“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

Thursday, May 1, 2014

Review: THE BOY THAT NEVER WAS by Karen Perry

The latest Irish Times crime fiction column appeared last week, and included the new titles from Martin Cruz Smith, Chris Pavone, Natalie Haynes, Tom Rob Smith and Karen Perry. The Karen Perry review ran a lot like this:
Karen Perry is a new writing partnership composed of Karen Gillece and Paul Perry, and their debut The Boy That Never Was (Penguin / Michael Joseph, €14.99) suggests that it will be the first of many. A prologue set in Tangier in 2005 tells the reader that Harry is guilty of negligence in the death, during an earthquake, of his young son Dillon. The story then moves on to Dublin in 2010, when Harry believes he sees his missing son on O’Connell Street during an anti-government demonstration. Unable to persuade the Gardai that Dillon is alive and well, Harry confesses all to his wife, Robin, which is when we start to realise that Harry has a history of obsession and instability, and that Robin also has secrets she needs to conceal. The unreliable narrator is a staple of the crime / mystery genre, but The Boy That Never Was folds another dimension into the convention by offering us a pair of devious narrators. It’s a neat trick, especially as each succeeding account casts doubt on the truth of the previous offering’s events and the mental state of its narrator, with the result that this assured debut is equal parts thriller, mystery and fascinating psychological study. ~ Declan Burke
  For the rest, clickety-click here

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