Skip to content

Posts tagged ‘Colin O’Sullivan’

October treat: Amazon UK promotion for Colin O’Sullivan’s novel “The Dark Manual”

October 1, 2018

BetimesBooksNow

During the whole month of October, readers in the UK & Ireland can buy The Dark Manual here for £0.99!

This is, of course, a Kindle edition. Print edition is also available on Amazon, the Book Depository (free delivery worldwide), etc.

Or maybe you prefer to watch it on TV? It’s coming, but it will take a bit of time, so why not discovering the novel now?

More about The Dark Manual here

Meet the author: Colin O’Sullivan

 

“Novels are all about commitment” – Colin O’Sullivan’s profile in Books Ireland Magazine

September 12, 2018

BetimesBooksNow

Colin O’Sullivan, author of Killarney Blues (Winner of the Prix Mystère de la Critique 2018 in France), The Starved Lover Sings and The Dark Manual, features prominently in the latest issue of Books Ireland Magazine.

Nostalgic or futuristic, even visionary, his novels focus on characters “grappling with loss, the past and their lack of purpose”, in a turbulent political environment. But O’Sullivan firmly believes that “we have enough inside us to withstand, to cope, and eventually to surpass. We are still here, after all, or I should say, despite all.”

Meet a writer who “has an understanding of the power of words, their placing, their specific meaning” and “reflects the current malaise and modern preoccupations”*, “sends language out on a gleeful spree, exuberant, defiant”**, and who is “one of the finest storytellers out there, a lyrical master of the written word”***.

Books Ir & Colins books

* From a Book Noir review by Paul Burke

** Endorsement by writer Niall Griffiths

*** From a review by Marvin Minkler, Modern First Editions

 

 

 

More praise for “The Dark Manual”

September 11, 2018

BetimesBooksNow

Review published on Book Nudge / Book Noir, August 31, 2018.

The Dark Manual defies easy categorisation; it’s a literary novel, a very desperate tale of love and loss, a noir thriller, of real and imaginary threats and a sci-fi speculation (which could be read as prescient future gazing). O’Sullivan has carved himself a distinct niche in the blackly comic noir world. The Dark Manual proves that he is as comfortable writing about Japan, the place where he has lived for many years, as he was writing about his native Ireland in his earlier novel Killarney Blues. The Dark Manual is a mature rounded work, assured and confident, at times lyrical and beautiful but also punchy and sharp. Susie Sakamoto’s bleak world is painful and depressing but compelling and honest. Yet this isn’t a hard read, it’s engaging, inventive and thought-provoking.

So The Dark Manual takes us into the world of Susie Sakamoto, an Irish woman trapped in a nightmare since the disappearance of her husband and son, Masa and Zen, in a terrible plane crash at sea. Susie is alone in her grief, except for the homebot, Sonny.

“Her deep despair. Her piteous and addle-egged mind….Gravity pinning her right down. Gravity seems so much heavier these days; her bones, now leaden and so hard to move. She is rooted. Rooted to this spot. So firmly, so horribly stuck.”

The description of Susie’s home life is so stark and brutal, it could be an interior scene from Blade Runner 2049. As Susie sprawls on the couch unable to relieve the torpor she is irritated by the hoover, is it just a symptom of her malaise or something more insidious? Her life is managed by the homebots, particularly Sonny, model SH.XL8. Susie can cook, she can clean, she used to be able to manage her life, but now the machines do all the work. Even though she doesn’t want to acknowledge their presence they become one of her only means of discourse. Sonny is male, he responds to commands, but is there a touch of sarcasm in his answers, an independence, is he manipulating her life? Is Sonny arguing with her? For the reader the exchanges with the homebot are witty, for Susie they are both necessary, invasive and disturbing. Did she ask the health information monitor to tell her, her weight, to suggest a revision in her diet?

Susie is adrift after the death of her family, mired in grief and not coping. She was a confident woman working for an online news outlet compiling a column: “a foreigner’s interpretation of Japan”, which was translated from English to Japanese by machine and checked, but rarely corrected, by a sub-editor. She’s not ready to return to work and fills the void with bars and booze with her friend, Mixxy. Are her problems with the robots in her head, are these computers a benign or malignant force. What is The Dark Manual, and what did her husband have to do with it?

There are so many facets to this novel, subtleties to the story, but I have want to concentrate on three major themes. Grief – this is a study of a woman on the edge of a nervous breakdown, suffering the profound grief of losing her loved ones (grief the devouring monster). It’s grief in an alien environment, or perhaps more accurately, the realisation that any environment becomes alien when grief strikes. Susie’s grief is all she is left with in the world where she has so little real contact to other humans, where everything is done for her by machines but nothing fills the void. Artificial intelligence – the fear of a future in which we may not be in charge, think of a more intellectual Humans (the Channel 4 series). It’s deja vu, the re-emergence of Frankenstein’s monster, except this time there is a genuine concern that the machines will outstrip us. Will we be consumed, altered, rendered helpless by machines? Truth and memory – was Masa the man she thought he was? We all want to believe we know the people who are close to us but do we really know others? What if the human impetus for the robot programmes is not benign? O’Sullivan has an understanding of the power of words, their placing, their specific meaning, that reminded me a little of Bernard MacLaverty’s use of language to conjure images in Cal. This bleak, but also witty novel is a philosophical musing on what we are and how we respond to life; grief, the future, a world inhabited by AI. The dystopian future has been the staple of sci-fi (1984, Brave New World). This is a modern novel that reflects the current malaise and modern preoccupations. As a thriller this is a page turner, a really intriguing read.

The publisher, Betimes Books, is about to announce a major film deal for the The Dark Manual, which will be one to keep an eye out for. [SOON!!!]

If you like The Dark Manual I would thoroughly recommend O’Sullivan’s earlier novel Killarney Blues, an unconventional crime novel of small town living in Killarney – everyone seems to be in a funk. Bernard Dunphy loves American Blues but he’s troubled by his father’s suicide. The sins of the past always have ramifications in the present. A sudden violent act has an impact on Bernard and the young people of the town. Killarney Blues is engrossing, witty, depressing and uplifting. Winner of the Prix Mystère de la critique 2018.

Paul Burke

The Dark Manual by Colin O’Sullivan
Betimes Books 9780993433177, May 2018

Original review here: https://nudge-book.com/blog/2018/08/the-dark-manual-by-colin-osullivan/

“Exciting Poetic Thriller” – exactly!

August 7, 2018

BetimesBooksNow

We just have to share this reader’s review! It’s wonderful when somebody REALLY gets the book! Thanks to @fatorange23, whoever he/she is, for sharing this with other readers:

5.0 out of 5 stars Exciting Poetic Thriller

4 August 2018Published on Amazon.com

Format: Paperback

In order to be a great writer one’s style must be distinct. However, by daring to have a distinct voice a writer runs the risk of annoying or irritating the reader. O’Sullivan implements an obvious technique that’s often tried but very rarely succeeds. He builds the foundation of the plot with brief passages that are equal parts poetry and prose.

Honestly, if someone told me that I would NOT be inclined to read the book because I’ve seen it fail so many times. But the reason why it almost always fails is the poetry (or maybe more correctly put the poetic prose) doesn’t advance the plot. Usually, it will only serve to re-establish something. O’Sullivan advances the plot, economically even, while showcasing his skill as a poet – all the while, keeping the reader fully engaged and turning the pages.

I read comparisons to Murakami, Aldiss, and even Black Mirror writers. I love all that stuff but I personally think O’Sullivan offers us something we really needed much more deeply: a modern-day Edgar Allan Poe. Horror that dares to be great.

Does it get any better than that?
viewbook.at/TheDarkManual

A glorious review of Colin O’Sullivan’s new novel “The Dark Manual”

June 15, 2018

BetimesBooksNow

Isaac Asimov had Three Laws of Robotics:

1. A robot may not injure a human being, or through inaction, allow a human being to come to harm.

2. A robot must obey orders given it by human beings, except where such orders would conflict with the First Law.

3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Asimov’s laws are sourly tested in Colin O’Sullivan’s new novel, The Dark Manual. The author, Winner of the Prix Mystère de la critique 2018, just gets better with each book, and with this, his third, he is becoming one of the finest storytellers out there. His prose keeps one glued to the page, with delightful concentration.

Colin O’Sullivan does not write a bad line. His characters become a part of the reader as they turn the pages, and they dwell in the mind between reads. I found myself setting the book down, two or three times, but not able to leave it until I picked it up again, and read some more. Colin O’Sullivan’s writing style reminds me so of jazz, with its one-word, then two-word, then three-word sentences. Bop, bop, bop-bop, until you realize you have read a paragraph, then onto a new riff. Lyrical, powerful, humorous, poetic, emotional. He is a lyrical master of the written word. There are sections of the book that are heartbreaking, in their emotional and physical sense of loss, and moments of humor, surprise, suspense, pure sudden horror, and stark naked joy.

Susie Sakamoto, came from Ireland, to live in Japan with her husband, Masa, who designed and built “homebots,” domestic robots. Their primary role: clean the home, cook, make drinks, tend to the owner, and stand still in the corner when turned off for the night.

With their little boy, Zen, Masa and Susie have a happy life, until the day when Susie bids goodbye to her son and husband at the airport, where they are setting off on a trip to South Korea. A trip that becomes a tragedy when an errant missile launched from North Korea causes the plane they are on to break apart, its pieces and bodies of those on board falling into the sea. Her dear husband and darling son, suddenly gone. Their bodies never recovered.

Susie now spends her days in a deep depression, going over the what-ifs, coming to hate the homebot that lives with her, and staying drunk most of the time. Appearing at work, where she is a reporter, occasionally, but contemplating suicide, and spending nights in a bar getting wasted and mourning the tremendous loss she has suffered. A drunken Irishwoman in Japan, with little reason to get up in the morning, except to order the home robot to bring her another drink, while outside, in the trees, the owls are gathering, as if something was amiss.

At the bar she hangs out at each night, Susie becomes somewhat friendly with the ultra free spirit and flamboyant Mixxy Makanea, a Japanese woman who speaks English, and pretty much does what she wants, when she wants, and with whomever she wants. When Mixxy struts into a bar, all heads turn. Green streaked hair, fishnet stockings, glossy lips, and just a touch of white powder under her nostrils, she is ready to steal the evening. Mixxy is one of the great characters from the author. With her flash flamboyance and pizzazz, she colors the novel with her profane antics, and so-what attitude. Mixxy also feels the presence of the owls. Knows they are in the trees. Watching.

Susie continues to struggle with whether to live or die and blacken it all out once and for all. Her anguish palpable. Her loss profound. Her hatred for the annoying domestic robot growing each day. Then she begins to hear about the Dark Manual, a legendary means to shut off all the machines, that might or might not exist. Susie starts thinking that if she could find it, she could shut the damn thing off. Shut them all off. If she gets Mixxy to help her, could they find it? Did her husband write it? Is it close by, within her reach?

Meanwhile the homebot waits. All the homebots wait. Lights flashing on and off. Eerie sounds emitting from where there mouth would be. Do they come into the bedroom at night to watch the sleeper? Are they capable of harm? If Susie and Mixxy find the Dark Manual, will the machines know, and try to stop them from shutting them down? Can they think? Can they communicate with other homebots? Are they evil?

Worst of all, can they kill?

Meanwhile, outside, more owls gather in the trees, and now also the crows. They too gather and caw in the trees and rooftops. More and more of them. Watching. Waiting.

–Marvin Minkler of Modern First Editions

read an excerpt here

Is your home robot cute?

May 17, 2018

BetimesBooksNow

Another short excerpt from Colin O’Sullivan’s new novel, THE DARK MANUAL, for your enjoyment:

“Where’s your ‘bot?”

“It’s shut down for the evening. I’m sick to death of listening to the fucking thing.”

“Oh, bring him in. I want to see him.”

Susie hates the personal pronoun. Calling it a him. Zen was a he. Masa was a he. Her father and grandfather, now they were hes and hims. Cars were forever referred to as she by men, and ships and boats too. Maybe the he could actually be refreshing, and feminists the world over could rejoice together in the knowledge that not all machines in servitude would be referred to as female. There’s a thought. There’s probably even an article in that.

“Command system on!”

There is silence for a moment; Mixxy in particular is holding her breath in anticipation. They don’t have to wait long.

“Coming, Miss Susie!”

Sonny glides into the living room.

“He does call you Miss Susie! That’s so fucking cute.”

Looking down upon its silver frame and stiff comportment, Mixxy gasps with delight. Susie frowns in habitual scorn.

“Hi, I’m Mixxy. Nice to meet you.”

Sonny extends its hand like a well-mannered child; Susie wouldn’t be surprised if it suddenly sprouted impeccably combed hair with a cow’s lick to boot.

“Nice to meet you, Miss Mixxy.”

It is able to differentiate between male and female voices, so Mixxy gets her accordant Miss. Susie hopes that it will get overused to the point where Mixxy will look for the nearest available hatchet.

“Wow, you are so handsome, little guy. Much more handsome than mine.”

“Don’t they all look exactly the same?” asks Susie.

Susie had seen the factory, and the scores of them lined up there. She’d seen the catalogues. Her husband had designed the bloody things, for God’s sake, so she should know a wee bit about them. They were all identical. There was nothing handsome about hers.

“When you get to know them they start to show their own personality. Even their faces start to change. Don’t you think? Can you not see it?”

“No. I can’t.”

“This one…already. He seems so full of life. And joy. And a right little charmer too.”

Susie is still thinking about hatchets, pickaxes, or what was that weapon the young boys used to talk about when they were young and playing at war games? What was it called? A bazooka! That was it. Bazooka! Susie wants a bloody bazooka! It may be not the greatest thing ever invented, but surely, it is the greatest-sounding word.

The homebot’s face looks up to directly engage with the house guest.

“Would you like anything to drink, Miss Mixxy.”

“And so well-programmed! Or does he just see into my soul? Your husband did such a good job with this one. Yes, Mr. Sonny. I will have something to drink.”

“Make two cups of coffee, Sonny. We’ve got work to do.”

The Dark Manual is available for readers in the UK and Ireland, as well as on all Amazon sites except USA and Canada
viewbook.at/TheDarkManual

 

 

Interview with Colin O’Sullivan in Your Secret Library

Project

A few days before the release of Colin’s third novel, THE DARK MANUAL, a Trinity College Dublin graduate Polly Young interviews her fellow Trinity College alumnus for Your Secret Library Magazine:

Colin O’Sullivan is a poet and a novelist, author of Killarney Blues (2013), The Starved Lover Sings (2017), and The Dark Manual (May 2018), published by Betimes Books. His first novel, Killarney Blues, has won the prestigious “Prix Mystère de la critique” in France.

Excerpt from “The Dark Manual” by Colin O’Sullivan

May 2, 2018

BetimesBooksNow

From Chapter 3:

Susie suddenly lashes out, sending the cereal bowl flying from the counter out into kitchen space. It smashes to pieces against a side cupboard and lays silent on the floor in thick white shards.

“Turn it off,” she shouts.

“Yes, Miss Susie.”

The grey woman on the grey beach vanishes and there is nothing but the silence of a woman and her mechanical charge in a lonely kitchen, once more.

The homebot moves tentatively towards the broken bowl. It looks up at Susie and waits a second before softly inquiring:

“Shall I clean the floor, Miss Susie?”

Susie stares at him. Even if she wanted to hide her disgust she’s not sure she could manage it.

“You don’t even know, do you?”

“Know what, madam?”

Susie laughs. Madam! That’s a good one – Masa programmed that word in too, no doubt. Was that meant to impress? Who was it meant to impress? It all seemed like such a sick prank now.

“Don’t madam me. Your Miss Susies are annoying enough. If Masa thought that was some kind of joke…to have you all polite and…you don’t even know what happened, do you? Last night, again you said: Mr. Masa recommends you take some herbal tea. Remember that? In your shitty, horrible voice. The present tense. You haven’t figured it out, have you? That the present tense is no longer viable. What you should have said was: Mr. Masa used to recommend you take herbal tea. Used to. When he was alive. When he breathed and laughed and sang bad karaoke in bad bars. Before he was blown to smithereens. But how could you know that? How could you know?”

Susie’s eyes are malevolent now and she feels them flaming red in her sockets. They sting and burn: late nights, scalding tears, the sourness of spirit and no clear target of recrimination.

“You haven’t a clue. Or, if you do…no, you can’t process it at all, can you? I mean, a mere mortal such as I, a stinking bloody human can hardly process it, so how could a thing, without blood…a thing…even…”

The words are choking her and she can no longer spew them out. She has exhausted herself. The confusion of her thoughts. Could it know? But how could it know if Masa was not there to program…or, has it been programmed in such a way that all news feeds become part of its knowing? When a dog’s master doesn’t come home from the hospital, does it know that it is dead? Does a dog know about death? Or simply that its master is absent? Does a homebot know that its master is no more? And if it does, does it care? The breakfast milk feels like it is curdling inside her, her guts clenching, her blood pressure is high and rising.

Sonny bends to the mess on the floor. With an outstretched hand and with dexterous digits it goes to pick up a shard of ceramic but is halted by Susie’s command.

“Leave it. What difference does it make?”

The homebot freezes in its half-bent position. How fast it is to respond to her every utterance. How quick its every perception. She flings her spoon, hitting it on the head and making a pinging sound, but the homebot shows no reaction, not an ounce of emotion.

“Doesn’t even hurt, does it? How the fuck could it?” Susie says, breathlessly.

Sonny rises to its full height.

“Miss Susie, I…”

“I’m going to be late. Bring the car round.”

coming out on May 15

e-book available for pre-order

“Colin O’Sullivan writes gloriously”

April 16, 2018

BetimesBooksNow

In Tom Russell’s song about Lightnin’ Hopkins, ‘Scars on His Ankles,” he writes of Lightnin’s scars on his ankles where the chain from the chain gang cut his skin. In Colin O’Sullivan’s jewel of a first novel, Killarney Blues, winner of the “Prix Mystere de la critique,” in France, the main characters also have scars, but they are the emotional ones, ones that were thought to be buried, ones that lie scratching deep beneath the surface of their skin, never to be forgotten.

Thirty year old Bernard Dunphy is a jarvey by trade, driving a horse-carriage, that carries the many tourists, who flock to the lovely Irish town of Killarney each year. Pulled by his old worn-out, dying, but gallant horse, Ninny, Bernard is considered by most a town weirdo. Gap-toothed, overweight, and grubby in his old tobacco and sweat stained black coat, that he wears on even the warmest of days. Walking alone through the town, large headphones in place, listening and mumbling along with the likes of blues-man Son House, as his raw, passionate, stomping sound tears up out of his body and soul, filling Bernard’s ears. “That rhythm is the beat of Bernard’s heart.”

He knows all the old blues-men, from Muddy Waters to Howling Wolf, Sleepy Ma Rainey, John Estes, and Robert Johnson. They are his heroes, and Bernard cannot get enough of them. In his small room alone at home with his guitar and voice, he records blues songs, then gives them to his childhood crush, and love of his life, the beautiful Marian, though she is less than pleased about it. In fact, her two childhood friends, Cathy and Mags, delight in teasing her relentlessly about poor old goofy Bernard’s ongoing devotion to her.

Bernard’s other childhood friend is the handsome, popular footballer, heavy drinker and ladies man, Jack Moriarty. Jack is supposed to be Mags steady, but he is spending a lot of bed time with her best friend Cathy behind Marian’s back. Bernard and Jack share a dark secret that remains a scar on their souls from a terrible night back when they were little boys, young and innocent. A terrible night that also scared Bernard’s father John Dunfey, who also loved the blues and taught Bernard to play, and his mother, Brigid, who smothers Bernard with love and devotion, since her husband John Dunfey’s questionable death by drowning in the lake. They only have each other, a home that once held lovely memories, but also a never-mentioned shameful secret. A secret that during this green, glorious summer will finally scratch through their skins, and alter all their lives.

The green and blue lake beauty of Killarney, Ireland, runs through this wonderfully written novel, and the blues are the glue that holds it all together. Colin O’Sullivan writes gloriously. Hope, frailty, sadness, joy, resilience and surprise. The novel jumps back and forth in time and character viewpoints, but never once does it alter in any way the grand flow of this lyrical and compelling story as it moves forward. The reader carried along steadily, and then hurriedly, as the pages fly by a bit faster, eyes reading in a hurry to find out what happens next, until finally the last paragraph, and a large smile spreads across the face.

Killarney Blues is what the pleasure of reading a totally enjoyable novel is all about.

–Marvin Minkler, Modern First Editions

Original review: https://www.facebook.com/MarvinMinklerModernFirstEditions/posts/1498995423542236

Colin O’Sullivan wins the “Prix Mystère de la critique” in France for “Killarney Blues”

March 26, 2018

BetimesBooksNow

Congratulations to Colin O’Sullivan, Winner of a prestigious crime fiction award in France: the Prix Mystère de la critique!

Previous winners include:

Don Winslow, Daniel Woodrell, Dennis Lehane, Boris Akunin, Donald E. Westlake, Henning Mankell, James Ellroy, Michael Connelly, Thomas Harris, and many other fabulous writers from around the world.

Colin O’Sullivan’s “KILLARNEY BLUES” is on RTL!

January 22, 2018

BetimesBooksNow

Colin O’Sullivan‘s novel KILLARNEY BLUES (French translation, Éditions Rivages, Sept. 2017) is on the RTL radio (C’est à lire – To be read)!

“This first Noir novel from Colin O’Sullivan is magnificent, very finely written, and profoundly sad. To be savoured while drinking a Guinness and listening to some old blues, by Muddy Waters or Bessie Smith. And if rain knocks on the window glass, like in Killarney, it’s even better.”

C’est à lire : “Killarney Blues” de Colin O’Sullivan

Bernard Poirette, Journaliste RTL

À Killarney, charmante bourgade irlandaise, Bernard Dunphy passe pour l’idiot du village. Il n’a pas trente ans, s’habille hiver comme été d’un lourd manteau de laine et conduit d’une main sûre sa calèche à touristes tirée par sa vieille jument Ninny.

Bernard a toujours le sourire. Il est légèrement autiste. Ça ne l’empêche pas d’avoir deux passions dans la vie : le blues et… Marian, la sublime Marian, qu’il courtise à sa façon, en lui envoyant des cassettes de ses chanteurs préférés. Bernard, c’est en quelque sorte la face lumineuse de Killarney.

Pour le reste, la petite ville a essentiellement du sombre à offrir. La violence perverse de Jack Moriarty, une brute épaisse, sur les terrains de sport comme dans le lit des filles. Parlons des filles, justement : Mags et Cathy, l’officielle et la maitresse de Jack, qui noient leur temps libre dans des pintes de Guinness en attendant le prince charmant. Qui bien sûr ne viendra pas ; rebuté peut-être par les 250 jours de pluie annuels sur Killarney. Rebuté sans doute aussi par les fantômes qui hantent la petite ville… à commencer par celui de John, volontairement noyé dans le lac et dont les lourds et terribles secrets remontent à la surface, comme des cadavres gonflés. C’est tout cela, l’innocence de Bernard et la laideur du monde alentour qui vont se percuter, l’espace de quelques jours, à Killarney, comté de Kerry.

Ce premier roman noir de Colin O’Sullivan est magnifique, très finement écrit et infiniment triste. A déguster en buvant une Guinness et en écoutant un vieux blues de Muddy Waters ou Bessie Smith. Et si, comme à Killarney, la pluie frappe les vitres au dehors, c’est encore mieux.

Christmas Prize Draw!

November 27, 2017

BetimesBooksNow

Vote for your favourite Betimes Books cover for a chance to win a print copy of one of our books!

  1. The Prize Draw is open to people aged 18 and over who provide their email address by voting for their favourite cover and would be happy to provide their postal address if they win.
  2. Please select your favourite cover and send us your vote by email, to betimesbooks@gmail.com with “My favourite cover” as Subject.
  3. No purchase is necessary!
  4. Only one entry per person. Entries on behalf of another person will not be accepted and joint submissions are not allowed.
  5. Two winners will be chosen from the draw of votes: the person who was the first to vote for the most popular cover + one random draw.
  6. The winners will be notified by email on Monday, December 4, 2017.
  7. The prize will be sent to the winner by post.
  8. The prize is non-exchangeable and is not redeemable for cash.
  9. The first name and country of the winner will be announced on this blog and Betimes Books Twitter, Facebook and Instagram accounts. The winners are most welcome to share their prize in social media tagging Betimes Books.
  10. The closing date of the Prize Draw is 23:59, Dublin time, on the 3rd of December 2017.Votes received outside this time period will not be considered.

All our covers are designed by JT Lindroos.

If you wish to have a closer look at each cover, go to our Home page.

You can also see the back covers of the print editions on Amazon. We’ve provided the links below.

Fav. cover contest Dec2017-page-001Fav. cover contest Dec2017-page-002

List of Titles

  1. The Painter’s Women
  2. Permanent Fatal Error 
  3. The Red-Handed League
  4. The Death of Tarpons
  5. La Frontera
  6. The Last Island
  7. Central Park West Trilogy
  8. Dirty Pictures
  9. Silk for the Feed Dogs
  10. Francesca
  11. The Insider’s Guide to Betrayal
  12. Borderland Noir
  13. The Angel of the Streetlamps
  14. Killarney Blues
  15. The Starved Lover Sings
  16. Reach the Shining River
  17. In Love with Paris
  18. One True Sentence
  19. Forever’s Just Pretend
  20. Toros & Torsos
  21. The Great Pretender
  22. Roll the Credits
  23. The Running Kind
  24. Head Games
  25. Print the Legend
  26. Death in the Face
  27. Three Chords & the Truth

Video extract from “The Starved Lover Sings”

May 25, 2017

BetimesBooksNow

This novel is O’Sullivan’s second, after Killarney Blues, published by Betimes Books in 2013. It takes place in a world transformed by disaster: earthquakes, tsunamis, floods, nationalist and corporate mergers, roaming wolves. The Starved Lover Sings is a fever dream of a world at the end of its rope.

Our protagonist, and in many chapters our narrator, is Tombo, a PE teacher and soccer referee.

In this excerpt, our antagonist is one of the two teenage girls, called Ferocity and Velocity, or Tink and Tank, or Weal and Woe, or Tooth and Nail, or Bado and Sado — whatever suits them at the moment — who develop an obsession with Tombo and decide he’s “the one”…

 

An unmissable book at an unbeatable price

August 9, 2016

BetimesBooksNow

81801
Bring New York on holidays with you with this August promotion of Richard Kalich‘s Central Park West Trilogy : it’s only £0.99 on Amazon UK until the end of the month!

***

– 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…RK on his terrace with view-page-001

– 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?

***

Read the full review of Penthouse F, one of the novels in Central Park West Trilogy, on Colin O’Sullivan’s blog.

***

Cover image and art © Bernard Piga

Today: Colin O’Sullivan’s choice

December 28, 2014

BetimesBooksNow

Griffiths cover

“I think we ought to read only the kind of books that wound or stab us. If the book we’re reading doesn’t wake us up with a blow to the head, what are we reading for?” Franz Kafka

In an alternative translation of the above Kafka quote, “wound” and “stab” are written as “bite” and “sting”, Sheepshagger by Niall Griffiths does all these things to the reader, and then some.

In ecstatic prose and with raw energy and furious rhythms Griffiths brings you on a wild ride in the Welsh countryside with the unhinged “scruffy skinny spotty” Ianto, an almost mute, feral savant-ish youth who roams the mountains intoxicated not only with drink/drugs but with his own feverish imaginings. This is quite possibly the best British novel in the last twenty years, an exhilarating ride, and an unforgettable read.

You can have your Jonathan Franzens with their mild social comedies, but anyone who craves for their servings of viscera, then this is the real daring deal. Like all the best writers writing today (Banville, Delillo, Ford) he makes you care about sentences. In fact he makes you want to do two contradictory things: he makes you want to pick up a pen and try out your own rich metaphors (the purple-ness can be utterly inspiring), and he also makes you want to never pick up a pen again, because you can never do it this well.

Confrontational, often outrageous, criminally ignored (too dangerous for the Booker?), this is the kind of novel Kafka meant, so take a jaunt on the wild side.

It might have been lazily billed the Welsh Blood Meridian by some, but Sheepshagger stands singular in its own right, and it set the standard for writing excellence at the beginning of the new millennium.

***

Colin O’Sullivan is the author of KILLARNEY BLUES