Posts tagged ‘Colin O’Sullivan’
October 31, 2018
October 22, 2018
October 1, 2018
During the whole month of October, readers in the UK & Ireland can buy The Dark Manual here for £0.99!
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
August 7, 2018
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:
Exciting Poetic Thriller
4 August 2018 – Published on Amazon.com
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.
May 17, 2018
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
May 2, 2018
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
April 16, 2018
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
January 22, 2018
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
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.
November 27, 2017
Vote for your favourite Betimes Books cover for a chance to win a print copy of one of our books!
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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.
List of Titles
- The Painter’s Women
- Permanent Fatal Error
- The Red-Handed League
- The Death of Tarpons
- La Frontera
- The Last Island
- Central Park West Trilogy
- Dirty Pictures
- Silk for the Feed Dogs
- The Insider’s Guide to Betrayal
- Borderland Noir
- The Angel of the Streetlamps
- Killarney Blues
- The Starved Lover Sings
- Reach the Shining River
- In Love with Paris
- One True Sentence
- Forever’s Just Pretend
- Toros & Torsos
- The Great Pretender
- Roll the Credits
- The Running Kind
- Head Games
- Print the Legend
- Death in the Face
- Three Chords & the Truth
May 25, 2017
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”…