“Burke shows again that he’s not just a comic genius, but also a fine dramatic writer and storyteller.” – Booklist. “Prose both scabrous and poetic.” – Publishers Weekly. “Proust meets Chandler over a pint of Guinness.” – Spectator. “Among the most memorable books of the year, of any genre.” – Sunday Times. “A hardboiled delight.” – Guardian. “Imagine Donald Westlake and Richard Stark collaborating on a screwball noir.” – Kirkus Reviews. “A cross between Raymond Chandler and Flann O’Brien.” – John Banville.

Wednesday, June 29, 2016

Review: PARADIME by Alan Glynn

Alan Glynn’s fifth novel opens with Danny Lynch, ex-military and a veteran of two Iraq tours and recently returned from Afghanistan, struggling to cope with anxiety and dread as he tramps the streets of New York. Unemployed, suffering the symptoms of PTSD, Danny’s relationship with his girlfriend Kate is on the rocks. Unable to remember any specific detail about his time in Iraq, Danny is haunted by vivid memories of a horrific incident witnessed in Afghanistan. ‘It’s just that I really, really don’t want to remember them – wholesale, retail, it doesn’t matter.’
  That glancing reference to Philip K. Dick evokes the recurring theme of paranoid conspiracy that has run like a seam through Alan Glynn’s work since the publication of his debut, The Dark Fields, in 2002. His subsequent novels, the ‘globalisation trilogy’ of Winterland (2009), Bloodland (2011) and Graveland (2013), were set in that shadowy vector where capitalism corrupts democracy, and Paradime continues in a similar vein. When it appears that Danny is planning to blow the whistle on Gideon Logistics, the contractor operating at the Afghani military base where two service personnel were murdered during a riot, Danny is threatened with public disgrace, financial ruin and a prison sentence. It’s a scenario familiar to any fan of the classic ’70s tales of paranoid conspiracy – Three Days of the Condor, The Parallax View – but it’s at this point that Glynn introduces his joker in the pack, when Danny meets Teddy Trager, a billionaire tech visionary and Danny’s doppelgänger. Danny becomes obsessed with Trager, mimicking his dress and speech – a man with nothing to lose fixated on the man who has it all.
  It seems like an odd narrative gambit at first, the timeless motif of the doppelgänger – which has its roots in ancient Egyptian folklore – initially a jarring presence in Danny and Trager’s gleaming, futuristic world of Manhattan’s Silicon Alley. It’s a gamble that pays off handsomely, however, as Glynn emphasises the Gothic horror of being confronted with the ‘billion-to-one’ shot of your perfect double, with Glynn evoking Edgar Allan Poe and Dostoevsky’s The Double as Danny struggles to come to terms with a life lived in the mirror, darkly. Traditionally, in literary terms, a paranormal harbinger of doom, the appearance of his doppelgänger initially appears to be a stroke of outrageous good fortune for Danny, although soon he is contemplating the existential nightmare of seeing himself reflected in, and refracted through, his awareness of his own essential truth.
  An enthralling psychological thriller-cum-tragedy on a personal level, then, Paradime is also a blackly comic tale as Danny finds himself swimming with the sharks who dominate the highest echelons of power and finance. The illusion created by extraordinary wealth is that the one-percenters are different, special, superior – but if any old Tom, Dick or Danny can play the part (treated as a genius and guru, Danny finds himself meeting Bill Clinton and George Clooney, and being interviewed on Charlie Rose) then the edifice is built on even shakier foundations than even the cynical, suspicious and mentally unbalanced Danny could have suspected …
  As with all great novels, Paradime raises more questions than it answers. Is Danny, our Everyman, a ‘puppet with a soul’ plodding along in a noir-ishly predetermined universe? Or is he that most fascinating of literary creations, the character bound by Fate but determined to rebel, regardless of personal cost, against the chains that bind? All told, it’s a pulsating tale from one of the most inventive practitioners working in contemporary crime fiction, a novel that pounds to the rhythms of the conventional thriller but employs the thriller’s tropes to divert its protagonist, and the reader, down some very unusual dark alleyways. ~ Declan Burke

  This review was first published in the Irish Times.

Thursday, June 23, 2016

Review: MRS ENGELS by Gavin McCrea

“No one understands men better than the women they don’t marry,” declares Lizzie Burns, the eponymous narrator of Gavin McCrea’s debut novel Mrs Engels (Scribe) and – the title notwithstanding – the unmarried long-term lover of Frederick Engels, who co-authored The Communist Manifesto with Karl Marx. A marginalised figure in the history books, the fictional Lizzie Burns is a marvellous creation: an illiterate Irish daughter of the Manchester slums whose withering deprecations cut a swathe through the self-delusions and hypocrisies of the founding fathers of Communism.
  The novel opens in 1870, as the expected Revolution draws near and Frederick and Lizzie move to London from Manchester to be closer to Karl and Jenny Marx. They move into a grand house in Primrose Hill, where the addition of a couple of servants proves vexing to Lizzie, who finds herself working harder to keep tabs on her girls than she ever did when she kept her own home. Such paradoxes are rife in Mrs Engels: Frederick, when Lizzie first meets him, is often vilified by the comrades as a ‘capitalist and millocrat’, a well-heeled German immigrant accustomed to moving in the best social circles. “It’s not uncommon that [Frederick] has to answer to this charge,” Lizzie observes, “not uncommon even though the world knows he worked in that mill to keep Karl and the Movement afloat. And knock me acock if I ever see Karl having to defend himself in this way.”
  Gavin McCrea has crafted a beautifully detailed historical fiction in Mrs Engels, and the political backdrop is indeed a compelling one as he describes the revolutionary frustrations of Engels and Marx, the fall-out to the Franco-Prussian war and the consequent rise and fall of the Paris Commune, and the rise of militant Irish nationalism in Britain. Lizzie’s drawing room hosts agitators, revolutionaries and activists of all hues, but there’s none so fascinating as Lizzie herself, toasted at one point by Engels as a ‘Proletarian, Irish rebel and model Communist.’ In truth, Lizzie is far more difficult to label that her lover realises. From the very beginning Lizzie tells us that she’s a pragmatic woman whose loyalty is only her own survival: “Establish yourself in a decent situation,” is her advice to all young women, “and put away what you can, that, please God, one day you may need no man’s help.”
  It’s a pragmatism born of surviving the worst of Manchester’s Victorian slums, and in overcoming the personal tragedy that brought Lizzie and Frederick together but which haunts them for the rest of their lives. Through it all Lizzie retains her robust sense of humour and her irreverent refusal to kow-tow to those who consider Frederick and Karl geniuses (“As for Karl, the state he was in, he was unable to mastermind the evacuation of his own bowels.”)
  Bawdy and uncouth, very much a woman who lives life on her own terms despite her economic dependence, Lizzie Burns is one of the most charming fictional comic creations of recent times. If that were all Gavin McCrea had achieved with Mrs Engels, it would have been plenty; but Lizzie Burns is also a heartbreakingly poignant heroine, a woman fully aware of her status as ‘a pauper woman on an expensive couch’ who has to endure society’s jibes about ‘my hike to the higher caste’, and a woman who above all craves the love of a complex man hugely conflicted about his entitlement to love her.
  Laugh-out-loud funny, touching and tender, and almost Dickensian in its physical descriptions of the Industrial Revolution’s worst excesses, Mrs Engels is a stunningly accomplished debut novel. ~ Declan Burke

  This review was first published in the Irish Examiner.

Wednesday, June 22, 2016

Reviews: DODGERS, ART IN THE BLOOD, GHOSTS OF THE DESERT, GIRLS ON FIRE, NOMAD

I reviewed five titles in last week’s Irish Times crime fiction column – Bill Beverly’s DODGERS, Bonnie MacBird’s ART IN THE BLOOD, Ryan Ireland’s GHOSTS OF THE DESERT, Robin Wasserman’s GIRLS ON FIRE, and James Swallow’s NOMAD. It ran a lot like this:

Bill Beverly’s Dodgers (No Exit Press, €19.50) is a road movie, a coming-of-age tale, a crime novel of gritty realism and a very impressive debut. East is a 15-year-old lookout for his Uncle Fin’s crack den in LA’s Boxes; when the den is raided on his watch, East is ordered to drive 2,000 miles to Wisconsin, there to murder a witness in Fin’s upcoming trial. Dressed in LA Dodgers’ baseball gear – “because white people love baseball, and the world is made of white people” – East and his fellow assassins embark on their quest, “running on luck and will and a supreme indifference to anything else.” In other circumstances East’s emotional intelligence would mark him out as a natural leader of men, but these teenage boys are, in the best tradition of noir, doomed even before they begin. Their road to nowhere diverts time and again into scenarios that might be blackly comic, given the boys’ ineptitude, ignorance of the world outside the ghetto and their blithe faith in their immortality, if it were not for the chilling presence of Ty, East’s brother and an unrepentant stone-cold killer at the tender age of 13. Comparisons with Richard Price’s Clockers are merited; Dodgers is an absorbing tale of young men brutalised by the world with very little opportunity to offer anything more than brutality in return.
  Bonnie MacBird’s Art in the Blood (Collins Crime Club, €28.50), a Sherlock Holmes adventure, takes its title from Arthur Conan Doyle’s The Adventure of the Greek Interpreter: “Art in the blood is liable to take the strangest forms.” At a low ebb when the story opens, Holmes is revitalised when the French chanteuse Cherie La Victoire asks him to find her missing son, and soon Holmes and Watson are embroiled in a plot that involves stolen Greek statuary, the powerful Earl of Pellingham, and the abuse of children in Northern England’s satanic mills. MacBird delivers a pacy read in this faithful, full-blooded and breathlessly (albeit unevenly) plotted homage, although it’s her interpretation of Holmes that is the most intriguing aspect of the story, with Watson declaring from the beginning that it was Holmes’ artistic streak that made him the greatest detective the world has ever known. Here Holmes is an instinctive artist teetering on the edge of physical, emotional and psychological exhaustion, “tempestuous, changeable … and vulnerable to flights of fancy as well as fits of despair,’ as Holmes himself describes Cherie. That unusual vulnerability runs contrary to the canonical depiction of Holmes as an unfeeling, rational, virtually superhuman machine, and makes MacBird’s debut a welcome addition to the Sherlock Holmes literature.
  Norman, an anthropologist specialising in ghost towns, heads into the Utah desert as Ryan Ireland’s Ghosts of the Desert (Point Blank, €14.20) opens, and quickly finds himself at the mercy of a feral clan of mercenaries and killers led by Jacoby, a crude mystic who engages Norman in Socratic dialogues on the meaning of the universe. With its echoes of Heart of Darkness, Ghosts of the Desert compares and contrasts the values of the ostensibly civilised Norman with those of the amoral savages of ‘Jacobyville’, although the lines drawn in the baking sand grow increasingly blurred as Norman, with escape impossible, gradually adapts to the life he is forced to live. Ireland’s sparse but exhilarating use of language is entirely apt in capturing the austere environment, while also creating a hallucinatory effect: is Norman dead and experiencing a barren purgatory, or alive and trapped in an endless nightmare? The theme, setting and language evoke Cormac McCarthy at his most brutal, but Ghosts of the Desert is a neo-Western epic of survivalism that deserves to be judged on its own merits.
  Set in a small Pennsylvanian town in the early ’90s, Robin Wasserman’s Girls on Fire (Little, Brown, €17.99) is a gothic take on the High School revenge fantasy, as outsiders Lacey and Dex bond to the strains of Kurt Cobain’s Nirvana and plot the downfall of ‘bitch-goddess’ Nikki Drummond, whose boyfriend Ellison committed suicide in the nearby woods. Wasserman tells the story of the ‘explosive’ pairing of Dex and Lacey, who alternately narrate the tale in a feverish, breathless style which accentuates the overwrought intensity of the deadly duo’s excesses as they seek to alienate their peers, parents and the authorities. The teens are too idealised to ring true – they read Nietzsche and Kant, watch Kurosawa and Antonioni, dream about celebrating birthday parties in graveyards – but then the story itself is a deliberately lurid contemporary fairytale complete with witchcraft, Satanism, dark incantations and psychological torture, a potent and occasionally shocking blend of cynicism, narcissism and nihilism.
  James Swallow’s Nomad (Zaffre, €22.50) begins with a covert MI6 mission in Dunkirk targeting a radical Islamist group. When the ‘Nomad’ team is virtually wiped out, the sole survivor, tech specialist Marc Dane, sets out to discover who betrayed his comrades. A globe-trotting affair that takes us to Barcelona, London, Rome, Sicily, Turkey and New York, Nomad is a ferociously paced thriller, a high concept tale of the solitary hero on the run bristling with technology and frequently erupting into lethal violence (the most obvious modern point of reference is Robert Ludlum, but John Buchan fans will recognise a trick or two). Told from a number of perspectives, including that of Halil, a teenager unaware he is being groomed for martyrdom, the story explores the off-the-grid world of shadowy arms dealers who supply the terrorists who make the headlines. The relentless pace and Swallow’s emphasis on plot twists and reversals means that characterisation is at a premium, but Swallow’s background in scriptwriting and videogames means that the tale is a slick and sharply focused thriller that is as entertaining as it is improbable. ~ Declan Burke

  This column was first published in the Irish Times.

Tuesday, June 21, 2016

Review: THE BLADE ARTIST by Irvine Welsh

I reviewed Irvine Welsh’s THE BLADE ARTIST (Jonathan Cape) for RTE’s Arena radio programme last week. It’s not giving too much away – it’s mentioned on the book’s cover – to reveal that the novel’s ‘Jim Francis’ is the alter-ego of Franco Begbie, the notorious hard-man from Welsh’s TRAINSPOTTING. The blurb runs thusly:
Jim Francis has finally found the perfect life – and is now unrecognisable, even to himself. A successful painter and sculptor, he lives quietly with his wife, Melanie, and their two young daughters, in an affluent beach town in California. Some say he’s a fake and a con man, while others see him as a genuine visionary.
  But Francis has a very dark past, with another identity and a very different set of values. When he crosses the Atlantic to his native Scotland, for the funeral of a murdered son he barely knew, his old Edinburgh community expects him to take bloody revenge. But as he confronts his previous life, all those friends and enemies – and, most alarmingly, his former self – Francis seems to have other ideas.
  When Melanie discovers something gruesome in California, which indicates that her husband’s violent past might also be his psychotic present, things start to go very bad, very quickly.
  For the review, clickety-click here (and scroll down) …

Sunday, June 19, 2016

Brain Noodles: Beethoven’s Ninth, Jeeves and the Feudal Spirit

I’d always assumed that Beethoven became deaf as an older man but – apologies if this is common knowledge – Beethoven (1770-1827) began to go deaf relatively early in life, in 1801. To put that into perspective, he had just finished his second symphony when he first started to suffer from tinnitus – yet to come were the remaining symphonies, Piano Concertos Nos. 4 and 5, the Violin Concerto, Waldstein and Appassionata, the Hammerklavier, the Missa Solemnis, the late quartets, and much else. If you’re feeling a little prickly today about what you have or haven’t achieved with your life to date, I don’t recommend listening to the final movement of the Ninth Symphony (and its then radical use of a choral section) and reminding yourself that the man who composed it was stone deaf:
  Beethoven going deaf was a tragedy, of course, although given what he created even whilst entirely deaf, you couldn’t really say it held him back to any great degree – in the grand scheme of music, it’s not as tragic as, say, Schubert dying aged 31. But a certain kind of mind might wonder what God was so busy with around about this time (Schubert died in 1828, the year after Beethoven’s death) that He couldn’t intervene in mortal affairs. Which would lead a certain kind of mind to consider the following possibilities:
(a) There is no God;
(b) God, to paraphrase Leonard Cohen, doesn’t really care for music;
(c) God was heedless, careless or jealously vindictive;
(d) God was too busy saving starving orphans; and anyway, if Schubert was really all that, he’d have been smart enough not to contract typhoid fever / syphilis / the bubonic plague (and, viz. deafness, ditto for Beethoven).
  Books-wise, I read PG Wodehouse’s JEEVES AND THE FEUDAL SPIRIT this week, about which there is very little to be said other than if you haven’t read PG Wodehouse yet, drop everything and rush to your nearest bookstore and buy every Wodehouse in sight. Actually, that’s a little previous – I’m a Johnny-come-lately to the Wodehouse world, and so far I’ve only been reading the Wooster novels. For all I know – although I’m inclined to doubt it – the rest of Woodhouse’s considerable output isn’t the most purely pleasurable writing you’re ever likely to read. But, as I say, I doubt it. For the time being, though, if you stick to the Wooster novels, you won’t go far wrong. Unless this - in which a butler admits a guest into the hapless-but-unflappable Bertie Wooster’s presence - is the kind of thing you don’t like:
Seppings flung wide the gates, there was a flash of blonde hair and a whiff of Chanel Number Five and a girl came sailing in, a girl whom I was able to classify at a single glance as a pipterino of the first water.
  Meanwhile, if it’s a good movie you’re thirsting after, you’ll go parched a while yet in this most barren of summers. This week in the Irish Examiner I reviewed Gods of Egypt, The Conjuring 2 and Bang Gang, none of which could be remotely described as the celluloid equivalent of a pipterino of the first water. If you’re still interested, the reviews can be found here

Saturday, June 18, 2016

Review: ALL THINGS NICE by Sheila Bugler

I reviewed Sheila Bugler’s ALL THINGS NICE (Brandon) in the Irish Examiner last week. It ran a lot like this:
The title of Sheila Bugler’s third book alludes to the fact that the crime novel is the adult version of the child’s fairytale and cautionary fable. Set in London, and featuring the dogged DI Ellen Kelly of Lewisham CID, All Things Nice is a police procedural rooted in the nursery rhyme that warns us boys are composed of slugs and snails and puppy-dogs’ tails.
  The story opens with the murder of Keiran Burton, who is discovered stabbed to death in a laneway on the morning after Charlotte Gleeson celebrates her birthday party. Keiran, we discover, is not a particularly nice man: he is a womaniser, a hypocrite, a leech on Charlotte’s daughter Freya and a man so morally degenerate he sleeps with Charlotte. Not that Charlotte is entirely innocent in the matter: emotionally estranged from her husband Nick, and an alcoholic prone to making bad decisions when it comes to men, Charlotte’s loneliness drove her into Keiran’s arms. Now, suffering the amnesia of a crippling hangover, Charlotte is terrified that she might be the killer. She argued with Keiran, she knows that; worse, Keiran wouldn’t be the first person Charlotte had ever stabbed …
  It should be an open-and-shut case for DI Kelly, but Keiran Burton isn’t the only sleazy man in All Things Nice. There is Nick Gleeson, the successful but self-absorbed restauranteur who is more interested in his current extra-marital fling than in comforting his bereaved daughter Freya; and Pete Cooper, a violent gangland kingpin and single father who has an unhealthy obsession with the love life of his own daughter, Cosima.
  DI Kelly tracks the slimy trails of these slugs and snails through the leafy boroughs of affluent South London according to the conventions of the police procedural, but the central investigation is woven around Kelly’s complicated personal life. Recently widowed, and raising her children alone, she is haunted by grief and further wounded by her rejection by her birth mother, Noreen. Not that Kelly allows her personal difficulties to impact on her professional life: she is every bit as self-confident as Nick Gleeson, and brutally violent as Pete Cooper, when the occasion demands. Remembering the face Billy Dunston, the man who killed her husband, she falls asleep smiling as she recalls how ‘she held the gun against his head and pulled the trigger.’ That vigilante streak notwithstanding, Kelly can still tell herself that, “The reason she found it so difficult to fit in was because there weren’t many people as bloody good at being a detective as she was.”
  The plot doesn’t spring too many surprises, as Ellen Kelly uncovers ‘bits and pieces of truth hidden amongst the lies everyone was telling,’ but what gives All Things Nice real bite as the story progresses are the growing similarities between DI Kelly and the men at the heart of her investigation (Kelly, sensitive to slights real and imagined, would likely be outraged to be told this). Indeed, all the main players, Kelly included, are struggling to cope with damaged childhoods and the life-long consequences of wounds inflicted on impressionable minds: oddly, it’s only the murder victim, Keiran, who doesn’t benefit from an extended backstory that might allow us to empathise with him. Nick Gleeson and Pete Cooper are portrayed as lurid rogues for most of the novel, but it’s only in the final stages that we begin to understand why they behave as they do. Their actions may be foul, and the reader understands that the genre’s conventions demand that such men cannot be allowed to go unchecked if society is to thrive, but their reasons for acting as they do are the stuff of classical tragedy, and resonate long after the book is put away. ~ Declan Burke
  This review was first published in the Irish Examiner.

Wednesday, June 15, 2016

Readings: STACCATO at Toner’s of Baggot Street

The Florida wing of the Irish crime writing community – i.e., Michael Haskins – gets in touch to say that he will be reading from his latest novel at Staccato in Toner’s on Baggot Street, Dublin, on June 29th. To wit:
  For more on Michael Haskins, clickety-click here

Tuesday, June 14, 2016

Publication: UNWILLING EXECUTIONER by Andrew Pepper

Andrew Pepper, the Belfast-based author of the Pyke mystery series, has just published the non-fiction title UNWILLING EXECUTIONER (Oxford University Press), which is aimed at ‘students and scholars of crime fiction; those with an interest in the history of crime and policing and the relationship between literature and the state.’ To wit:
What gives crime fiction its distinctive shape and form? What makes it such a compelling vehicle of social and political critique? UNWILLING EXECUTIONER argues that the answer lies in the emerging genre’s complex and intimate relationship with the bureaucratic state and modern capitalism, and the contradictions that ensue once the state assumes control of the criminal justice system. This study offers a dramatic new interpretation of the genre’s emergence and evolution over a three hundred year period and as a genuinely transnational phenomenon.
  From its roots in the tales of criminality circulated widely in Paris and London in the early eighteenth century, this book examines the extraordinary richness, diversity and complexity of the genre’s subsequent thematizations of crime and policing - moving from France and Britain and from continental Europe and the United States to other parts of the globe. In doing so it offers new ways of reading established crime novelists like Gaboriau, Doyle, Hammett, and Simenon, beyond their national contexts and an impulse to characterize their work as either straightforwardly "radical" or "conservative". It also argues for the centrality of writers like Defoe, Gay, Godwin, Vidocq, Morrison, and more recently Manchette, Himes, and Sjöwall and Wahlöö to a project where crime and policing are rooted, and shown to be rooted, in the social and economic conditions of their time. These are all deeply political writers even if their novels exhibit no interest in directly promoting political causes or parties. The result is an agile, layered, and far-reaching account of the crime story’s ambivalent relationship to the justice system and its move to complicate our understanding of what crime is and how society is policed and for whose benefit.
  Sounds like the proverbial cracker. For more, clickety-click here

Sunday, June 12, 2016

Brain Noodles: Debbie Wiseman’s Wolf Hall; Ed O’Loughlin’s MINDS OF WINTER; Michael Moore’s Where to Invade Next

I really enjoyed the BBC’s mini-series adaptation of Hilary Mantel’s Wolf Hall last year, one of the most enjoyable aspects being Debbie Wiseman’s score. At the time – the soundtrack wasn’t available until after the final episode screened – it sounded as if Wiseman had created a Tudor soundscape using instruments of the period. Listening to the score in its entirety (Wiseman conducting the Locrian Ensemble of London), you realise that Wiseman certainly pays homage to the Tudor period (The Scholar in particular, with its harpsichord and vielle violin) but that overall the score is a modern piece that is rooted in, but not shackled by, history, musical or otherwise. It’s a mixture of melancholy (Still I Love Him), bittersweet (Anna Regina) and prophetically doom-laden (Master of Phantoms) pieces, with Prophecies and Dreams one of the stand-out tracks as a hauntingly tender piece:
  Underpinning it all are the insistent, sinuous strings of the first track, Wolf Hall (the theme is most fully reprised in the final offering, the mischievously titled Entirely Beloved), the overall effect beautifully evoking the arch-Machiavellian Thomas Cromwell and his relentless scheming.
  Ed O’Loughin’s MINDS OF WINTER (riverrun) is easily the most enjoyable novel I’ve read this year in terms of narrative imagination – the story, which is rooted in the disappearance of the Franklin expedition, which was trying to find the Northwest Passage, in 1845. A veritable Russian doll of a narrative structure takes us to South and North Poles and quite a few places in between, it revels in its deliciously old-fashioned approach to storytelling: O’Loughlin has his tongue firmly stuffed into his cheek when he has one character complain to Jack London that the author’s baroque style has passed its sell-by date:
“It’s a new century, you know; that gothic, sort of supernatural thing, is going out of style. Everything is very plain and modern now.”
  Undeterred, O’Loughlin presses on with tales of adventure and derring-do, of spies and outlaws and epic treks to the Poles, of naval voyages that would do Patrick O’Brian proud, all of it detailed in crunchy, evocative prose, such as when the Norwegian explorer Roald Amundsen finds himself poised on the cusp of a life-changing decision:
It was a warm autumn evening in Madeira, the sun gleaming on the harbour and the breeze soft in the trees. He could stay here forever, dissolved in this air. But some tiny flaw in the fabric of the universe, some original sin in space and time, determined that he was doomed to exist, to be one thing or another.
  MINDS OF WINTER will be published on August 25th. If bravura storytelling is your thing, you won’t go far wrong here
  Movies-wise, it’s a dull time of the year, this early-season slump as we wait for the summer to ignite. This week’s most enjoyable film was the latest documentary from Michael Moore – he may be predictable, but he’s always watchable. To wit:
Where to Invade Next (12A) is the latest documentary from Michael Moore, the iconoclastic filmmaker who delights in pointing up America’s failings. The idea behind this film is that Moore himself is a one-man ‘army’, invading various countries – most of them European – in order to steal their best ideas and take them back to the United States to cure its ills. The irascible Moore is in good form here, pretending to be horrified at the very notion of paid vacations and maternity leave, free college education, a 36-hour working week, the decriminalisation of illegal drugs and women taking charge of the political system, all of which makes Europe sound like a veritable utopia (i.e., one many Europeans may not recognise). It’s a Europe viewed through rose-tinted lenses, of course, and Moore does make the point that he is in the business of picking flowers, not weeds, on his travels, but the presenter has an engaging talent for making serious points while employing his trademark blend of chutzpah and black comedy. As always with Moore, the film isn’t so much a balanced documentary as it is a polemic, a gentle broadside on behalf of the liberal agenda. His breezy, irreverent Everyman style isn’t to everyone’s taste, but Moore should be cherished as a unique filmmaker, as provocative as he is entertaining. ****
  The other movies reviewed this week in the Irish Examiner are Melissa McCarthy’s The Boss and Mother’s Day, starring Jennifer Aniston and Julia Roberts.