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Posts tagged ‘colin 0’sullivan’

The Success of the French Edition of “Killarney Blues”

November 2, 2017

BetimesBooksNow

“Carried by a genuine writing talent, Killarney Blues is a Noir novel full of melancholy and unfulfilled dreams with a surprising glimmer of hope at the end. Without the slightest naivety. A revelation.”  —Le Soir

“A cathartic novel that ultimately creates positive emotions, like the blues can do. Poignant.” —booknode.com ­­

“A luminous novel that chases away the darkness… All its characters are at a crossroads and they will either meet the Devil himself or find a way towards a new life.” —Appuyez sur la touche lecture

“Moving, tragic, masterly crafted.” —Lea Touch

“In a style that is sometimes luminous, sometimes direct, sometimes poetic, Colin O’Sullivan traces his narrative path, creates incredibly vivid and appealing characters and brings the reader, to the 12-bar beat of the blues, towards a heart-breaking denouement.” —Le blog du Polar de Velda

“O’Sullivan’s beautiful writing transcends a rather banal story and gives it tragic depth.”  —Encore du Noir

“Colin O’Sullivan’s Killarney Blues brings us to a paradoxical Ireland, half-way between mythological timelessness and modernity. …A novel full of deep melancholy and beautiful blues.”   —actualitte.com

“A great, great book.” —unwalkers.com

“A hard, poignant novel of great humanity… remarkably well written…” —Rolling Stone

 

 

 

Review of “Killarney Blues” in Le Soir

October 2, 2017

BetimesBooksNow

Voilà à quoi ressemble Killarney à l’aube de ce siècle nouveau. Il y a des bagels. Et c’est le genre d’endroit dans lequel elles viennent prendre un café : un bistrot élégant, bien éclairé, minimaliste, avec des tableaux de bon goût sur les murs, des décorations végétales spectrales en forme de bâtons sur les tables et des fauteuils qui vous aspirent, des fauteuils qui vous vaudront des problèmes de vertèbres à terme mais qui sont paradisiaques le temps de ce bref répit, alors que les sacs de shopping lacèrent atrocement les bras fins. »

Colin O’ Sullivan, inconnu au bataillon avant ce premier roman (on lui doit paraît-il de nombreuses nouvelles et des recueils de poésie), a un ton, un style et un univers. Il n’a par contre pas grand-chose en commun avec les innombrables auteurs de polar et de thriller actuels.

Situé à Killarney, ville irlandaise touristique, son Killarney Blues ne compte que deux flics (en uniforme) venus arrêter un type dans un bar. La scène se passe à la page 231 d’un ouvrage qui en compte 270. Elle se termine à la page 234. C’est dire que l’intrigue policière n’est pas au centre de cet ouvrage qui vous happe pourtant dès les premières pages pour ne plus vous lâcher.

[“This book grabs you at the first page and won’t let you put it down.”]

Car Colin O’ Sullivan fait naître une galerie de personnages d’une formidable justesse auxquels on s’attache instantanément.

[“Colin O’Sullivan creates a gallery of characters so true and real that you get attached to them immediately.”]

Au centre de ce petit monde, on trouve Bernard Dunphy, grand amateur de blues et jarvey de profession. En clair, Bernard promène des touristes dans la ville à bord de sa calèche tirée par la jument Ninny. Bernard est un drôle de type, solitaire, un peu inadapté au monde, puant la sueur et portant toujours un gros manteau noir.

Autour de Bernard, il y a sa mère, dure et forte, qui s’occupe de tout pour son grand fils un peu décalé. Et qui porte en elle le souvenir de son mari, noyé dans le lac tout proche. Il y a aussi la belle Marian, dont Bernard est amoureux depuis toujours et qui semble l’ignorer. Elle passe son temps avec ses deux copines, Mags et Cathy, à faire du shopping, à s’envoyer des vannes et à se murger tous les week-ends dans leurs bars préférés tout en s’inquiétant de n’avoir pas encore trouvé l’homme de leur vie à près de 30 ans.

Un récit choral

Il y a encore Jack Moriarty, que Bernard considère comme son seul pote mais qui ne voit pas tout à fait les choses de cette façon. Jack le séducteur, Jack le joueur de foot gaélique incapable de canaliser sa fureur, Jack qui traîne aussi ses fantômes du passé. Et puis il y a Linda la serveuse qui se mue en chanteuse à la nuit tombée, Laura la touriste américaine et son frère, amateur de blues lui aussi…

Tout un petit monde que l’auteur met en scène et suit entre passé et présent, bondissant de l’un à l’autre, tissant un récit choral où les dialogues se réduisent à la portion congrue au profit d’une écriture qui embrasse tous les aspects de l’intrigue, emporte tout sur son passage, tend la main au lecteur pour l’emporter au cœur de ces vies banales et pourtant porteuses d’une multitude de petits et de grands drames.

Au fil des 270 pages, chacun se découvre petit à petit. Tout ce qui semblait évident dans les premiers chapitres prend de nouvelles couleurs, de nouvelles directions, de nouvelles raisons d’être. Le passé resurgit sans cesse et vient le plus souvent pourrir le présent. Heureusement pour Bernard, il y a le blues. Cette musique qui l’habite littéralement, sa passion pour Robert Johnson, Leadbelly, B.B. King et tant d’autres. Dans une Irlande où les clichés culturels croisent sans cesse un nouveau mode de vie mondialisé, Bernard va petit à petit se révéler, ainsi que tous ceux qui l’entourent. Pour le meilleur ou pour le pire.

Porté par un véritable souffle d’écrivain, Killarney Blues est un roman noir, plein de mélancolie et de rêves inaboutis où surgit malgré tout une étonnante lueur d’espoir. Sans la moindre naïveté. Une révélation.

[“Carried by a genuine writing talent, Killarney Blues is a Noir novel full of melancholy and unfulfilled dreams with a surprising glimmer of hope at the end. Without the slightest naivety. A revelation.”]

Roman noir. Killarney Blues, Colin 0’Sullivan ; Tr. de l’anglais par L. Bouton-Kelly, Rivages, 272 p., 21 €, e-book 14,99 €

http://plus.lesoir.be/116429/article/2017-09-29/killarney-blues-une-lueur-despoir-dans-un-ocean-de-blues

 

New release: A wildly original cautionary tale from Colin O’Sullivan

April 18, 2017

BetimesBooksNow

The Starved Lover Sings

Fall under the spell of Colin O’Sullivan’s distinctive narrative voice.

O’Sullivan’s writing is striking.

Admire the at once precise and experimental nature of his prose, its energy and daring.

Enjoy it despite its darkness – and be impressed with it.

 

For bloggers and reviewers: please contact us to receive a free review copy.

KILLARNEY BLUES to be published in France

December 16, 2015

BetimesBooksNow

We are happy to announce the first (of many, no doubt!) translation rights sale for Colin O’Sullivan‘s novel KILLARNEY BLUES.

French translation rights have been acquired by the legendary publisher of Rivages François Guérif.

The novel will be translated by Jean-Paul Gratias, the no-less-legendary translator of James Ellroy and William Kotzwinkle, among others.

“Marvellous novel, endearing, moving, fascinating. A real writing talent. I adored it.”  —Jean-Paul Gratias

“Colin O’Sullivan writes with a style and a swagger all his own. His voice – unique, strong, startlingly expressive – both comes from and adds to Ireland’s long and lovely literary lineage. Like many of that island’s sons and daughters, O’Sullivan sends language out on a gleeful spree, exuberant, defiant, ever-ready for a party. Only a soul of stone could resist joining in.”  —Niall Griffith

“A quixotic endeavour with an unclear goal”. Colin O’Sullivan interviews David Hogan.

June 23, 2015

BetimesBooksNow

 

 

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Colin O’Sullivan:   The Last Island covers important issues like “environmentalism, animal rights, and the costs of capitalism”.  What made you want to write about these issues?

David Hogan: I believe that these are among the paramount issues of our time, and that our responses to them will shape the future. So it would’ve been hard for me not to write about them. In The Last Island the main characters are exiles and in the process of re-invention and redemption. As they struggle to re-make themselves, they are forced to ask certain questions such as: What obligation do we owe our planet and the creatures upon it? What is the nature of desire and possession? What level of cooperation or competition is appropriate? They may not find all the answers, but they are asking the questions. I believe that society too needs to undergo a process of re-invention and redemption, as many of the current answers to these questions become increasingly untenable. We don’t have the answers yet, but, like the characters in The Last Island, we need to continue to ask the questions.

O’S: What do you hope readers will take away from The Last Island?

D.H.: First off, I hope they will find the book transporting and engrossing. And I hope that they will feel that they’ve met some intriguing and thoughtful characters, who offer unconventional ways of thinking about modern life. There are many issues at play for which the novel provides no definitive answers. It does ask a good number of questions, however. In those questions, I hope that some readers might see possibilities.

O’S: Who do you picture as the ideal reader of your work?

D.H.: In Walker Percy’s The Moviegoer, Binx Bolling is on a search, which is described as “what anyone would undertake if he were not sunk in the everydayness of his own life.” Binx resists naming the object of his search; it may be God or a greater purpose or something else entirely. It’s a quixotic endeavour with an unclear goal. But what is most important, he believes, is to be aware of the possibility of the search, even if one is unable or unwilling to undertake it. My ideal reader is probably no different than the ideal reader of many other writers. It’s someone who, like Binx, is aware of the possibility of such a search and may read novels for that reason, among others.

O’S: Who is your biggest literary influence? Which writer, living or dead, would you most like to meet?

D.H.: I’ve a whole stable of writers that I keep returning to: Dostoyevsky, Joyce, Beckett, Nikos Kazantzakis, C.P. Cavafy, F. Scott Fitzgerald, Ralph Ellison as well as Walker Percy, Frederick Exley, and Jennifer Egan. I read the work of playwrights Tom Stoppard, Martin McDonough, and Rebecca Gilman. I’m very much into the American poet Wendell Berry at the moment. I think his Manifesto: The Mad Farmer Liberation Front speaks to what ails us.

As to meeting a writer, how about this? I’d like to have been in one of those bars in Paris with Joyce and Hemingway. We’d drink, talk books and then, if Joyce got into a fight, I’d have the pleasure of watching Hemingway step in for him. “Deal with him, Hemingway,” I understand Joyce used to say. It’s the greatest tag-team in the history of literature… or is it boxing?

O’S: What are you currently reading?

D.H.: Skippy Dies by Paul Murray, and I’m wondering why it took me so long to get to it. I’m about half-way through and, so far, it’s thoughtful, moving and very funny.

O’S: Do you listen to music when you write?

D.H.: I like to have something quiet and familiar playing in the background, especially in the first draft stage. If The Last Island has a soundtrack, it’s some of the older CDs of the Pat Metheny Group such as First Circle and Still Life (Talking). When I was struggling with one of the scenes in the Aegean Sea in The Last Island, I can remember listening to the glides and builds of First Circle and thinking ‘something like that.’

 

 

O’S: Do you have any words of inspiration on your writing desk?

D.H.: No, none, though I probably should. I do have a memo posted on my desk that reads: no ‘and then’ scenes. It’s to remind me to structure events by direct cause and effect, as opposed to episodically. Useful, I suppose, but far from inspirational.

O’S: Do you read the reviews you get?

D.H.: I probably shouldn’t – they say you shouldn’t — but I do. If someone takes the time to read my novel (or see one of my plays) and write about it, I’m interested in what they have to say.

O’S: You are involved in different kinds of writing, novels, screenwriting, etc. Which comes easiest to you? Which is most difficult?

D.H.: Playwriting seems to come easiest to me, though I’m not sure why. It might have something to do with the limitations of the stage, which demands a mere handful of characters and a single setting or two. It’s dialogue-based, and you can count on the actors, if they’re good, to bring out more than what’s on the page. There’s a tradeoff, of course, because what’s on the stage can be something entirely different from what was imagined, for better or worse. Novels are the most difficult for me, but the satisfaction is great, perhaps for that reason.

O’S: Being an Irishman I’m very pleased you wrote about At Swim Two Birds for your novel recommendation. Is there any other Irish novel or writer that interests you?

D.H.: Many of them. To my mind, the lyrical wordplay of Irish-English is unrivalled. I read anything by Colum McCann, Anne Enright and Kevin Barry. I think I’ll be adding Paul Murray to that list. I’m also a big fan of Irish crime fiction, especially when Tana French, Ken Bruen, Declan Burke, and Brian McGilloway (to name just a few) are doing the writing.

O’S: What does David Hogan do to relax?

D.H.: Less than I used to. Dinner, concerts, the occasional play. The Pacific Ocean lies only a few miles away, and I try to paddle out once or twice a week. My co-surfers call me Big Wave Dave, which, I assure you, is unreservedly ironic.

The Last Island

Writing, reading, music, and “far-awayness”. David Hogan interviews Colin O’Sullivan

May 27, 2015

BetimesBooksNow

David Hogan: You’re in the long tradition of writers leaving Ireland in order to write about it.  Is there something unique about the country that pushes you away while at the same time drawing you back?

Colin O’Sullivan: The Irish have always been a migrant race as you know, for many reasons too long to get into here , and I’ve always been fascinated by those great Irish writers who left and became the geniuses we know today – I’m thinking specifically of Joyce and Beckett, two artists who loom very large in my writing life. I never understood it until I actually did it, I suppose. That is until I upped and left Ireland and spent years abroad, I never really understood the idea of exile and writing about your native country from a distance (physical and emotional). But I think it has made me a better writer. I don’t think I’d write as much or as well if I had stayed at home – I think I’d be far too busy drinking Guinness and watching football (nothing at all wrong with those pursuits, but I don’t think I’d write very much). The fact that those delights aren’t available to me here means I have to get down to work and the hard graft of writing. And following on from that, I then have, I suppose, the time and inclination to look back and contemplate my native land. That’s not to say that all my work will be set in Ireland – my new work is wildly different and has nothing at all to do with my homeland.

D.H.: What are you working on now then?

C.O’S.: I won’t go into too much detail (might jinx the whole endeavour) and even to describe it might not do it justice, but let’s for the moment say it is an: existentialist-gothic-tragi-political-satirical-absurdo-comedy…with wolves, set in Japan 2045. If that doesn’t whet the appetite I don’t know what will!! If Killarney Blues was my Blue period, then I’m just moving into my Cubist period – do you like the way I align myself with geniuses?

D.H.: Bernard in Killarney Blues loves American blues “Because it’s exotic. From far away.”  You’re an Irishman living in Japan; can this sentiment be applied to yourself in anyway? 

C.O’S.: Yes, I think that can be applied to me in many ways. Not just because I live in Japan and appreciate the “difference” in culture, but in my artistic tastes too. Growing up I didn’t like traditional Irish music at all (I’ve since changed my mind) and wanted only rock, and certainly not Irish rock music, but British or American only. The further away the better from Irish shores the more authentic, I had foolishly thought. I don’t know why this was, a form of teenage rebellion I suppose. And I went through a phase of reading loads of American literature and eschewed anything from Ireland too. Maturity in thought and a sense of balance comes with age of course and I’m not so silly and dismissive anymore. But I still have a lot of Bernard in me – been going through a jazz phase over the last few years, which has of course absolutely nothing to do with Ireland and I enjoy it’s “far-awayness”.

D.H.: Funny you should mention jazz, your writing has a jazzy, improvisational feel to it.  Are you able to get into ‘a zone’ where this flows?   Does it come in the editing?  Do you have to be careful not to over-edit?

C.O’S.: The zone. Yes, that’s a good word, I suppose I do get into it and try to go with that particular flow. It’s difficult to describe. But I do aim for that intensity of thought and concentration, whatever happens within that, whether it is jazzy or not, I don’t know. I’m looking for that voice I suppose. In Killarney Blues I was trying to get Bernard’s voice or Jack’s or whoever, yes, and improvising around them. As for editing, well, I can’t stop. I can go over pages again and again for hours, and still might miss something! There comes a stage when you have to call in another pair of eyes. Luckily I have a great editor at Betimes Books to help with that.

D.H.: Did you listen to the blues while writing “Blues?”  Something else?

C.O’S.: I did listen to a lot of blues at that time yes, while going for a walk or whatever, or just doing work around the house, not during the actual writing time though: I prefer silence. Instrumental music I can take, a little; I can’t listen to anything with lyrics when I write, I get too involved. Drone-like stuff works best. But yeah, you can’t beat silence when you’re trying to get the words down.

D.H.: There’s the great line in Killarney Blues: “The kind of person you’d release from prison on the back of songs.  As if music, and music alone was enough.”  This speaks to the redemptive power of music and, by inference, literature.  What are the respective powers of the two mediums to you?  How are they alike or different?

C.O’S.: They’ve always been there for me, that’s about as much as I know. I’ve always been fascinated by books, music, all art in fact, and have always found them to be my salvation. That sounds very pretentious, but I don’t know how else to describe it. I’ve always needed books and music around me at all times and I get antsy when they are out of reach. Music from my teenage years still gets me tremendously excited as do books that I’ve read and cherished several times. And I love that feeling of being overwhelmed and utterly excited by art. It’s thrilling, and I’ve never lost it.

D.H.: The demise of long forms (e.g. the album as opposed to singles and the novel) has long been predicted.  Are you concerned about this?  What will be lost or gained?

C.O’S.: I’m not overly concerned; I think music will always find a way. I do miss things, the long playing albums like you say, the cover art that isn’t so important anymore, sleeve notes, that kind of thing. Something like Bowie’s Low is hard to conceive as anything other than a two-sided record: listening to it straight on the iPod, it misses something; you feel like you have to turn over for the very different second “side”. But musicians are still making all kinds of great music and it’s still finding a way to get to us, so I’m happy enough about that, I guess. The novel will also endure. As an art form it’s too important not to.

D.H.: Desert island question: would you take a book or an album?  Which one?

C.O’S.: A book, something huge, like The Complete Shakespeare, or War and Peace. I already have music playing in my head 24 hours anyway. Even my dreams have a soundtrack and I wake up thinking: Wow, I haven’t heard that song in years.

D.H.: What type and color of hat are you wearing these days? 

C.O’S.: This grey one:

FullBW

D.H.: What are you reading and/or listening to? 

C.O’S.: On the current playlist: Sonny Rollins, Miles Davis, PIL, The Fall, Swans and Nick Cave/Warren Ellis.

Reading: Tim Winton’s Eyrie, Witold Gombrowicz’s Diary, and Kevin Barry’s short story collection Dark Lies the Island.

D.H. What does Colin do for fun?

C.O’S.: Music and books, what else is there? Actually I do enjoy watching football (that’s soccer to you David) movies, and good TV dramas too, the usual box set stuff that everyone loves, and if there’s a good comedy out there I’m on it, like Veep or Louie – boy, do we need a laugh in the world these days… but that’s another story, eh?

Reading when I write? by Colin O’Sullivan

April 29, 2015

BetimesBooksNow

“When something of literary merit affects you, then a sliver is naturally going to rub off on your prose.”

Read the full text here: Reading when I write?

 

Colin O'Sullivan is the author of Killarney BLues

“There’s only that unbidden quest to make a sentence sing…”

March 31, 2015

BetimesBooksNow

Why I Write

By Colin O’Sullivan

I write because I have to.

No message, no voice.

I write for it demands me.

Because I have no choice.

 

I wake and think of writing,

I go to bed the same.

All day I think of writing,

My antidote, my pain.

 

Nothing matters but the writing,

Not people, place or things.

There’s only that unbidden quest

To make a sentence sing.

 

When the writing stops I stop.

In this way it’s like breath.

I do it for I have to

And must continue until death.

 

Colin O’Sullivan is the author of Killarney Blues

St. Patrick’s Day Greetings from Colin O’Sullivan

March 17, 2015

BetimesBooksNow

St. Patrick’s Day Greetings.

Review of Richard Kalich’s Penthouse F

March 7, 2015

BetimesBooksNow

Colin O’Sullivan about PENTHOUSE-F by Richard Kalich

Colin O' Sullivan

– So we are going to do this like a courtroom drama, or an interrogation?

– Yes. We are. We are indeed.

– Why?

– Because most of the book is done in that style.

–  I see. Was the book impressive?

– Yes, very impressive. Mr. Kalich is a great writer.

– And he appears in the book too?

– Yes, if it really is him, if you know what I mean…you can call the book postmodern, or that he uses meta-narratives or…

– That all sounds a bit confusing.

– In theory yes, but it’s a very entertaining book. Says a lot about writing. And the creative process. It’s playful, but not flippant. We’re dealing with a serious artist here.

– Oh, really?

– “He’s an idiot. So disconnected . . . conflicted . . . torn apart.”

– What?

– Just joking. That’s actually a quote from the book. He often sidesteps you like that. Reminds you of…

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Hey, hey babe I’ve got blood in my eyes for you

February 11, 2015

BetimesBooksNow

“She takes out the tape from its box and inserts it into the stereo. Then she removes her flimsy dressing gown and crawls back into bed. Her legs feel heavy. She doesn’t know if she’s coming down with something or whether it’s the after-effects of last night’s dancing. She’s not as young as she’d like to be. There is a moment of hiss from the tape and she smiles faintly, then she hears the sound of Bernard’s voice.

“This one isn’t an original one now, Marian. This one is called Blood in my Eyes. It’s an old traditional made famous by the Mississippi Sheiks. But I like the version Bob Dylan recorded, too.”

The sound of strumming. Then an abrupt stop.

“Shit, that’s the wrong chord. Let me start again.”

She can’t believe she’s giggling girlishly in her own bed. If anyone saw her. Her mother would certainly censure her for this lack of sophistication.

She lies back with her hands behind her head. May as well enjoy the entertainment.

The guitar is strummed again, and Bernard sings softly.

Woke up this morning, feeling blue,

Seen a good looking girl, can I make love to you?

Hey, hey babe I’ve got blood in my eyes for you,

Hey, hey babe I’ve got blood in my eyes for you.

Marian pulls the covers up to her chin and closes her eyes.”

— Excerpt from KILLARNEY BLUES by Colin O’Sullivan

 

Available here: http://viewbook.at/KillarneyBluesOSullivan 

Colin O’Sullivan’s review of THE NIHILESTHETE by Richard Kalich

February 4, 2015

BetimesBooksNow

Colin O' Sullivan

Review of The Nihilesthete, by Richard Kalich (Betimes Books)

When social-worker Haberman finds a limbless wheelchair-bound man observing a street artist, it’s as if all his birthdays have come at once. He can now set about the task that he may always have been destined for, to take this unfortunate victim under his monstrous wing and systematically abuse him (mentally and spiritually) until he is somehow sated.

 

Why does he do this? What unfortunate events in his past have compelled him to carry out such atrocities? Wrong question. It’s like asking how Winnie got buried in sand in Beckett’s “Happy Days”: the fact is that she just happens to be buried in sand; the fact is that Haberman just happens to be this way, like Simenon’s Frank Friedermaier in Dirty Snow perhaps, bad to the bone. Those looking for easy armchair-psychology rationalizations have come to the wrong anti-hero.

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Colin O’Sullivan on Random pointless questions from rock music obsessives

January 28, 2015

BetimesBooksNow

Colin O' Sullivan

 Like the character of Bernard in my debut novel, Killarney Blues, many of my friends are music obsessives, the kind of people who wouldn’t be out of place in Nick Hornby’s High Fidelity.

These cardigan-wearers (to which I am a fully fledged and flouting member) often fire out pointless emails asking all kinds of random music questions. These have been happening for years, and the sad fact is that I have begun to cherish the arrival of these useless inquisitions.

Below are an example of some of the kinds of questions my muso buddies like to ask, and my deeply considered answers (we’re talking hours people, days). Please note also that these answers are liable to change. For example, when recently asked about my favourite Bowie album I instinctively answered Low, but on the following day could just have easily said Station to Station or Hunky Dory. Such is the kind…

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Kindle edition of GIFTS free this week!

December 17, 2014

BetimesBooksNow

Christmas is not always magic but good books always are.

Whether you love or hate Christmas, you might enjoy a good story.

Our collection GIFTS: NINE BITTERSWEET CHRISTMAS STORIES is free on Amazon this week: getBook.at/FREE_GIFTS

 

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KILLARNEY BLUES #1 in Australia

December 15, 2014

BetimesBooksNow

Congratulations to Colin O’Sullivan whose novel KILLARNEY BLUES is performing extremely well on Amazon Australia:

Amazon Bestsellers Rank: #2 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

 

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Capture KB AUS

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Promotion in Australia on Dec. 15: KILLARNEY BLUES (read excerpt)

December 12, 2014

BetimesBooksNow

Excerpt from KILLARNEY BLUES by Colin O’Sullivan

“Cathy is ignoring Janet’s requests to open the door. She stays in the same position. On the floor. On that nice soft carpet. Her legs are stretched out in front of her. Her head hangs low. She is a collapsed marionette. But who will pick up the strings and give her life again? Who will manipulate her now? Jack is no master puppeteer, but at least he spun her round and made her dance, for a while. Yes, she danced in that brief romance, and as she did so, she had no idea. No idea he had such evil in his hands, no idea the depth of the savagery, but it was all there in his eyes, as he beat that man, beat him till hot blood dried before her on the hard mud of that pernicious place. The scene replays over and over in her head. It will never go away. How could it? It’s going to take some amount of therapy, or some amount of alcohol or drugs, to obliterate it. She can still hear the crack of rock on skull, the quake that ran through her and for several seconds stopped her heart from beating; the aftermath is just as potent, tremors up and down her spine now. How can she get away from this?”

 

Available here: http://www.amazon.com.au/Killarney-Blues-Colin-OSullivan-ebook/dp/B00HFQCTPG/ref=sr_1_1?ie=UTF8&qid=1418308205&sr=8-1&keywords=Killarney+BLues

 

Killarney Blues

GIFTS on www.BookDepository.com

December 11, 2014

BetimesBooksNow

A limited print edition of GIFTS is now also available here: http://www.bookdepository.com/Gifts-Betimes-Books/9780992967444

Free delivery worldwide!

 

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Excerpt from Gifts: Bittersweet Christmas Stories by Colin O’Sullivan

December 3, 2014

BetimesBooksNow

From “Be Good for Goodness Sake” by Colin O’Sullivan:

“It is Christmas Day and they are having Christmas dinner, and Anita is trying her best to enjoy herself, trying to acclimatise. But the dreams keep coming back to her, the nightmares, the flashbacks, she doesn’t even have to be asleep, all she needs to do is stare blankly at the wall or the ceiling and the images play there, again, and again. It was this time, this holiday season, all those years ago. Anita watches the carving of the meat and notices how sharp the knife is and her skin tingles.”

 

CHRISTMAS OFFER!

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O'Sullivan 2

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E-book edition of GIFTS: Bittersweet Christmas Stories is here!

November 27, 2014

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“Outside your Bedroom Window in the Rain” by Colin O’Sullivan

November 24, 2014

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Colin O' Sullivan

Been struck down with the neck hernia thingy again, thus the posts here have been a bit scant.

Never  mind, I’m still rifling though old poems and stories and casting them out to see where they land. Who knows, there may be a “Collected Poetry” book someday, or a “Complete Shorter Fiction of”…you never know.

Here’s a poem, from the mid-nineties I reckon. Another one about rain (must be the Irishman in me).

Outside your Bedroom Window in the Rain

Wrapped,

a warm blanket,

your rich black hair

festoons the pillow.

Wrapped

in home things:

the soft rug that

takes to your toes,

the piano

you tinkle

every now and then,

the grandfather clock

and its quaint chime.

No need to stir

I’m outside

upping my umbrella.

Rain beats a thousand rhythms,

we’re both as sheltered.

Tonight you do not hear my puddle dance,

tomorrow you will not know my…

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