“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

Monday, September 28, 2009

You Can Never Be Too Rich Or Too Glynn

You will, if you’re one of CAP’s three regular readers, have encountered the name of Alan Glynn before, as often as not in conjunction with the latest rave for his forthcoming novel, WINTERLAND – John Connolly, George Pelecanos, Val McDermid and Ken Bruen are among those who just about stop short of acclaiming it a cure for all mankind’s ills. I interviewed Alan for the Evening Herald last week, with the opening gambit running thusly:
Alan Glynn is a man of many talents. Not only has he written two superb novels, one of which has been optioned in Hollywood, he has also, in writing the prophetic novel WINTERLAND, pretty much single-handedly caused the crippling Irish recession.
  “Oooops,” he says, “sorry about that. But you’re right, the first draft of WINTERLAND was written during the boom, although I don’t think I was trying to predict anything or be Cassandra-ish. I did revise it in the light of what has happened more recently, but the central concern, or target, of the story is something that applies equally in times of boom or bust -- which is that all-too-familiar dynamic in Irish life where people tell lies, cover them up and create all sorts of collateral damage, sometimes spread out over decades, and never take responsibility.”
  For the rest, clickety-click here

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