It’s been a funny old week, folks. I posted a couple of pieces in relation to the absence of Irish crime writers at various Irish literary festivals this summer (I use ‘summer’ in the loosest definition of the term, obviously), the gist of said pieces being that Irish crime writers are under-represented at such events, and up with this we shall not put, etc.
As a result of the modest but positive feedback to the posts, I took myself off to make inquiries (for the most part funding-related) as to how this situation might be rectified next year, this on the basis that if you want something done, you’re best off doing it yourself. Said inquiries were well received, I have to say, and I’d be pretty hopeful, even at this early stage, that there’ll be more Irish writers represented at the various festivals next year.
But all along, and even while engaging with this process, I was wondering if it’s the right tack to pursue.
Are Irish crime writers entitled to believe that they have a right to be taking their place at said literary festivals?
I’ve said it before, and no doubt I’ll be saying it again: there are many very good Irish crime novels being published right now. Given the size of our population, which is roughly that of Greater Chicago, the quantity of quality Irish crime novels is very impressive indeed. And this in itself, surely, says something about the culture from which this relatively new phenomenon springs.
Are they sufficient reasons to have Irish crime writing represented at literary festivals?
The glib and self-serving answer is, Yes, of course.
The honest answer is, I really don’t know.
It probably goes without saying that I’m hopelessly compromised when it comes to answering this question, given that this blog was initially set up to celebrate the fact that a number of Irish crime writers were producing world-class work.
I still believe that. But even taking that bias on board, what I’m wondering now, and have been wondering for quite some time, is whether it’s reasonable and / or logical to attempt to encapsulate the work of a number of very good Irish crime writers in the phrase ‘Irish crime writing’.
Personally, I think I’ve been trying to stuff a lot of square pegs into a single round hole.
Yes, there are a lot of writers who are Irish who are publishing novels that can be considered crime or mystery fiction, or thrillers, or noir, or a half-dozen variations on all of those terms. That doesn’t automatically equate with ‘a phenomena of Irish crime writing’.
That suggests to me that I’ve been coming at this idea of literary festivals all wrong - believing, essentially, that ‘Irish crime writing’ should be represented at such festivals by one or more of its practitioners.
I’m beginning to wonder if I haven’t been blundering up a very long blind alley. I’ve discovered some fantastic writers in the process, and read some great books, and made some good friends.
But a blind alley is a blind alley.
Meanwhile, out in the meritocracy of the real world, and particularly in the US and the UK, individual Irish crime writers are critically acclaimed best-sellers. This, obviously, is because of their own worth, and not because they are in the vanguard of some notional ‘Irish crime writing’ scene.
I suppose what I’m asking myself at the moment is whether it’s worth it to continue on doing what I’ve been doing, which can very often feel like banging my head against the brick wall at the end of that blind alley.
Those funding-related inquiries I mentioned seem as if they’ll pay dividends in a year or so - but the number of hoops I’d have to jump through to make it happen are many and complicated. I’m talking about drawing up mission statements, drafting proposals, arranging for and taking meetings - all of which are a massive drain on time and resources that I really can’t afford.
My head says that following through on my initial inquiries is probably the smart thing to do. My heart says that it’s a good thing to do.
My gut says, No.
My gut is telling me that Crime Always Pays has been running for five years and more at this stage, and that with the best will in the world it delivers very little by way of real worth to the writers I mention here.
My gut is telling me that the law of diminishing returns is at work here.
My gut is also very aware that I’ll be starting into a new novel in the very near future, a tricky one that will be very difficult to get right. What I’ll need is time; what I won’t need is distractions.
So I think I’m going to let the funding-related inquiries slide. The possibilities are there; if anyone is interested in taking the idea(s) further, and wants to contact me privately, I’m more than happy to pass on the contact details.
In the meantime, I’m off on my holidays. See you back here in a couple of weeks ...
Praise for Declan Burke: “A fine writer at the top of his game.” – Lee Child. “Prose both scabrous and poetic.” – Publishers Weekly. “Proust meets Chandler over a pint of Guinness.” – The Spectator. “A sheer pleasure.” – Tana French. “A hardboiled delight.” – The Guardian. “Imagine Donald Westlake and Richard Stark collaborating on a screwball noir.” – Kirkus Reviews (starred review). “The effortless cool of Elmore Leonard at his peak.” – Ray Banks. “Among the most memorable books of the year, of any genre, was ABSOLUTE ZERO COOL.” – Sunday Times. “The writing is a joy.” – Ken Bruen. “A cross between Raymond Chandler and Flann O’Brien.” – John Banville.