The pleasures of violence, suspense, and local color are here in about equal measure. Not to mention the pungency of...
Dear old dirty Dublin, here through the eyes of a cop who single-handedly—and -mindedly—takes on an entrenched gang of vicious businessmen-hooligans.
Pat Coyne has a pretty and ever-cheerful wife, three kids, and a nice house—but he’s let the Cunningham gang get under his skin to the point where, given his hair-trigger anger, he risks losing everything. The Cunninghams, indeed, are despicable drug dealers, torturers, and murderers, with just enough legal savvy to have gotten away with it for years, all the while keeping up ritzy appearances and even opening up, of late, a nightclub. All hateful enough, but there are other things to feed Pat Coyne’s pent-up rage, readying it to be triggered by the vile Cunninghams. Coyne can’t stand his hypercritical mother-in-law, for example, yet she made the down payment on the house he otherwise wouldn’t have. And his wife, Carmel, has taken up art classes—anathema and affectation to plain-speaking Coyne, who thinks there’s too much art in the world already. Not to mention his deeper source of on-going anger. He may not be highly educated, but he’s a thinker, reads incessantly about nature, and is convinced that ecological doom lurks just around the corner—even though no one will take him seriously. They laugh—just like the Cunningham gang laughs at him, too. It’s enough to send a man over the edge—which is where he goes starting when a hatchet comes through his squad car windshield. Sometime later, and very drunk, he torches Berti Cunningham’s fancy car, a true declaration of war. And after getting suspended from his job (he assaults Carmel’s unbearably effete art instructor), it seems there’s nothing for it but to go after the devils alone.
The pleasures of violence, suspense, and local color are here in about equal measure. Not to mention the pungency of language—“gobshite” abundant—and of course the question of whether Pat Coyne will or won’t survive to enjoy the comforts of domesticity.Pub Date: May 15, 2001
ISBN: 1-56858-195-5
Page Count: 242
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2001
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.
Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.
A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.Pub Date: March 17, 2020
ISBN: 978-1-9821-3888-2
Page Count: 352
Publisher: Scribner
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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