The Other Clones Cyclone

There’s about five hundred reasons for getting along to the Clones Flat Lake Festival this coming weekend, given that it’s chock-a-block with events musical, literary and film-related – although I have to say that my favourite will very probably be the 30-second disco. Hard on the heels of that will be the crime writing panel, which will feature Brian McGilloway (right), Declan Hughes and Some Chancer, Esq., aka Your Humble Host, all under the watchful eye of Eoin McNamee, who will be asking some very easy questions that – given the panel takes place on Sunday, after the frolics and of The Night Before – we can only hope will require no answering at all.
  Those all important details: The Flat Lake Festival is co-hosted by Patrick McCabe and Kevin Allen, and will take place in Clones, Co. Monaghan, from Friday 14th to Sunday 16th of August. For more, clickety-click here …
  And while we’re on the topic of book-related jamborees, the Books 2009 Festival takes place from September 10th to 13th in Dublin’s fair city. The crime fic element alone is worth the price of admission: the line-up includes John Connolly, Sara Paretsky, The Artist Formerly Known as Colin Bateman, Declan Hughes, Arlene Hunt, Gene Kerrigan, Paul Williams, Ruth Dudley Edwards, Brian McGilloway, Tom Rob Smith, Mandasue Heller, Stuart Neville, Alan Glynn, Ava McCarthy, Alex Barclay, Some Chancer, Esq., and – save the best ’til last – JOHN MCFETRIDGE! Who will, no doubt, be sporting a Montreal Bluestars basketball cap. Or something.
  Incidentally, John Banville will also be appearing at the festival, but as John Banville, to promote his new novel, THE INFINITIES. So there’s probably not much chance that he’ll bump into Ruth Dudley Edwards. Boo.
  For the running schedule, clickety-click here …

“Ya Wanna Do It Here Or Down The Station, Punk?” # 1,004: Sara Paretsky

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
THE POISON ORACLE. Such a sophisticated weaving together of layers of story; Peter Dickinson shows a mastery of linguistics, the Arab world, primate behaviour, and the painful life of his loner protagonist that the book is a tour de force in any genre.
What fictional character would you most like to have been?
Georgia Strangeways (I’m assuming this is in crime fiction).
Who do you read for guilty pleasures?
Delano Ames.
Most satisfying writing moment?
When I got the author copies of my first novel.
The best Irish crime novel is …?
I have to pass on this one because I’m woefully ignorant about Irish crime fiction. I like John Connolly and Ken Bruen very much, but I need to explore some of the other people on Declan’s blog.
What Irish crime novel would make a great movie?
John Connolly’s THE BLACK ANGEL is crying for a film!
Worst / best thing about being a writer?
The worse thing about being a writer: constant anxiety. The best thing: getting to go to work in your underwear (my last job I had to wear pantyhose -- and a skirt).
The pitch for your next book is …?
The search for a missing man leads V.I. Warshawski back to the turbulent days of the Civil Rights Movement in Chicago and forces her to question her beloved father’s role in some of the most despicable acts of the Chicago Police force.
Who are you reading right now?
VANITY FAIR and DEATH OF A FELLOW TRAVELER by Delano Ames.
God appears and says you can only write OR read. Which would it be?
I quit.
The three best words to describe your own writing are …?
Insightful. Witty. Literate.

Sara Paretsky’s BLEEDING KANSAS is published by Hodder & Stoughton.

A hat-tip to the Book Witch for putting us in touch with Sara …

“You Charm Us To Sorrow.” Irish Crime Fiction: A CrimeSpree Appraisal

Last week we wrote a feature article for the Evening Herald to a pretty tight deadline, which was why Reed Farrel Coleman’s reply to our query, in the wake of the Edgar nominations, about why Irish writers are becoming so popular in the US of A arrived a little late. Ditto the answer from Ruth and Jon Jordan of the indispensable CrimeSpree Magazine (right, clutching the prestigious Anthony Award for ‘Cutest Couple in Crime Fiction’), both of whom have been cheerleading for Irish crime writing since God was a boy. Herewith follows their rather generous two cents on why Irish writing is becoming so popular:

“The economic and political status of Ireland today is much in line with that of the time in which American crime classics were written. A poor-to-affluent generation living in a post-violent but pre-pacific time, remembering the religious ironies and icons with equal resonance and enwrapping them in a story like a taco bell quesadilla. The Irish story is updated with generations more of ennui and religious acceptance behind it, the precarious situation that is refracted by words of today flirted with, exposed and uniquely discovered by a group of writers who embrace the crime novel as the way to tell their story for all the world.
  “The talent for words is remarkable and embraced by a United States at once ahead and behind a continent we’ve pretended to understand for three generations. Our story, told with more history and depth. Yet Ireland is unique, as are the people writing of it in crime form. Different voices tell the story and make it stronger, more complete. You charm us to sorrow and make us examine where we are today.
  “The background of many of today’s Irish crime fiction writers includes not only a reading of ‘literary fiction’ but also almost all have found the literary brilliance within American crime fiction, be it recent greats like Lehane, Pelecanos, Connelly, Lippman, Rozan, Paretsky and James Lee Burke (to name a few), or the classics (Chandler, Hammett, Cain). They elevate their novels’ structure from the debut and almost always add a fresh voice to the genre. They don’t want to emulate as much as pay tribute to this often overlooked genre of fiction. Pay it forward and make it better, to use an American phrase. They see the possibilities of one flawed man/woman trying to solve a unique and usually violent problem. The writing jumps off the page and connects with the American reader because Irish authors use the entire environment of the crime and make it resonate.
  “The first author I fell in love with from Ireland is John Connolly, an Irishman who set his fiction in a relatively remote American locale. John has said he loved the work of James Lee Burke and many others. He grabbed a location he knew and made it his own. Last year’s work is remarkable in any time: THE UNQUIET is a true literary novel and I cannot think of many recent reads who express the joy of reading and the possibility it has to soothe, but THE BOOK OF LOST THINGS is a must-read for anyone who has ever loved a book and lost a loved one.
  “From Connolly I went to L. Welch, who strips bare any pretences in her prose to expose the baldness of story, and Declan Burke, whose approach to EIGHTBALL BOOGIE was as refreshing as THE FRIENDS OF EDDIE COYLE in its time. Ken Bruen’s arrival on our shores made everyone take notice. From THE GUARDS forward, Ken has infused admiration and anticipation for a writing style so unique it cannot be compared to anyone else writing today. Full of bon mots and cultural references that put you into the being of his characters, only someone so sharp of pen could get away with it.
  “America came full circle with the words of one Declan Hughes, whose third novel [THE PRICE OF BLOOD] is about to launch in the States. Instead of taking an Irish sensibility and applying it to the American detective, he brought an Irishman home who has been an American P.I.
  “The possibilities are just beginning and yet we’ve already come full circle.”