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The 2016 Round-Up

Another year coming to an end (and one many of us will be very happy to see the back of), which means its time for me to do a quick round-up and list my favourite books of the year. I’m late getting this out this year, so if you’re looking to buy any of these books as presents, you’ll need to get the finger out!

THE ROUND-UP

Goodreads informs me that I have read 84 books during this year, which is considerably more than any previous year. A massive 55 of these were by authors I haven’t read before, and 23 of those were debut works. 2016 was an excellent year for fiction debuts, and my debut Top Ten below was much more difficult to produce than the non-debut Top Ten. This years figures also include a miserable 4 pieces of translated fiction.

Unfortunately, last year’s laziness persisted, meaning that not every book that I read got a review on Reader Dad. My aim is to do much better in 2017, and I have given the site a bit of a spruce-up in anticipation of a much more active year. As a result, many of the books in the lists below don’t have links to existing reviews, but I’ll try to summarise quickly why I loved them so much. The books appear in the order in which they were read and, as always, only books originally published in the UK during 2016 are included.

So, without further ado…

MATT’S TOP DEBUTS OF 2016

IN A LAND OF PAPER GODS by Rebecca Mackenzie (Tinder Press)

The first book I failed to review is also one of the earliest I read this year. Rebecca Mackenzie’s In a Land of Paper Gods introduces us to 10-year-old Henrietta Robertson, the daughter of British missionaries attending a boarding school in China. As the threat of war looms in the background, Etta finds herself at the heart of the Prophetess Club, convinced that she is privy to God’s divine will. A beautiful coming-of-age story that is by turns hilariously funny and darkly sinister.

   
TALL OAKS by Chris Whitaker (twenty7)

Welcome to Tall Oaks, the epitome of small-town America, a town in mourning following the disappearance of a young child. As the child’s mother leads the search, constantly bombarding the town’s sheriff with requests and information, the rest of the small town’s residents try to get on with their lives, despite the ever-present spectre. Comic noir at its very best, Tall Oaks is a showcase for Chris Whitaker’s already-impressive talent. The characters are the driving force behind this story, and they will remain with you long after the story has finished. This is an absolute gem.

   
HEX by Thomas Olde Heuvelt [trans: Nancy Forest-Flier] (Hodder & Stoughton)

HEX reads like the work of a much more mature and developed author, so it’s a surprise to discover that it is Thomas Olde Heuvelt’s debut. Tension and horror combine to make this a story that is impossible to put down, as the deepening sense of unease suddenly flares into all-out shivers that run the length of your spine. Wonderfully written – and presented here in an excellent translation by Nancy Forest-Flier – and perfectly-judged, HEX is old-fashioned horror with a modern-day twist done right. It’s a story that will stay with you long after the lights have gone out, and places Thomas Olde Heuvelt high on this reader’s must-read list.

   
THE LAST DAYS OF SUMMER by Vanessa Ronan (Penguin)

While The Last Days of Summer doesn’t appear to be my usual fare, this is one of those cases where the book cover seriously lets down the story within. This is humanity laid bare, with all of our foibles and petty arguments on show for the world to see. This is a book that I can’t help but unashamedly and unreservedly recommend to anyone, and Vanessa Ronan proves that she has a talent that will quickly set her amongst the greats of whichever genre she chooses to write in. I’m an instant fan, and will be watching Ronan’s career with an eagle eye in the years to come. Do not miss this book.

   
SOCKPUPPET by Matthew Blakstad (Hodder & Stoughton)

Brilliant writing and a story that is relevant to every person who has ever used a networked device combine to make Sockpuppet one of the standout debuts of the year. Behind the apt (if coincidental) grinning pig on the front cover is a story that grips you from the outset and leaves you wishing for more as the final page is turned. Darkly comic but intrinsically frightening, this is a cautionary tale of an all-too-possible near future and marks Matthew Blakstad as an extremely talented new voice in the world of speculative fiction.

   
THE COUNTENANCE DIVINE by Michael Hughes (John Murray)

Deftly tying together four different stories from four different time periods, Michael Hughes’ debut novel is a sublime work of art. Beautiful writing gives us four very distinct and recognisable voices as we follow John Milton’s seminal work from its creation in 1666 to its significance on the Millennium bug in 1999. This is, quite possibly, the best book I’ve read this year.

   
THE WOLF ROAD by Beth Lewis (The Borough Press)

The Wolf Road is a novel that ignores genre boundaries in order to be the best story it can be. Beth Lewis writes with a confidence and sense of control that belies her debut novelist status. Through the characters, the language, the geography, the brief world history, she has constructed a complex and satisfying story that is at once thriller and horror, Western and crime drama, speculative fiction and character study. The result is so much more than the sum of all these components: an engrossing story built around a unique and memorable protagonist, a standout piece in a year filled with big-name releases. Get on at the ground floor – you’ll be hearing a lot about Beth Lewis in the coming months and years, so take the time to enjoy that sense that you’ve discovered The Next Big Thing before everyone else.

   
VIGIL by Angela Slatter (Jo Fletcher Books)

Vigil is a brilliant debut novel from an exciting writer who cut her teeth on short stories. Pacy and engaging, it’s a book that demands to be finished once it has been started. Verity Fassbinder is a name, and a character, not quickly forgotten by the reader, sure to become a staple of the genre as the series progresses, as instantly recognisable as, say, Sookie Stackhouse or Katniss Everdeen. Angela Slatter is a confident and talented writer whose ability to build worlds is surpassed only by her skill in populating them. A complete story in its own right, Vigil is, nevertheless, the first book in a series, and it leaves the reader gasping for more as it draws to a close. Already one of my favourite books of the year, I can’t help but recommend this to everyone.

   
SECURITY by Gina Wohlsdorf (Algonquin Books of Chapel Hill)

One of this year’s gems, Security is one of the finest horror novels to be produced in quite a while. Slick, clever and with a clear, engaging voice it should put author Gina Wohlsdorf firmly on the map, alongside some of finest young writers working in the genre today: Lebbon, Keene, Littlewood, Langan. It’s a book that cries out for a second read, if only to plug the inevitable gap until the author’s second novel, and is a must-read for anyone who enjoys intelligently-written horror fiction. I really can’t recommend this highly enough.

MATT’S TOP NON-DEBUTS OF 2016

TRAVELERS REST by Keith Lee Morris (Weidenfeld & Nicholson)

Reminiscent of King’s Desperation and Jackson’s The Haunting of Hill House, Keith Lee Morris’ latest novel – the first to be published in the UK – is an intense and gripping story that succeeds in its aim to unsettle the reader, to turn what we think we know on its head and leave us stranded with the Addison family in the strange little town of Good Night, Idaho. Wonderful writing and excellent characterisation combine to keep the story very much grounded in reality, despite the unnerving and unusual sights we will see during our stay in the Travelers Rest. A fine new voice in horror fiction, Keith Lee Morris shows an impressive talent and a deep understanding of his chosen genre. I’m interested to see where his talents take him next; in the meantime, Travelers Rest should be on your list of books to read this year.

   
13 MINUTES by Sarah Pinborough (Gollancz)

Having skimmed through my reviews of previous Pinborough novels, I can see they are overflowing with gushing hyperbole. 13 Minutes shows that every word of it is true, as if we needed any further confirmation following last year’s stunning The Death House. This is the work of a writer at the very top of her game, one who is comfortable turning her hand to any subject, any genre. It’s a book that you won’t want to put down once you’ve started it, drawn in by the characters who are barely restrained by the book’s pages and by the author’s glorious ability to manipulate the reader in the same easy manner that she manipulates her creations. If you haven’t read Pinborough before, 13 Minutes is as good a place to start as any. If you have, then what are you waiting for? While you may not know what to expect story-wise, there’s one guarantee: there are very few writers as talented and as readable as Sarah Pinborough and 13 Minutes is an excellent new addition to an unsurpassed body of work.

   
THE FIREMAN by Joe Hill (Gollancz)

In all, The Fireman is an excellent showcase for the talents of Joe Hill. I mentioned earlier that I think it’s likely to be his breakout novel, the story that spreads his name outside the genre. Yes, this is a grim look at post-apocalyptic America, but it’s a very different take than anything we’ve seen before. And more than that, it’s a story about people, about humanity’s acts of kindness and of evil. It’s a story about love, community, family. A story about hope, and how we cope when hope seems lost. Intense, beautiful and completely engrossing, The Fireman is Joe Hill’s finest novel to date, the work of a confident and mature writer for whom words are the building blocks of pure magic. It’s amongst the best novels I – or you – will read this year, and one I will be revisiting with the same frequency that I do its forebear. Essential reading for everyone, this is not to be missed.

   
THE ARRIVAL OF MISSIVES by Aliya Whiteley (Unsung Stories)

Aliya Whiteley’s follow-up to her first novella, The Beauty, is as deeply affecting and beautifully written as its predecessor. A very different beast, The Arrival of Missives weaves history and speculative fiction together and presents us the link in the form of the characters at the centre of the tale. While the novella seems to be Whiteley’s medium of choice – and it is one that certainly works well for her – this reader yearns to see her turn her hand to the much longer form in the near future. An incredible talent, Aliya Whiteley continues to astound and delight, and The Arrival of Missives confirms what anyone who read The Beauty already knew: these books, and this writer, are not to be missed, under any circumstances.

   
END OF WATCH by Stephen King (Hodder & Stoughton)

Perhaps the strongest book of the trilogy, End of Watch is a welcome return to the unnamed city that is the home of Bill Hodges and the assortment of characters with whom he consorts. As with all of King’s work, the characters are key, though the reader can’t help but be impressed by the groundwork the author has already laid in earlier volumes to support the grand finale that he presents here. Despite his age, King shows that he is still as relevant, still as in-touch with the world we live in, as younger generations of writers, and proves, once again, that when it comes to transporting the reader into his fictional worlds, he remains without equal.

   
THE CITY OF MIRRORS by Justin Cronin (Orion Books)

Without a doubt the best of the trilogy, The City of Mirrors provides a satisfying conclusion to the story started over six years ago. I can almost guarantee that readers will come away from this volume with an intense desire to go back to the start and read through to the end. It’s a project I will be undertaking myself in the near future. Justin Cronin is a master storyteller and his post-apocalyptic vision stands alongside the genre’s finest. With The City of Mirrors, a wonderful story in its own right, he also shows an ability to deliver on the promises he made in earlier volumes. An engrossing plot coupled with characters who are at once familiar and strangely changed – whether because of the four years that have passed in real time since we last met them, or because of the twenty years that have passed in the course of the narrative it is difficult to say – brings a fitting close to one of the best pieces of horror fiction produced in the past decade. This is hopefully not the last the genre has heard of Justin Cronin. I can’t help but recommend this – and the preceding two volumes of what can only be described as his masterpiece – unreservedly.

   
LYING IN WAIT by Liz Nugent (Penguin Random House)

Liz Nugent’s writing is beautiful, the voices of the three narrators perfectly pitched, the quirks and tics we might expect in their speech beautifully translated to the written form. From the opening page, Nugent holds the reader in the palm of her hands, so the gut-punch she delivers as the novel draws to a close feels like a physical thing, leaving the reader stunned and disbelieving, emotionally drained yet already hoping for more more MORE! I missed Nugent’s debut, Unravelling Oliver, when it came out in 2014, but it’s definitely on my must-read list even as I try to recover from the effects of this one. An incredible novel, Lying in Wait is a lightning-fast read that should be an essential item for anyone packing for holiday. It cements Liz Nugent’s place as one of Ireland’s finest living novelists, and places her, at the very least, on this reader’s “must-read” list.

   
UNDYING: A LOVE STORY by Michel Faber (Canongate)

Undying: A Love Story is less love story and more love letter, the poems all addressed to Eva herself. It’s an intimate and devastating insight into what can only be described as a very personal experience of two people who are obviously very much in love. It is essential reading, but should only be started when you’re sure you have time to read it cover to cover. Keep a box of tissues handy, but be prepared for moments of pure beauty amidst the darkness. Beautiful, life-changing, unmissable.

   
A CITY DREAMING by Daniel Polansky (Hodder & Stoughton)

Shifting his focus from fantasy worlds to the one in which we live, Daniel Polansky gives us his version of New York. Well, the dark and magical underbelly at any rate. With writing and characterisation that made The Low Town Trilogy such a success, A City Dreaming is engrossing, captivating and, at times, very VERY funny. Reminiscent of Gaiman at his best, A City Dreaming shows Polansky back on top form.

   
THE WONDER by Emma Donoghue (Picador)

Emma Donoghue’s latest novel takes readers back to the Irish Midlands in the middle of the 19th Century. Hired by the council of a small village, Nightingale alumnus Lib Wright’s job is to watch 11-year-old Anna O’Donnell for two weeks in an attempt to determine how the girl remains healthy despite the fact that she hasn’t eaten a bite in four months. With a fine grasp of how the Irish work, and an uncanny ability to tell a story that keeps the audience captivated start to finish, Emma Donoghue’s latest novel is her finest since Room.

   
PAINKILLER by N. J. Fountain (Sphere)

Part examination of the oft-misunderstood phenomenon of chronic neuropathic pain, part thriller, N.J. Fountain’s latest novel takes the reader on a twist-filled journey through the life of Monica Wood. A full review of Painkiller will appear on Reader Dad soon.

AND AN HONOURABLE MENTION…

Technically, since this book was originally published in 2006, it shouldn’t be included in this year’s list. But the release of the beautifully-illustrated Tenth Anniversary Deluxe Edition is all the excuse I need to give it an honourable mention.

THE BOY IN THE STRIPED PYJAMAS by John Boyne & Oliver Jeffers (Doubleday)

From its light-hearted opening line to its inevitable and horrific end, The Boy in the Striped Pyjamas is a gripping and essential take on one of humanity’s darkest moments. Boyne pulls no punches, despite the child’s-eye view that he uses to tell much of the story, and the reader comes away from the experience a changed – and extremely damp-eyed – person. While it is ostensibly a book aimed at children (I can’t wait until my own child is old enough to read it with me), this is a book that deserves to be read by everyone, an important story that – especially in these dark times where many seem to be forgetting the lessons of the past – is perfectly-pitched to give our children an early glimpse of the horrors inflicted on the world by Nazi Germany. A tough read (especially when you know what’s coming), The Boy in the Striped Pyjamas remains one of the best books I’ve ever read, and this tenth anniversary edition marks both John Boyne and Oliver Jeffers as national treasures, men in whose hands the education and edification of our children are safe. If you haven’t read The Boy in the Striped Pyjamas, I would urge you to do so. If you have, don’t you think it’s about time for a revisit?

COMING SOON . . .

2017 is already shaping up to be an excellent year of fiction, with the first three books I have read that are due out in January already almost certainly claiming a place on next year’s best-of lists. Expect a revitalised Reader Dad in the New Year with a busy January already planned.

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 2017.

THE CITY OF MIRRORS by Justin Cronin

The City of Mirrors - Justin Cronin THE CITY OF MIRRORS

Justin Cronin (enterthepassage.com)

Orion Books (www.orionbooks.co.uk)

£20.00

The Twelve have been defeated and with them, the hordes of virals that sprung from their bloodlines. Amy is gone and Alicia has fled into the wilderness, her infection forcing her to seek isolation. As the years pass, the people of Kerrville grow complacent: they are safe, the virals no longer a threat and they begin to re-inhabit the country, leaving the walls of the city behind for the open country and the chance of a normal life. But Zero, the creature who was once a man named Timothy Fanning, has been biding his time, waiting for the right moment, that moment when the remains of humanity have forgotten to fear the virals, assuring his victory. But the survivors of First Colony have long memories, big dreams and a secret weapon that could well tip the balance in their favour in the epic war that looms on the horizon.

It is almost four years since the second volume of Justin Cronin’s Passage Trilogy, The Twelve, left us on a cliff-hanger. The final volume, The City of Mirrors, picks up eight months after those events, but dwells there only briefly before transporting us over twenty years into the future to a world that is much changed from the one we saw during the earlier volumes. Our band of heroes – the survivors of First Colony and those they picked up along the way – have separated over the years each going their own way, doing their best to find their own place in this new and seemingly viral-free world. Virals haven’t been spotted since the liberation of Homeland and the destruction of The Twelve and, as a result, humanity have largely forgotten their fears and begin to spread throughout the land, shunning the protective city walls that they believe they no longer need.

[Behind every great hatred is a love story.]

In some ways The City of Mirrors is about tying off any loose ends, answering any lingering questions that might remain from The Passage and The Twelve. Foremost of these, of course, is the story behind Timothy Fanning, the first man to be infected by the virus, and who we have therefore known as Zero throughout the series. While The Twelve – the first twelve people that Fanning infected, rapists and murderers all – have been destroyed, Fanning still lives, spending his time in the empty halls of Grand Central Station, reliving the moment of his heartbreak – the catalyst for his eventual infection – again and again for over a century. And it is, as you might expect, a love story, the tale of forbidden love that comes to a sudden and bitter end, driving Timothy Fanning first to murder, and then to the Bolivian jungle where his fate awaited. It’s not the first time in the series that Cronin has taken us inside the head of one of the virals, nor even the first time that we’ve been inside the head of Zero himself, but this visit presents the reader with an interesting challenge even while it helps us to understand the mind-set of this creature who has brought the world to its knees: Cronin presents the human Fanning and, in the process of laying out his tale, makes him a sympathetic and even likeable person, then leaves us to reconcile this before picture with the reality of the after that has driven much of the trilogy’s storyline.

In a very revealing moment that can only be described as soul-destroying, Cronin points to the banality of the destruction of humanity as we now know it, the single lynchpin that defined the moment between life and destruction, and leaves the reader with the overpowering sense that it really is as simple as all that.

[Not an hour would have gone by, her body grown cold in my embrace, before I would have followed her from this world. That, too, was part of my design.]

The City of Mirrors is something of a different beast from the two preceding volumes. For much of its duration, the virals are missing from the storyline and what the characters seem to be seeing – though as readers we know very differently – is a life of comparative normality stretching ahead of them. It’s a testament to Cronin’s skill as a storyteller that he can keep the reader’s interest even while not very much is happening: the characters have grown older and seemingly wiser, though not all content with their lot. While Peter Jaxon – in one of the two lives he seems to be living – is now the president of the Texas Republic and is happy to let people move outside the walls of its capital, Kerrville, Michael Fisher is convinced that there is still trouble ahead and has found a container ship that he is attempting to make seaworthy in order to get himself and as many people as he can recruit off the continent, convinced that the supposed barrier erected around the country’s waters is nothing more than a legend designed to contain the people in times when the technology was still reliable.

As these two individual strands, and the strands of a half-dozen other characters, converge and separate only to converge again at some later point, Cronin teases the reader with hints of what is still to come. Around the halfway point, he catches us unawares, and brings the horror of what the virals are in a single, innocent-seeming sentence:

[As he knelt to look, he heard a high-pitched clicking above his head.]

That clicking is a sound that haunts anyone who has read the earlier volumes and when we hear it here, it comes with a rush of adrenaline and puts us on our guard.

No-one will be disappointed with the epic battle to which the story is inevitably building, but it is the book’s final section that touches the reader the most, and ends the trilogy in some considerable style. From the opening pages of The Passage, we have seen many extracts from “The Book of Twelves” and references to “the Third Global Conference on the North American Quarantine Period”. As the trilogy comes to a close, Cronin takes us to the Indo-Australian Republic and introduces us to some of the attendees of the conference, culminating in a beautiful moment that gives the ultimate closure to the story of The Girl From Nowhere and the people who loved her. It is only after the fact that we can stop to realise just how much of the story Cronin must have planned in advance and of the work involved in making everything hang together.

Without a doubt the best of the trilogy, The City of Mirrors provides a satisfying conclusion to the story started over six years ago. I can almost guarantee that readers will come away from this volume with an intense desire to go back to the start and read through to the end. It’s a project I will be undertaking myself in the near future. Justin Cronin is a master storyteller and his post-apocalyptic vision stands alongside the genre’s finest. With The City of Mirrors, a wonderful story in its own right, he also shows an ability to deliver on the promises he made in earlier volumes. An engrossing plot coupled with characters who are at once familiar and strangely changed – whether because of the four years that have passed in real time since we last met them, or because of the twenty years that have passed in the course of the narrative it is difficult to say – brings a fitting close to one of the best pieces of horror fiction produced in the past decade. This is hopefully not the last the genre has heard of Justin Cronin. I can’t help but recommend this – and the preceding two volumes of what can only be described as his masterpiece – unreservedly.

THE POISON ARTIST by Jonathan Moore

THE POISON ARTIST - Jonathan Moore THE POISON ARTIST

Jonathan Moore (www.jonathanmoorefiction.com)

Orion Books (www.orionbooks.co.uk)

£14.99

Toxicologist Caleb Maddox is a specialist in pain, his current research project an examination of the chemical changes severe pain can cause to the human body. In the same week that his girlfriend storms out of their home and relationship, his good friend, the San Francisco Medical Examiner, calls on him for help in an unofficial capacity: a number of bodies have been pulled from the bay with no seeming connection to each other apart from the method of their demise, and the state-funded toxicology labs have been unable to find anything useful. When a pair of detectives question him about one of these bodies, a man who was last seen alive in a bar at the same time Caleb was there, his relationship to the case becomes complicated. Not only does Caleb have a direct connection with the case through his work with the ME, but he has been lying to the police, hiding the existence of Emmeline, a beautiful, sophisticated woman who he meets in the bar in question on the night the police are interested in, and who introduces him to absinthe, a substance that seems to be slowly eroding the edges of Caleb’s sanity.

From the outset, Jonathan Moore’s debut novel has a certain something that seems to set it apart from the run-of-the-mill crime thriller. It is beautifully written, Moore’s writing bringing with it an intensity that sucks the reader in completely and makes us believe that this world – however strange it may seem – is completely real. This is especially noticeable in those fleeting moments that Caleb spends with Emmeline, a woman who we instinctively distrust from the first time we see her. Narrated in the third person, this is, however, the story of Caleb himself, and the reader is invited to view this world, and the unfolding mystery, from his point of view.

Caleb himself is a character that it is easy to follow. His life seems to be falling apart around him and he finds himself on a dangerous path because of this disintegration – the increased drinking, his involvement with the police, with Emmeline, with his old friend Henry. He has a dark past that seems on the verge of coming back to haunt him, though it’s difficult to tell whether it’s a past where he was victim or perpetrator until Moore drip-feeds morsels of information as we need them, and as it serves the purpose of the story. Caleb’s work for the ME immediately brings results, showing the presence of toxins in the victims’ blood that suggest they are viciously tortured in the hours leading to their deaths. The irregularities at his lab – the strange appearance of unexpected tissue samples for his research project, for example – at first seem unimportant, unrelated to the story at hand, but take on greater importance as things start to come to a head.

The language Moore uses is terse and strained, driven by Caleb’s gradual disintegration and increasingly distant relationship with reality. It’s reminiscent of the excellent Phineas Poe novels of Will Christopher Baer, if slightly less off-the-wall in terms of plot progression. At the novel’s core is a cleverly-constructed mystery and a view of crime from a slightly different point of view – the toxicologist is normally a faceless back-room boy whose input is the offhand instruction to “run a tox screen” and whose output will either absolve the current suspect, or point the finger at a previously-unconsidered one. Moore’s examination of the science and technology behind this process is interesting without being boring or over-explained, and works well within the context of the story.

I do, unfortunately, have one complaint about The Poison Artist, and it’s this: anyone who has more than a passing acquaintance with the genre will see the ending coming from around the halfway point of the book. In some ways, the story’s construction is almost too clever, Moore’s tricks (such as the third-person narrative) too obvious to hide what he’s trying to achieve. To reach the end of such a well-written piece of fiction and discover that your first guess as to the identity of the culprit was spot on is more than a little disappointing – almost like watching an episode of Castle – and takes away from what is otherwise a fantastic novel.

That said, if you’re happy enough to play sleuth and be proven correct at the end of the book, then The Poison Artist is more than worth your while. Moore’s voice and writing style are worth the price of admission alone, his characterisation and sense of place second to none. The Poison Artist is the first part of a trilogy and I’m happy to say that the disappointing ending isn’t enough to stop me looking forward to the second instalment. It’s unlikely to find itself on too many “Best of Year” lists, but it’s a solid effort from an undoubtedly talented writer who hopefully won’t take too long to find his feet.

TRAVELERS REST by Keith Lee Morris

Travelers Rest TRAVELERS REST

Keith Lee Morris

Weidenfeld & Nicolson (www.orionbooks.co.uk)

£12.99

On the long drive from Seattle to South Carolina, the Addison family – Tonio and Julia, their son Dewey and Tonio’s brother, Robbie – are forced off the highway by a massive snowstorm and find themselves in the small town of Good Night, Idaho. Taking a room in the town’s only hotel, the Travelers Rest, they settle down to wait. One by one, they separate from the group and find themselves reliving the same nightmare day after day, catching glimpses of each other but never quite able to regroup. As past and present merge, the family learns of Good Night’s mining-town origins, and discovers that they’re not the first people to fall foul of the Travelers Rest’s questionable hospitality. With time running out, it is up to the individual family members to break the cycle and make a bid for freedom.

As the novel opens, Morris alternates the narrative – a trick that continues throughout the novel – to show us the dynamics of this family: Tonio is taking younger brother Robbie back to South Carolina as part of a court-ordered rehabilitation program, so there is already tension between the brothers; Julia and Robbie’s relationship, although not necessarily sexual in nature, is much stronger than that between the brothers, or even that between husband and wife; and ten-year-old Dewey, who seems much wiser than his years, can feel – if not understand – all of the tension around him. Things begin to fall apart almost immediately upon their arrival in Good Night, as Robbie disappears in the middle of the night, heading for the town’s watering hole, across the quiet main street.

From there, each family member becomes separated from the others, and each finds themselves in a different version of reality, reliving the same day over and over as the snow continues to fall. Essentially a haunted house tale, Travelers Rest follows in the footsteps of The Haunting of Hill House, Morris opting for a quiet, unsettling sense of horror that grows on the reader as the story progresses, rather than an all-out attack on the senses. The strength of Morris’ story-telling lies in his characterisations – this is very much a character-driven piece – not only of the Addison family, but of the denizens of Good Night whose paths they cross: Hugh and Lorraine, who own the town’s diner, and from whom we get much of the backstory, as they explain to Dewey the town’s “hunger”, and the souvenirs that it likes to keep; Stephanie, Hugh’s sister, who guides Robbie through these extraordinary events; and the smarmy and officious Mr A. Tiffany, proprietor of the Travelers Rest.

The tension is palpable throughout the story: without introducing a ticking clock, Morris still manages to impose a sense of deadline on the reader, a feeling that time is running out. The seemingly endless snow gives the book a claustrophobic feel, yet we understand from early on that it’s not the reason the Addisons are here, or that they have stayed so long.

“I know it sounds weird,” Hugh said, “but people get drawn here. It has a magnetic quality.”

Morris’ writing brings with it a certain immediacy, an intensity that draws the reader in and forces them to be part of the world he has created. The hotel affects different people in different ways; we see each of these different worlds through the eyes of the sufferers, and it’s clear that for many, escape is not something for which they strive.

Reminiscent of King’s Desperation and Jackson’s The Haunting of Hill House, Keith Lee Morris’ latest novel – the first to be published in the UK – is an intense and gripping story that succeeds in its aim to unsettle the reader, to turn what we think we know on its head and leave us stranded with the Addison family in the strange little town of Good Night, Idaho. Wonderful writing and excellent characterisation combine to keep the story very much grounded in reality, despite the unnerving and unusual sights we will see during our stay in the Travelers Rest. A fine new voice in horror fiction, Keith Lee Morris shows an impressive talent and a deep understanding of his chosen genre. I’m interested to see where his talents take him next; in the meantime, Travelers Rest should be on your list of books to read this year.

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!

An Interview with STEVE CAVANAGH

stephen_mearns_2 Name: STEVE CAVANAGH

Author of: THE DEFENCE (2015)

On the web: stevecavanagh.com

On Twitter: @SSCav

Steve Cavanagh was born and raised in Belfast, where he currently works as a practicing solicitor in the field of civil rights law. The Defence is his first novel.

Thank you, Steve, for taking the time to chat with us.

No problem, it’s my pleasure.

Modern Irish crime writers seem to take one of two routes: they write about Ireland and all the baggage that comes with it, or they take their fiction on the road. Eddie Flynn is a New York-based lawyer. Was there any sort of decision-making process around whether you should write Irish crime fiction and, if so, why did you choose the American route?

There are a few reasons I chose to base the book in the US. One thing that stands out to me is that I’m mainly influenced by American crime writers and books set in the US. Michael Connelly is a major influence and I would’ve read mostly US based fiction – although in recent years there has been more of a balance between US, UK and Irish fiction. The other major factor was that I wanted to write a legal thriller and that creates its own difficulties if you set that book in Northern Ireland. Largely because we have a dual system of representation; if you find yourself in court you will have a solicitor and a barrister representing you. The solicitor does most of the early court appearances and prepares the case for trial and the barrister performs the role of the trial advocate. At the time I didn’t feel confident about creating two lead characters – particularly when one character, the barrister, would inevitably be the one doing all the cool courtroom scenes. It didn’t seem balanced to me. So I felt setting the book in the US solved that problem as attorneys in America perform both roles and I could concentrate on a single lead character to focus the story.

Your short story “The Grey” was included in the recent Belfast Noir anthology, so you obviously have no qualms about writing fiction set in your native city. Do you see yourself producing anything novel-sized in the future?

I might well do, but not at the moment. I’m very pleased to have that short story in the anthology, and it was fun to write, but I’m not sure about a full length novel set in Belfast. Part of the reason I wrote The Defence was to have a little escape from the day job of being a lawyer. I do some work in the criminal courts so murder and mayhem in Belfast is still my 9 – 5 and I didn’t particularly want to come home and write about it at night. Maybe if I ever become a full time writer I’ll consider it. I do have an idea for a Belfast based character but at the moment I’m not sure if that story would be best told in a novel or on the screen.

The Defence puts us firmly in the head of Eddie Flynn, a con-man turned lawyer, which gives him a somewhat unique perspective on how the law works. How much research did you find yourself doing to get the detail – both of setting and of American judicial procedures, etc. – right?

I can tell you there was a tonne of research done into the legal procedures and virtually none of it made it into the book. I have textbooks on US criminal procedures, I’ve been taught by American lawyers and I strive to get it right but not let it interrupt the flow of the story. In terms of the setting, I also did a lot of research into New York City, and ultimately I took the Ed McBain approach and decided that some of the locations should be fictionalised, the courthouse in particular. There was a courthouse on Chambers Street, but it’s now the department of Education’s head office. I took that courthouse and made it bigger and more grand for the book. I wanted the reader to get a sense of New York, so again a lot of research and not much made it onto the page, but I felt as though I was informed enough to write about it. The other great advantage to setting your book in New York is that the reader already has a strong mental image of that city already, even if they’ve never been there.

What’s next for Eddie? There’s always an assumption with this kind of character that they’re a series character. Is this the case with Eddie, or have you set your sights elsewhere for your second novel?

No mistake about it, I’m writing a series. Eddie is such a fascinating character, to me at least, that for the moment all I want to do is write about him. That may change down the line, of course. I’ve always loved series characters and I envisaged this as a series from the very first book. The second book in the series has the working title – The Plea. It’s a much more complex book, but it hopefully retains the key ingredients from The Defence.

When it comes to thrillers, there is always a sense that the protagonist comes out the far end somewhat the worse for wear, almost as if the authors have a sadistic streak that needs to be satiated. Eddie joins a long and prestigious line of leading men who go through a lot of pain in order to entertain the reader (between beatings and night-time jaunts around high ledges). What’s the attraction, and do you ever feel sorry for the character even as you’re twisting the knife?

I do feel sorry for Eddie, and I don’t. All the stories that I love have characters facing real adversity and eventually coming through on the other side as the victor. Everyone loves an underdog – that’s why Rocky, Ruby, John McClane etc are such beloved characters. Plus I enjoy the challenge – when I put Eddie in a terrible situation I’m often not sure how or if he’s going to get out of it. It’s fun figuring out the problems through him.

What authors or works have influenced you as a writer?

Michael Connelly, John Connolly, Lee Child, Jeffrey Deaver, John Grisham, John Mortimer, the poet Robert Service, Brendan Behan…quite a big list. Too many to name.

And as a follow-on, is there one book (or more than one) that you wish you had written?

A lot more than one – The Black Echo (Michael Connelly) Silence of the Lambs (Thomas Harris) Every Dead Thing (John Connolly). Yeah, imagine you’ve just written the Silence of the Lambs – damn.

What does a typical (writing) day in the life of Steve Cavanagh look like?

Well none of it happens during the day. I’m usually up around 6.30am to help get the kids ready for school, I go to work, come home around 6.30pm, eat, see my family, and the writing day begins around 10pm. I write until I fall asleep, which can sometimes mean I get four hours of writing done or four minutes.

And what advice would you have for people hoping to pursue fiction-writing as a career?

Write the book you want to read – polish the hell out of it – send it to a handful of agents at a time and believe in yourself. If you get rejections, which you will, just move on to the next agent as a rejection often tells you absolutely nothing about the quality of your book.

What are you reading now, and is it for business or pleasure?

I’m about to start CJ Sansom’s Lamentation, then I’ve got a couple of Reacher’s to catch up on.

If The Defence should ever make the jump from page to screen, do you have any dream casts/directors/whatever?

I’m a big Christopher McQuarrie fan, and if he wanted to direct I’d have him in a heartbeat. As for lead actors – I have a notion that Ryan Gosling would be a good Eddie Flynn, but I don’t know why. I don’t have a solid view of any actor for Eddie, really. Any good actor would be fine, just as long as it’s not Randy Quaid I’d be quite happy.

And finally, on a lighter note…

If you could meet any writer (dead or alive) over the beverage of your choice for a chat, who would it be, and what would you talk about (and which beverage might be best suited)?

Spike Milligan. I wouldn’t say a word, I’d just listen to him. He didn’t drink alcohol so some tea would be just fine.

Thank you once again, Steve, for taking time out to share your thoughts.

It’s been an honour.

THE DEFENCE by Steve Cavanagh

THE DEFENCE - Steve Cavanagh THE DEFENCE

Steve Cavanagh (stevecavanagh.com)

Orion Books (www.orionbooks.co.uk)

£12.99

“Do exactly as I tell you or I’ll put a bullet in your spine.”

Pushing the gun hard into my back, he said, “I’ll follow you out of the bathroom. You’ll put on your coat. You’ll pay for breakfast, and we’ll leave together. We’re going to talk. If you do as I tell you, you’ll be fine. If you don’t – you’re dead.”

Eddie Flynn was an ex-con-man-turned lawyer. These days, he’s an ex-lawyer-turned-alcoholic who hasn’t set foot in a courtroom in a year, following the breakdown of a high-profile case. Now, in the bathroom of the diner where he eats breakfast every day, a Russian mobster has put a gun to his back and abducted him. The gangster has a proposal for Eddie, the type of proposal that a person doesn’t turn down: Eddie will defend Olek Volchek, the head of the Russian mafia, in an impossible murder trial with a bomb strapped to his back. For added incentive, Olek is holding Eddie’s daughter hostage, and Eddie has forty-eight hours to defend his client, or work out a way to get his daughter back. Luckily for Eddie, his chequered past has left him with a lot of contacts, and more than a few owed favours.

Belfast native Steve Cavanagh describes his debut novel, The Defence, as a “legal-thriller”. This reader can reveal that the emphasis is most definitely on the thriller, though the plot does allow for a fair amount of courtroom drama. We are introduced to Eddie Flynn, one-time con-man, one-time practicing lawyer, at the moment that the Russian mafia decides that he can help them achieve their nefarious ends in the trial of their leader, Olek Volchek. This tense and riveting opening gives us little time to get to know Eddie before he is thrown into the thick of the plot, so much of what we know about him by the end of the novel we learn in bite-sized chunks between the almost-relentless action.

It quickly becomes clear that Eddie Flynn is more than your average muscle-bound action hero.There is wit and a sly intelligence here, and a pride in his own ability that makes it clear he was once a force to be reckoned with in the courtroom. His dark past, the life of a petty criminal, and his close relationship with the leadership of the city’s Italian mafia, add to the mystery, and provide him with an almost endless source of resources to tap, and contacts on whom he can call in his hour of need. The daughter – held hostage by Volchek’s minions against Eddie’s continued cooperation – adds some further meat to the bones of this already well-fleshed character: Eddie’s life may be falling apart at the seams, but he still loves his daughter, still feels some element of responsibility for who he once was, and what he has done.

The tension increases as the story progresses, and Cavanagh injects a number of perfectly-realised set-pieces (the night-time trip around the upper ledges of New York’s Chambers Street Court building is one that springs immediately to mind) designed to keep the reader perched firmly on the edge of their seat, and completely immersed in Eddie Flynn’s rapidly-disintegrating world. Despite Eddie’s sense of humour, which lifts the tone of many of the novel’s darker scenes, there is something ominous about the events and, while the first-person narrative contains a clue concerning Eddie’s survival beyond the end of The Defence, nothing else comes with a cast-iron guarantee, and the very real threat that hangs over Eddie’s daughter is one that remains with the reader throughout. It’s a masterful play, a clever piece of plotting that overshadows even the bomb strapped to Eddie’s back. That said, Eddie isn’t in for an easy ride, and the author takes some delight in putting his character through the mill during the course of the story.

Despite all this, there is still the “legal” part to the “legal-thriller” combo that the author uses to describe the novel, and Cavanagh uses every trick up his sleeve to ensure that the courtroom scenes are as attention-grabbing and engrossing as those that take place outside those formal and refined environs. Eddie’s sharp mind and quick wit leave the reader wishing for a glimpse of the man at the height of his legal career, and hoping for a more permanent return to the courtroom as the series (for series it is) continues. It’s a rare talent that can make the staid and solemn courtroom environment as entertaining and engrossing as the against-the-clock all-out action that makes up much of the rest of the novel.

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.

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.

COMPETITION: Win a Copy of RED WINTER by Dan Smith #DanSmithBlogTour

Dan Smith Blog Tour (2)

It’s the final stop of the Dan Smith Blog Tour (and what a tour it’s been!) and to celebrate last week’s hardback publication of The Darkest Heart and paperback publication of Red Winter, those lovely people over at Orion have given us 10 copies of Red Winter to give away. You can enter in one of two simple ways:

  • Comment on this post – simple enough…if your comment looks like it originated from a human you’ll be entered into the draw.
  • Tweet a link to this post (click the Share button at the bottom of the post and select Twitter), or retweet a link that’s already out there. If your Tweet contains my username (@MattGCraig), the hashtag from the title of this post (#DanSmithBlogTour) and a link back to the post, you’ll be entered into the draw.

You only need to enter once, as multiple entries won’t improve your chance of winning. And you have until midnight (BST) on Sunday 20th July to enter. The winners will be drawn on Monday 21st and notified by email or Twitter and will hopefully have their nice shiny new book by the end of that week. This competition is open to UK residents only.

So, what are you waiting for?

(Keep an eye on the blog next week when I’ll be reviewing Dan Smith’s The Darkest Heart.)

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