“Declan Burke is his own genre. The Lammisters dazzles, beguiles and transcends. Virtuoso from start to finish.” – Eoin McNamee “This bourbon-smooth riot of jazz-age excess, high satire and Wodehouse flamboyance is a pitch-perfect bullseye of comic brilliance.” – Irish Independent Books of the Year 2019 “This rapid-fire novel deserves a place on any bookshelf that grants asylum to PG Wodehouse, Flann O’Brien or Kyril Bonfiglioli.” – Eoin Colfer, Guardian Best Books of the Year 2019 “The funniest book of the year.” – Sunday Independent “Declan Burke is one funny bastard. The Lammisters ... conducts a forensic analysis on the anatomy of a story.” – Liz Nugent “Burke’s exuberant prose takes centre stage … He plays with language like a jazz soloist stretching the boundaries of musical theory.” – Totally Dublin “A mega-meta smorgasbord of inventive language ... linguistic verve not just on every page but every line.Irish Times “Above all, The Lammisters gives the impression of a writer enjoying himself. And so, dear reader, should you.” – Sunday Times “A triumph of absurdity, which burlesques the literary canon from Shakespeare, Pope and Austen to Flann O’Brien … The Lammisters is very clever indeed.” – The Guardian

Wednesday, May 15, 2013

I Bring Grave News

I had a crime fiction column published in the Irish Times last weekend, featuring new titles from Alan Glynn, Aly Monroe, Anne Holt and Carl Hiaasen. The review of Alan Glynn’s GRAVELAND (Faber and Faber) runs like this:
Alan Glynn’s fourth novel, Graveland, opens with the apparently random murder of a Central Park jogger. When a second man is shot dead in the street, and an attempted murder is botched in a similar attack, a pattern emerges: the targets are Wall Street high-flyers, representatives of the self-styled ‘Masters of the Universe’ who have ruined lives and destroyed the US economy.
  Thus the scene is set for a frantic manhunt for vigilante killers – or would be, if Graveland was a conventional thriller. The third of a loose trilogy that began with Winterland (2009) and continued with Bloodland (2011), the novel incorporates the search for the vigilantes and the investigation of their motives, and certainly proceeds at a rattling pace. Glynn, however, crafts a complex tale in which a host of disparate characters – among them a pair of radicalised brothers, a bereft father, a crusading journalist and a Wall Street kingpin – are skilfully interwoven, creating a story that is both a contemporary take on the timeless clash between the powerless and the powerful few and a commentary on the perception, interpretation and manipulation of the narratives that shape our lives.
  On the one hand an invigorating slice of conspiracy noir, Graveland is simultaneously a heartbreaking account of the human cost of corporate greed.
  For the rest, clickety-click here

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