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The 2015 Round-Up

As 2015 draws to a close, it’s time to take a step back and reflect on the year that has been. As is now “traditional”, I’ll be using this post to talk about my favourite books of the year, but first a quick blast through some of the non-bookish stuff that happened in the past twelve months.

For me, 2015 was always going to be significant because it’s the year in which I turned forty (so old!) and, thanks to my wife, I spent my fortieth birthday fulfilling the lifelong ambition of visiting KL Auschwitz and the nearby city of Kraków (I’ll talk more about this early in the New Year). 2015 also saw the release of the much-hyped latest instalment in the Star Wars franchise, a film that did not disappoint, and which reawakened (pun most definitely intended) something of the child buried deep within this forty-year-old body, helped in no small way by the fact that I was able to share the experience with my six-year-old son, who bears all the hallmarks of becoming twice the nerd his father is.

THE ROUND-UP

As the reading year closes, Goodreads informs me that I have read 74 books, and I’m likely to finish both my current paperback and audiobook reads before the end of the day. Of these, 34 are by authors I have never read before, and 13 of those were debuts. A miserly seven were translated fiction, and you’ll find a few of them on the lists below.

Eagle-eyed readers will spot that only 34 reviews were posted on Reader Dad during 2015, which falls way short of the 74 books completed. I can only apologise, and my only excuse is laziness. My aim for 2016 is to get back to a more regular review schedule and to review, if not everything I read, then the vast majority of it. As a result, many of the books in the top ten lists below don’t have links to existing reviews.

The lists, as always, are presented in the order in which the books were read, so don’t attach any importance to their relative positions.

MATT’S TOP DEBUTS OF 2015

ARAB JAZZ by Karim Miské [trans: Sam Gordon] (MacLehose Press)

Arab Jazz, I have on good authority, is the first novel in a proposed trilogy. Based on the strength of this stunning debut novel, consider me signed up for the rest of the journey. Beautifully written – and translated, for that matter, by Sam Gordon – this is a wonderfully-plotted novel by a man who obviously has deep respect – if not love – for the genre, and for the authors and filmmakers who have practiced it before him. An exceptional debut from an exceptional talent, watch out for Karim Miské: his is a name you will be hearing a lot in the future.

THE DEFENCE by Steve Cavanagh (Orion Books)

The Defence heralds the arrival of a fresh new voice in Irish crime fiction, a voice that is as authentically American as the character at the centre of this excellent debut novel. A gripping read from first page to last, it is a new breed of thriller that nevertheless pays its dues to those who have come before: Jack Reacher, John McClane and, maybe, Perry Mason. Cavanagh’s is a name you should expect to hear a lot of in the coming years, and Eddie Flynn is destined to become as instantly recognisable as his forebears. In a word: unmissable.

DARK STAR by Oliver Langmead (Unsung Stories)

One of the most interesting and original books you’ll read this year, Oliver Langmead’s Dark Star is one of those gems that creeps up and takes you by surprise. Beautifully written, masterfully plotted, and built around a character that is at once a complete stranger and an old friend, it sucks the reader in from the opening stanza, and holds the attention to the very last word. There are ideas and concepts here that will leave you wide-eyed with wonder, alongside wise-cracks that might have dropped fully-formed from the nib of Raymond Chandler’s pen. In short, a masterpiece, and a story you really won’t want to miss.

JAKOB’S COLOURS by Lindsay Hawdon (Hodder & Stoughton)

Beautiful and horrific, Jakob’s Colours is an intense and gripping examination of one person’s experiences during the Second World War, written in a way that examines how an entire race of people suffered during that war. Lindsay Hawdon’s writing is beautiful, her characterisation pitch perfect, her ability to terrify and sicken eclipsed only by her ability to make us smile, to appeal to our maternal or paternal instincts for this small boy on his own. Like any book whose subject is genocide, it is difficult to come away from Jakob’s Colours feeling that you’ve enjoyed yourself, but it is an important book, a story that is still very relevant seventy years after its setting; this is a book that demands an audience and I can guarantee that you will not come away disappointed.

THE ENCHANTED THE ENCHANTED by Rene Denfield (Weidenfeld & Nicolson)

I didn’t review this book at the time because I didn’t think I could do it justice. Told from the point of view of a prisoner on death row, it intertwines his story with that of an investigator tasked with getting the sentence of a fellow inmate commuted. Beautiful and haunting, it’s an accomplished first novel that will leave you gasping for more.

Small Angry Planet THE LONG WAY TO A SMALL ANGRY PLANET by Becky Chambers (Hodder & Stoughton)

Without doubt, the best piece of science fiction you’ll read this year, or any year. Following Rosemary Harper’s first few months as a member of the Wayfarer’s crew, this wonderful novel focuses very much on the characters as a way to tell its tale. And what a bunch of characters they are! Reminiscent of the dear-departed Firefly, the novel has an episodic structure that means each chapter is a self-contained “story” that, when combined, produces a fun, action-packed space opera adventure that should not be missed.

DRY BONES IN THE VALLEY by Tom Bouman (Faber & Faber)

There are echoes of William Gay in Bouman’s writing, even with the northern setting, and the central premise has the feel of Longmire about it. Despite the light tone, and the friendliness of Henry Farrell, there is a hard edge to Dry Bones in the Valley, a tension that oozes from the pages to the point where it feels like Henry is putting on an act to put us at ease as we navigate the almost incestuous relationships that define Wild Thyme. It is a beautifully-written work that sucks the reader into this strange and beautiful world. The solution to these horrific crimes becomes secondary as the novel progresses, the voice of Henry and his stories and observations the main reason we’re in this to the end. Henry Farrell is the type of character that deserves further outings, though his current placement is likely to make that difficult (just how many people can die in a small town before it becomes ridiculous? I’m looking at you, Midsomer!). One thing is for sure: Tom Bouman is a writer of considerable talent, and Dry Bones in the Valley, one of the best pieces of detective fiction I’ve read in some time, is just the tip of the iceberg.

The-Loney THE LONEY by Andrew Michael Hurley (John Murray)

Another stunner that I failed to review at the time. Quietly disturbing and beautifully written, this is the horror debut of the year. Hurley is already on my must-read list.

 

MATT’S TOP NON-DEBUTS OF 2015

THE DEATH HOUSE by Sarah Pinborough (Gollancz)

Sarah Pinborough proves yet again that she is an exceptional writer regardless of genre. And therein lies her biggest problem. I’m not sure how Gollancz aim to market this one: science fiction? Dystopia? Young adult? Either way, its audience is likely to be limited to people who read the genre in question. The Death House, Pinborough’s finest novel to date, should be required reading for everyone who enjoys spending time with a good book. A worthy successor to those great books that influenced it, The Death House is the best book you’ll read in 2015, guaranteed, and Sarah Pinborough cements her place as one of our finest living novelists.

THOSE ABOVE by Daniel Polansky (Hodder & Stoughton)

Dark fantasy with a decidedly military bent, Those Above is the perfect opener for Daniel Polansky’s career beyond Low Town. With his unmistakeable voice and his highly original new world, he draws the reader slowly in until it’s impossible to put the book down and escape back to reality. A brilliant start to what is sure to be one of the fantasy epics of all time, Those Above is the work of an author at the top of his game and brings with it the promise of a lot more to come.

CREATIVE TRUTHS IN PROVINCIAL POLICING by Paula Lichtarowicz (Hutchinson)

Anyone picking up Creative Truths in Provincial Policing expecting something in a similar vein to The First Book of Calamity Leek will be surprised at just how different Paula Lichtarowicz’s second novel is. But the key elements are all here: well-drawn characters, an engaging and very original plot, and a narrative voice like no other. Creative Truths is a wonderful second novel and one that is impossible to put down once you’ve made the start. It cements Lichtarowicz’s place as an author worth watching and leaves the reader wishing and hoping for more. You may not come away with a burning desire to visit Vietnam, but you won’t read crime fiction in quite the same light ever again. Either way, it needs to be one of your must-reads for the year.

I AM RADAR by Reif Larsen (Harvill Secker)

There are touches of beauty and genius between the covers of I Am Radar. It’s an engaging and emotionally-charged novel that is guaranteed to keep the reader engrossed for the duration. Filled with characters with their own stories to tell – the cast of I Am Radar could populate an entire library of novels – I Am Radar is the perfect fusion of story and design to create something unique, enduring and wonderfully quirky. Funny and touching, exciting and horrifying, it marks a welcome return for Reif Larsen, and a novel you most definitely will not want to miss.

THOSE WE LEFT BEHIND by Stuart Neville (Harvill Secker)

With Those We Left Behind, Stuart Neville leaves behind the crimes of post-Troubles Belfast, and focuses on the everyday crimes of a growing, maturing city. A masterwork of misdirection, this is a well-written novel by an author who seems to have found his groove, producing novels that are more challenging for both himself and the reader with each consecutive release. Stuart Neville is at the forefront of the Irish crime fiction movement, and Those We Left Behind is an excellent example of why that’s the case. The perfect jumping-on point for new readers, this is also a very welcome addition for long-time fans, and will leave both groups crying out for more: more Stuart Neville; more Serena Flanagan.

ALL INVOLVED by Ryan Gattis (Picador)

All Involved is, in short, an incredible piece of fiction set against one of the darker periods in America’s recent history. Intricately plotted, finely detailed, this is a beautifully-written novel that gives the reader some insight into the mind-set of the people involved in what can only be described as a fictional representation of something that could very well have happened while all eyes were looking elsewhere. Ryan Gattis has proven himself to be a writer of considerable talent, with an ear for language and inflection that allows him to create living, breathing characters who seem to jump off the page. Expect to have trouble putting this one down once you’ve started reading but under no circumstances should you miss this opportunity to watch a true master at work.

FALL OF MAN IN WILMSLOW by David Lagercrantz [trans: George Goulding] (MacLehose Press)

David Lagercrantz is a name that you’ll have heard a lot recently, as he has written a follow-up to Stieg Larsson’s Millennium Trilogy, which sees worldwide publication later this year. Fall of Man in Wilmslow is the first of his novels to get an English translation, and shows that he is a writer of considerable talent. In much the same way that Jöel Dicker’s The Truth About the Harry Quebert Affair is the perfect American novel, here Lagercrantz has produced something that feels truly English, from the sleepy setting of Wilmslow, to the character of Leonard Corell. Beautifully written – not to mention wonderfully translated by George Goulding (a new name for me) – it is at once a brilliant portrait of one of the nation’s (not to mention my own personal) heroes, an engaging mystery, and a shocking look at the values and opinions of the English in the early 1950s. An unexpected gem, Fall of Man in Wilmslow is one of my favourite books of the year so far, and leaves me with the hope that we’ll see more of Lagercrantz’s work translated (beyond summer’s The Girl in the Spider’s Web) in the very near future.

As an aside, The Girl in the Spider’s Web was an exceptional follow-up to Larsson’s Millennium Trilogy, and probably would have secured a place on this list had Fall of Man in Wilmslow not been released the same year.

SEVENEVES by Neal Stephenson (The Borough Press)

A weighty tome, yes, but Seveneves grabs the reader with its opening line and holds their attention for the five thousand year and almost 900-page duration. This latest addition to Neal Stephenson’s canon has all of the author’s trademarks – great characters, great premise, plenty of technical detail and a wicked sense of humour – and adds another string to a bow that already encompasses multiple genres and technical areas. Stephenson is a rare beast: a polymath with the ability to tell an engaging and entertaining story. Seveneves is an excellent addition to a body of work that includes genre classics like Snow Crash and Cryptonomicon, old-fashioned hard science fiction in the style of Asimov, and shows, once again, that Stephenson is a writer to be reckoned with, one of our greatest living storytellers.

STALLO by Stefan Spjut [trans: Susan Beard] (Faber & Faber)

Stallo is not Stefan Spjut’s first novel, but it is his first in the horror genre. Following in the successful footsteps of John Ajvide Lindqvist, Spjut presents a story – not to mention a central conceit – that is pure Sweden, but which is given a global appeal through a choice of monster that has haunted the dreams of every child at some point in their lives (‘Who is that trip-trapping over my bridge?’). Beautifully written, this is quiet horror at its finest. Destined to be forever compared to Lindqvist’s vampire classic, Stallo stands well enough in its own right to show that the burgeoning Swedish horror scene is more than a one-trick pony, and fills this reader with joy at the prospect of what is still to come. Stefan Spjut is a name to remember; I expect we’ll be hearing plenty from him in the coming years. Stallo is a must-read for anyone who considers themselves a fan of horror fiction, and should prove an interesting alternative for those growing tired of the endless parade of Swedish detectives that seem to be taking over the shelves of our local bookshops.

WAY DOWN DARK by JP Smythe (Hodder & Stoughton)

Combining elements of Golding’s Lord of the Flies and Mad Max with a dash of Dredd for good measure, Way Down Dark is one of the most original science fiction novels you’re likely to encounter this year. Branded as “Young Adult”, there is a darkness to the story that will appeal to an older audience, showing that Smythe has a good grasp on what makes a story like this truly universal. This is a writer who continues to go from strength to strength and shows no signs of slowing down. If you’re yet to jump on the bandwagon, Way Down Dark is the perfect place to start, and with the second book in the trilogy, Long Dark Dusk, already announced, there is no better time to jump into Chan’s world, and explore the Australia. While it’s not an entirely pleasant journey (the story most definitely lives up to the title’s Dark), this is a book that’s almost impossible to set down once you’ve started reading, and a story that will stay with you long after you’ve finished.

EVERY NIGHT I DREAM OF HELL by Malcolm Mackay (Mantle)

This one feels very much like I’m preaching to the choir: those who have read Malcolm Mackay’s earlier novels will know what to expect, and will probably already have committed to read Every Night I Dream of Hell regardless of what anyone else thinks. For those who haven’t, this isn’t necessarily the best place to start; it can be read without having read the Glasgow Trilogy, but you’ll be missing out on the much richer experience that more than a nodding acquaintanceship with this world provides. Either way, this is noir fiction at its best: sharp and cloaked in shadows, with more than a hint of humour, and enough blood to keep the wheels greased. Malcolm Mackay continues to produce engaging and thought-provoking work in a beautiful prose style that puts him head and shoulders above his contemporaries. In a word: perfect.

SOLOMON CREED by Simon Toyne (HarperCollins)

Simon Toyne’s fourth novel, the first to be set outside the fictional world to which he introduced us in his Sanctus trilogy, cements his place as one of the finest genre writers working today. Clever and engaging, Toyne weaves a number of strands together to produce an exciting, page-turning read. As always, his characterisations are pitch perfect and his sense of place second-to-none – his small-town Arizona seems as real as the Turkish city of Ruin. A perfectly-formed thriller in the author’s own unique style, Solomon Creed is not to be missed by returning fans and Toyne virgins alike.

THE BAZAAR OF BAD DREAMS by Stephen King (Hodder & Stoughton)

The Bazaar of Bad Dreams contains an excellent selection of King’s more recent short works. Perfect fodder for the long, dark winter nights ahead, it will give the reader plenty of food for thought, and the occasional sleepless night. Showcasing the breadth of King’s writing ability in a single volume, something that’s not always possible in a single novel, this is the work of a writer who is comfortable in his own ability, and in the worlds that he creates, but who is constantly in search of the next addition to his writer’s toolbox, the next tool that will make his writing better or, at the very least, broaden his horizons. Occasionally touching, often laugh-out-loud funny and frequently spine-tinglingly chilling, The Bazaar of Bad Dreams is a wonderful addition to the King canon, and an excellent jumping-on point for anyone who has yet to experience either his work in general, or his short stories in particular.

night-music-uk-225 NIGHT MUSIC: NOCTURNES VOLUME 2 by John Connolly (Hodder & Stoughton)

Best known for his Charlie Parker crime novels, John Connolly has a penchant for horror in the short form. This second collection of short horror stories contains some absolute gems, as well as a wonderful Lovecraftian novella in five parts, “The Fractured Atlas”.

THE GREAT SWINDLE by Pierre Lemaitre [trans: Frank Wynne] (MacLehose Press)

I was disappointed with the final book in Lemaitre’s Camille Verhoeven trilogy, feeling that he might have given his best for the first two books of the series. In The Great Swindle he has redeemed himself and proven that he has much more to offer. While very different from his modern day crime trilogy, this latest novel is quintessential Lemaitre: beautifully-written, carefully structured and filled with characters that we love or hate with the same intensity that we might if they were real. It’s an examination of a dark period in French history through the eyes of these people, while still allowing us to see the funny side of things. The first in a proposed 7-book series set to span the interwar period, this fun and intense read (an interesting combination that works extremely well) The Great Swindle puts Pierre Lemaitre firmly back on my must-read list. It is one of the best books I’ve read this year and it’s sure to be a book we’ll be talking about for some time. Not to be missed.

THE BOY AT THE TOP OF THE MOUNTAIN by John Boyne (Doubleday)

Marketed, like The Boy in the Striped Pyjamas, as a piece of young adult fiction, The Boy at the Top of the Mountain is, like its predecessor, essential reading for people of any age. John Boyne uses one – fictional – character’s relationship with Hitler to try to provide a plausible explanation for the horrors of the Second World War. As readers, we become complicit in Pierrot’s transformation, constantly forced to ask ourselves the question “what would I have done differently?” As humans, we watch how easily corruption sets in and wonder how it could have been stopped. Spanish philosopher George Santayana is famous for his quote, “Those who do not remember the past are condemned to repeat it.” John Boyne uses fiction to remind us of what has come before; he is one of the few writers who is attempting to instil this knowledge in our younger generations and should be commended for his efforts. One of the finest writers working today, his books are the very definition of “must read”.

COMING SOON…

With 2016 looming, one of my resolutions is to try to review all of the books I read this year. The first review, that of Keith Lee Morris’ excellent Travelers Rest, should appear shortly before the end of the year. With new novels from Stephen King, Joe Hill, Daniel Polansky and Sarah Pinborough all due within the first half of the year, it’s shaping up to be another bumper year for readers of genre fiction.

All that remains is for me to thank the wonderful publicists and publishers who keep me stocked with such excellent reading material; the fantastic authors who not only provide these excellent reads but who, in many cases, give up time and energy to write guest posts or provide answers to my inane Q&As; and you, the readers, for your continued support: without you, I’d just be talking to myself.

Wishing you all a very Merry Christmas, and a Happy, Safe and Prosperous 2016. May The Force Be With You!*

 

* Well, it is the year of the rebirth of Star Wars, after all!

EVERY NIGHT I DREAM OF HELL by Malcolm Mackay

EVERY NIGHT I DREAM OF HELL - Malcolm Mackay EVERY NIGHT I DREAM OF HELL

Malcolm Mackay

Mantle (www.panmacmillan.com)

£12.99

Nate Colgan is a name feared throughout the Glasgow underworld. Now, as “security consultant” for the Jamieson organisation, he has the heft to back up the reputation. Nate’s new job coincides with the murder of one of the members of the Jamieson lower echelon; a new group has moved into Glasgow, from south of the border, according to rumours, and they look to be making a move on an organisation they see as weak. With Peter Jamieson and John Young still serving time at Her Majesty’s pleasure in HMP Barlinnie, it’s up to Jamieson’s lieutenants – and the very capable hands of his new security consultant – to deal with the threat before the new boys move in, or the organisation fractures under the strain.

In a very short time, Malcolm Mackay has become a name to watch very closely in crime fiction circles. Every Night I Dream of Hell is his fifth outing since he burst onto the scene in 2013 with The Necessary Death of Lewis Winter and takes us back to the now-comfortable haunt of Glasgow’s criminal underbelly, and the gangs that run it. In a departure from earlier books, Mackay opts for a first-person narrative, presenting a much different voice from the chatty one we have grown used to. He also takes one of the characters who has been part of this world since the very beginning – Nate Colgan’s name appears as far back as Lewis Winter – and drags him into the spotlight, not only introducing us to this man we’ve heard so much about but not yet met, but putting us right inside his head.

As with his previous novels, Mackay hooks the reader very early in the story and quickly notches up the tension until it’s almost impossible to put the book down. This is a world with which regular readers are already intimately familiar, so there is little time wasted on backstory or set-up, the author correctly deciding that if the reader hasn’t been here before, it won’t take long to find their way around the convoluted structure of the Jamieson organisation and the city’s other criminal enterprises. Here are characters we’ve met before like Marty Jones and Kevin Currie, and there is as much interest for the reader in how much these characters have changed – how much they have capitalised on the organisation’s current state – since the last time we encountered them.

Nate Colgan himself is a revelation, the perfect example of how the man and the reputation aren’t necessarily the same thing. From the outset it’s clear that Colgan is extremely intelligent, despite his reputation as a hard man, and all that the phrase suggests. This is a man feared throughout Glasgow, yet when we meet him he is much more human than we might have believed. His new position within the organisation seems long overdue, but it’s obvious to the reader – if not the man himself – that he has been hired as much for his wit and intelligence as his muscle. Colgan is a man with few straightforward relationships: he has tried to keep his young daughter as far away from his reputation as possible and the sudden reappearance of the girl’s mother – readers of Lewis Winter will recognise Zara Cope, even with her clothes on – serves only to disrupt his delicate balancing act. Like Mackay’s other great protagonist, Calum MacLean, Colgan attempts to avoid any complex relationships with women for fear of how they might end, or how they might be used as leverage in the wrong hands.

While the voice is necessarily different, the tone of Every Night I Dream of Hell remains very much unchanged from earlier books in the series. This is dark crime at its very best, shot through with brief glimpses of light and humour. While Colgan may not necessarily be a good man caught in a bad situation, the reader can still feel some sympathy for him; this man who may have made stupid decisions earlier in life and who is now trapped because of them. Mackay has said the decision to use first person was a difficult one to make, but it suits this story and has been used to its advantage: in contrast to earlier books, there is an element of mystery surrounding the events of Every Night I Dream of Hell, an element that allows both Colgan and the reader to put on their deerstalkers, suck at their meerschaum pipes and wonder “whodunit?”. Mackay’s previous, all-encompassing style of storytelling may have made it more difficult to hide the clues than by keeping the novel’s protagonist in the dark.

One of the key strengths of Mackay’s storytelling is his ability to avoid absolutes: there are no “good guys” and “bad guys” here, just varying shades of “questionable”, regardless of what side of the law they’re on. DI Michael Fisher, who put Jamieson away, returns and even his motives aren’t entirely clear. This is the dark underworld of Glasgow, and Mackay knows that there is no saviour, there’s just the status quo and the bad things that sometimes must happen to ensure that it isn’t interrupted. For this reason, if for no other, Colgan is the perfect man to stand at the centre of Every Night I Dream of Hell: his thought processes and very character mirror on a smaller scale what is happening around him.

This one feels very much like I’m preaching to the choir: those who have read Malcolm Mackay’s earlier novels will know what to expect, and will probably already have committed to read Every Night I Dream of Hell regardless of what anyone else thinks. For those who haven’t, this isn’t necessarily the best place to start; it can be read without having read the Glasgow Trilogy, but you’ll be missing out on the much richer experience that more than a nodding acquaintanceship with this world provides. Either way, this is noir fiction at its best: sharp and cloaked in shadows, with more than a hint of humour, and enough blood to keep the wheels greased. Malcolm Mackay continues to produce engaging and thought-provoking work in a beautiful prose style that puts him head and shoulders above his contemporaries. In a word: perfect.

The 2014 Round-Up

As another year draws to a close, it’s time for my annual retrospective of what’s gone on at Reader Dad. There’s a lot to cover this year, so without further ado…

THE ROUND-UP

As the reading year closes, I have read 65 books this year, more than every year except last year, but I had an excuse for getting so much read last year! Of those, a massive 43 were by authors that are new to me (and a large percentage of those were 2014 debut authors). It feels like I’ve read a lot of crime this year, but when I look back on the list, I discover that my reading has been much more varied than I thought, covering everything from epistolary humour (Julie Schumacher’s Dear Committee Members) to cannibalism (Season To Taste by Natalie Young), epic fantasy to Hitler satire. The list contains six translations, some of which you’ll find in the lists below and two re-reads, which are becoming a rarity these days when there are so many new books to read, and so little time in which to read them.

The big focus of the blog this year, aside from the reviews of dark fiction, was the #CarrieAt40 project that kicked off in April to celebrate Stephen King’s forty years as a published author. I’m delighted by the reaction, and would like to personally thank everyone who provided an essay: Keith Walters, Book Geek, Alison Littlewood, John Connolly, Bev Vincent, Sarah Langan, Mark West, Lloyd Shepherd, Steve Cavanagh, Simon Clark, V. M. Giambanco, Mason Cross, Nnedi Okorafor, Sarah Lotz, P. T. Hylton, Neal Munro, Simon Toyne, Lou Sytsma, Michael Marshall Smith, Kealan Patrick Burke, Andrew Pyper and Rob Chilver. I must also thank my good friend David Torrans of No Alibis Bookstore in Belfast for putting me in touch with Mr Connolly, and Graeme Williams at Orion Books for putting me in touch with Andrew Pyper. Thanks, too, to Mr King’s publishers, Hodder & Stoughton, who were extremely supportive and especially the wonderful Hodderscape folks who were angels when it came to publicity. Special thanks have to go to the lovely Philippa Pride and Kerry Hood, Mr King’s editor and publicist, respectively, at Hodder, for their support, and to Anne Perry for putting me in touch with them in the first place.

#CarrieAt40 comes to an end at the end of the year when I will be closing the Big Vote. Response has been lacklustre so far, so rather than the “definitive” answer I’d hoped for, I’ll be presenting the favourites as they stand. Please feel free to point everyone you know at the vote in the meantime, and maybe in the next week and a half we’ll get close to that “definitive” level.

And so to the important bit: the list of my favourite books of the year. Last year’s approach seemed to work well, so I’ll be using the same approach this year: my favourite debuts, and favourite non-debuts of the year. As always, the list contains books that were first published in 2014, and they’re listed in the order in which I read them, so no significance should be attached to their position in the list. Oh, and please don’t take the “ten” literally! As always, links will take you to my original review, where it exists.

MATT’S TOP TEN DEBUTS OF 2014

SEASON TO TASTE or HOW TO EAT YOUR HUSBAND by Natalie Young (Tinder Press)

At once gripping, wholeheartedly gruesome (Young seems to revel in the fact that just when you think you’ve experienced the worst there is, there is always something more still to be eked out of this incredible scenario) and darkly comic, Season to Taste or How to Eat Your Husband is one of the most original novels you’re likely to read, ever. With an attention to detail that is slightly scary, given the subject matter (Young has obviously done some thorough research), and the ability to make you want to simultaneously stop reading, and read faster, Natalie Young has done the unthinkable: she has taken an ordinary human being, placed her in an extraordinary situation, making her the villain of the piece in the process, and still manages to make the reader love her, root for her, want to see her succeed in her endeavours and, most importantly, get away with it. Often – and I know you’ll pardon the pun – hard to stomach, Season to Taste is like nothing you’ve ever read before, and pays dividends for those willing to stick with it and forge through the discomfort. It’s one of the best books you’ll read this year, and is guaranteed to stay with you for many years to come. I’m sure I’m not alone in being excited to see what Natalie Young has up her sleeve next; let’s just hope it doesn’t involve dinner.

   
RED RISING by Pierce Brown (Hodder & Stoughton)

Red Rising is a spectacular debut that endures beyond the final page. Set in an interesting world that, despite the obvious differences, really isn’t that far removed from our own, and peopled by characters that warrant our continued attention, it is a novel that demands to be read in as few sittings as possible. Fast-paced, action-packed, engrossing and wonderfully addictive, Red Rising marks the entrance of a fine new voice in science fiction, a young writer of immense talent who knows how to tell a story, and how to keep us coming back for more. This is a book you won’t want to miss, but be warned: once you’ve finished, you won’t want to wait for the next instalment of the trilogy.

   
THE UNDERTAKING by Audrey Magee (Atlantic Books)

Despite the early tone, Audrey Magee’s debut novel, The Undertaking, is as bleak and devastating as they come. A window into a small, personal part of World War II, Magee shows us horrors that we are never likely to forget, brief throw-away lines that will haunt and, in many ways, traumatise us long after we have put the book aside. The writing is beautiful, the dialogue perfectly measured and perfectly natural, the setting and background one we know well enough that the briefest glimpse of an event conveys all we need to know about what is going on outside the story of these entirely captivating – despite their ordinariness – characters around whom the story revolves. One of the strongest debuts I’ve seen in some time, The Undertaking marks Audrey Magee as an extremely talented writer to watch very closely in the future.

   
BIRD BOX by Josh Malerman (Harper Voyager)

In a world where we’re no longer frightened of the supernatural in fiction, mostly through exposure to whatever faux-documentary film series is currently top of the crop, Josh Malerman takes us back to first principles to scare the bejeesus clean out of us. Intense and paranoid, Malerman’s approach to storytelling leaves us as much in the dark as the novel’s protagonists and draws us into this threatening, dangerous world that lies in a not-too-distant future. Beautifully constructed in a way that constantly keeps us asking questions, doubting absolutely everything we are told, Bird Box has an edge-of-the-seat element – that dark journey along the river – that keeps the reader turning pages at a furious rate. Literary horror constructed around a highly original kernel, Bird Box heralds the arrival of a stunning new talent. The cover of the book exhorts “Don’t open your eyes”. I can guarantee that, within the first few pages, you won’t want to close your eyes until you’ve seen this gripping story through to the end. This is a novel you definitely won’t want to miss.

   
LOOK WHO’S BACK by Timur Vermes [trans. Jamie Bulloch] (MacLehose Press)

From the simple, eye-catching cover, to the pun-tastic back cover copy ("He’s back…and he’s Führious"), to the often gripping, often hilarious content in between, Look Who’s Back is that rare beast: a stunning piece of fiction that works despite the ridiculous outer premise and despite the fact that we should despise the man in whose head we ultimately find ourselves. Beautifully translated by Jamie Bulloch (who also provides a useful glossary at the end for those of us who are unfamiliar with Herr Stromberg, or Martin Bormann, or any of the countless other ”characters” who may be familiar to the book’s original German audience), this is a perfectly-judged skewering of 21st Century society and the values we hold most dear, as seen through the lens of one of the most detested – and detestable – monsters of recent history. Many readers are likely to be surprised with just how much they agree with him, and just how reasonable he seems in this brave new world where Herr Starbuck has a coffee shop on every corner. Look Who’s Back is a masterpiece, and marks Timur Vermes as one to watch. Do not, at any cost, miss this.

   
THE KILLING SEASON by Mason Cross (Orion)

The Killing Season marks the arrival of a new “must-read” author on the British thriller scene. In Carter Blake, Mason Cross has produced an engaging character whose wit, mysterious background and often dubious moral stance keep the reader coming back for more, and elevates The Killing Season from just another thriller to one of the finest you’re likely to have read since Jack Reacher stepped off the bus in Margrave, Georgia all the way back in 1997 (now, there’s a statistic that makes me feel old!). Cross makes Chicago and the surrounding area his own and his characters, despite his own background, are as American as American can be. A seemingly effortless and assured debut, you’ll be jonesing for your next Mason Cross/Carter Blake fix before you’ve even finished this first helping.

   
THE TRUTH ABOUT THE HARRY QUEBERT AFFAIR by Joël Dicker [trans. Sam Taylor] (MacLehose Press)

The Truth About the Harry Quebert Affair is, quite simply, one of the best books I’ve read in a number of years, and likely one of the best I’ll read for a number of years to come. Skilfully constructed, with a cast of memorable and engaging characters – not only Marcus and Gahalowood, but also Nola and Harry himself – it’s a masterclass in small-town American crime made all the more impressive by its non-American roots. It may look daunting, but once you crack the spine, it’s next to impossible to set aside for any length of time. Without doubt, one of my favourite reads of all time, I’ll be watching Joël Dicker’s career extremely closely from here on. Whatever you do, don’t miss this.

   
THE AXEMAN’S JAZZ by Ray Celestin (Mantle)

Ray Celestin’s first novel is big on characterisation and sense of place. It’s a spot-on rendition of a unique point in time and a unique place on Earth, and has enough suspense to ensure that the reader stays engaged throughout. Celestin excels when it comes to attention to detail – both in terms of the history and the location – but never at the cost of moving the story along and The Axeman’s Jazz is an excellent debut, the perfect introduction to a talented writer and, with any luck, a handful of entertaining and engaging detectives.

   
THE EXPEDITION: A LOVE STORY by Bea Uusma [trans. Agnes Broomé] (Head of Zeus)

The Expedition: A Love Story is one of those gems that I might never have picked up had I not received a copy from the publisher. It’s the story of a little-known Arctic expedition that went horribly wrong, and one woman’s lifelong quest to discover the truth. Beautifully written, it’s obvious from the beginning that this is a labour of love. We can only hope that Bea Uusma turns her attention to something else in the near future and shares her exceptional talent with us again. I’m struggling to think of a book I have enjoyed more this year, and can’t recommend it highly enough to anyone interested in the art of telling a story.

 

MATT’S TOP TEN NON-DEBUTS OF 2014

THE SUDDEN ARRIVAL OF VIOLENCE by Malcolm Mackay (Mantle)

I’ve mentioned before that it would be almost impossible to read How a Gunman Says Goodbye without having first read The Necessary Death of Lewis Winter. The same applies here: while The Sudden Arrival of Violence is an excellent novel, there is too much backstory to dive in here for the first time. To me, the trilogy feels like a single book – a tale constructed around Calum MacLean’s short tenure as Peter Jamieson’s gunman, but not a tale about that tenure – and should be judged as such. It is one of the most original pieces of crime fiction I have read in a long time, told in a unique and unbelievably engaging voice and populated by a cast of characters whose story we need to know, despite the fact that we wouldn’t want to meet them in a dark alley. The Sudden Arrival of Violence is the perfect ending to a perfect trilogy, expertly plotted, well paced and, above all, beautifully written. Mackay continues to astound, and this is one reader for whom the end of the Glasgow Trilogy will leave a massive hole. I can’t wait to see what Malcolm Mackay has up his sleeve next.

   
THE WIND IS NOT A RIVER by Brian Payton (Mantle)

The Wind Is Not a River is a book that will draw you into the story of these separated lovers and their quest – however oblique – to be reunited. Entirely captivating and beautifully told it draws the reader in slowly, alternating between the two stories as the distance between their protagonists grows gradually smaller, until the book is almost impossible to set aside for anything but the briefest moment. At its heart, it is a beautiful tale of love and devotion – not, you’re probably thinking, the usual fare for Reader Dad (and you’d be right) – but it also shines a light on humanity in one of its recent dark periods. Between the cruelty of the Imperial Japanese Army and the individual cruelties of American men long separated from civilisation, Payton shows that nature at its worst doesn’t even compare. A surprising choice for me, I don’t expect to be this invested in a piece of fiction for the foreseeable future. Miss at your peril, but do keep the tissues handy.

   
IRÈNE by Pierre Lemaitre [trans. Frank Wynne] (MacLehose Press)

While Alex received critical acclaim on its release last year, Irène, Pierre Lemaitre’s first novel, will be the book that people will remember in years to come. Intelligent and engrossing, it’s a worthwhile read primarily for that sense of amazement that will have you flicking back through pages looking for the mirrors or trapdoors, but also because of the mystery itself. A crime novel for genre fans penned by a man who is obviously a fan himself, Irène is beautifully translated by the always-reliable Frank Wynne and stunningly presented in the usual high-standard MacLehose package. If you were one of the people who enjoyed Alex, you’re going to love Irène, despite what you think you already know. If you’re lucky enough to still be a Lemaitre virgin, do yourself a favour and read a book that is sure to be high on many peoples’ (my own included) "best of the year" lists come December.

   
ABOVE by Isla Morley (Two Roads)

By turns funny and heart-breaking, tense, horrific, tender, Above is a beautifully-written examination of life interrupted and the terrors that can be inflicted by the people we believe we can trust. At the centre of the story is the feisty, tomboyish Blythe, but it is much more than just her story. Isla Morley’s second novel is an attention-grabbing, twist-filled nightmare pulled straight from the headlines. Perfectly-judged, it quickly gets its hooks into the reader and refuses to let go. Despite the comparisons, you haven’t read anything quite like this before. Above is sure to be Isla Morley’s breakout novel. Morley herself is destined for great things and is definitely worth watching.

   
THE UNQUIET HOUSE by Alison Littlewood (Jo Fletcher Books)

Returning to the quiet, creepy horror with which her debut novel was suffused, Alison Littlewood’s third novel, The Unquiet House, is the work of a writer whose talent continues to grow with each novel. She has an exceptionally clear voice, a distinctive style that, coupled with an intuitive understanding of which buttons to press and when to get the reactions she wants from the reader, makes each new book an unmissable event. If you haven’t jumped on the bandwagon yet, I suggest you do so sooner rather than later: you’re missing one of the most exceptional horror authors of the current generation.

   
MR MERCEDES by Stephen King (Hodder & Stoughton)

All of the ingredients that long-time fans of King’s work have come to expect are here, with the exception of the supernatural (which is not as unusual as non-readers might believe). The strength, as always, lies in King’s power to build characters with whom we can empathise (and, more importantly, who we can hate with a passion that exceeds all common sense). While the whole book is a result of the author’s talent in this area, King gives a short, powerful masterclass in the novel’s opening chapter, introducing us to characters whose entire history we will know within the space of ten or twelve pages, before wiping them out before our very eyes with the simple press of the accelerator of a grey Mercedes Benz SL500.

As always, I feel like I’m preaching to the choir when it comes to reviewing Stephen King’s books. Mr Mercedes is an exceptional addition to an already incredible canon, and what better way to start in on the second forty years (well, we can hope!)? With his trademark voice, and all the charm and wit that it brings,  Stephen King has produced a character-centric thriller that should appeal to all readers of that genre, without alienating his long-time fan-base, once again proving that he is without match, regardless of the subject matter.

   
THE THREE by Sarah Lotz (Hodder & Stoughton)

In equal measures gripping and frightening, Sarah Lotz’s The Three is the type of book that it’s difficult to put down once you’ve started reading. An easy narrative style, despite the vast array of different voices – each easily identifiable – and a mystery that stretches for the duration of the book, keep the pages turning and the blood pumping. This is apocalyptic horror at its best: old-school storytelling that relies on the reader’s imagination to fuel the fear. The most original novel I’ve read in at least the past year, in terms of story, structure and characterisation, it’s a must for anyone who claims to like – or love – books.

   
NO HARM CAN COME TO A GOOD MAN by James Smythe (The Borough Press)

Part political thriller, part technological nightmare and part cautionary tale about the amount of trust we place in the technology that has become ubiquitous over the past half-decade or so, Jame Smythe’s latest novel (I’ve lost count!), No Harm Can Come to a Good Man is the work of a writer who shows no sign of slowing down or reaching the peak of his talent. Tense and unnerving, it’s an all-too-believable story that combines the power of technology and the power of the press and public opinion to produce a frightening vision of what lies just around the corner. No Harm Can Come to a Good Man confirms that, despite a rocky start, James Smythe is in a league of his own, as comfortable on earth as he is in space. Highly original, beautifully written, pure gold.

   
THE HOUSE ON THE HILL by Kevin Sampson (Jonathan Cape)

A carefully-constructed plot, well-rounded characters and pitch-perfect locations make this beautifully-written book the perfect follow-up to one of last year’s best novels. Kevin Sampson proves that when it comes to dark, character-driven crime fiction, he is in a league of his own. The House on the Hill is crime fiction at its finest, with a broad appeal regardless of whether or not you’ve readThe Killing Pool. DCI Billy McCartney continues to engage, and it is clear that there is still much to this character left to discover. I can’t recommend this – and its predecessor – highly enough, and I, for one, will be on tenterhooks waiting for the third instalment.

   
STATION ELEVEN by Emily St. John Mandel (Picador)

Without doubt one of the most original takes on the post-apocalyptic world that I have come across in some time, Station Eleven is, quite simply, a masterpiece. Mandel has created a world like none we’ve ever seen and populated with characters who, for the duration of the story and beyond, will become the most important people in your life. With references to everything from Shakespeare to Justin Cronin’s The Passage, Mandel examines the ways in which we make our mark on the world and on the people around us, both in the macrocosm (how the shredded remains of humanity continue to survive and thrive in this new world) and the microcosm (the effect that Arthur Leander, however briefly he may have touched their lives, has left on the central characters of the novel). Mandel has left the perfect set-up for a sequel (or several), and it will be interesting to see if she returns to the post-apocalyptic world of Year Twenty, or if our imaginations will be left to their own devices. Either way, Station Eleven is not to be missed, one of the finest novels of recent years and one that is destined to stand (pun most definitely intended) proudly alongside the giants of the genre.

   
PERFIDIA by James Ellroy (William Heinemann)

James Ellroy, the Demon Dog of American Crime Fiction, is one of those writers who has long been a must-read for me. With Perfidia, he proves that he still has what it takes to keep his place on that list: dark and sinister, it is a look at the city of Los Angeles from the point of view of the immoral – and often outright evil – men who are supposed to keep it safe and enforce its laws. When he’s on form, very few writers can equal the writing of James Ellroy. With Perfidia, Ellroy is top of his game, and the promise of three more novels in this sequence, with Dudley Smith pulling strings at the centre of an intricate web, is enough to fill this reader’s heart with immense joy. An excellent introduction to anyone who has yet to discover this incredibly talented writer, Perfidia builds on a long-established base to ensure that long-time readers will come away fulfilled and hoping for more. If you only read one crime novel this year, it should definitely be this one.

   
REVIVAL by Stephen King (Hodder & Stoughton)

Revival is the perfect example of the long, slow build to a barely-glimpsed horror that is no less frightening for its brevity. Intensely personal, the book invites the reader to consider their own beliefs in order to understand the beliefs of the novel’s central characters, Jamie and Charlie. One of the finest novels King has produced in his long career, it is a welcome return to the pure horror that made his name, while still retaining the deep insight into the human condition that has defined much of his later work. Stephen King continues at the top of his game, one of our finest living writers. Revival is likely to become a firm favourite for many Constant Readers, an excellent example of the breadth of King’s abilities as a storyteller.

   
A MAN LIES DREAMING by Lavie Tidhar (Hodder & Stoughton)

Beautifully constructed, this story within a story, mystery within mystery, is a fresh and unique take on Holocaust fiction, which is no less powerful or disturbing for its strange direction. Flawless, engaging and with an eye for detail that is second-to-none, A Man Lies Dreaming is the perfect follow-up to last year’s The Violent Century, even going so far as to examine one of the earlier novel’s key questions, albeit from a different angle: what makes a man? One of the best novels I’ve read in a year of excellent novels, A Man Lies Dreaming stands beside some of the classics of Holocaust literature while providing a more accessible route than some, and is nothing less than a masterpiece.

 

COMING SOON…

2015 should see a return to the usual schedule of reviews and guest posts, despite the fact that I’ve already read the best book of the year. Despite that, it’s already shaping up to look like an excellent year, with the return of Bill Hodges in Stephen King’s Finders Keepers and an announcement early in the New Year concerning Joe Hill. The year also brings with it new Daniel Polansky, the follow-up to Pierce Brown’s Red Rising and Paula Lichtarowicz’s second novel, Creative Truths in Provincial Policing, to name but a few. Don’t forget that the #CarrieAt40 Big Vote closes at midnight on December 31st, so do please vote, and spread the word.

All that remains is to thank the publishers and publicists who have been so kind to me this year, and have kept me stocked up with wonderful reading material. Thanks also to the authors who take time out to write guest posts or answer interview questions, and to all those (mentioned above) who provided essays for the #CarrieAt40 project. And thanks to you, the readers, who make it all worthwhile; without you, I’d just be talking to myself, and I already do far too much of that.

And on that note, Merry Christmas and a happy, safe and prosperous 2015 to each and every one of you.

THE SUDDEN ARRIVAL OF VIOLENCE by Malcolm Mackay

THE SUDDEN ARRIVAL OF VIOLENCE - Malcolm Mackay THE SUDDEN ARRIVAL OF VIOLENCE

Malcolm Mackay

Mantle (www.panmacmillan.com)

£12.99

He’s touching the front of his coat, feeling the shape of the gun. Should have got rid of it. On any other night, any other job, he would. But this isn’t any other job. This, he intends, will be his last.

Calum MacLean is determined that tonight’s will be his last job as Peter Jamieson’s gunman. He has his escape carefully planned – Jamieson won’t be expecting to hear from him for at least a week after the job, which gives him plenty of time to put his plans into action – but the problem is that he can’t do it alone: he needs to get ID, cash and he needs somewhere to lie low while he waits for them, so he goes to his brother, William, who is only too glad to help his brother get out of the business he feels responsible for introducing him into. Meanwhile, the tension in Glasgow is mounting. Shug Francis is joining forces with Alex MacArthur to take on Peter Jamieson, while Jamieson is doing everything he can to ensure that DI Michael Fisher is focussed solely on taking Shug down. The last thing Jamieson needs is his gunman running and making him look weak – not to mention leaving a large skills gap in his organisation. Calum MacLean is about to learn that walking away isn’t that easy, even with all the planning in the world.

The final part of Malcolm Mackay’s Glasgow Trilogy takes us once again into the heart of Scotland’s second city’s criminal underworld. As the story opens, we find Calum on a job – a two-for-one deal that will see him killing Shug Francis’ accountant and one of Jamieson’s employees, a grass who got found out. MacLean’s determined that this will be his last job, and once it’s finished he sets things in motion – the plan is to disappear, make it look like something went wrong on the job and Calum ended up on the wrong side of the gun. This is the Calum we have come to know well over the course of the previous two books – cold and calculating, smart and intuitive, a man doing a job he feels he has been forced into and who, following a disastrous relationship in the middle book of the trilogy, has decided he wants more from life than the isolation and fear that comes with being a gunman.

Mackay re-introduces us to the cast we have come to expect – Jamieson, Young, George Daly, Fisher – and widens his sights somewhat to show us what’s going on outside of this organisation. People we’ve only heard of are now taking centre stage, large as life – Shug Francis and his right-hand man, Fizzy Waters; old Alex MacArthur, the man to whose position Jamieson himself aspires. As Mackay leads us through cross and double-cross, it becomes clear that this is as much about politics, as much a battle of wits, as it is a physical battle between two armies. Just when the reader is beginning to feel comfortable that they have some clue what these men are thinking, Mackay gives the rug a gentle tug and leaves us back where we started. It’s beautifully-done, perfectly plotted to keep the pages turning, sucking the reader into this world that we already know – or think we do – so well.

As with the previous books in the series – The Necessary Death of Lewis Winter and How a Gunman Says Goodbye – Mackay uses a conversational tone to tell his story. Short sentences and the sort of tics we expect from the spoken word rather than the written pulls the reader in and propels them, at breakneck speed, through the story. The occasional use of a kind of stream-of-consciousness approach, allows us to see inside the heads of whichever character is currently centre-stage and gives the reader, without the need for narrative description, a sense of what is going on around them:

This is just a warning. Letting her know they can get to her at any time. That they can follow her around and make things awkward for her. Right, good, so we can forget about dying today. He’ll sit out there like an idiot, and tomorrow he’ll be gone. A warning doesn’t last forever. They’ll have other people for him to be all big and scary to. A man like Peter Jamieson isn’t going to waste an employee on her for long…Oh, shit! A knock on the front door.

Mackay breaks all the rules of point-of-view in his drive to tell a story. His Glasgow Trilogy is one of the few examples of where this works, and it’s down, I think, to his style of storytelling: the narrator jumps from one character to the next, giving us some insight into their state of mind, without the usual breaks in the narrative flow that we, as readers, demand to help us keep track of where we are. An ensemble piece, like the first two novels in the series, the story relies on the reader knowing a little bit of what’s going on with everyone, and only bringing everything together when it’s time to tie up the loose ends.

Mackay takes some time amongst the fast pacing and action to examine the relationships between some of the more important cast members. There are parallels between these people, despite their differences, and in The Sudden Arrival of Violence we get a clear picture of just how important these relationships are, and how quickly they can change, as most clearly evidenced, perhaps, by the book’s final thought (no spoilers here). At the centre of the story we find brothers Calum and William; long-term associates Jamieson and Young; and long-time best friends Shug and Fizzy, and the story is as much about the dynamics between the two halves of these pairs as it is about anything else.

Despite the book’s title, there’s nothing sudden about what’s happening here: like two tired boxers, Jamieson and Francis circle each other, searching for a weak spot, hoping for the perfect shot in case it’s the only one they have left. If anything, as the tension grows – and it’s a palpable tension that exists outside the pages of the book – violence is inevitable. When it arrives, it is swift and brutal and acts as the catalyst for everything that comes afterwards. Mackay is a cruel man, willing to put his characters through the wringer in the name of entertainment.

I’ve mentioned before that it would be almost impossible to read How a Gunman Says Goodbye without having first read The Necessary Death of Lewis Winter. The same applies here: while The Sudden Arrival of Violence is an excellent novel, there is too much backstory to dive in here for the first time. To me, the trilogy feels like a single book – a tale constructed around Calum MacLean’s short tenure as Peter Jamieson’s gunman, but not a tale about that tenure – and should be judged as such. It is one of the most original pieces of crime fiction I have read in a long time, told in a unique and unbelievably engaging voice and populated by a cast of characters whose story we need to know, despite the fact that we wouldn’t want to meet them in a dark alley. The Sudden Arrival of Violence is the perfect ending to a perfect trilogy, expertly plotted, well paced and, above all, beautifully written. Mackay continues to astound, and this is one reader for whom the end of the Glasgow Trilogy will leave a massive hole. I can’t wait to see what Malcolm Mackay has up his sleeve next.

The 2013 Round-Up

And so, once more, to the end of the year and the requisite retrospective of my reading habits over the past twelve months here at Reader Dad. Regular visitors and Twitter followers will know that 2013 has been a year full of ups and downs (more downs, unfortunately, than ups) for me, what with five weeks of hospitalisation, two long bouts of antibiotic treatment and the complications and endless hospital appointments that come as part and parcel of such serious illness. Of course, the ups more than make up for the downs: on May 4th my partner and I became husband in wife in a beautiful, intimate ceremony in the House at the Stone Bell on the eastern edge of Prague’s beautiful Old Town Square.

If nothing else, long months of inactivity, not to mention the clock-watching existence that comes with lying in a hospital bed, gave me plenty of time to read, though not necessarily, to my unending shame, the time or opportunity to review every book I’ve read this year. And 2013 has certainly been a bumper year for great books, so much so that I was unable to get my favourites of the year down below the twenty mark, so I’ve opted for a slightly different approach to my favourites list, as you’ll see below. But first,

THE ROUND-UP

With one week left of my reading year, I’m currently working through book number 73, a number that leaves previous years in the dust. A massive 41 of these books are by authors that I have never read before, including 20 debuts. The others are mostly old favourites (four Stephen King books, another of Richard Stark’s wonderful Parker novels, the third part of George R. R. Martin’s epic A Song of Ice and Fire and the latest massive tome from Dan Simmons, to name but a few). The list includes only five translations this year, which is a huge drop on previous years. Genre boundaries have been much more difficult to define than in previous years, but the trend towards darkness continues.

2013 saw further expansion of the blog, with a number of nice milestones achieved, including the publication of our 100th post (and, indeed, our 100th review). This year also saw a number of competitions hosted on the blog, as well as further guest posts and author interviews. It also saw the first Reader Dad quote on a book that we’ve reviewed (perhaps my proudest moment) – the paperback edition of Craig Robertson’s Cold Grave – and also my first “glossy” quote, on the back cover of Jens Lapidus’ Easy Money. Reader Dad was also invited, by the lovely people at Hodderscape, to take part in their Review Project, which has given me the chance to read (and in one notable case, re-read) some classics of the various speculative fiction genres, a chance for which I am eternally grateful.

And with that, we come to the important part: my favourite books of the year. As I mentioned before, it has been a bumper year for great books, and when I went through the list I discovered that I couldn’t get my list of favourites down below twenty, so I’ve taken a slightly different approach this year: two lists, the first my favourite debuts of the year; the second my favourite books by established authors. As always, there will be a few more than ten in each list. This year I realised that if I’m not enjoying a book I should probably not read it through to the end. As a result I have, for the first time, maintained a list of abandoned books (there were 12) and, because of this, you won’t find a “most disappointing” entry this year, because all the disappointing ones ended up on that list. The usual criteria for these lists apply: for the book to be on the list, its first official publication date must have been between 1 January  and 31 December 2013. The lists are presented in reading order. Links, as always, will take you to my original review, where it exists.

MATT’S TOP 10 DEBUTS OF 2013

LEWIS WINTER - Malcolm Mackay THE NECESSARY DEATH OF LEWIS WINTER by Malcolm Mackay (Mantle)

The Necessary Death of Lewis Winter is something new and exciting. It is a crime novel to savour, a wonderful piece of fiction to settle down with and finish in as few sittings as possible. The voice takes a bit of getting used to, that pally, chatty approach to storytelling that Mackay has down to perfection, but a couple of chapters in it seems the most natural thing in the world. A well-constructed and well-paced plot and an engaging narrator combine to keep the reader hooked from early on. Quite possibly the best crime debut of the decade so far, The Necessary Death of Lewis Winter is not to be missed and marks Malcolm Mackay as a writer to watch in the near future.

   
Calamity Leek - Paula Lichtarowicz THE FIRST BOOK OF CALAMITY LEEK by Paula Lichtarowicz (Hutchinson)

With shades of The Truman Show and Emma Donoghue’s excellent Room, Paula Lichtarowicz’s debut novel nevertheless manages to present a unique and fascinating scenario that could well be happening – to a greater or lesser degree of accuracy – anywhere in the world right now. Populated by fully-formed and interesting characters – a feat in itself, considering the size of the cast, and the similarities between many of those characters – The First Book of Calamity Leek is presented as a story within a story that uses the vagaries of language to present the reader with the truth of the situation while never revealing it to the story’s protagonist and narrator. Wonderful writing and clever plotting mark Paula Lichtarowicz as an author to watch in coming years and The First Book of Calamity Leek as one of the finest novels of the year so far. Despite the cover, the book has broad appeal, and should not be dismissed as the chick-lit that it might, at first, appear to be. Miss this one at your cost.

   
Hobbs-Ghostman GHOSTMAN by Roger Hobbs (Doubleday)

What’s on the cover, and what’s behind it are two completely different things with this novel. I picked it up expecting a Reacher-style adventure thriller. What I got was much better: an old-fashioned heist novel of the type at which the likes of Richard Stark and Lawrence Sanders excelled in their day. As we follow the narrator through double- and triple-cross, and learn what happened to the money, it quickly becomes clear that as well as being a beautifully-written and perfectly-plotted piece of crime fiction, it’s also a painstakingly-researched and detailed look at an entire class of global criminal enterprise. Cinematic in scope, it’s exactly what fans of the heist caper have been waiting for for years: a worthy successor to those giants of the post-pulp era who made the genre what it is. Not to be missed.

   
dreams-and-shadows-cargill DREAMS AND SHADOWS by C. Robert Cargill (Gollancz)

There are obvious comparisons to be made with the work of Neil Gaiman, and Cargill has a ready-made fan base in readers of Gaiman’s novels and comics. But this is no poor copy; Cargill’s fresh approach feels vibrant and engaging. It’s well-researched, creatures from a myriad of mythologies living together in uneasy truce, in fear of the Devil. The human characters – Ewan and Colby – take centre stage; this is their story, and Cargill is careful never to lose that fact in the midst of all the detail and the huge cast of characters. By turns dark, funny and touching, Dreams and Shadows is part modern fairy-tale – yes, Princess Bride fans, there is kissing – part horror, and part “urban fantasy”. It’s one of the best fantasy novels to see the light of day in some time, and there is at least one reader – yes, that would be me – already itching for the second part of the story.

   
THE ABOMINATION - Jonathan Holt THE ABOMINATION by Jonathan Holt (Head of Zeus)

One of the novels I, sadly, didn’t get around to reviewing this year is also one of my favourites. The first part of the Carnivia Trilogy, Holt shows us a dark and gruesome underside to the beautiful city of Venice and to the Catholic Church. Mixing the old world of the city with the future world of computers and virtual gaming, The Abomination presents and intriguing and enthralling mystery to the reader, and keeps it moving through the efforts of its trio of wonderful protagonists.

   
REVIVER - Seth Patrick REVIVER by Seth Patrick (Macmillan)

Crackling pace, believable science and characters worth spending some time with make Seth Patrick’s debut a must-read for fans of horror, crime, science fiction, noir. If you have ever enjoyed any of the myriad CSIs on television, or 2000AD’s Judge Anderson, then there is definitely something here for you. The ending, while wrapping up the events of the book, does leave plenty of room for a sequel, although Patrick has his work cut out for him following up Reviver. Without doubt, one of my favourite books of the year from an author whose novels are sure to become a regular feature on my bookshelves. You can’t afford to miss it.

   
The Silent Wife - ASA Harrison THE SILENT WIFE by A.S.A. Harrison (Headline)

A.S.A. Harrison sadly died shortly before the book’s UK publication. But what a legacy she has left behind in this single, wonderful novel that is sure to become a classic of the crime genre in years to come. There’s something distinctly pulp-noirish about the novel, something that would make it sit comfortably on a shelf beside Jim Thompson or Raymond Chandler. Beautifully-written and surprisingly engaging, The Silent Wife is a slow-burner that deserves the time it takes to get going. For me, it’s a surprise hit, and a book that I’ll be recommending for a long time to come. It’s just a shame we’re unlikely to see anything else like it.

   
MR PENUMBRA MR PENUMBRA’S 24-HOUR BOOKSTORE by Robin Sloan (Atlantic)

Another favourite that I failed to review, Robin Sloan’s novel is part love letter to the written word (in all its forms) and part love letter to Google. It’s a beautifully-written and intensely satisfying puzzle that should be a must-read for fans of Neal Stephenson or William Gibson.

   
PLAN D - Simon Urban PLAN D by Simon Urban [tr: Katy Derbyshire] (Harvill Secker)

Simon Urban has created a believable world, a country living with ideals that are almost twenty-five years past their sell-by date, yet surviving nonetheless through sheer luck and the power of the secret police that lurk around every corner. It’s a realistic vision of what Berlin might have been like had the Wall still split the city in two. The inhabitants of this gloomy, greasy city with its pervasive smell of frying oil run the gamut from those happy with their lot, to those – like Wegener himself – who would bolt to the West given half a chance. It’s a gripping read, at times funny, at others quite sad, leaving the reader fearing for the future, not to mention the sanity, of the novel’s protagonist. Despite a distinctly noir feel, Plan D heralds a fresh new look at the European crime novel and plants Simon Urban firmly on the must-read list. This is my surprise hit of the year so far, and I can’t recommend it highly enough.

   
YOUR BROTHERS BLOOD - David Towsey YOUR BROTHER’S BLOOD by David Towsey (Jo Fletcher Books)

Beautifully written, Your Brother’s Blood is literary horror at its best. David Towsey aims not for cheap scares or toe-curling gore, but for an all-pervading sense of doom that grows as we progress through the narrative. A gripping storyline and characters about whom we care (whether we want to see them live, or die slow and horrible deaths) ensure that the reader will be drawn completely into this relatively short novel. An intense and timeless tale of family and love, it is a wonderful introduction to an extremely talented new voice in genre fiction, and a great start to what promises to be a future classic.

   
gigantic-beard-that-was-evil-stephen-collins-cape-01-540x755 THE GIGANTIC BEARD THAT WAS EVIL by Stephen Collins (Jonathan Cape)

Beautifully-written, beautifully-illustrated and in a beautifully-presented package from Jonathan Cape, Stephen Collins’ The Gigantic Beard that was Evil is a masterpiece, a work that deserves a place amongst the finest graphic novels ever produced. Don’t let the "graphic" aspect put you off this one; it’s as in-depth, intelligent and entertaining as any work of prose, and has the added benefit of making you want to go back and start again once you’ve reached the end. One of the most enjoyable books I’ve read this year, I can’t recommend it highly enough.

MATT’S TOP 10 NON-DEBUTS OF 2013

GUN MACHINE - Warren Ellis GUN MACHINE by Warren Ellis (Mulholland Books)

Extremely smart, very funny and intensely dark in places, Gun Machine shows that Warren Ellis is as comfortable in this form of storytelling as he is in the form for which he is better known. In some ways it’s quite depressing: this is the first book I’ve read in 2013, and I’m finding it hard to envisage a better one this year. Unlike anything else you’ve read, Gun Machine is a quick (barely 300 pages) and action-packed read that will keep you hooked from that opening line. Outlandish but very believable, it’s an excellent place to get to know this fine writer and will leave you hoping for more. I really can’t recommend this highly enough.

   
THE EXPLORER - James Smythe THE EXPLORER by James Smythe (Harper Voyager)

Smythe’s second novel delivers on every level. It’s an intense and quietly horrific ride that keeps the reader hooked throughout. Literary science fiction that still manages to be cinematic in scope, The Explorer succeeds where The Testimony failed: it carries through on its early promises and presents a satisfying conclusion worthy of what has come before. Beautifully written and cleverly constructed, The Explorer establishes James Smythe as one of Britain’s best young writers. Don’t let the scifi tag deter you: what you’ll find behind that beautiful cover is a must-read for all lovers of great fiction.

   
NOS-4R211-669x1024 NOS4R2 by Joe Hill (Gollancz)

Joe Hill has been on this reader’s must-read list since discovering his short story collection, 20th Century Ghosts. His third novel,NOS4R2, is a genuinely frightening experience; Hill knows which buttons to press to get the reaction he wants, and takes great delight in their pressing. It is, for me, his best novel yet, the perfect combination of magical coming-of-age story and balls-to-the-wall horror-fest. You won’t look at Rolls-Royce in quite the same way again, and Charlie Manx is likely to haunt your dreams – especially if you have children of your own – for a very long time. Do yourself a favour and don’t miss it.

   
THE KILLING POOL - Kevin Sampson THE KILLING POOL by Kevin Sampson (Jonathan Cape)

The Killing Pool gives us a look at the unexpectedly dark underside of Liverpool through the eyes of the police and criminals that populate it. A noirish tale (Mersey Noir?), it entices the reader in with wonderful, stylish prose and engaging characters and ultimately leaves them reeling from a series of ever-more-shocking revelations. Like the drug users it portrays, it leaves us pining for more, stringing us along with the promise that this is only the first in a series of novels featuring Billy McCartney. Comparable to the aforementioned Peace and Ellroy (though with a much less abrupt writing style than either), The Killing Pool should appeal to fans of both, and to anyone who enjoys their crime fiction dark, ambiguous and surprising. Kevin Sampson has, quite simply, nailed it, producing if not the best, then certainly the most original piece of crime fiction so far this year.

   
Red Moon - Benjamin Percy RED MOON by Benjamin Percy (Hodder & Stoughton)

In some ways, what Percy has set out to do for werewolves feels a bit like what Justin Cronin did a few years back for vampires. What he has accomplished is a fine addition to the genre, a novel that breathes new life into an old trope and makes us want to immerse ourselves in this new world. Despite the budding romance between the two central characters, there are no sparkles here, nothing to interest the Twilight crowd. A modern-day parable (though I’ll be damned if I can work out what the moral is), this beautifully-written and captivating novel deserves a place on the shelves of anyone who calls themselves a fan of horror. We can only hope that the wide-open ending bodes well for further volumes in the series.

   
THE SHINING GIRLS - Lauren Beukes THE SHINING GIRLS by Lauren Beukes (HarperCollins)

Best known in certain circles for her niche novels, Moxyland and Zoo City, Beukes finally stretches her wings for what should be her breakout work. The result is one of the best novels you’re likely to read this year, in any genre. Careful plotting combined with pitch-perfect characterisation, edge-of-the-seat tension and the feeling that anything could happen next (or, in fact, may well have happened already) combine to keep the reader turning pages long past bedtime, or their bus stop, or…well, you get the idea. The Shining Girls has been one of my most anticipated novels of the year so far. It’s definitely one that has been worth the wait. I can’t recommend it highly enough.

   
JOYLAND - Stephen King JOYLAND by Stephen King (Titan Books / Hard Case Crime)

Love lost, love found, friendships forged. Ghosts and murdered girls.The carnival atmosphere of amusement parks in the summer. Many of these are not what we expect from Hard Case Crime. Many of them we don’t even expect from Stephen King. What Joyland is, then, is sheer delight, a slim but beautiful novel from one of the – if not the – greatest writers of his generation, and an unexpected treasure in a body of work spanning almost four decades. I’ve said it before, but it bears repeating: no-one tells a story quite like Stephen King. Joyland should be top of your list of must-read books this year.

   
DOCTOR SLEEP - Stephen King DOCTOR SLEEP by Stephen King (Hodder & Stoughton)

Late last week I found myself wondering how to sum up one of the greatest horror novels ever written. This week, I discover that my job was easy when compared to the question how do you follow one of the greatest horror novels ever written?  With books like this, especially when the original is such a well-known and well-loved piece of work, there is always the potential for disaster. Far from that, Doctor Sleep is the perfect follow-up to the story that began with Jack Torrance’s interview for the position of winter caretaker at the Overlook Hotel. It is the perfect complement to The Shining, expanding the legend that King created back in 1977, and adding a host of new ideas to the mix. In answering the question of what Danny Torrance is up to now, King has finally completed the wider story of the Torrance family that The Shining, to a certain degree, left hanging, and has gone some way towards laying to rest the restive ghost of Jack Torrance through the actions of his son (for if the son bears the sins of the father, surely any reparations made should be paid backwards). Do you need to read (or re-read, for that matter) The Shining before you start in on Doctor Sleep? Technically, no. King has crafted a novel that stands well in its own right, giving brief glimpses into the events at the Overlook when required. But, as with all these things, going into Doctor Sleep with the story of Jack’s descent into madness fresh in your mind adds an extra level of enjoyment to the story. In either case, Doctor Sleep is a must-read and should prove, in particular, a comfortable re-start point for fans who may not have been keeping up with the author’s recent output. One of my books of the year, I can’t recommend it highly enough.

   
THE VIOLENT CENTURY - Lavie Tidhar THE VIOLENT CENTURY by Lavie Tidhar (Hodder & Stoughton)

Lavie Tidhar is rapidly becoming one of the most important writers of speculative fiction today. The Violent Century is the work of a writer with talent and confidence to burn. Unlike anything else you’ve ever read, its combination of spy thriller and superhero adventure make for an unusual, but inspired, combination. It’s a wonderful, engaging and thought-provoking novel, written with a style as original as the story itself, and presented by Hodder in a beautiful package that will be hard to resist, even for the most casual collector. Quite simply: perfect!

   
The Abominable - Dan Simmons THE ABOMINABLE by Dan Simmons (Sphere)

Part historical fact, part thrilling boys’ adventure tale, Dan Simmons’ latest novel takes us to the top of the world, and keeps us on the edge of our seats for the whole journey. Cold and atmospheric, peopled with the type of characters that you want to spend as much time with as possible, The Abominable is an intelligent thrill-ride of epic proportions. The perfect companion piece to Simmons’ 2007 novel, The Terror, it serves to remind the reader of one important fact: regardless of genre – and he’s tried quite a few – Dan Simmons is still one of the finest purveyors of fiction living today. If you’ve yet to try his work, this is the perfect starting place.

   
saveyourselfkellybraffet SAVE YOURSELF by Kelly Braffet (Corvus)

Beautiful and elegant, Save Yourself is one of the darkest books I’ve had the pleasure to read this year. Braffet is a skilled writer who manages to draw the reader into her world without ever showing her full hand. It builds slowly to a shocking climax that, despite the inherent faults of the people involved, still manages to touch us, and gives us plenty of food for thought. This is one of this year’s quiet winners, a book that seems to be huge across the Atlantic but which has yet to find its audience here in the UK. It’s only a matter of time. Kelly Braffet, rising star, is definitely one to watch for the future and, if you haven’t read it yet, Save Yourself should be on your list of books to read in the New Year.

   
OCEAN - GAiman

Language_of_Dying1-637x1024

THE OCEAN AT THE END OF THE LANE by Neil Gaiman (Headline)

THE LANGUAGE OF DYING  by Sarah Pinborough (Jo Fletcher Books)

Bundled together purely because I haven’t gotten around to writing reviews for them yet (expect them to appear at some point over the Christmas break), these books deserve all your attention. Beautiful and touching in their own ways, they’ll transport you from your everyday to somewhere new, though not necessarily better.

COMING SOON…

Stay tuned in 2014 for the usual mix of reviews, interviews and guest posts. Based on the books already piling up for January – March publication, it’s going to be a stellar year, with the final part of Malcolm Mackay’s Glasgow Trilogy (The Sudden Arrival of Violence) and James Smythe’s follow-up to The Explorer (The Echo) two of the most notable books in that period, and at least one new Stephen King novel later in the year.

Thanks, as always, to the wonderful publishers and publicists who keep me stocked up with books (I could name them all, but this post has probably gone on long enough as it is; they all know who they are); to the fantastic authors who provide the reading material as well as the time and creative energy required to answer interview questions or write guest posts; and, most importantly, the visitors who keep coming back for more. Without you, I’d just be talking to myself, so it’s always good to have an audience. I’d like to take this opportunity to wish you all a very merry Christmas and a safe and prosperous 2014.

HOW A GUNMAN SAYS GOODBYE by Malcolm Mackay

HOW A GUNMAN SAYS GOODBYE - Malcolm Mackay4 HOW A GUNMAN SAYS GOODBYE

Malcolm Mackay

Mantle (www.panmacmillan.com)

£14.99

Careful on these stairs. That would be some return, falling flat on his face the first day back. Not the first time he’s been to the club since he had his hip replaced. He’s been haunting the place for the last two weeks. Letting everyone see he’s back. New hip, same old Frank. Someone got the message.

Frank MacLeod is a hitman, been in the business for over forty years. No longer a young man, he is returning to work after a hip replacement. Peter Jamieson, one of Glasgow’s up-and-coming crime lords, and Frank’s employer, has a job for him, an easy job, something to ease him back into the way of things after his extended leave: kill Tommy Scott, thus putting a dampener on Shug Francis’ plans to extend his drug network into Jamieson’s territory. It should be easy; Scott’s little more than a kid, and Frank is carrying the weight of experience. When things go wrong, and Jamieson is forced to call in Calum MacLean, it looks like Frank’s days as a hitman, not to mention as a living, breathing human being, may well be coming to an end.

Malcolm Mackay stormed onto the crime fiction scene earlier this year with his astounding The Necessary Death of Lewis Winter. His second novel, How A Gunman Says Goodbye, picks up a matter of weeks following the events of that first book. This time the story focuses on Frank MacLeod, an older gunman whose absence due to surgery precipitated much of the action in the first book. Frank is keen to get back to work, and to prove that he’s still capable of doing the job, despite his age and growing infirmity. It’s interesting to watch the narrowing gap between the front he projects – the elderly gent who walks to the shop and the pub on a daily basis for his loaf of bread and pint of bitter – and the man he is slowly becoming, as first he loses confidence in his own ability and then realises that the people around him – including his employer and friend, Jamieson – have lost all confidence too.

Calum MacLean, the central character of the first novel, is back, too, this time in a much more delicate role than before. First asked to carry out the unthinkable task – rescue Frank and finish the work that he was unable to do – and then the unsavoury one: keep an eye on the old man, and make sure he’s not going to do anything that will sink those around him. Calum has the added complexity of having picked up a girlfriend, who is spending too much time at his house, and asking too many questions about what he does for a living. Here, Mackay’s deft writing reveals two very different men sharing a single body: on the one hand, the cool professional killer; on the other a man so socially awkward that he has no idea how best to deal with the growing problems that this new part of his life has introduced.

Back too are the supporting cast of assorted gangsters and policemen, and the ambiguity that made Lewis Winter such a winner: there are no good guys and bad guys here, just varying shades of grey as good people do bad things, and bad people show occasional glints of humanity. Part and parcel of this, of course, is the narrator with the chummy voice who relates the events as if taking the reader into a confidence, filling in the small details that make each scene leap from the page.

There’s a knock on his door at about half two. Calum’s reading a book, Red Harvest, by Dashiell Hammett, if you care. He’s taking his bookmark – one he got free at Waterstones with a book about ten years ago – and he’s marking his place to the line.

And sprinkling the text with the occasional turn of phrase that causes the reader to stop, re-read, and admire the beauty:

People like to get their revenge quickly, no matter what the common serving suggestion may be.

It’s difficult to imagine reading How A Gunman Says Goodbye without having first read The Necessary Death of Lewis Winter, despite the fact that both books feature closed-ended plotlines and should work quite easily as standalone narratives. There’s just so much background here that makes Gunman feel like the second part of a much larger book, rather than the second book in a trilogy. It’s at least as good as its predecessor, but you’ll lose a lot if you don’t read them in order. That said, Gunman does a lot to advance the larger story arc, setting the scene for the final volume due early next year: we see Jamieson’s manoeuvres as he prepares to take the next step up the ladder, and we watch as Detective Fisher, with all the pace and tenacity of Lieutenant Columbo, moves dangerously closer to the truth that puts Calum MacLean right in the centre of his sights.

With How A Gunman Says Goodbye Malcolm Mackay shows that he is more than a one-hit wonder. Filled with a cast of unforgettable characters, and with a plot that will keep the reader hooked from the first page to the last, this is the continuation of Mackay’s debut novel that we might only ever have hoped to see. There are plenty of surprises here, too: it’s a tale of friendship and loyalty, and how they can sometimes be mutually exclusive. And in its many twists and turns we get a glimpse into a world completely different from our own. By turns dark and funny, it’s a beautifully-written look at the criminal underworld of modern-day Glasgow. This – and its predecessor – is a book not to be missed.

THE NECESSARY DEATH OF LEWIS WINTER by Malcolm Mackay

LEWIS WINTER - Malcolm Mackay THE NECESSARY DEATH OF LEWIS WINTER

Malcolm Mackay

Mantle (www.panmacmillan.com)

£14.99

Calum MacLean is twenty-nine years old and lives alone in Glasgow. He is a killer for hire, a hit-man who takes jobs to suit his own schedule and which allow him to minimise the risk to himself. When he accepts a job from Peter Jamieson, he is accepting a more permanent position within the Jamieson organisation. The move has perks, but with it comes a certain loss of freedom. The job is a straightforward one: kill Lewis Winter, a drug dealer so far down the food chain from the Jamieson organisation that he shouldn’t even be on their radar. But Winter is moving into Jamieson’s territory, and looks to have potential backing from a bigger player.

With this simple premise, Malcolm Mackay sets the events of his debut novel in motion. While Calum is ostensibly the story’s central character, he spends a good portion of the novel in the shadows, as perhaps befits his chosen career. Mackay spends time introducing us to the victim and his nearest and dearest, as well as various factions within Glasgow’s criminal underworld, and members of the Strathclyde Police. The lines of moral distinction between these characters are deliberately blurred: there are no good guys and bad guys in this story; Calum may be a cold-blooded killer, but he is also a man doing his job, while the handful of police officers seem to have agendas of their own in carrying out their investigations. The reader is left to form their own impressions and decide for themselves where their sympathy lies.

Mackay’s narrative style is beautiful. Using a conversational tone – a “just between us” approach to telling the story – coupled with the telegraphic style of James Ellroy’s finest works (though perhaps a bit more passive than Ellroy’s abrasive style), he places us directly in the middle of the action and, to a certain extent, makes us accomplices to what is going on. Frequent use of the word “you” – in the general sense, rather than the jarring second-person approach – makes this an easy and engaging read. We’re given details grudgingly, as if they don’t really matter to the story – they often don’t, but they paint a picture, make the characters seem more human, give us something to identify with in a group of people who are, for the most part, people we wouldn’t necessarily want to associate with.

Saturday afternoon, football on the radio in the background, sitting on the couch with a book. The Painted Veil by William Somerset Maugham, if you must know, and he’s fascinated by it. It has lured his attention away from the radio; he doesn’t know what the score is any more. The older he gets, the less important that seems.

We’re lured quickly into a world where no-one talks straight, and where every question, every answer, every gesture has an implicit meaning that only members of this secret club can decipher. There’s a thrill to this for the reader, a sense that we are being given a glimpse behind the curtain, a brief look at a world that exists outside the boundaries of our normal experiences.

The clues are all there if you care to look for them. Perhaps you don’t care to; most people don’t. A casual conversation: two people who know each other on a first-name basis, without being too close. Friends who see each other on a weekly rather than daily basis. Friends who don’t care. Phone calls like that are made so often, so why care? It’s a job offer. A very definite offer of something long-term and lucrative.

The novel takes us through preparation, attempt and subsequent investigation, showing us the story from a number of different angles in the process. There is no mystery here for the reader as we, like the narrator, can see everything that is going on. But mystery was never the point; this is about the people, their relationships with each other, their interactions, their lies and half-truths. It is also the setup for a much larger story, the first part of Mackay’s Glasgow Trilogy which is set to continue later this summer. If Mackay can maintain this momentum with the second and third parts of the trilogy, it stands to challenge Derek Raymond’s Factory series and David Peace’s Red Riding Quartet as the benchmark for British noir fiction.

The Necessary Death of Lewis Winter is something new and exciting. It is a crime novel to savour, a wonderful piece of fiction to settle down with and finish in as few sittings as possible. The voice takes a bit of getting used to, that pally, chatty approach to storytelling that Mackay has down to perfection, but a couple of chapters in it seems the most natural thing in the world. A well-constructed and well-paced plot and an engaging narrator combine to keep the reader hooked from early on. Quite possibly the best crime debut of the decade so far, The Necessary Death of Lewis Winter is not to be missed and marks Malcolm Mackay as a writer to watch in the near future.

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