hope that’s the case. I remember one sentence that had more clauses than a Kris Kringle convention.

Sci-Fi
“Clarke, Asimov, Heinlein. When I was about 12 I read everything these guys wrote. Asimov alone published 400 books, so that’s no mean feat. Early science fiction wasn’t interested in multi-dimensional characters or exacting prose. The idea was everything. Nothing wrong with that, but sixty years later, pretty much all the ideas have been used or recycled. JG Ballard, Ursula Le Guin, Philip K. Dick and to some extent William Gibson tried to take science fiction on an inward journey but their path has not been followed by the majority of the genre’s novelists. Space opera, time travel, the future and exoticism still dominate. Character, psychology and prose are not as relevant as the hook, the central premise, the pitch. Sci-Fi today leaves me uninvolved and largely unmoved, but I’d be happy to renew my love if anyone has any suggestions.
  “A sub genre of sci-fi is fantasy. I’m not going to dwell on those books. I grew out of fantasy when I was 13 or 14. The best in the field seems to be Stephen Donaldson, who I worshipped as a kid. My students rave about Robert Jordan and maybe he’s good, I don’t know. If you like that sort of thing good ’elf to ya.

Literary Fiction
“Yeah, don’t get all snooty, you’re a genre too. Lit-fic’s problems are social and philosophical. First the social: there’s a clubby atmosphere in the New York and London literary worlds that pushes depressingly unreadable novels down our throats. Lit-fic people review each other a lot and they all seem to have gone to the same schools, live together in Islington or Brooklyn Heights, and have the same upper-class vaguely lefty view point and tax bracket. They’re all basically nice middle-class white people (although they occasionally let in a dishy foreigner) writing / whingeing about the problems of nice middle class white people.
  Philosophically, literary types are ill at ease. The conventional novel is too dull for them but Joyce already did everything you could with the form, so what can they do? Their books try too hard, shouting “Look at me!” instead of focusing on what the reader wants: good stories and good characters. Their prose is a distillation of what Cyril Connolly called the ‘mandarin style,’: either rip off Henry James or rip off Evelyn Waugh. For me Salman Rushdie, David Mitchell, David Park, Ronan Bennett and Zadie Smith are exceptions to this sweeping and probably completely incorrect generalisation. In the U.S., Cormac McCarthy has kept his distance from Brooklyn and that’s why he’s the best writer in country (after Kansas-dwelling James Ellroy).

Crime Fiction
“So what makes crime fiction so great? Its diversity for one thing. If Peter Rozovsky’s website Detective Beyond Borders is to be believed, every country in the world seems to have a flourishing crime fiction genre. Do you want Icelandic private eyes? We’ve got ’em. Are you after American wheelchair-bound lesbian detectives? We can do that too. Even within the regions crime writing can be your guide. The thinly populated west of Ireland for example: Want to know about Sligo? Declan Burke’s your man. A few miles down the coast to Galway and you’re in Ken Bruen country.
  But it’s not just the diversity; I think something bigger is going on as well. Nineteenth century Russia, Elizabethan London, Periclean Athens – all produced exemplars of high art because the artists had to work within the boundaries of harsh censorship. Drawing inside the box allowed authors to become more creative and more interesting. Obviously repressive censorship is bad too, but greater freedom doesn’t necessarily lead to greater artistic triumphs. In today’s London, New York, Paris etc., you can say whatever you like but little of it is worth listening to. Crime writers work within certain conventions and are allowed to be social commentators, psychological explorers and innovators as long as they stick to the basic rules of the crime or mystery story. The box helps the writer and the reader. You’re not going to get many crime novels that forget that plot is important or that characters have to be real and that dialogue has to sound authentic.
  “Crime writers don’t worry about the views of literary London or New York, they don’t feel they have to conform to any house style or clichéd way of rebellion. Crime fiction cuts at the edge of prose, story telling and character. It is the genre for exploring contemporary mores and, I think, the best literary mode for understanding our crazy mixed up world.
  “So, to sum up: like the young Cassius Clay, crime fiction is the prettiest, nimblest and deftest of the Olympians, easily overpowering the lumbering horror and sci-fi athletes, dodging that lady with the romance handbag, and knocking cold that weepy young fogey from Kensington whose father never told him he loved him. Except nobody’s father told them they loved them. Get over it mate, stop gurning and go read THE COLD SIX THOUSAND instead.” – Adrian McKinty
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.