West Cork, November 1920. The Irish War of Independence rages. The body of a young woman is found brutally murdered on a windswept hillside. A scrap board sign covering her mutilated body reads ‘TRATOR’. Traitor. Acting Sergeant Sean O’Keefe of the Royal Irish Constabulary, a wounded veteran of the Great War, is assigned to investigate the crime, aided by sinister detectives sent from Dublin Castle to ensure he finds the killer, just so long as the killer he finds best serves the purposes of the Crown in Ireland. The IRA has instigated its own investigation into the young woman’s death, assigning young Volunteer Liam Farrell - failed gunman and former law student - to the task of finding a killer it cannot allow to be one of its own. Unknown to each other, an RIC constable and an IRA Volunteer relentlessly pursue the truth behind the savage killing, their investigations taking them from the bullet-pocked lanes and thriving brothels of war-torn Cork city to the rugged, deadly hills of West Cork.Mmm, sounds tasty. For a sneak peak at Chapter One, clickety-click here …
Showing posts with label Kevin McCarthy. Show all posts
Showing posts with label Kevin McCarthy. Show all posts
The Peel Deal
Publish and Be Damned # 237: Will Hoyle
Here at Crime Always Pays, I occasionally post an excerpt from an unpublished manuscript, mainly because I’m a parasite feeding off the talent of others. So I’m delighted to announce that a previously CAP-published exclusive will land on a shelf near you early in 2010, as the good folk at Mercier Press have signed up Kevin McCarthy’s PEELER. Nice one, Kevin. Anyhoos, on with the post in hand, being an excerpt from Will Hoyle’s (right) TIME AND TIDE. Will Hoyle has previously featured on CAP here or hereabouts, so feel free to clickety-click when you’re done here …
TIME AND TIDE1. DON’T TAKE YOUR GUNS TO TOWN
South Boston, MA – 2008:
Guys that look like me don’t do well in prison.
They just don’t, it’s proven fact. If you’re not one of the blacks or the Mexicans or the skinheads or the chinks, you’re in no man’s land and you might as well kill yourself on the first night because you’d only last two days, maybe a week tops and that’s if you get yourself thrown in solitary. If you’re just an average guy who’s not quite white trash but who’s not exactly white collar either, the only way you even think about taking a long hot shower or eating a peaceful meal at chow time without finding your own dinner fork oscillating in your back is if you’re a degenerate mick convict who at one time worked for my old man, if you’re still loyal to him now. And as blind luck has it, I’m a spitting image of the sonofabitch, the soft-spoken but equally seedy criminal, racketeer, loan shark, gunrunner and convicted cold-blooded murderer.
Billy Ray Landry.
I know that his death will mean my death but when you got nothing and when you know he takes away and takes away without ever giving a single thing back, the color of your skin and the status of your prison popularity starts to mean a lot less. When he took away that one thing in the world and came away with a menial forty-five year sentence, up for parole in twenty, the color of daylight, of your own blood starts to mean a lot less to you.
Leaning against the brick structure of the Kelley’s Pasta Village on the corner of E. 3rd and L Streets, dragging on my Marlboro and slowly working my way into doing what I swore to myself I’d do.
Still dark, still early.
The sky a deep blue watery grave, the morning sun a ravenous, reclusive beast. Car horns, ambulances, cop cars screeching and wailing and serenading the city with their monotonous, luminous nocturnes.
The unmistakable stench of diesel fumes and car exhaust, grime and garbage, dirt and desperation.
A massive hangover from of a night of blood drunkenness, the smell of Italian food that’s been sitting cold and clumpy throughout the night, forcing my stomach and the world around me to spin against one another like yin and yang.
I fish my cell phone from my pocket and check the time. Nearly five in the morning, the bitterly cold sea breeze whispering up the port and through the streets, as unseen and unmerciful as the Angel of Death. I stand and wait in this northeastern nebula of a city, crammed and packed into this blue-collar community, this hard knocks haven. Restless, can’t sleep, and honestly who could when you have as much weighing on your mind, your shoulders and your heart as I do? It was a long walk to get here, and I know it’ll be an even longer one into the loving arms of Boston’s finest.
The brown leather jacket covers the gray wife beater with the frayed edges and the snag and the sweat stains in the armpit and that just barely covers the black Smith & Wesson .44 hiding in the waistline of my jeans. The one Billy Ray gave me, ions ago. Another lifetime ago. The one he used to chase her with down the dark and muddy and lonely Eagle View Road back when I was still a baby. Before I was big enough to actually defend her.
The one I plan to raise some hell with even though it’s not even loaded.
Through the thick clouds of cigarette smoke, I squint over at the Exxon across the street, Newhill Plaza opposite the gas station on the corner of E. 3rd. When I cut my eyes back over to the station, I pay close attention to who goes in, and more importantly, who comes out.
Flailing headlights, the warm buzz of the occasional car and the clunking and roaring and grating motors that propel them, all blazing down L Street ahead of me and all around me. I wait for the cattle to clear the beaten path before I even attempt to cross the street and do what I told myself I had to do.
What I have to do or I won’t respect myself later tonight or any other night for that matter.
I run a surprisingly steady hand through the long and unruly dark blond curls on my head and use my dirt-caked fingernails to scratch my dry scalp. I reassure myself it’s just a deep itch and not a nervous tick. I reassure myself that I’m not apprehensive at all because actually getting away with this crime is not something I’m really trying to do anyway.
I’m the ticking time bomb who will intentionally fail to detonate.
Now that the sunrise has finally managed to crane its neck up from behind the navy blue skyline of downtown Boston and up from over the top of Southie’s brand new row of condos, I know I look more than suspect as the unrefined, tattooed construction worker type, loitering and staking out the gas station across L Street, the enclave’s main drag. My location is completely intentional but no one else in the world would know that and after I’m apprehended, I’ll probably end up on one of those World’s Dumbest Criminals programs. Maybe I should’ve come later in the day, rush hour maybe when I’d cause a lot more attention. It’s common knowledge that most criminals don’t want to be seen, noticed. But even though I look the part of the lowlife, the grimy and seedy petty crook, I think I’ll just take a seat on the dirty tile floor and light up another smoke and wait until the cops take me willing and grinning to Cedar Junction Maximum Security Prison after I stick-up the Exxon.
It’s not like I have a deathwish or I’m scared to be a contributing member of society because I have been for the past eight years. It’s just that now she’s gone and she was the only family I had except for Billy Ray.
I wait and I smoke and I continue to lean against the pizzeria until I see the subtle hints of the sunrise, batting its eye up from behind the John Hancock Tower. That’s when I leave behind any lingering apprehensions along with the shortened cig butt I crush beneath one of my steel-toed Wolverines. That’s when I quickly secure the .44, take a deep breath, wait for the Pest Control van to clunk its way through the yellow light and then cross L Street without waiting for the pedestrian crosswalk sign.
A jaywalking armed gunman, off to do the Devil’s work.
© Will Hoyle 2009
Nobody Move, This Is A Review: The Wire (HBO)
Possibly the best drama series I've ever watched, including The Sopranos.
Set in Baltimore, Maryland, The Wire is a police drama in name only. There are no good or bad guys; every character is compromised and yet fully realised. Its link to crime fiction is deliberate, the producers hiring Denis Lehane, Richard Price and George Pelecanos (who also produces) to write episodes, but in the way of the best of crime fiction, it's about a lot more than crime. David Simon, creator and executive producer, puts it thus: "The American obsession with police procedural and crime drama usually only allows for villains –in large part black or brown – who exist as foils, to be pursued and destroyed by cop heroes. We're addressing ourselves to where the villains actually come from, and whether we have any right to regard them as somehow less human than the rest of us." Hailed by virtually every critic of note as brilliant (the San Francisco Chronicle calls it 'broadcast literature' and the Guardian compares it in scope and quality to Dickens and Zola), The Wire is must-see viewing for any serious readers of crime fiction. There’s a fifth and final series in production, so get the DVD box sets: start with series one and figure on taking a sick day or two. It's just that good.– Kevin McCarthy
Set in Baltimore, Maryland, The Wire is a police drama in name only. There are no good or bad guys; every character is compromised and yet fully realised. Its link to crime fiction is deliberate, the producers hiring Denis Lehane, Richard Price and George Pelecanos (who also produces) to write episodes, but in the way of the best of crime fiction, it's about a lot more than crime. David Simon, creator and executive producer, puts it thus: "The American obsession with police procedural and crime drama usually only allows for villains –in large part black or brown – who exist as foils, to be pursued and destroyed by cop heroes. We're addressing ourselves to where the villains actually come from, and whether we have any right to regard them as somehow less human than the rest of us." Hailed by virtually every critic of note as brilliant (the San Francisco Chronicle calls it 'broadcast literature' and the Guardian compares it in scope and quality to Dickens and Zola), The Wire is must-see viewing for any serious readers of crime fiction. There’s a fifth and final series in production, so get the DVD box sets: start with series one and figure on taking a sick day or two. It's just that good.– Kevin McCarthyNew Hope For The Dead # 14: Kevin McCarthy
The latest Irish crime fiction up-'n'-comer to hit the streets is Kevin McCarthy, folks - he's putting the finishing touches to his novel Peeler as you read, a mystery set during the Irish War of Independence. The guy's got a way with words - check out his short story Work To Live over on the tough-as-shark-shit Thuglit (motto: Writing About Wrongs). Sample quote: "When the girl regained her balance under Jimmy Mack’s guiding hand, she smiled and he noticed she was wearing braces on her teeth. Might be a problem, he thought, time came to bake the Jimster premium, downhome sausage. But what the fuck? Girl was a weedho, no doubt. Other places, man can cook a sausage…" We’re thinking Pelecanos meets Willeford, people …
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