Bro, you haven’t bothered getting in touch since you died a year ago today. In my head … the barmy idea that you still look like a slab of Edam and that I never got to say goodbye. The chipmunk breeder Alice you shacked up with in terminal time, when Duck Arse left for a pub bouncer with a metallic four–by–four, has now lost over six stone, inspired by the story I guess. Alcohol & gluten free; she’s even ditched the sloppy pillow burgers in blood sauce, the ones from your holiday pics when you told us, ‘Bad days are in the post but for now it’s business as usual!’ Half the kids, the older ones, are fine. Edel is on her way to becoming a science buff in London even though, well c’mon, we must be honest here, you expected her to be a hairdresser or something low-key but Christ has she started to fly! Saul is taller than you ever dared imagine, as if when you went skyward he did a Jack & the Beanstalk to get you back down again. At sixteen it was more than he could bear. I’ve kept all your emails, eyeballing them from time to time.
Driving to France on Saturday with the kids just for a long weekend, Paddy cancelled his summer camp in York with the scouts so he could come and yer one is a complete cunt (Sorry, I just had to add that). Really looking forward to my first holiday with the kids only and staying on a campsite near Calais so a short drive will be better to contain Princess Lara’s immense puking skills. Saul & Edel are making their own way, old enough to travel solo would you Adam & Eve it? Booked a three bed mobile home this time so we are all a little excited! Divorce is ready to go, Duck Arse admitted in writing to adultery. How are you and your pet mice? And why 10 months off the booze?
Etch-A-Sketch of a year where I still ride the blanks and hope no one in the library notices. I set off most days with Arvo Pärt’s Spiegel im Spiegel playing in my head. Out past the squiggle of purposeless shops and homeless men who nudge their heads up like broken birds from splintered eggs in the basement of the church, and on to the Tolka Bridge where an orange city fox once followed me in the first draft of morning. Conversations become cataracts of sorts. ‘Wouldn’t it bite the toes right off ye?’ a woman said at the bus stop in October. ‘I can’t be doing with this heat!’ the same woman said the following summer. Only then did I realise so much time had slipped by.
I’m booked in to see the oncologist at 9.30am Monday morning to discuss an action plan involving chemo and some new drugs on trial. I’ll take anything that’s going if it means squeezing a few more years, if possible. Remaining focused and positive. It was a hell of a shock for everyone as we were all expecting a routine operation and the surgeon was pale faced explaining to me why he could not operate. I will know more Monday afternoon. Been one mad year or what?
Aul ones on buses constantly bitching about fluoride in water, men in pubs, chemicals in clothes, joyriders in cars. It’d do your bake in. Aside from the militia of junkies in Phibsborough, idiot bankers, gym bunnies, people who tie terriers outside Tesco, absolutely nothing in Oirish suburbia changes. They’re still slamming car doors, hauling kids to over-priced crèches. Sometimes, stupid I know, I find myself getting jealous of the ones who stayed and did it all by the smug pudgy book … bought houses with the charmed approval of grannies and aunts and far-off oil-owning uncles in Australia, purged children into the world and who now stroll through parks laughing their freshly-washed heads off, pull perfect shepherd’s pies out of high-gloss ovens, who know what they’re about, really about,, what they were planted here for. Little girls with springy curls, tubby-bellied boys full of, ‘But mammy look!’ and ‘Daddy look!’
I think if we hadn’t of gone to London, you know, if we’d stayed and done it properly, rewrote the late eighties, jobs in IBM or IDA or any abbreviation of anything that would pay the way to a Semi-D and a bit of stability. But over you came and I was never stable anyway! Kipped on my couch, slept with nearly all my friends, laughed into the early hours too many nights to recall. Do you remember when a load of us went on the piss in Richmond, there wasn’t enough room in the taxi, so you said, me being your little sister, I had to go in the boot!? God, yes, bombed out of my brain, roaring at the driver, ‘Turn left now!’ and ‘Turn right here!’ even though I couldn’t see a damn thing.
A year later we lived in Jersey where you worked the bar and I the lounge of a rundown pub, dolling out terrible abuse to geriatric millionaires who’d travelled the world ten times over but had nothing left to do except grow holes in their jumpers and get pissed all day. ‘She was the worst barmaid ever!’ you told the chipmunk breeder Alice later. It’s true, I was. A year after that again we shared a cockroach-infested house in Stratford in London’s east end. Your stunt as a cappuccino salesman was a dreadful failure but we had machines steaming away in every room of the house, every night was a party. When I was at uni, you ran a pub just up the road, we were never far away. Two kids with the first wife (but she had great thighs!) and later, more disastrously; it was round two and another two kids with Duck Arse and her litany of hell. Your snooker buddy Darren told me before the funeral. He told me it all, out in the back garden with a stack of San Miguel. I wanted to bash your head in for keeping it all a secret. I wanted to dig you up and kick the crap out of you for never letting me know how bad it all was.
‘I can’t have another disaster,’ you told him, ‘I can’t lose my kids again.’ Water meets its own level, our ma used to say, but your women were never bobbing anywhere near your level and somehow all of it must’ve dragged you down.
I drank water before I went in. ‘I would recommend it, Madam,’ top hat man said and you would’ve laughed at the whirring fan receptionist with the bovine ankles whose job it was to spray disinfectant when no one was looking. Viewing chamber the size of a High Street dressing room: yoghurt stale & browner than a bum moon.
A dance with neutrons and protons. That’s what I imagine it is for you now. Sliding up and down wallpaper. Watching us in our daily drudge. Can you see me and the other women working in the library? We all pretend to get on, but aside from readjusting each other’s hormones into an assemblage of demented bitching and chocolate splurging, we’ve bog all in common. The building is Georgian, a carved wedding cake, crafted cornicing, walls of tedious green and piercing yellow, corridors cropped in spiderweb wigs where the elderly shuffle through to read or snore or attend ‘literary readings’ upstairs. Almost everyone who strolls in wears glasses and carries a spiked umbrella. There’s a small cafe in the basement that serves tea, fair-trade coffee, tray bakes and ham sandwiches made at the curvature of dawn by an old crooked cook who reeks of rotten lilies. I always meant to show you around.
In the quiet clammy armpit of early afternoon I’m haunted by the grammar system we made up as kids – berry nide – a kind of warning system for people who might do us wrong. He’s not berry nide. But you’re berry nide. No, you’re nider! You’d already been through it by then. Bogeyman in a house, up mountains, on holidays. Oh he got a mass said for you afterwards, your own special mass, how’s about that! Dirty hypocrite, cheddar cheese chin of a wife, curse their life! Mass to make themselves feel good, exonerated, whole. No one speaks to them anymore. Not that we can make sure-fire connections. Medicine is a long way off that kind of jump.
Thanks for your long email and words of advice. Yeah, I was happy and loyal and Duck Arse is the most horrible person I’ve ever met and I care not a jot about her now. Saw her today when I dropped the kids back. Still not allowed in her tiny house whatever that’s about? I just felt relief. The look on her face on Sunday was priceless when she dropped Lara & Paddy off. I told them in advance not to eat as I was cooking a Sunday roast on the phone the night before. I could hear her howling in the background, ‘But your Dad can’t cook!’ like, even at this juncture, she still wants to put me down. When they got dropped off Lara ran back out the front door screaming at the top of her voice: ‘Alice is here with her chipmunks and she’s cooking, not Daddy!’ Duck Arse’s chin hits the ground and she boots off like a rocket drive on Top Gear. Yet I know she’ll poison their heads when I’m gone. The older ones will be fine, but try your best to sort the younger ones. You are welcome here any time, nice spare room with a new double bed. I’ll pick you up at Stanstead and spoil you rotten while you’re here!
Hubby-One-Day will be up soon, singing in the shower, shuffling after me in the kitchen, soggy, smelling of boy spray. He talks about you every time there’s a football match, especially when Liverpool is playing. ‘The hell he gave me!’ he says. ‘He called me blue and white shite!’ Still hasn’t the energy for his own divorce, but like Duck Arse, yer one is living with someone new: A, B, C, D: to the soulless it hardly matters. Hubby-One-Day makes me curtsy for him in my Victorian nightdress in the mornings, up and down the kitchen, crab sideways, around in circles, a slice of McCambridges’ toast in my gob. Hey, it’s the little things!
The town peacocks, de geezers, your Hawaiian shirt Jägerbomb mates, the ones you told (only towards the end) what happened, they never did smash up the Bogeyman when it was over. Somehow it didn’t feel like you to insist they would. That bit jarred with me. There was rumour, conjecture, but a great big nothing happened. No grand retribution. No staged revenge. Instead your friends stood in a line outside the church, over half a mile long, hands behind their backs. I’ve never seen such colour, ever, even though the colour has seeped from my life since. Aero & acid blue, amber, blush and violet. A woman head-to-toe in cameo pink. Duck Arse and her gombeen family. First wife and the older kids too. All there. Who knows where Bogeyman was, but at least he wasn’t invited. His vile-denial Catholic wife, a headless woman struggling to gawp out her own body, forgetting she no longer has eyes. You don’t need me to tell you, especially at a time like this, but people like that, they’re not berry nide. Not nide at all. But you? There just couldn’t be nider. No one in this giant shit heap of a spinning world is nider than beautiful gone you.
Pain in me love spuds. On Moore Street the aulwuns are wailin’ bananas four for €1.50! while Madikane is tryin’s to drag me ta’ Wire Corner where Ruskies in blacked up four by fours drop off bags a’brown under the gawk of a goon with binos above in the unwashed windows of the apartments over Tesco. Slug killer she said to nab to mop up fat, black slime-balls trailing across the carpet. There’s an iPhone booth stuffed with hookers’ ad-cabs offerin’ smartin’ arse cheeks for bad-boy trainin’ and a fat pleb sweepin’ up nose gravy.
Not even the dill pickler Poles providin’ brassers for horny and abandoned nugs inside Jury’s Inn, or the Somali crack-hustlers <”Meth €20 a rock!> stop off at this spot. Best ta’ get out of dis hole Madikane I tells her and keep yer whims about marryin’ a gangy for a baby, bling alive as hive any which way you want it.
Two hefty yanks in tartan shorts and puke green & yellow polo shirts butt in. “Excuse me sir, where’s the spire, the O’Connell Street spire?” squashed nose asks. Scuzze me, scuzze me, are ya’ blind or wha? roars Midikane with her anti-Gathering gobbin’ and her pointing backwards. Doin’ me bit for da country I jump in: Ya see that giant needle stickin’ straight up God’s jacksey, right there..that’s it! Oh my, yankee doodle says. Oh my.
Before Madikane has de tramp’s claw out for da price of a cup a tay me head jerks and turns to a horsebox of knocked up wimmin outside da Rotunda; balloon-bellied in frog pyjamas puffin’ away while scangie-gangies in Adidas play rocks, scissors, paper guns with each other. Air bullets in the atmos. Gulls plop their spunky payloads on the pavement, King Leers smirk from taxis and bus stops, kids squashing their kidneys in railings, drills and beeps and howling, cranking umbrellas open on the dozen.
There‘s no slugs I says to her dat morning. Eyes on me like it’s ten seconds to go on the X-Factor final. Hoppy hoppy. Curse ders bleedin’slugs I ain’t no thick mo-fo she says. I says it’s the garden. You’re not used to having a garden and the shed going in is after freakin’ ye right out. I can ask the landlord to get rid if you’ll only calm down a minute. It’s not the fucking shed I’m not mad she says I’m skiing on the fucking things. Ders something wrong with you not clocking dem! Slugs on her legs. In bed. On saucers. Inside the hotpress. They’re even in the high gloss kitchen she says. Wot? Your head is blowin’ since ditching de skank with my noggin’ taking a right rumble on top, not easy doing it like this, I says, maybe we were better off back then in de squat with half-o-nothing. It’s not my fault you’re blind as a crow, she says. I never knew crows were blind, but I’ll take your word for it I says. Off I go.
There’s a church in Parnell owned by the prods. Black calp, dark in rain, murky baked banana cake. Backwards after midnight under full moon, devil’s yours. Not the kind of gizmo for a priest with a beard and guitar singing Stairway to Heaven to make the likes of me feel all furry. I don’t bash grannies no more, dat’s gone. Clean as a spleen five hundred and thirty three days, going backwards, learning about computers and plants, painting walls and budgeting. I go there to pray, ye can laugh yer nebs off but it’s been happening sure as shit, and him talking back sayin’ he knows I’m taking some gamble, appreciates what I’m going through ‘n all, but I gorra shun the bad road ahead, narrow, strewn with thorns; dem people who walk along it, spine tears and all kinds of suffering befalling, big cunting wheelie-bin of vile words, curses and blasphemies, each eye ball looking on to another of the eyeballs, twice the size of earth, gummy as honey, seeing on to nowhere. You don’t want to be doing that son. No way hozzay, I says, no way Mr Righteous, Top Man, you know more than most, took the bullet for us. Well keep coming back here to pray then he says.
It’s hot as snot in here. She’s never in the mood and me forever on the soft. So I took the Moore Street card into the church, Deirdre the Dominatrix. Wonderful Corporal Punishment. Tie & Tease. Guaranteed Happy Ending. Sitting on red sofa red tartan slippers red PVC red sky. Has Peter been a naughtie boy? Well, yeah, I suppose. Suppose is not enough she says. Suppose is for morons. Has Peter been a naughtie boy? Yeah, a dreadful boy, totally banging I says. And then him hanging there kinda implying I’d take the lad out and sorta sayin’ I’d be cottoned onto, with the caretaker coming in, his big lumpy head, asking what I was doing. Me putting the lad in an envelope on my lap, one of those church offering envelopes with a flower stuck on it. Well give it ‘ere then he’d say, me scarpering, wood and musk laughing, candles burning, God’s pantyhose worn by a thousand shitarse clerics, all them fuckers gooing. He’s only gone and wrecked me buzz, and there was me hiding from da’ slugs in me head by playing fingermouse down the crotch, thinkin’ of Deirdre-the-Dom swaggerin around the pulpit, all proddy-proud and in full control. The lad’s no longer at half mast, flyin’ the flag now, upright and uprooted, on the road back to Phibsborough.
I get back and she says, dead casual, have ye got the bleedin’ slug killer? I left it in the church I says. You’re a stupid bollox she says. I know, I says, but I’m learning.
Often criticised for stories that swerve uncomfortably close to truth, and yet hailed as a master of historical research, Eoin McNamee is one of those writers who never fails to cause a stir with his tales of dark, damp menace. The New York Times describes McNamee’s style as ‘refreshingly taut and spare, full of active verbs…He does not describe what his energetic characters are doing. He just lets them do it’. Eoin admits to having a strong interest in ‘people who have been corrupted,’ that this is what often drives his fiction. “My purpose as a writer is not to be controversial, it’s to explore themes and narratives…I draw things very close to me when I write and often emerge blinking into the sunlight”. For the next ten weeks he will be teaching a Writing The Novella course at the Irish Writers’ Centre on Monday evenings until 25th March. Here he answers a few strategic questions on the art of writing the short novel and why the term ‘novella’ is in need of overhaul:
Some of your novels, ranging from Resurrection Man to the The Blue Tango, are novelised versions of real life events, i.e. the Shankill Butchers and a pre-Troubles murder and fitting up of an innocent man. What are the pitfalls on basing fiction on factual events, and how close can you come to falling into what is known as ‘faction’? I’m still waiting for the ground to open under me, for someone to produce the definitive argument against the form, but it hasn’t happened yet. Defamation can be an issue. There is a moral dimension to entering other people’s lives and writing about them. I’ve always been wary about getting on an artistic high horse and claiming some kind of special pleading on the basis of art. I’d prefer to say that I’m drawn to these stories, that I want to write about them and I’m a writer not a priest and am prepared for messy compromises and sins of intrusion into other people’s lives if it gets me a good book at the end of it. If there is a wrong involved, and there may well be, then that’s my business.
There are lots of novels that deal with the Northern Ireland Troubles such as your books (see above) and The Ultras. However, while many authors deal with individual incidents or ‘spots of time’ in the conflict, there are no contemporary authors that have done the ‘fictional grand sweep’ of 1969-1994. There’s no War and Peace, no Life and Fate, covering a range of characters and their stories over three decades of war. Is this overdue? Or is it even necessary? There’s no rule that says that events get the art they need or deserve. If someone wants to approach what happened in the North the manner of War and Peace, then you’d have to see how good the work is. Whether people would need it or not….I’m not sure that explaining things back to people is a function of fiction. I’m sure you could find the stories though – there was plenty of epic going on.
With the novella, can you define its difference from the short story and the full-blown novel? As far as I can make out the novella is simply a short novel. Or at least it should be. It doesn’t require the precision of the short story, the formal demands that put the story somewhere between a poem and a film script. In a short novel you can veer off course a little, digress, even slip up here and there. Let’s say it bears more resemblance to the novel than it does to anything else. Perhaps the problem of definition lies somewhere with the word novella itself. It sounds like something fragrant and a little racy that you’d find lying on the chaise longue in a Victorian lady’s parlour. Maybe we need a better name for the form.
Does the novella lend enough space and time for key characters to ‘fill out’ both psychologically and in terms of the narrative? Depends what you mean by filling out. You can define a character in a sentence or in a hundred pages. What more would you want to know about any character in The Dead for instance? (A short story) Or the old fisherman in the Old Man and the Sea? (A novella). What more story would be needed?
What is your opinion on experimentation with the prose form? Is it mere literary pretentiousness and showing off? Should writers stick with telling stories? The only criteria for judging technique is whether it works or not. As for defining what works, you pretty much know it when you see it. It would seem that there are limitations on what can be done in the prose form and that invention has run up against the buffers. But maybe asking questions about experimentation is missing the point. I admire people who can tell stories but what I’m drawn to are how wide open a writer’s eyes are, how they see the world and then tell it.
Your course Writing The Novella at the Irish Writers’ Centre kicks off on Monday 21st January, what will it entail, how will it be taught? It will involve I imagine a bit of discussion about what the novella is, and then all the other things which go towards any piece of prose fiction. Story, prose technique, dialogue, character…It would be good if participants have a bit of work at the start to work on, and hopefully have added to it at the end of the course, but people shouldn’t feel under pressure. If participants come away feeling like better writers, and I have helped them towards that, then we’ll all have reason to be pleased.
Eoin’s ten-week workshop starts next week and is aimed at people who are working, or thinking about working towards completing a novella, those who have started a short story that looks as if it might outgrow the limits of the form, or a novel which may not fit the conventional length. It will be less concerned about the technicalities of what the form might be, and more concerned with getting words on paper, and hopefully having something to show at the end of the workshop. He is the author of fifteen novels including Resurrection Man (released as a film in 1998), Booker nominated The Blue Tango, 12:23 paris and Orchid Blue, and the novellas the Last of Deeds (shortlisted for the Irish Times Literature Prize) and Love in History. He was awarded the Macauley Fellowship for Irish Literature in 1990 and is Writer in Residence at Trinity College Dublin for the Hilary term, 2013. He lives in Co Sligo.
Novelist John Connolly gave a talk at the Irish Writers’ Centre recently on the history of crime writing in Ireland, our problematic relationship with criminality and publishing trends. ‘We have a very peculiar relationship with genre in this country,” he explained. “So few reviewers want to engage with it, they’d rather categorise books they don’t quite get as literary fiction instead.” Avoiding the subject leads to a fundamental misunderstanding of the nature of fiction, a distrust of popularism. “Genre is embedded in fiction, if you don’t understand it, then you don’t understand fiction. Novels were always the great populist form, designed to be read by a lot of people; it wasn’t drama or poetry. The idea of high-brow literary fiction as a separate identity is a recent enough (20th Century) notion.”
Irish writers traditionally wrote fantasy by the bucketload (but crime writers didn’t really survive the test of time). As a result, Ireland has a rich legacy of gothic writing: Bram Stoker, Robert Maturin, Sheridan Le Fanu, Lafcadio Hearn, even Oscar Wilde’s Picture of Dorian Gray. Yet somewhere along the line John believes we became very distrustful of genre. “I think it’s because we were a new country. One of the obligations on you as a writer in a new nation, is to engage with the nature of Irishness (in our case). What are we? What is our society? What does it mean to be Irish? There was also a distrust of humour…we viewed it as a lack of seriouness – which is a pity – as it can be a very effective weapon.”
So why did writers avoid Irish-based crime fiction? Ireland was a predominantly rural society for a long time and crime fiction works best set in large cities where everyone is knocking into one another. It’s a lot easier to imagine the sleazy bedraggled world of hardcore brutality set against a New York or Paris backdrop. Even an Agatha Christie mockscape is a microcosm of a city, filled with blackmailers, thieves, adulterers, murderers…people who’d usually be spread out over a large geographical area. “When Irish writers took on crime stories (plays included), they tended to borrow real life events as inspiration,” he says. “Historical crimes, cold cases, etc. The Field is a kind of version of what an Irish crime novel might be. We’re still obsessed about non-fiction stories. Books about scumbags in Blanchardstown are deemed fascinating for some reason – as if a dog will get up and start barking poetry – but they’re of no interest.”
The big elephant in the room is The Troubles. How could Irish writers pen fabulous fictional tales of Irish criminality when two hours up the road people were getting blown up for real? The real flourish in crime writing happened at the end of this phase in our history, when there was permission to write gritty urban stories. “The end of the war ‘up North’ gave us a certain freedom to pen the underbelly,” he says. At the same time there was a fracturing of Irish society to explore too: tribunals, white collar crime, institutional abuse, political corruption, it all came flooding into our social consciousness. “We’re now in a position to fully engage with Irish crime fiction and as a result there’s an explosion of it, though we’re still in a way waiting for someone to tell us it’s OK. That’s why modern Irish writers such as Tanya French make it onto the New York Best Seller list while hardly making a ripple here”.
I interviewed John in the run-up to the Peregrine series at the centre:
You have written 15 books so far. How do you keep such a prodigious tempo up?
I’m not sure, to be honest. I’m always surprised when a book appears, as I spend so much time fretting and doubting. I suppose I tend to work quite slowly most days, writing at least 1000 words daily, weekends excepted, when I’m working on the first draft. I’ll sometimes run away to Maine for a week or two if necessary, and my output is greater there because I cut myself off. In the end, though, it’s just small, consistent steps. I enjoy the act of finishing a book within a reasonable time frame. You learn from finishing projects and moving on. I’m distrustful of the tendency to equate the worth of a book with the many years that it took to write it. If you look at, say, Donna Tartt, there isn’t a decade’s worth of progress between THE SECRET HISTORY and THE LITTLE FRIEND, although a decade separates their dates of publication.
Recently the English writer Stephen Leather was successful in selling his novel as an ebook and made a considerable sum from by-passing traditional publishers – would you ever consider going down the cyber-publishing route?
Possibly, but not yet. I’m grateful to my publishers for what they give to me, and I like the relationship I have with my editors. They make my books better. In the end, self-publishing is a lot of work, and the quality of what results just isn’t as good as what comes from an established house in terms of presentation, editing, and copy editing. It just isn’t. For unpublished authors, it’s clearly a good option, as at least it gets your work out there, but there still exists a certain distrust of self-published books, and legitimately so. Most of them, frankly, aren’t very good. If there are issues with the quality of some of the product of publishing houses, it’s multiplied a thousandfold when it comes to self-publishing. Without filters, more crap gets through, and it’s hard for people to pick out the good stuff. Nevertheless, e-publishing, in all its forms, is going to be a big part of the future. What depresses me about the debate at the moment is that, when it comes to authors who are already being published, it’s being conducted solely in terms of the financial benefits — look how much more money I can earn! — with almost no mention at all of quality.
Have you ever considered setting a novel in your native Dublin?
No. I enjoy the freedom that comes from writing about other locations. I’m an Irish writer, but by setting my novels elsewhere I don’t feel obliged to conform to anyone else’s definition of what an Irish writer should be, or at least not that narrow definition of an Irish writer as someone who is engaged with the nature of Irishness.
Do you worry over the phenomenon of “trending” in publishing particularly in the crime/thriller/mystery genre? To be specific, at present for instance Scandinavian detective fiction is regarded as “hot”. Should writers track these trends or should you just write in the context, area, background of where you are most comfortable with?
Oh, there’s always some ‘trend’ in fiction, whether it’s genre or otherwise. Scandinavian crime fiction just happens to be the flavour at the moment in genre fiction, and they’re producing some very fine writers, but that trend has been spurred on by Stieg Larsson, and to a lesser extent Henning Mankell. Nobody could have predicted the Larsson effect, and it’s elevated a lot of other writers in its stead. So far, Ireland hasn’t produced a writer using an Irish setting who has captured the popular imagination in that way, but it may yet happen. The quality is there. But if you go following trends you’ll be disappointed, either because the public taste will already have begun to move on by the time you make your contribution, or simply because you’ll be producing inferior copies of pre-existing forms. You write what write because it’s what you have to do, and what you want to do, not because you smell a pay cheque.
How do you react to the description “Irish writer”? Does it often imply something unique and mutually exclusive to a writer’s DNA if there is Irish blood in their veins?
You can’t shake off your cultural or social baggage, so my work is infused with Catholicism and, I imagine, an world view that is Irish at its core. In the past, though, Irish writers were more admired than read, I think. It’s only in the last two decades that we’ve begun to encroach seriously on the popular imagination. I think Irish writers now have a different concept of what it can mean to be an Irish writer in the sense that you don’t automatically have to assume the historical weight and burden that the term ‘Irish writer’ used to bring with it.
There’s been a flowering of Irish crime fiction in recent years. Among those writers whom would you single out for praise?
I’d hate to do that, as I know and like most of them. If I start naming them all, I’ll leave someone out. With that in mind, though, I’m very proud to have contributed to the DOWN THESE GREEN STREETS anthology of (mostly) essays, to be published next month by Liberties Press. That really has rounded up the best of Irish crime writers, so the contributors’ list for that book would be a good place for anyone to start. Kudos, too, to Declan Burke and his website Crime Always Pays. He’s been hugely generous in his support for his fellow writers, and doesn’t get the credit he deserves for spreading the word about Irish crime fiction.
Will any of the Connolly-body of work get the Holywood treatment?
One of my short stories, THE NEW DAUGHTER, was filmed. It was a mixed experience. It didn’t get a wide release, and there are some problems with the last half hour, but everyone got paid, and everyone involved did their best for it. I’m probably more protective of my novels, but some of those are slowly inching their way to the screen.
Should Irish crime/thriller/mystery writers get out more and move off their home patch?
Not unless they want to. Mystery fiction is both a legitimate and interesting way to explore society, both contemporary and historical. In fact, Irish crime writers have more firmly grasped the thorn of writing about contemporary Ireland than a lot of their peers in literary fiction. I’ve just shirked my responsibility in that regard. Sorry.
Your work seems to be inching further into the borderlands of the supernatural especially obviously the ghost stories. Are we going to see a major ghost-horror novel from John Connolly?
I like the fusion of genres, as I’ve always felt that the most interesting work, whether in music, books, art, or film, occurs when one genre becomes infused with elements of another. I prefer the short story form for writing purely supernatural material, mainly because there’s no obligation to provide an explanation or major conclusion. It’s enough to allow people a glimpse behind the veil.
John’s first novel, Every Dead Thing, was published in 1999, and introduced the character of Charlie Parker, a former policeman hunting the killer of his wife and daughter. Dark Hollow followed in 2000. The third Parker novel, The Killing Kind, was published in 2001, with The White Road following in 2002. In 2003, John published his fifth novel—and first stand-alone book—Bad Men. In 2004, Nocturnes, a collection of novellas and short stories, was added to the list, and 2005 marked the publication of the fifth Charlie Parker novel, The Black Angel. John’s seventh novel, The Book of Lost Things, a story about fairy stories and the power that books have to shape our world and our imaginations, was published in September 2006, followed by the next Parker novel,The Unquiet, in 2007, The Reapers, in 2008 The Lovers, in 2009, and The Whisperers, the ninth Charlie Parker novel, in 2010. His first book for young adults The Gates was published in 2010. Its sequel was published as Hell’s Bells in May 2011.