“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

Sunday, December 17, 2017

Feature: Anthony J. Quinn on ‘the Border’

Anthony J. Quinn publishes UNDERTOW (Head of Zeus) this month, a story over which Brexit and the potential consequences of a ‘hard’ border between Northern Ireland and the Republic of Ireland throws a long shadow. Anthony had a piece published in the Irish Times yesterday about growing up with the border as a reality. To wit:
“Growing up during the Troubles, I wanted to run, but instead I remained rooted to the spot, in my home parish of Killeeshil in Tyrone, about three miles from the Border with Monaghan. By staying here and raising a family, I’ve managed to lift my childhood landscape out of the darkness of the past. The trees and rivers I played in as a boy with my brothers and sisters live on in my children’s world, their familiar sounds and images translated into new stories and adventures.
  “However, my children think I grew up somewhere else, in a grim terrain of checkpoints and military hardware, armed men in camouflage greens, bulletproof vests and balaclavas. To their generation, the Border exists not as a line on a map, but as a contradictory series of romantic recollections about smuggling and horror stories from the Troubles. They’ve never noticed the Border, which runs so invisibly close to their lives, and they’ve never been able to locate these stories in their own landscape. For the past 15 years or so, the Border has existed more as folklore, and in the crevices of the past, until its story took an unexpected turn in June 2016 when the UK made a political decision about immigration and voted for Brexit.
  “Then it was as if the Border had suddenly fallen upon us from the sky again.”
  For the rest, clickety-click here

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