Belfast Noir - What The Trades Say...

Library Journal Nov1
REVIEW:

*starred* Belfast Noir. Akashic. Nov. 2014. 256p. ed. by Adrian McKinty & Stuart Neville. 
ISBN 9781617752919. pap. $15.95; 
ebk. ISBN 9781617753237. F

Edited by two award-winning crime fiction writers from Northern Ireland, this anthology is long overdue, since Belfast is the most noir-imbued city in Western Europe after decades of poverty, bigotry, demagoguery, sectarianism, and murder. The natural backdrop of mist, rain, and dark cloud cover also helps—as does black humor, which is a strong motif here. All the stories are compelling and well executed. Ruth Dudley’s “Taking It Serious” comes seriously close to truly portraying fanaticism within the city’s complicated tribal landscape. Eoin McNamee employs the juxtaposition of video cams and narrative to extenuate the sense of anomie in the striking story “Corpse Flowers.” Alex Barclay’s “The Reveller” is a deep psychological bear trap of a story. Gerard Brennan’s “ Ligature” makes for compelling and uncomfortable reading. VERDICT Great writing for fans of noir and short stories, with some tales close to perfection. It made this reviewer nostalgic and hopeful for his beautiful, brash, beastly Belfast.—
Seamus Scanlon, Ctr. for Worker Education, CUNY

KIRKUS REVIEW

Fourteen stories that explore the darker sides of the human psyche, each from a different neighborhood of Belfast.

“The Undertaking,” by Brian McGilloway, is a tale of a switched coffin and a deadly cargo. The narrator of Lucy Caldwell’s “Poison” recalls her schoolgirl obsession with a teacher. In Lee Childs’ “Wet with Rain,” a house rumored to kill its occupants more than lives up to its reputation. “Taking It Serious,” by Ruth Dudley Edwards, follows a boy who won’t compromise along his path to free Ireland. The narrator of Gerard Brennan’s “Ligature” is a prison inmate who’s curious about why someone on the men’s side killed himself. Another prisoner is the subject of a reporter’s piece about crime and retribution in Glenn Patterson’s “Belfast Punk Rep.” In “The Reservoir,” by Ian McDonald, a supposedly dead man comes to his daughter’s wedding and confronts his enemies; a criminal barrister in Steve Cavanagh’s “The Grey” serves his client well but at a terrible cost. The teenage private eye in “Rosie Grant’s Finger,” by Claire McGowan, takes on a case of kidnapping; a more mature investigator gets a 4 a.m. phone call that he knows will mean trouble in Sam Millar’s “Out of Time.” A sting operation to break up a dog-fighting ring has an unexpected outcome in Arlene Hunt’s “Pure Game,” and an alternate identity changes hands in Alex Barclay’s “The Reveller.”

The choices made by editors McKinty (In the Morning I’ll Be Gone, 2014, etc.) and Neville (The Final Silence, 2014, etc.) celebrate lowlifes, convicts, hookers, private eyes, cops and reporters, and, above all, the gray city at the heart of each story.

Belfast Noir Is Here, So It Is

I received my copies of Belfast Noir this week from our publisher Akashic Books and I have to say that the volume looks absolutely gorgeous. That deep focus shot on the cover is fantastic and its the usual excellent print job from Akashic. I think the stories inside are all first rate but of course I'm biased because Stuart Neville and I edited the book, but fortunately we also got the first review of the collection by Peter Rozovsky of Detectives Beyond Borders this week too. Peter is famous in the international crime writing community for knowing his crime fiction onions. This is what he said about Belfast Noir: 
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...Belfast Noir, out in November from Akashic Books, looks like one of the strongest, possibly the best entry in Akashic's "City Noir" series, and I don't say that just because the book's two editors plus one of its contributors will be part of a panel I'll moderate at Bouchercon 2014 in November.

Quite apart from the quality of the stories the pieces are well-chosen and the volume intelligently planned. Its four sections recognize not just Belfast's violent recent past, but the realities of its quotidian present. Most of the stories depict no violence directly, but violence, and the possibility or memory thereof, loom always. That's a lot more effective than whipping out a kneecapping or rolling down the balaclavas whenever the action lags.

I especially like Brian McGilloway's "The Undertaking," which opens the collection with hair-raising humor and suspense.  Akashic's Dublin Noir also opens with a comic story (by Eoin Colfer), and that story was the highlight of the volume for me. I don't know if it's an Irish thing, but  comedy is a wonderful against-type way to open a collection of crime stories. Oh, and I'll also want to read more from Lucy Caldwell...
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Belfast Noir is the first volume of its kind collecting crime fiction from the north of Ireland in the post Troubles era. It shows you how far we've come since The Good Friday Agreement that this book was even possible. Just to remind you we were delighted to get stories from Glenn Patterson, Eoin McNamee, Garbhan Downey, Lee Child, Alex Barclay, Brian McGilloway, Ian McDonald, Ruth Dudley Edwards, Claire McGowan, Arlene Hunt, Steve Cavanagh, Lucy Caldwell, Sam Millar and Gerard Brennan. A pretty impressive list I think you'll agree. 

A Belfast Noir Update

In case you don't know I'm editing a volume called Belfast Noir with Stuart Neville for the prestigious Akashic City Noir series. We got some good news this week: we've got a preliminary cover (right) which I think kicks ass and Johnny Temple, the series editor, told me that Belfast Noir is going to come out as a simultaneous audiobook when the hardback is published later in the year. A quick Nate Silver style analysis reveals that only about 1/3 of the City Noir books actually become audiobooks too, so this I think bodes quite well...
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Just to remind you we were delighted to get stories from Glenn Patterson, Eoin McNamee, Garbhan Downey, Lee Child, Alex Barclay, Brian McGilloway, Ian McDonald, Ruth Dudley Edwards, Claire McGowan, Arlene Hunt, Steve Cavanagh, Lucy Caldwell, Sam Millar and Gerard Brennan. A pretty impressive list I think you'll agree. 

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With the success of the new BBC drama The Fall and the best seller status of a surprising number of crime writers from Ireland I think the wheel may finally turning towards Northern Irish fiction. For years the words "The Troubles", "Northern Ireland" and "Belfast" caused book buyers, programme makers and publishers to either shrug with indifference or shudder in horror; but the new generation of writers coming out of Belfast is so good that a previously reluctant audience has had their interest piqued. I've been saying on this blog for the last three years that the Scandinavian crime boom is going to end and the Irish crime boom is going to begin and I still believe that. The depth of talent is there. All it needs is a spark, hopefully Belfast Noir will add kindling to a growing fire...
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Incidentally Steve Cavanagh, one of our contributors, identified this (right) as Upper Church Lane in central Belfast and says - on twitter - that he used to hang out in the very portico where the dudes are hanging out in the picture. Why was he hanging out there? I'll leave you to speculate on that gentle reader...
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Are you still reading all the way down here? Boy are you patient, well I might as well plug me then: The Boston Globe reviews Sean Duffy #3, today, here. 

The Irish Crime Fiction Supergroup

Guess which one is Colin Bateman

A repost from December of last year and a useful reminder that Irish crime fiction is at least as good as that coming from Scandinavia or anywhere else for that matter...
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For the last year or two here on my blog I've been trying to get people interested in my books in particular and in Irish crime writing in general. It's sometimes been an uphill struggle because, compared to Nordic or English crime fiction, Irish crime writers still seem to lurk in the periphery. This is strange to me because in terms of quality and diversity Irish crime fiction is booming. I wonder if Ireland has an image problem: years of insidious and dreary cliches in what I like to call Micksploitation films have conditioned the book buying public to demand fiction that conforms to their expectations. When people think of Ireland they still think of smoky pubs, flat caps and sheep; they want their Ireland to be the Ireland of the 1950's. Working in a New York Barnes and Noble I discovered that Irish Americans are not particularly avid readers and when they do buy books it's often something ghastly thing like How The Irish Saved Civilization or The Best Irish Castles. Therefore if you want to sell books with an Irish theme in America you have to reach beyond the Irish American community but there again you are often hit by the stereotypes and imagery of what it means to be Irish. When the average American punter buys an English or Nordic mystery novel they think they're getting something that not only will entertain them but will also improve them in some way because Swedes and Englishmen seem so darn intelligent. And this I feel appeals to something deep in the American psyche - the need to better oneself.   
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Irish fiction is intellectually on a par with any other literature in the world and I'd go further and say that Irish crime writing currently leads the world in diversity and richness. That such a small island can produce such a welter of talent is truly amazing. On his blog, Crime Always Pays, Declan Burke tirelessly promotes his fellow Micks and although I am not as well read as Declan, here are few authors that I have read in the last couple of years that I think you should be aware of...who knows it might even help with some last minute Christmas shopping. 
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*Declan Burke: Dec's novel Absolute Zero Cool may be his masterpiece. Channeling Flann O'Brien Dec has an original and utterly brilliant take on the contemporary crime novel. His latest Slaughter's Hound was one of the best Irish crime novels of the year.

*Stuart Neville: Stuart's first novel The Twelve was a work of brilliance. Incredibly his follow up books have only gotten better. Don't let the beard fool you, he's just a kid really, and he's got a long promising career ahead of him. I finished Ratlines last week and can vouch for it as an amazing book

*Eoin McNamee: Perhaps the most intelligent and thoughtful of this generation's crop of Irish novelists. At home in literary fiction and crime fiction, Eoin's book Orchid Blue is one of my all time favourites. 

*Ken Bruen: Sir Ken of Bruen is The Man as far as I'm concerned. The Irish Elmore Leonard or possibly the Irish Michael Connolly, but, you know, funnier. He's done many wonderful books since but there's a soft spot in my heart for Her Last Call To Louis MacNeice, one of his early classics.
*Ronan Bennett: This generation's Graham Greene. As comfortable in film and television as he is in fiction. Havoc In The Third Year is one of the great novels of our time and it should have won the Booker Prize. 

*Garbhan Downey: The bard of Derry. Garv hilariously unpacks the foibles and fantasies of the denizens of Ireland's most eccentric city. My favourite? War of the Blue Noses. 
*Kevin McCarthy: Only got to one Kevin McCarthy book so far but that was the fantastic novel Peeler. Definitely one of those books that you'll read compulsively in one long sitting. 

*Colin Bateman: Cursed by a childhood in Ireland's most boring town, Bangor, Bateman rose above the tedium of tea shops and ice cream parlours to become a best selling comic novelist. His done nothing but brilliant work since but I still love Divorcing Jack from a few years back. 

*David Park: A thoughtful, intelligent, subtle novelist in the Graham Green/Brian Moore mould. More of a literary guy than a crime guy really. His masterpiece, The Truth Commissioner, is the book to read if you want to understand what happened to Northern Ireland from 1968 - 1998. 

*Tana French: I was in a bookshop in Tokyo looking for something to read on the train and in among the Japanese novels was a shelf full of Ms French. I bought, I read, I loved. Now I've read them all and they're all great. 

*Ruth Dudley Edwards: A true prose master. Her crime novels are fantastic but for me her book about the Omagh bombing takes us to another level. A must read for anyone who is interested in contemporary Ireland. 

*Brian McGilloway: You all know Brian don't you? One of the brightest lights in all of Irish literature. Intelligent and tough with a poet's heart, he's a best seller in the UK and Ireland and he's increasingly huge in America. If you don't have a BMCG book go get one, now!

*John Connolly: How do you crack America? Well, if Alex Barclay and Stuart Neville are the Kinks and the Stones JC is the Beatles. You crack America by writing taut, original, stylish crime fiction with a supernatural bent.  

*Gene Kerrigan: I just finished Kerrigan's The Rage and I thought it was amazing. I'll definitely be reading more in the future.  

*Dec Hughes: The Wrong Kind of Blood is the first in the great Ed Loy mystery series. Hughes is street wise, smart, witty and just a little bit cocky. 

*Gerard Brennan: One of the new generation of N Irish novelists and playwrights. This year I read Brennan's hilarious, tight, brilliant novella The Point. I was lucky enough to get The Wee Rockets in manuscript and I knew it was going to be a hit. It was. 

*Alan Glynn: Winterland is one of my favourite books of the last five years. I haven't read Glynn's latest but I surely will. 
*Cormac Millar: Only read one CM book, The Grounds, but fortunately it was a fantastic read. Definitely adding more to my TBR pile. 
*Arlene Hunt: Also only read one Arlene Hunt novel but luckily that was also pretty damn fine. It was called The Chosen and it was one of my books of the year.
*Alex Barclay: I really enjoyed Barclay's Darkhouse, one of my favourite books of 2010.
*John McFetridge: John is from Montreal but his ancestors are from Larne (God help them!) His novel Tumblin Dice was recently picked by Amazon.ca as one of the best Canadian crime novels of the year. (THE best if you ask me).
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Like I say, this list is not exhaustive. I'm not as well read as many people in this field, but if I've piqued your curiosity at all investigate the authors above and please check out Crime Always Pays and Detectives Beyond Borders for a more comprehensive look at Irish crime fiction.

The Irish Tourist Board Damns Belfast With Faint Praise

Heaney, Longley and two men with beards

In an ad that's been running in The New Yorker the Irish tourist board urges New Yorker readers to come to Ireland to explore its literary heritage. The ad is called A Touch of the Poet and is an expensive double page spread with photographs of the Liffey, Ben Bulben and the James Joyce statue on O'Connell Street. Of course they talk about the Dublin of James Joyce and Wilde and Beckett which is fair enough. This, however, is what they come up with when they mention Belfast: "Belfast welcomes visitors with tours that encompass the favourite haunts of EM Forster, John Keats and Anthony Trollope." Who wrote that bullshit copy? It really is some tenuous nonsense when there's no need for tenuous nonsense as Belfast's literary heritage is very rich. John Keats? Really? John Keats spent one day walking from Donaghadee to Belfast and had nothing nice or very interesting to say about the place when he got there. He left immediately for the packet back to Scotland, so what pray was his favourite haunt in the twenty minutes he spent in the city? Forster spent a couple of days in Belfast in the 1950's unveiling a plaque. Trollope did actually live in Belfast and wrote The Warden there so thats ok but my God Keats and Forster? That's incredibly lame. What would I mention if I was going to do a literary heritage tourism spread about Belfast (especially a spread called A Touch of the Poet)? Well how about:
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1. CS Lewis: born and grew up in Belfast. Wrote a little thing you might have heard of called the Narnia series. There's a statue of Lewis and his wardrobe and a blue plaque outside his house. Millions of copies of the Narnia books have been sold. Tourists might like that. 
2. Philip Larkin: the greatest twentieth century poet lived in Belfast in the 1950's and wrote some of his best work there. 
3. The Queens University Poetry circle in the 1970's produced Ireland's most important poets since the Gaelic revival. Who exactly you might ask? Well just half a dozen Pulitzer Prize winners and Noble laureates and winners of every other major poetry award. People like: Seamus Heaney, Ciaran Carson, Paul Muldoon, Tom Paulin, Michael Longley, Derek Mahon, etc. etc. 
4. Belfast's current poetry scene is one of the richest in Europe with exciting young poets like Sinead Morrissey et. al. many of whom read at the Seamus Heaney Poetry Centre at QUB, the place for poetry in Ireland. Tourists might like that too.
5. And if we're talking about Oscar Wilde and Samuel Beckett how about mentioning that they spent their formative years in Northern Ireland at Portora School? Or that Jonathan Swift wrote A Tale of a Tub and began Gullivers Travels in a spot just outside Belfast called Carrickfergus. Or why not mention my favourite, the great Flann O'Brien who grew up in Omagh?
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My point in all this is that the Discover Ireland people don't need to embarrass themselves by mentioning some half assed John Keats or EM Forster reference when the literary heritage in Belfast is already impressive. I haven't even talked about Louis MacNeice or Brian Moore or Ian McDonald or Ronan Bennett or Eoin McNamee or Colin Bateman etc. bloody etc. 

The Cold Cold Ground - The Guardian's Verdict

The brilliant, frighteningly clever, and hard to please Eoin McNamee reviews The Cold Cold Ground in Saturday's Guardian. Yes I'm stoked by his take but it's not enough, I still want to read your reviews on Amazon, Audible and Good Reads! ... Over to you Mr McNamee:
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It's 1981 and Belfast is in turmoil. It's the beginning of the end, but it doesn't feel like it. The melancholy procession of dead hunger strikers from the gates of Long Kesh has begun, and tension on the street is at breaking point. When a body turns up on waste ground, one hand severed and placed on its chest, overstretched detectives are inclined to regard it as an informer killing and consign it to the file marked unsolvable. That's until Detective Sean Duffy starts to notice errant details about the corpse, such as the fact that the severed hand deposited with the body belongs to someone else. The discovery of another body seems to confirm the existence of a homophobic serial killer. The missing wife of a hunger striker appears unrelated. But in this northern endgame the murky undercurrents flow in unexpected directions.
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The Cold Cold Ground is Adrian McKinty's 12th novel. He is one of a new generation of writers from the north who use the tools of the crimewriter's trade to examine and reshape the recent past. The detectives are wisecracking and self-aware. The material seems to lend itself to side-of-the-mouth invective, the sly one-liner. What's real and what isn't collide in the corpse-murk of hidden wars, and narratives are shaped to take account of it. Here Gerry Adams makes an appearance, a seedy loyalist takes on the persona of dead loyalist George Seawright, and its not much of a leap from McKinty's Freddie Scavanni to Freddie Scappattici, the infamous informer Stakeknife.
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It's an uneasy technique, but there is an integrity to it. Death-squad acronyms are switched from one side to the other. McKinty is pointing to the fact that perceived reality and fiction in conflict zones are equally untrustworthy. One is as manufactured as the other, and the only thing we can do is to be aware of it. Sean Duffy is an anomaly, a Catholic cop in an overwhelmingly unionist police force, but McKinty is less concerned with that than with the camaraderies of the force. And he's good on the details: life through the observation slit of an armoured vehicle. Like all good fictional cops, Duffy has a nose for the erotics of last things, and finds himself hooked up with a beautiful pathologist.
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The Cold Cold Ground confirms McKinty as a writer of substance. There's a gear shift from a crimewriter's craftsmanship when he casts his eye on the towns caught in Belfast's malign gravitational pull, such as Carrickfergus and Larne. McKinty is at home in these lost towns, with their Victoria Streets and Sandringham Terraces, their transgressive inner life at odds with street names that reveal a longing for home-counties certitudes. What makes McKinty a cut above the rest is the quality of his prose. His driven, spat-out sentences are more accessible than James Ellroy's edge-of-reason staccato, and he can be lyric. The sound of a riot is "the distant yelling like that of men below decks in a torpedoed prison ship".
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The names of David Peace and Ellroy are evoked too often in relation to young crime writers, but McKinty shares their method of using the past as a template for the present. The stories and textures may belong to a different period, but the power of technique and intent makes of them the here and now.
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There's food for thought in McKinty's writing, but he is careful not to lose the force of his narrative in introspection. The Cold Cold Ground is a crime novel, fast-paced, intricate and genre to the core. The violence is extreme and the sex is gritty. Duffy's three murder cases are isolated on the surface, but in the dark world of dirty wars, the dead are seldom unconnected, and rarely innocent as they beckon to us from the cold, cold earth.


• Eoin McNamee's Orchid Blue is published by Faber.

Favourite Books Of The Year & A Couple of Disappointments

Here's a little list of my favourite books of 2010. Some were published this year, some weren't, some I blogged about, some I didn't.

1. The Lamb Enters The Dreaming - Robert Kenny
A fascinating account of one of the first Aboriginal converts to Christianity and how he tried to reconcile two completely different ways of seeing the universe.
2. The Way Of The World - Nicolas Bouvier
Two Swiss guys travel from Paris to Afghanistan in the 1950's in an old Fiat. They make money along the way by writing newspaper articles and (I love this) organising art exhibitions.
3. The Rational Optimist - Matt Ridley
Funnily enough it turns out that we're not doomed after all.
4. Wind, Sand and Stars -  Antoine Saint Exupery
His plane crashes in the desert in the 1930's and because he's French he gets all existential about it. In a good way.
5. The Thin Red Line - James Jones
The classic story of infantry men on Guadalcanal.
6. Orchid Blue - Eoin McNamee
The crime writer's crime writer shows us all how it should be done by turning in his masterpiece. For some reason Australian customs kept this book in their office for four months but when it came it was more than worth the wait.
7. Sexual Personae - Camille Paglia
I had never read this before and I found it lying on a desk at the library and thought I'd flick through it. I can see how she would annoy some people (perhaps most people) but I found the book to be completely gripping. She says more outrageous things in the first twenty pages than most of us will say in our lives.
8. Through The Square Window - Sinead Morrissey
One of the new generation of Irish poets turns in her best collection yet. Morrissey is lyrical, funny and wise beyond her years.
9. Another Bullshit Night In Suck City - Nick Flynn
Flynn's compelling account of how he ran into his father while working in a Boston homeless shelter. Anybody who knows Boston will adore this book. (And if you don't you'll still like it).
10. Just Kids - Patti Smith
A beautifully written memoir about Patti Smith's childhood and her days with Bob Mapplethorpe gettaway driver...(sorry, a little Bottle Rocket humor there)...I mean Robert Mapplethorpe, the controversial photographer.
=10. Conquest of the Useless - Werner Herzog
I haven't actually read this book yet, but I'm putting it in my top 10 anyway because I'm getting tachyon signals from the future that when I do read it I am going to love it.
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Disappointments:

1. The Finkler Question - Howard Jacobson
The only reason I finished this book was because I was trapped in a plane for 8 hours. An unfunny, uninteresting, incompetent embarrassment. If I had been a publisher's reader I would have rejected this out of hand. It won the Booker Prize.
2. Freedom - Jonathan Franzen
I haven't quite finished it yet and although it is certainly not a bad novel it is a disappointment after the brilliance of The Corrections. It's hard work to be in the company of these characters and for me its lacking much of the emotional depth and humor of Franzen's previous work. The reviews have been stellar. Perhaps I'm missing something? 
3. Life - Keith Richards
Everybody loves Keef, but I found this bio to be a tedious list of groupies, tours, chord changes and albums from a musical performer who was last relevant 37 years ago. Read Patti Smith's book instead. Please.

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Here's The New York Times's picks of the year. It's a pretty pedestrian bunch but I approve of the William Trevor and the Siddartha Mukherjee. And once again I am slightly baffled by Freedom.