“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 Robert B Parker. Show all posts
Showing posts with label Robert B Parker. Show all posts

Tuesday, August 7, 2012

The Little Brother

Melissa Hill, over at the Irish Crime Writing Facebook page, tips us off to a rather juicy piece of industry rumour-become-fact, which is that John Banville (right), under his crime writing nom-de-plume Benjamin Black, is to publish a Phillip Marlowe novel next year. All the details are here, but it appears that Banville / Black will be writing a full-length Chandleresque tale, set in Bay City, and featuring Marlowe - a novel in the same vein as Robert B. Parker’s PERCHANCE TO DREAM and POODLE SPRINGS.
  Should be very, very interesting indeed, particularly as (a) Banville took a right good lamping for daring to dabble in the dark arts of crime writing when first he donned his fedora as Benjamin Black; (b) Chandler, these days, tends to be lauded more for his romantic stylings than his plots, which is often a charge levelled at Benjamin Black himself; and (c) John Banville’s older brother, Vincent, was the first to introduce the Chandleresque homage to Irish crime writing, back in the early to mid-1990s, with his John Blaine private eye novels.
  Crikey. Cat? Meet the pigeons …

Saturday, October 29, 2011

Make Mine A Nun With A Gun

As all Three Regular Readers will be aware, The Artist Formerly Known as Colin Bateman published NINE INCHES this month, and terrific it is too: very, very funny, but very dark too. A tough combination to pull off, but then Bateman has been doing so ever since very first Dan Starkey novel, DIVORCING JACK. The good news for those who haven’t had the pleasure is that DIVORCING JACK is back in print, with a spanking new cover, and an irresistible subtitle: ‘Vodka, Violence and a Nun With a Gun’. Anyone interested in this beast we call the new wave of Irish crime writing, or ‘Emerald Noir’, need look no further for its seminal text. Quoth the blurb elves:
I was upstairs with a girl I shouldn’t have been upstairs with when my wife whispered in my ear, ‘You have twenty-four hours to move out.’ The book that started it all, Bateman’s first novel published in 1995. It introduced the world to the hapless, endlessly wily and witty Belfast journalist Dan Starkey. Dan shares with his wife an appetite for drinking and dancing. But when he meets Margaret, things get seriously out of hand. Terrifyingly, unbelievably, she is murdered. Before long Dan is a target himself, racing against time to crack the mystery.
  I’ll always have a very soft spot for DIVORCING JACK, because it was the book that allowed me believe that I might be able to make a stab at crime writing. Not for the usual reason - ‘Jayz, that’s crap, I can do better than that.’ No, it was the winning blend of hard-boiled prose and humour, a Chandleresque take on the Troubles, catnip to a wannabe writer for whom Chandler was where it started and ended (although now I know that Bateman was more influenced by Robert B Parker). A brave book too, given that the mid-’90s was a particularly fraught time in Northern Ireland, and DIVORCING JACK takes no prisoners as it paints all sides with the stupid brush. Anyway, I’m delighted to see it back in print, not least because it’s all the excuse I need to give it yet another read. I believe the phrase is ‘unalloyed joy’ …

Friday, July 16, 2010

“Ya Wanna Do It Here Or Down The Station, Punk?”: Kevin Power

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?
I suppose everyone says THE BIG SLEEP, don’t they? It’s THE GREAT GATSBY of crime fiction. And I like to think that I’d be just slapdash enough to forget, in true Chandleresque style, who killed that chauffeur.

What fictional character would you most like to have been?
James Bond. I remember being very impressed, as a kid, when I read GOLDFINGER and learned that Bond concealed his Walther PPK in a book called THE BIBLE DESIGNED TO BE READ AS LITERATURE. I think that was when I realised that true style is in the details.

Who do you read for guilty pleasures?
The Spenser novels by the late, great Robert B. Parker. Starting with THE GODWULF MANUSCRIPT in 1973, Spenser evolved into one of the great heroes of American popular fiction. Spenser isn’t really a noir protagonist in the true sense – he never compromises, and he’s always right. The Spenser books are basically romances in which the questing hero always triumphs, which I reckon is what makes them so satisfying.

Most satisfying writing moment?
When I was about thirty pages from the end of BAD DAY IN BLACKROCK, I suddenly knew what the last paragraph would be, and I scribbled it down then and there. The most satisfying moment was realising everything else was done and I could finally type that final paragraph.

The best Irish crime novel is …?
Declan Hughes’s Ed Loy novels are turning into a running commentary on the state of the nation, using the PI genre as a hook. I suspect Ed is the first fictional gumshoe ever to find himself in negative equity. And Hughes can really write, too.

What Irish crime novel would make a great movie?
THE KILLING KIND by John Connolly. Because of the villain, mostly: Mr. Pudd, the unbelievably creepy arachnophile psychopath who kills people by jamming their mouths with chloroformed black widows. You could traumatize a lot of people by putting Mr. Pudd on screen.

Worst / best thing about being a writer?
I can’t see much of a downside. The best thing is when you know you’ve got something right – a sentence, a paragraph, even a section title.

The pitch for your next book is …?
I have to write the bleedin’ thing first.

Who are you reading right now?
In my non-writing life I’m supposed to be doing a PhD on Norman Mailer, so I’ve just read a memoir called MORNINGS WITH MAILER by Dwayne Raymond, who was Mailer’s personal assistant for the last four years of his life. What amazed me was the account of Mailer’s work ethic. The man revised everything five or six times, even if it was just a Christmas card.

God appears and says you can only write OR read. Which would it be?
I think if God appears, I’ll have bigger problems ...

The three best words to describe your own writing are …?
I aim for clarity, honesty, and what you might call “flow” – I want people to turn the pages.

The paperback edition of Kevin Power’s BAD DAY IN BLACKROCK is published by Pocket Books.

Wednesday, April 8, 2009

Masturbation, Pink Sharks And THE DAY OF THE JACK RUSSELL: Yup, It’s The Bateman Interlude

MYSTERY MAN is the latest novel, squire. What’s the skinny?
“I kind of wrote it by accident. I’ve launched nearly all of my three hundred and twenty-seven novels in No Alibis bookshop in Belfast, a fine mystery bookstore indeed, the best an only one in that city of twelve stories. Mmm, good title for book … The Stories … but when I do a reading I always read from the first chapter - you don’t need any confusing set up. But when I was launching DRIVING BIG DAVIE about four years ago the first chapter was all about masturbation, and I couldn’t bring myself to do that – the reading – in front of my relatives. So instead I wrote a short story using the shop as the location, and the owner as a part time detective. It just got a lot of laughs. So when I launched the next book, I wrote a second story, it went down just as well, and then the novel just seemed to write itself.”

The No Alibis-style crime fiction bookstore; the famous Irish literary author turned crime writer; a snivelling weakling as first-person narrator – aren’t we dangerously close to meta-fiction here, if not actual autobiography?
“Absolutely right, it is almost entirely autobiographical. I hope it’s an affectionate tribute to crime writers, book sellers and readers, even if I do depict them all as being sad and mental. Actually, squire, I think the entire book has been as much influenced by CAP as anything, it’s one of the first sites I turn to in the morning. Although I’m now definitely bracketed as a crime writer, I’ve never really been or felt part of a ‘scene’ or attended many conferences or the like, and I don’t mix with other crime writers at all (not out of choice, out of being a lazy bugger), so CAP is like a nice club to visit.”

The whole Norn Iron Prods vs Taigs thing – why can’t you just get along? Eh?
“We may fight, but at least we can add up, which clearly you lot south of the border can’t do. The Celtic Tiger, hah!”

Rafa Benitez: messiah or messer?
“When he was good he was very good, when he was bad he was awful. If you remember that eventually, your team ALWAYS, lets you down, then you can be fairly relaxed about it all. And having won the Champions League in ’05, we, and I mean WE, really don’t have to do anything else for about twenty years.”

You’re obviously a terrific writer. How come you’re wasting your time on that crime fiction trash?
“I love that ‘obviously’! I think most of us writers can only write what we can write - we can’t suddenly put on a ‘literary’ hat or start writing poetry, or for that matter a Mills & Boon novel. I suppose it’s whatever floats your boat. That said, when I started out I was asked if I wanted to be in the crime section and I said no, I wanted to be free to write whatever stories I wanted. So twenty three books down the line, including the children’s ones, there hasn’t been one that hasn’t featured crime or thriller elements. So I guess it’s in the DNA.”

Do you write comedy crime fiction or crime fiction comedy? Is there a difference? And why the comedy? Yon crime’s a serious business, like …
“I just write the stories and let other people decide what they are. I kind of half-remember watching a Charlie Drake movie on TV when I was a kid in which he was a comedian who tried to go straight, but people kept laughing at him, and I think that has always been my fear. I have been re-branded with a comedic look, which I’m fine with and the books all look great together, but it can be a bit restrictive - my last book ORPHEUS RISING was as far from a comedy as I can imagine, but you wouldn’t necessarily have known that from the large pink shark on the cover. A shark which only appears in the first paragraph. And wasn’t pink. MYSTERY MAN, however, IS supposed to be a comedy, probably the purest comedy I’ve written.”

Who were your big inspirations and / or heroes?
“Marvel Comics, science fiction magazines, pulp fiction, movies, movies, movies, Robert B Parker, Liverpool. I would give it all up to play for Liverpool, but the bloody phone never rings. I still play twice a week, but the clock is ticking.”

If you could assume authorship for one writer’s back catalogue, who would it be?
“Do you know, the only writer in recent years whose books I’ve consistently enjoyed has been Robert Harris - FATHERLAND, THE GHOST, etc. The problem with 95 per cent of what we call ‘crime fiction’ is that it’s all exactly the same, like it’s written by a software programme. Harris is very understated, and all the more thrilling for it. I’ve started reading David Peace now, and I like the style. Has also made me think a bit more about going back to The Troubles for a book; I was fed up with writing about terrorists etc. but it might be the right time to re-visit.”

Who’s the sexiest living crime writer?

“Alex Barclay, obviously. She said the same about me. And then I woke up.”

Any new Norn Iron writers we should be keeping our eyes peeled for?
“No. I REALLY don’t need the competition.
Stuart Neville’s book obviously is coming soon, and Brian McGilloway seems to be taking off and Adrian McKinty’s new one ... I am) in the process of putting together an anthology of Noirish fiction, and I’ve seven or eight really good stories, but not quite enough for a book - we are a very small country though, and maybe I shouldn’t expect there to be a dozen or so good crime writers. But I think we’re punching above our weight.”

You don’t read a lot of crime fiction. Why so?
“I’m very easily influenced, mostly. As you’ll see from above, I’m coming over all David Peace and I’ve hardly started him. And also, a lot of it makes me want to throw it through the window of a bus.”

The next one is called THE DAY OF THE JACK RUSSELL. What’s all that about?

“Well, we had a marketing meeting, and decided if we married THE SILENCE OF THE LAMBS with MARLEY & ME we might have a hit on our hands. Actually, it’s the sequel to MYSTERY MAN. And I used to have a Jack Russell. Also, I was wondering, has there been a crime novel where someone actually flogs a dead horse?”

Finally, why aren’t there more redhead crime writers? Is it a conspiracy?
“My favourite joke of all time is: ‘My wife’s a redhead. No hair, just a red head.’ Actually, it’s the one about the news report saying a car has crashed through a wall into Dublin cemetery, and so far Garda have recovered two hundred and thirty bodies.”

Bateman’s MYSTERY MAN is published on April 30th