MT: Your character Julius lives in cabin in the Maine woods with only his dog for company: is that an existence that part of you envies?We’re thinking Vin Diesel for the movie. Any other suggestions?
GD: “I do lead an existence similar to the lead character’s, on a farm in the woods with a dog and books, though not nearly as many. What interests me thematically in the novel is what kind of moral compass we have as humans, or more directly, what kind of moral compass I have. What would people really do if a beloved dog or indeed companion of any kind were shot and they could exact revenge without legal consequences? This is a question that haunts me. The answer is that I don’t have a moral compass aside from the basic agreements regarding normal behaviour I hold with other humans, but, as I’ve said elsewhere, I don’t quite trust fiction that showcases characters who in the end demonstrate what good people they are. Where is the border between grief and revenge? And who stops at that border, and who continues beyond? Julius Winsome continues, using increasingly archaic English as the violence continues. I envy him that, I envy his ability to pursue, I envy his complete preparation to bring violence ruthlessly to those who have practiced it themselves.”
“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
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