By Daniel Magennis. PhD Student. Queen’s University Belfast.
I meet Adrian McKinty in the Piano bar in Belfast’s Europa Hotel – the self-proclaimed ‘most bombed hotel in Europe’ – to discuss his multi award-winning Sean Duffy series, the Northern Irish identity and growing up in Carrick during the darker years of Northern Ireland’s short but turbulent history. Continue reading
Fri 25th November 6.30pm, No Alibis, 83, Botanic Avenue, Belfast
An evening of chat about Crime Fiction on the Emerald Isle with Declan Burke, John Connolly and Others
Thrilling, disturbing, shocking and moving, Trouble Is Our Business: New Stories by Irish Crime Writers is a compulsive anthology of original stories by Ireland’s best-known crime writers. Continue reading
Belfast, Monday 15th June, 6: 15 p.m. No Alibis Bookstore,
As part of the conference on the Rural as a scene in Crime Fiction (conference organised by the Institute for collaborative Research in the Humanities at Queen’s University, Belfast), Brian McGilloway & Anthony Quinn will talk about their work in No Alibis Bookstore, in conversation with author Dr Andrew Pepper. All welcome ! Come and join us !
If you are interested in attending the conference on Interdisciplinary Approaches to ‘Setting the Scene’: Representations of Rurality in Crime Fiction and Media Culture, ICRH, Queen’s University,
Belfast 15-16 June 2015
Please contact : Dr Dominique Jeannerod (firstname.lastname@example.org) or Dr Linda Price (email@example.com)
Hello, Anthony Quinn. Welcome here. Many thanks for accepting to answer some questions, ahead of next week’s Belfast Conference on Representations of the Rural in Crime Fiction. We are really looking forward to it . You will be in No Alibis on Monday, to talk about your writing, together with Brian McGilloway and Andrew Pepper.
To begin with, in which literary tradition would you consider yourself belonging?
Although I write crime fiction I aspire, perhaps a little grandiosely, to writing within an older Irish tradition, a peasant literature that is about a fugitive, almost magical sense of place and belonging, and the crimes that are committed by dislocated people and societies, the same tradition say as JB Keane’s The Field, or the poetry of Patrick Kavanagh.
Is there something like a rural school within Irish Noir? Continue reading
by Annika Breinig (with thanks to Portia Ellis-Woods and Dominique Jeannerod)
No Alibis : a Bookshop to die for (83, Botanic Avenue, Belfast, BTL7 1 JL) Continue reading
Jack Kirby, The Avengers, 4, March 1964 (cover art)
There are many photographs of Sam Millar in the press, and on the web. On most of them, he looks rather intimidating. On some, you might even feel a sense of menace. He comes across as a hard man, no mistake. His reputation, CV, and books, of course, do nothing to change this first impression. Or maybe they do influence it. Nobody would wish to know as much about violence as he does. There is something else also, and his books prepare you for that too, when you meet him : a dark and constant sense of humour, and a great gift for telling stories, especially stories of tough luck. And a passion for books, magazines, and all printed matter. The journey between Dublin Connolly Station and Belfast Central lasts 2 hours. It feels much shorter. We have barely passed the viaduct on the Broadmeadow estuary when he orders coffees, and starts talking about the books he read. His father, a sailor, encouraged him to read; himself read all the time. Reading was a political act. When he came ashore, back to Belfast, he brought books. From America, he used to bring him Comics; Marvel, DC Comics, stories of heinous villains and of superheroes fighting for justice. Sam grew up during the early period of the troubles in Northern Ireland, reading Detective Comics made in New York. The Civil rights movement and the tail end of the silver age of Marvel comics might have seemed to intersect, not only historically, but at some distant, ideal point. Continue reading
When asked why he chose to set his first crime novel in the US, Irish writer John Connolly said, ‘Because in Ireland everybody would’ve known who done it within days.’ Exaggeration aside, in the pre-Celtic Tiger landscape of Ireland, this may well have been the case, but it certainly isn’t nowadays as Irish crime fiction appears to be in its prime and becoming a genre of its own to rival our Scandinavian counterparts.
Val McDermid, in a recent Radio 4 programme coined the phrase ‘Emerald Noir’ – but whatever you call it, Celtic Crime or Hibernian Homicide is now gaining worldwide attention. Compared to back in the 1980s when you could possibly name Colin Bateman or Eoin McNamee as famous Irish crime writers, nowadays you have writers such as Tana French, Ken Bruen, Declan Hughes, Declan Burke, Arlene Hunt and Stuart Neville all jostling for the crime spotlight.
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What is Fireproof about?
Fireproof, on the surface, is about a man who ended up in Hell due to a bureaucratic bungle and is sent back to Earth with a mission to establish a satanic church in Northern Ireland. It’s not based on a true story.
Is it crime fiction?
The book straddles a few genres. There are certainly crime fiction elements (or tropes if you want to be unkind), such as a femme fatale, murder, mystery, revenge… But it also features supernatural creatures such as Lucifer, an imp, and Cerberus, a three-headed dog who guards the gates of Hell/Hades in Greek mythology. Oh, and I like to think it’s a wee bit funny as well. Continue reading