“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

Showing posts with label Erin Kelly. Show all posts
Showing posts with label Erin Kelly. Show all posts

Sunday, July 3, 2011

On Gene Kerrigan, Agatha Christie And Quantum Mechanics

The latest of the Irish Times’ Crime Beat columns was published yesterday, and led off with a review of THE RAGE by Gene Kerrigan. To wit:
THE RAGE (Harvill Secker, £11.99) is the fourth novel from journalist Gene Kerrigan, a serial chronicler of Dublin’s criminal underworld who was last year shortlisted for the CWA Gold Dagger, and was the winner of the Irish Book Awards’ crime fiction prize, for his previous offering, DARK TIMES IN THE CITY (2009). THE RAGE essentially blends two stories, that of Detective Sergeant Bob Tidey, who is investigating the apparent suicide of a banker of dubious morality, and that of Vincent Naylor, a low-level criminal recently released from prison with plans to move up in the world. That the men will eventually cross paths is inevitable, although it’s Kerrigan’s quality of gritty realism that renders THE RAGE an enjoyable page-turner as Tidey negotiates the blind alleys of a labyrinth constructed by officious judges, corrupt lawyers, and even his own superiors. Largely recession-proof (“Bob Tidey was in the law and order business, and whatever else went belly-up there’d always be hard men and chancers and a need for someone to manners on them.”), Tidey is an empathic character, pragmatic rather than idealistic, but what makes THE RAGE a compulsive document of post-Celtic Tiger Ireland is Tidey’s growing awareness that the moral anarchy that reigns at all levels of Irish society means that the old rules no longer apply, especially when it comes to enforcing a crude approximation of law and order, by any means necessary.
  Also reviewed are SJ Watson’s BEFORE I GO TO SLEEP, Erin Kelly’s THE POISON TREE, Mary Higgins Clark’s I’LL WALK ALONE, and Keigo Higashino’s THE DEVOTION OF SUSPECT X, which last I heartily recommend as an erudite, thought-provoking thriller. For the full column, clickety-click here
  Meanwhile, there was some interesting short-list nominations during the week. Mind you, the only real surprise would have been had Tana French’s ubiquitous FAITHFUL PLACE (which has so far been short-listed for an Edgar, an Anthony and a LA Times book award this year) not made the Best Mystery list in the Macavity Awards.
  A less-trumpeted title, on these pages at least, is John Curran’s AGATHA CHRISTIE’S SECRET NOTEBOOKS: FIFTY YEARS OF MYSTERIES IN THE MAKING, a labour of love that contains no less than two unpublished Poirot short stories, and which pops up in the Best Mystery-Related Nonfiction section. Incidentally, the follow-up to SECRET NOTEBOOKS will be published in September under the title AGATHA CHRISTIE’S MURDER IN THE MAKING, all of which may or may not mean that Curran’s doctoral thesis on Christie, undertaken at Trinity College, Dublin, may or may not be on the backburner for now. For the full rundown of Macavity nominees, you know what to do
  Elsewhere, William Ryan beat off some stiff contenders (oo-er, vicar, etc.) to make the Theakston’s Old Peculier shortlist, a feat that’s all the more impressive when you consider that his novel, THE HOLY THIEF, is a debut offering. Another serial nominee, which has already been under consideration for Best Novel awards with the CWA and the Listowel Writer’s Week, THE HOLY THIEF will see its sequel, THE BLOODY MEADOW, published in September. All of which means that William Ryan is very probably feeling rather pleased with himself right now, and deservedly so. For the full list of nominees, via Kiwi Crime, clickety-click here
  Finally, those of you pining for the stentorian tones of the Dark Lord himself, John Connolly, should click on this interview with the Daily Telegraph, in which the HELL’S BELLS author waxes lyrical about hell, bells and why he was entitled to, and duly received, an apology from CERN for the quality of his understanding of quantum mechanics. Proper order, too …

Sunday, May 30, 2010

“Ya Wanna Do It Here Or Down The Station, Punk?”: Erin Kelly

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
THE CUTTING ROOM by Louise Welsh left me breathless. It’s tartan noir at its most deft, dark and literary. She really is a master storyteller. It tells the story of Rilke, a dissolute auctioneer who finds a cache of disturbing erotic photos in a house clearance. She takes a character who was in the gutter to begin with and sends him into a downward spiral.

Who do you read for guilty pleasures?
I have no guilty pleasures, only deeply unfashionable ones; once every few years I chain-read Virginia Andrews’ Dollanganger saga.

Most satisfying writing moment?
The day I realised THE POISON TREE was finished and I had actually written a novel. I almost didn’t care if no one read it. (This lasted for about a week. Then I cared again, a lot.)

The best Irish crime novel is …?
I’ve loved both of Tana French’s novels, IN THE WOODS and THE LIKENESS; gritty and tender, for me they absolutely capture the dark side of Dublin during the boom.

What Irish crime novel would make a great movie?
THE LIKENESS (see above) was rich with young, sexy, intriguing characters and the Wicklow mountains are the perfect film backdrop.

Worst / best thing about being a writer?
The freedom and power of creating new worlds is pretty intoxicating for a control freak like me. Plus, it’s fun; I can tell when I’m writing something good because it doesn’t feel like writing, it feels like reading. The worst thing is the physical discomfort. I know, I’m not exactly working down a mine, but sitting at a desk all day, getting RSI and watching your ass go square slowly impacts your vertebrae and crushes your spirit.

The pitch for your next book is …?
It’s about Paul, a young man who acts as the ‘eyes’ for his childhood friend Daniel, who is illiterate, angry, loyal and charming. Gradually Daniel’s protection turns into a desire for control that threatens to ruin Paul’s life until one night, Paul makes a split-second decision that will get Daniel out of the way for good. With Daniel’s father out for revenge, Paul escapes to build a new life in a different part of the country. There he begins a relationship with Louisa, a woman who has even darker, more dangerous secrets than he does. Who will catch up with Paul first?

Who are you reading right now?
THE WILDING by Maria McCann. It’s a deceptively thrilling literary novel about Civil War, sex and cider. What’s not to like?

God appears and says you can only write OR read. Which would it be?
I’d plea-bargain my soul to be allowed both. If that didn’t work ... well, I write one book a year, and read maybe sixty, so it has to be reading.

The three best words to describe your own writing are …?
Up all night.

Erin Kelly’s THE POISON TREE is published by Hodder & Stoughton.