According to Ian Rankin's blurb for I Hear the Sirens in the Street, this crime novel ''blew'' his ''doors off''. To which I might add, ''and it rattled my windows too''. Given the context, Northern Ireland in the 1980s, the explosive metaphors are apt. Adrian McKinty, Belfast-born and now Melbourne resident, has a way with words. Try this selection of bons mots from the first 12 pages: entropic, simulacrum, ostinato, glissando, dissonance and kakistocracy. I had to look that last one up. It means ''government by the worst of men''. I am now deeply indebted to McKinty for introducing this useful noun into my repertoire. I intend to use it on a daily basis.
Now sample some of McKinty's cultural references from chapter one, bearing in mind the period: Chopin, Saint-Saens, Arvo Part, Paul Weller, the Bay City Rollers, Jackson Pollock, the TV series Dallas, Outlaw of Gor and Willy Loman (the salesman who ''died'' in Arthur Miller's play) - or, rather, think ''Willy Lomanesque'', since, with a deft suffix, McKinty turns a character into an adjective. Inventiveness is part of the McKinty repertoire, too.
While the eclectic vocabulary and the cultural allusions are diverting in themselves, they are there in the service of a plot, and it's not a bad one at that. Detective Inspector Sean Duffy of the Royal Ulster Constabulary and Detective Constable McCrabban have been called to a deserted factory where an overzealous, superannuated security guard opens fire on them despite their protestations:
''We're the police!!''
''I'll call the police!''
''We are the police!''
Duffy and McCrabban are tracking a blood trail, as reported by the nightwatchman, that leads them to a dumpster containing a suitcase into which the torso of a well-preserved man in his 60s has been stuffed. As the security guard dry-heaves behind them, the two professionals conduct their assessment of the corpse with the cool detachment of those only too familiar with dismembered bodies.
But then, this is bomb-blasted Northern Ireland, several years into a civil war. The shops and cafes are boarded up, the parks and playgrounds are vandalised while ''bored ragamuffin children of the type you often saw in Pulitzer-Prize-winning books of photography'' are sitting ''glumly on the wall over the railway lines waiting to drop objects down onto the Belfast train''. Forget the Pulitzer-Prize-winning photographer, McKinty has the ability to capture an image in words that says it all.
Duffy's daily routine is a grim one. Coffee and a quick check under his BMW for any ''mercury tilt'' explosives before he heads off on the job of identifying the torso in the suitcase - a task repeatedly diverted by other emergencies, including, for example, a ''half-hearted sort of riot'' on a depressed housing estate. It's hard to get things done in the midst of an ongoing battle.
Throughout it all, Duffy keeps his cool - and, for the most part, his sense of humour. Despite the shenanigans of civil war, this is a very funny book that benefits from a knowledge of recent history. Take Duffy's visit to the ''real'' American DeLorean car factory in West Belfast. The fact John DeLorean went bankrupt in 1982 casts an ironic glow over an encounter that ends with Duffy seducing his secretary armed with a few Starsky and Hutch moves and a bowl of spaghetti. I Hear The Sirens In The Streets concludes with a teaser for the next in the series, And in the Morning I'll be Gone. Expect more doors to be blown off.
I was born and grew up in Carrickfergus, Northern Ireland. After studying philosophy at Oxford University I emigrated to New York City where I lived in Harlem for seven years working in bars, bookstores, building sites and finally the basement stacks of the Columbia University Medical School Library in Washington Heights. In 2000 I moved to Denver, Colorado where I taught high school English and started writing fiction in earnest. My first full length novel Dead I Well May Be was shortlisted for the 2004 Ian Fleming Steel Dagger Award and was picked by Booklist as one of the 10 best crime novels of the year. In 2008 I moved to St. Kilda, Melbourne, Australia with my wife and kids and started writing full time.
I'm probably best known for my Sean Duffy books. The first Sean Duffy novel, The Cold Cold Ground, won the 2013 Spinetingler Award and was picked as one of the best crime novels of the year by The Times.
The second Sean Duffy novel, I Hear The Sirens In The Street, won the 2014 Barry Award for best paperback original crime novel.
In The Morning I'll Be Gone (Sean Duffy #3) won the 2014 Ned Kelly Award for best novel and was picked as one of the top 10 crime novels of 2014 by the American Library Association, The Daily Mail & The Toronto Star.
Gun Street Girl (Duffy #4) was shortlisted for the 2016 Edgar Award, the 2015 Ned Kelly Award, The 2016 Anthony Award and was picked as one of the best books of 2015 by The Boston Globe and by The Irish Times.
Sean Duffy #5, Rain Dogs, was a Boston Globe best novel of 2016 and anIrish Timesbest crime novel of the year; it was shortlisted for the 2017 Edgar Award, the 2017 Barry Award, the 2016 Theakston Crime Novel of the Year Award, the 2016 CWA Ian Fleming Steel Dagger Award and the 2016 Ned Kelly Award.
"If Raymond Chandler had grown up in Northern Ireland he would have written The Cold Cold Ground."
"Hardboiled charm, evocative dialogue, an acute sense of place and a sardonic sense of humour make McKinty one of our greatest crime fiction writers."
"A literary thriller that is as concerned with exploring the poisonously claustrophobic demi-monde of Northern Ireland during the Troubles, and the self-sabotaging contradictions of its place and time, as it is with providing the genre’s conventional thrills and spills. The result is a masterpiece of Troubles crime fiction: had David Peace, Eoin McNamee and Brian Moore sat down to brew up the great Troubles novel, they would have been very pleased indeed to have written The Cold Cold Ground."
---The Irish Times
"McKinty is a gifted man with poetry coursing through his veins and thrilling writing dripping from his fingertips."
---The Sunday Independent
"Adrian McKinty is fast gaining a reputation as the finest of the new generation of Irish crime writers, and it's easy to see why on the evidence of The Cold Cold Ground."
---The Glasgow Herald
"McKinty is a storyteller with the kind of style and panache that blur the line between genre and mainstream."
"McKinty's literate expertly crafted crime novel confirms his place as one of his generation's leading talents."
"McKinty crackles with raw talent. His dialogue is superb, his characters rich and his plotting tight and seemless. He writes with a wonderful and wonderfully humorous flair for language raising his work above most crime genre offerings and bumping it right up against literature."
---The San Francisco Chronicle
"The first of McKinty's Forsythe novels, "Dead I Well May Be," was intense, focused and entirely brilliant. This one is looser-limbed, funnier...so, I imagine, is the middle book, "The Dead Yard," which I haven't read but which Publishers Weekly included on its list of the 12 best novels of 2006, along with works by Peter Abrahams, Richard Ford, Cormac McCarthy and George Pelecanos."
---The Washington Post
"McKinty, who grew up in Northern Ireland, has an ear for language and a taste for violence, and he serves up a terrifically gory, swiftly paced thriller."
---The Miami Herald
"There's nothing like an Irish tough guy. And we're not talking about Gentleman Gerry Cooney here. No, we mean the new breed of bare-knuckle Irish writers like Adrian McKinty, Ken Bruen and John Connolly who are bringing fresh life to the crime fiction genre."
---The Philadelphia Inquirer
"McKinty's writing is dark and witty with gritty realism, spot on dialogue, and fascinating characters."
---The Chicago Sun-Times
"If you like your noir staples such as beautiful women, betrayal, murder, mixed with a heavy dose of blood, crunched bones, body parts flying around served up with some throwaway humour, you need look no further, McKinty delivers all of this with the added bonus that the writing is pitch perfect."
---The Barcelona Review
"I really enjoyed combination of toughness and a striking literary style."
"This is a terrific read. McKinty gives us a strong non stop story with attractive characters and fine writing."
---The Morning Star
"[McKinty] draws us close and relates a fantastic tale of murder and revenge in low, wry tones, as if from the next barstool...he drops out of conversational mode to throw in a few breathtaking fever-dream sequences for flavor. And then he springs an ending so right and satisfying it leaves us numb with delight and ready to pop for another round. Start the cliche machine: This is a profoundly satisfying book from a major new talent and one of the best crime fiction debuts of the year."
"The story is soaked in the holy trinity of the noir thriller: betrayal, money and murder, but seen through with a panache and political awareness that give McKinty a keen edge over his rivals."
---The Big Issue
"A darkly humorous cross between a hard-boiled mystery and a Beat novel."
---The St. Louis Post-Dispatch
"A roller coaster of highs and lows, light humour and dark deeds, the powerful undercurrent of McKinty's talent will swiftly drag you away. Let's hope the author does not slow down anytime soon."
---The Irish Examiner
"A virtual carnival of slaughter."
---The Wall Street Journal
"McKinty has once again harnassed the power of poetry, violence, lust and revenge to forge another terrific novel."
---The Irish Post
"A pacey, violent caper in which McKinty vividly portrays [Belfast's] sleazy, still-menacing underbelly."
---The Sunday Times
"McKinty writes with the soul of a poet; his prose dances off the pages with Old World grace and haunting intensity. It's crime fiction on the level of Michael Connolly with the conviction of James Hall."
---The Jackson Clarion-Ledger
"The Bloomsday Dead is the explosive final installment in a trilogy of kinetic thrillers."
---The New York Times
"McKinty's Dead Trilogy has been praised by critics, who call it "intense," "masterful" and "loaded with action." If your reading pleasure leans toward thrillers offering suspense, close calls, wry wit, sharp dialogue, local color and sudden mayhem, you wont do better."
---The Sacramento Bee
"Le Fleuve caché d'Adrian McKinty impressionne par la richesse et la diversité de son ton et de son écriture, passant avec aisance du lyrisme ample de la nostalgie de l'amour perdu au rythme saccadé du narrateur sous l'emprise de l'héroïne. Ce livre rare et maîtrisé est une réussite bien digne de la Série noire."
"McKinty - that guy is a friggin genius."
"McKinty is a cross between Mickey Spillane and Damon Runyan, the toughest, the best."
"Adrian McKinty is one of the great new crime writers emerging from Ireland."