Feature: The Irish Spy Novel

I had a feature on the lesser-spotted Irish spy novel published in the Irish Times last week, which featured – among others – Joe Joyce, John Banville, Eoin McNamee, Stephen Burke, Michael Russell, Stuart Neville, Philip Davison, Joseph Hone and Andrew Hughes. To wit:

Brinsley McNamara always claimed that Garradrimna, the village which provides the setting for The Valley of the Squinting Windows, could have been any village in Ireland. Published in 1918, the novel can be read as an expression of a kind of colonial pathology, as the population of Garradrimna engage in constant mutual surveillance, monitoring one another’s weaknesses and ferreting out secrets in order to accrue what passes for power among the powerless.
  Naturally, any of Garradrimna’s upstanding citizens would take mortal offence at being called a spy. To the coloniser, every native is suspect until proven otherwise, and the only way to prove this logically fallacious gambit is to maintain a relentless scrutiny. Spied upon for generations, the colonised learn to abhor the spies, even as they absorb the tradecraft; it’s no coincidence that there are few Irish insults worse than that of tout, or informer.
  Perhaps this goes some way towards explaining why, despite the recent upsurge in Irish crime fiction, the Irish spy novel is notable by its absence. There is no Irish equivalent to Ian Fleming, for example, who served with British Naval Intelligence during WWII, or John le Carré, Somerset Maugham (Ashenden) and Graham Greene, all of whom worked with British Intelligence before going on to write spy fiction. The archetypal heroes of modern spy fiction were written from the perspective of the coloniser and empire builder; the methods employed by their protagonists may be less than savoury, of course, but the intelligent reader understands the realpolitik that means some eggs are destined for omelettes.

  For the rest, clickety-click here …

CAPNYA; Or, The Crime Always Pays Novel of the Year Award

Well, it’s that time of the year again, folks, when we have a look back at the Irish crime titles released in the last twelve months or so, and make a ham-fisted attempt at deciding which was the best of the lot for the not-entirely-coveted Crime Always Pays Novel of the Year Award - or CAPNYA, if you prefer. I say ham-fisted, because all such ‘awards’ are by definition a lottery of subjective opinions, opinion being a polite word for prejudice; the good news there is, opinions are free, and so is leaving a comment in the box beneath this post. So, if you have a few moments to spare, and have an opinion on what might be the best Irish crime title of 2011, please join in the fun.
  To make it (slightly) interesting, and because the real object of the exercise is to bring the titles of great books to the attention of those who might have missed them first time around, I’m going to ask you to name your top three books, in 1-2-3 order, with the person who gets closest to the right 1-2-3 bagging themselves a signed copy of ABSOLUTE ZERO COOL by yours truly (runner-up gets two signed copies, etc.). In the event that two or more contributors tie, the names will go into a bobbly hat.
  The list of books below isn’t so much a longlist as a suggested reading list, and please feel free to include any title that isn’t on it in your 1-2-3. I’m going to run this post for two weeks, with the winner to be announced on Monday, December 19th, and maybe for giggles I’ll post a ‘short-list’ of the most popular books this time next week.
  Incidentally, I’ll be leaving myself and ABSOLUTE ZERO COOL out of the competition. As always, this has less to do with transparency and accountability and the democratic process than it has to do with the horrendous embarrassment that would come with my not winning an award I’m hosting on my own blog. You know it makes sense.
  Anyway, on with the list, which is presented in alphabetical order:

NINE INCHES, Colin Bateman;
A DEATH IN SUMMER, Benjamin Black;
THE POINT, Gerard Brennan;
HEADSTONE, Ken Bruen;
THE RECKONING, Jane Casey;
PLUGGED, Eoin Colfer;
THE BURNING SOUL, John Connolly;
THE FATAL TOUCH, Conor Fitzgerald;
BLOODLAND, Alan Glynn;
TABOO, Casey Hill;
GOODBYE AGAIN, Joseph Hone;
THE CHOSEN, Arlene Hunt;
THE RAGE, Gene Kerrigan;
HIDE ME, Ava McCarthy;
LITTLE GIRL LOST, Brian McGilloway;
FALLING GLASS, Adrian McKinty;
STOLEN SOULS, Stuart Neville;
BLOODLINE, Brian O’Connor;
TAKEN, Niamh O’Connor;
DUBLIN DEAD, Gerard O’Donovan;
THE BLOODY MEADOW, William Ryan;

  So there you have it, folks. Vote early, vote often, and let the games commence …

Who Is This Man Joseph Hone?

It’s fair to say that the world - niche as it is - of Irish crime writing never fails to surprise me. Late last week, it came to my attention that Lilliput Press has just published a novel called GOODBYE AGAIN by Joseph Hone, with the blurb suggesting that the novel might - just might, mind, given Lilliput’s predilection for publishing literary fiction - be considered a crime thriller. To wit:

Ben Contini, a disenchanted painter of considerable talent, has just buried his mother. Rifling through the attic of her Kilkenny house he stumbles across a Modigliani nude, worth millions. Determined to learn the provenance of the painting, he and Elsa, a disturbed and secretive woman who accosts him at the funeral, become embroiled in the sinister world of Nazi art theft. But they are not the only one with an interest in the painting ... Together they set off on a frantic journey that leads them from Dublin to France via the Cotswolds, down the Canal du Midi into Italy. The intrigue surrounding the shadowy half-truths about their exotic families becomes increasingly sinister as Ben and Elsa are forced to confront their pasts and their buried demons. Set in the 1980s, this is a fantastic new book from established thriller writer Joseph Hone, who weaves a breathless, galloping intrigue packed with narrative twists and sumptuous evocations of Europe’s forgotten past.

 ‘Established thriller writer’? Surely not, thought I, being so well-versed (koff) in all things Irish crime fiction. But lo! A little investigation - very little, to be perfectly frank - unearthed the following on Wikipedia:

Joseph Hone (born February 25, 1937) is a writer of the Spy Novel. His most famous novels featured a British spy called Peter Marlow. The first of the series was THE PRIVATE SECTOR (1971), set in the Six Day War. Marlow’s story continues in THE SIXTH DIRECTORATE (1975), THE FLOWERS OF THE FOREST (a.k.a. THE OXFORD GAMBIT) (1980), and THE VALLEY OF THE FOX (1982). Today, Hone’s novels are out of print. During his heyday, in the 1970s, however, he was favourably compared with writers such as Len Deighton, Eric Ambler and John le Carré.

  Impressive enough, but over at the Faber Finds blog, Jeremy Duns waxes rather more than lyrical about one Joseph Hone. Quote:

“A third of the way through THE PRIVATE SECTOR I thought I was reading a beautiful marriage of Orwell’s BURMESE DAYS (in its evocation of profound British colonial torpor) and John Fante’s ASK THE DUST (in its rendering of a hopeless, near-rebarbative love affair). But that is before the spy game truly gets underway, and Hone shifts gears to show his expertise in that department too.”

  Crikey. Elsewhere, Duns quotes a Washington Post review of THE PRIVATE SECTOR:

“There are moments in this book – indeed, whole chapters – where one is haunted by the eerie feeling that Joseph Hone is really Graham Greene, with faint quarterings of Lawrence Durrell and Thomas Pynchon. His tone is nearly perfect – quiet, morbidly ironic, beautifully controlled and sustained, moodily introspective, occasionally humorous and more often bitter, with a persistent undertone of unspeakable sadness and irrecoverable loss.”

  So that’s me and my ignorance well and truly told. Sounds like Joseph Hone might be one of the great lost Irish thriller writers, and that GOODBYE AGAIN is well worth a whirl. I’ll keep you posted …

“Ya Wanna Do It Here Or Down The Station, Punk?”: Jeremy Duns

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?
ENDLESS NIGHT by Agatha Christie. It’s a late novel of hers, and oddly reminiscent of the Angry Young Men novels. It’s beautifully crafted, haunting, with a killer ending.

What fictional character would you most like to have been?
James Bond - he lives well, saves the world, and survives.

Who do you read for guilty pleasures?
Dennis Wheatley’s Gregory Sallust spy thrillers.

Most satisfying writing moment?
Coming up with the title for my first novel: FREE AGENT. I wanted something that was very simple, in the vein of Geoffrey Household’s ROGUE MALE, but that would also reveal another layer once you’d finished the book. I just felt a great burden had been lifted and it acted as a kind of mini-tone poem guiding the rest of the book.

The best Irish crime novel is …?
Not exactly a crime novel, although it features plenty of crimes, Joseph Hone’s THE SIXTH DIRECTORATE, part of the superb Peter Marlow spy series, sadly long out of print. Gripping plot, beautiful prose.

What Irish crime novel would make a great movie?
THE BIG O, of course!

Worst / best thing about being a writer?
The worst thing is the mental strain of putting it all together. The best thing is being paid to do what you love.

The pitch for your next book is …?
1969: a British spy on the run in Biafra has to confront his past.

Who are you reading right now?
George Blake’s memoirs, NO OTHER CHOICE.

God appears and says you can only write OR read. Which would it be?
Write.

The three best words to describe your own writing are …?
Spare, gripping, sweat-inducing.

Jeremy Duns’s FREE AGENT will be published in May 2009 by Simon & Schuster.