Sunday, September 22, 2013

BOOKS TO DIE FOR: The Awards

I’m delighted to announce that BOOKS TO DIE FOR (ed. John Connolly and Declan Burke, with Assistant Editor Clair Lamb) has won both the Anthony Award and the Macavity Award for Best Crime Non-Fiction at Bouchercon 2013. I’m particularly pleased for the 120 contributors, all of whom fully engaged with the spirit of the book, the essence of which is a celebration of all the great crime and mystery novels and writers. In its conception and its execution, BTDF was very much a labour of love (all authors are, first and foremost, readers), and it’s very nice indeed to see that spirit reflected in the Macavity and Anthony awards (and also the Agatha award, which BTDF won earlier this year).
  All told, it’s been a very good weekend, and not only for BOOKS TO DIE FOR’s editors and contributors, but also for the good people at Hodder & Stoughton (UK) and Atria (US) who put their collective shoulders to the wheel on behalf of the book. It’s always been my experience that the international crime fiction community is comprised of an incredibly warm, generous and welcoming bunch of people, and Bouchercon 2013 pretty much confirms that fact.

Tuesday, September 17, 2013

House Rules

I’m very pleased indeed to announce that my next book, CRIME ALWAYS PAYS, will be published by Severn House early next year (actual house not pictured, right). The book will be published in the UK in March and the US in July, and I’m hugely looking forward to working with the Severn House team, and particularly Kate Lyall Grant.
  It’s an exciting time, although there’s an element of sadness involved too, because I’m leaving behind some terrific people at Liberties Press. I’ve had a few wonderful years at Liberties: they published ABSOLUTE ZERO COOL in 2011 when virtually every other publisher passed on it, and I hope the fact that the book went on to win the Goldsboro ‘Last Laugh’ award at Bristol’s Crimefest in 2012 justified their decision to publish. Liberties also published SLAUGHTER’S HOUND, which was subsequently shortlisted for Best Crime Novel at the Irish Book Awards, and the non-fiction title DOWN THESE GREEN STREETS: IRISH CRIME WRITING IN THE 21ST CENTURY. It’s been a whirlwind few years, and I thoroughly enjoyed my time.
  I sincerely hope that my time with Severn House will be every bit as productive and enjoyable. I know that I’m joining a stable of very fine writers, and a publishing company with a superb record of putting books into the hands of readers. And really, that’s what this game is all about when it all boils down: putting good books in front of people who love to read.
  Speaking of which: if you fancy reading the first chapter of CRIME ALWAYS PAYS, you’ll find it right here

Saturday, September 14, 2013

Review: THE CONVICTIONS OF JOHN DELAHUNT by Andrew Hughes

Andrew Hughes’ debut novel opens in 1842, in the Kilmainham Jail cell of the condemned John Delahunt, who has been sentenced to hang for the murder of young Thomas Maguire. Determined to give his side of the story before he dies, Delahunt scribbles a first-person testimony on scraps of paper – although given that Delahunt is an informer for Dublin Castle, and one not above lying to secure a murder conviction for an innocent man, the reader would do well to take Delahunt’s account with a hefty pinch of salt.
  Indeed, it’s the self-conscious unreliability of Delahunt as a narrator that gives this charismatic sociopath much of his charm. A historian who has previously published Lives Less Ordinary – Dublin’s Fitzwilliam Square 1998-1922 (Liffey Press, 2011), Andrew Hughes situates this fictionalised account of the historical figure of John Delahunt in a vividly rendered early-Victorian Dublin, but never forgets that his first duty as a novelist is to explore the mystery of character. The structure and tone of the story are reminiscent of John Banville’s The Book of Evidence, and the fictional John Delahunt is both a literary descendant and a spiritual ancestor of Freddie Montgomery. Delahunt is at times a ruthless machine of a man, a cynical misanthropist who feeds on other people’s misery, yet he is capable of great tenderness towards his wife, Helen, and is fully aware of his personal shortcomings, especially in terms of his lack of political or philosophical convictions.
  The style, too, is neatly judged. Hughes doesn’t stint on the sights, sounds and smells of Victorian Dublin – a scene where dogs engage in a rat-catching frenzy is particularly toe-curling – but the crisp prose is refreshingly free of stilted, quasi-Victorian phrasing, while the dialogue is delivered in an understated way. In fact, there’s a distinctly modern flavour to the entire story: the deals Delahunt cuts with his Dublin Castle employers, the double-crosses and back-stabbing and ‘confessions’ extracted in subterranean cells, wouldn’t be out of place in a contemporary hardboiled crime novel.
  Yet it’s an endearingly old-fashioned novel too, chock-full of the kind of cliff-hangers and reversals of fortune that are to be found in those Victorian stories which were serialised in newspapers and magazines before being bound into novels. These give the story an urgency and tension that might otherwise have been lacking, given that the reader understands from the off that Delahunt must hang. Likewise, the foreboding atmosphere is offset by Delahunt’s bleak sense of humour, which is employed as often as not against himself. It’s a bracing, lurid tale that is as engrossing as it is chilling, and a fascinating glimpse into one of the darker periods in Dublin’s history. – Declan Burke

  This review was first published in the Irish Independent.

Monday, September 9, 2013

CRIME ALWAYS PAYS: The Novel

The more eagle-eyed among you will have noticed that blog posts have become rather sparse around these here parts lately, largely because I’ve been working on putting the finishing touches to my latest book, CRIME ALWAYS PAYS. It’s a sequel to THE BIG O, and features more or less the same cast of reprobates, albeit this time causing mayhem in the Greek islands, and there’s a couple of new characters in there to spice things up. It kicks off like this:

Chapter 1

Rossi said he’d torque if he needed to torque, he’d just had his ear ripped off.
  Sleeps allowed Rossi made a valid point, especially as the hound that tore off the ear was three parts Siberian wolf to one part furry Panzer, but that Rossi, with the gash in the side of his head flapping like a glove puppet every time he opened his mouth, was maybe mishearing.
  ‘What he said,’ Sleeps said, ‘was try not to talk.’
  It was bad enough they were holed up in a vet’s surgery and down two hundred grand, Rossi minus an ear and raving about how genius isn’t supposed to be perfect, it’s not that kind of gig. But then the vet had started threading catgut into what looked to Sleeps like a needle he’d last seen on the Discovery Channel stuck through a cannibal’s nose and sent Rossi thrashing around on the operating table, hauling on the restraints, Rossi with a terror of needles and ducking around like Sugar Ray in a bouncy castle.
  The vet leaned in to squint at the raspberry jelly mess that was the side of Rossi’s head. It didn’t help there was no actual ear. It had been torn clean off, along with enough skin to top a sizeable tom-tom.
  ‘If he doesn’t lie still,’ he said, ‘he’s going to wind up with his brain on a skewer.’
  Sleeps sighed and climbed aboard, making a virtue of his considerable bulk by sprawling across Rossi and pinning him to the steel-frame operating table. Rossi went cross-eyed, launched into a gasping stream of profanity that sounded like a leaky balloon with Tourette’s. Sleeps wriggled around, sealed Rossi’s mouth with a plump hand.
  The vet knotted the catgut. ‘I’d appreciate it,’ he said, ‘if you’d point that somewhere else.’
  Sleeps’ pride and joy, the .22, nickel-plated, pearl grip. Enough to stop a man and put him down but not necessarily lethal unless you were unlucky. The .22 being empty right now, at least Sleeps didn’t have to worry about getting any unluckier than chauffeuring Rossi around when the guy was down one ear and a fat bag of cash.
  Sleeps slipped the .22 into his pocket. ‘Okay,’ the vet said, ‘hold him still. This’ll hurt.’
  Sleeps, fascinated, watched him work. The vet with Roman senator hair that was turning grey, the eyes grey too, giving off this unflappable vibe that Sleeps presumed came from every day sticking your hand up a cow’s wazoo. Or maybe this was a regular thing for him, a couple of guys on the run stumbling out of the forest into the back yard of his veterinarian practice with wounds it might be tough to explain away at hospitals that weren’t built next door to zoos.
  ‘I’ll warn you now he’s going to need an anti-tetanus shot,’ he vet said. ‘Looks like this, ah, car door you’re saying somehow ripped off your friend’s ear had some serious teeth. We could be looking at rabies.’
  ‘That’s just his natural disposition,’ Sleeps said. Rossi throwing in muffled snarl or two as the vet tucked the stitches snug. ‘But okay, yeah. I think we both know it wasn’t a car door.’
  ‘What are we looking at? Doberman?’
  ‘I’m not sure,’ Sleeps said. ‘Some kind of Siberian wolf mix, there’s maybe some husky in there. Belongs to his ex, Karen, she took it on when he went back inside.’
  ‘I thought we said no names.’
  ‘Right, yeah.’ Sleeps, who was looking to go back inside, cop some soft time, figured it might be no harm to drop a few crumbs with the vet. ‘She’s a beast, though. The hound, not Karen. I mean, our friend here was driving a Transit van at the time and she shunted it off the track, came bombing through the windscreen and tried to chew his head off.’ Sleeps had seen it all happen, having little else to look at on account of being stuck behind a deflating airbag at the wheel of their getaway Merc, the Merc at the time wedged at an angle between a boulder and the bole of a fat pine near the bottom of a gully maybe half a mile from the lake where Rossi had just heisted a two hundred grand cash ransom from Karen and Ray.
  Rossi had pulled up in the Transit, which he’d also swiped from Karen and Ray, and called down to Sleeps, told him to hold on. Then Sleeps heard a howl and the splintering crash of the hound going through the Transit’s window. Rossi’d floored it, aiming the van at the nearest tree, but the wolf had shoved the van off the muddy track and down into the gully, at which point the hound, wedged chest-deep into the crumpled window frame, had set about decapitating her former owner.
  To be fair, Sleeps acknowledged, the girl had her reasons. She was very probably the only Siberian wolf-husky cross on the planet wearing a pirate patch, this because Rossi, trying to break her in, just before he went back inside for his third jolt, had gouged out her eye with the blunt end of a fork. And that wasn’t even her most recent provocation. Only twenty minutes previously Rossi had left her laid out on the lake shore, putting a .22 round in her face, point-blank.
  If Karen and Ray hadn’t come riding over the hill like the cavalry, hauling the hound off along with the two hundred gees, Rossi would have been crushed, minced and spat out.
  ‘Listen, I don’t mind stitching him up,’ the vet said, ‘but I’d appreciate you leaving out any detail that’s not strictly relevant to his condition. You know I’ll have to ring the police, right? Because of the possible rabies. And the less I know …’
  ‘Sure,’ Sleeps said, ‘yeah. But if you could just give us, like, maybe an hour’s start? It’s been a bad enough day already.’
  ‘It’s tough all over,’ the vet agreed. Then Rossi gave a yelp as the needle slipped, tried to bite Sleeps’ hand.
  In the end Sleeps jammed his thumb into the ragged hole where Rossi’s ear used to be, stirred it around. Rossi screeched once, high-pitched, then keeled over and passed out.
  Sleeps slid down off the operating table, retrieved the .22 from his pocket. ‘Okay,’ he said, ‘I’ll be needing a bag of horse tranks. And whatever gun you use for putting down the animals.’
  The vet sewed on. ‘We don’t use those anymore, they’re not humane.’
  ‘Humane? You’re a vet, man.’
  ‘We treat them like children,’ the vet said, ‘not animals.’
  ‘Nice theory.’ Sleeps, who’d been hoping to bag himself a cattle-prod at the very least, gestured at Rossi with the .22. ‘But what if they’re a little of both?’


Sunday, September 8, 2013

There’s No Show Like A Jo Show

I’m very much looking forward to meeting again with Jo Nesbo (right), when I interview him for the DLR Library Voices series on Tuesday, September 16th. I met with Jo Nesbo a couple of years ago, to interview him for a newspaper feature, and it was all very pleasant indeed. He’s a charming guy – ladies of my acquaintance lead me to believe that he’s rather handsome to boot – and wears the mantle of Nordic crime’s brightest star very lightly indeed.
  On the evening in question we’ll be talking about Jo’s latest Harry Hole novel, POLICE, but I’d imagine it’ll be a fairly wide-ranging chat about the Harry Hole series in general, Jo’s standalone novels, and the Scandi Noir phenomenon. Here’s the official blurb:
Jo Nesbo is a musician, songwriter, economist and internationally acclaimed author. He is also the undisputed king of the Nordic crime fiction boom with sales of 14 million copies worldwide. POLICE is the tenth novel in the Harry Hole series which has been described by one critic as “exuberantly, ingeniously gruesome”. Nesbo’s haunted protagonist has been at the centre of every major criminal investigation in Oslo. His brilliant insights have saved the lives of countless people. But now, with those he loves most facing terrible danger, Harry can’t protect anyone, least of all himself. Jo Nesbo is one of the hottest properties in international publishing. Don’t miss him.
  For all the details, including how to book tickets, clickety-click here

Friday, September 6, 2013

Irish Noir: The Radio Series

‘Irish Noir’ is a new four-part radio series from RTE which begins on Saturday, September 14th. Presented by John Kelly (right), it features contributions ‘from the biggest names in our country’s crime writing scene’, and your humble correspondent. To wit:
Irish Noir is the story of Irish Crime fiction. From its gothic origins, through the fast paced storylines provided by Celtic Tiger excess – and right up to the bleak fictional landscape inspired by Austerity Ireland.

In the last 15 years, Irish crime writing has experienced a renaissance in popularity comparable to the Scandinavian and Scottish crime writing scenes. But before that, Irish crime writing was in the doldrums. Irish Noir is a major new four-part series presented by John Kelly, which will explore why it took so long for this popular genre to get a comfortable footing in this country. To what extent did politics and history play a part? And did the enormous success of Irish literary giants like Joyce and Beckett cloud the ambitions of writers who might have naturally had more hard-boiled aspirations ...? In other words, did we turn our literary noses up at crime fiction?

This will be a must-listen series for all bookworms, featuring contributions from the biggest names in our country’s crime writing scene – John Connolly, John Banville, Tana French, Declan Burke, Declan Hughes, Arlene Hunt, Alex Barclay, and Stuart Neville to name but a few ...

Irish Noir was made in conjunction with the BAI’s Sound and Vision fund. It starts on RTE Radio 1 at 7pm on Saturday September 14th.
  To listen in, clickety-click here

Wednesday, September 4, 2013

Review: ANGEL CITY by Jon Steele

I had a crime fiction column published in the Irish Times at the weekend, which concluded with a short review of Jon Steele’s ANGEL CITY (Bantam Press). It ran a lot like this:
Jon Steele’s Angel City (Bantam Press, €20.50) is the sequel to The Watchers (2011), a novel that introduced us to Jay Harper, an English private eye living in Lausanne who belatedly realises that he is not a detective but an angel who is engaged in a timeless war against demonic forces of evil. Angel City opens with Harper foiling a terrorist attack on Paris, which leads to the discovery that a rogue priest is attempting to tap into a celestial power at the ancient Cathar fortress at Montségur in southern France with the intention of quite literally unleashing hell. It sounds fantastical, and it is, but American author Jon Steele, a former war reporter, is engaged in something rather more interesting than tales of the supernatural. The Watchers and now Angel City (the first two parts of ‘The Angelus Trilogy’) read like Paradise Lost redrafted by Raymond Chandler in a fevered dream, in which the demonic hordes are desperate to secure nuclear weaponry and the angels boast the kind of firepower Milton couldn’t have conjured up in his worst nightmares. It’s a compelling modern fable, the time-honoured tale of Good versus Evil rewritten according to a fatalistic theology at a time when technology has finally made possible the worst imaginings of ancient prophecy. – Declan Burke
  For the rest of the column, which includes reviews of the latest titles from Ruth Rendell, Charles McCarry and Tom Franklin and Beth Fennelly, clickety-click here
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.