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The Big O
Karen's easy life as a receptionist and armed robber is about to take a turn for the worse. Rossi, her ex, is getting out of prison any day now. He'll be looking for his motorcycle, his gun, the sixty grand he says is his, and revenge. But he won't be expecting Ray, the new guy Karen's just met, to be in his way. No stranger to the underworld himself, Ray wants out of the kidnapping game now that some dangerous new bosses are moving in. Meanwhile Frank, a disgraced plastic surgeon, hires Ray to kidnap his ex-wife for the insurance money. But the ex-wife also happens to be Karen's best friend. Can Karen and Ray trust each other enough to work together on one last job? Or will love, as always, ruin everything? From a writer hailed as "Elmore Leonard with a hard Irish edge" ( Irish Mail on Sunday ), Declan Burke's The Big O is crime fiction at its darkest and funniest.
279 pages, Hardcover
First published September 22, 2008
8 people are currently reading
167 people want to read
About the author
Declan Burke
22 books86 followersDeclan Burke is the author of four novels: Eightball Boogie and Slaughter's Hound, both featuring the private eye Harry Rigby; Absolute Zero Cool; and The Big O.
Crime Always Pays, a comedy crime caper, will be published by Severn House in 2014.
He is also the editor of Down These Green Streets, a collection of essays, interviews and short fictions about the rise of Irish crime writing.
With John Connolly, he is the co-editor of Books To Die For, a collection of essays by the world's leading crime writers on the subject of their favourite crime novels and authors.
Eightball Boogie, Absolute Zero Cool and Slaughter's Hound were all shortlisted in the crime fiction category for the Irish Book Awards.
Absolute Zero Cool won the Goldsboro Last Laugh Award at Crimefest 2012.
Praise for Declan Burke:
“A fine writer at the top of his game.”
Lee Child.
“Prose both scabrous and poetic.”
Publishers Weekly.
“Proust meets Chandler over a pint of Guinness.” The Spectator.
“A sheer pleasure.” Tana French.
“A hardboiled delight.” The Guardian.
“Imagine Donald Westlake and Richard Stark collaborating on a screwball noir.” Kirkus Reviews (starred review).
“The effortless cool of Elmore Leonard at his peak.” Ray Banks.
“Among the most memorable books of the year, of any genre, was ABSOLUTE ZERO COOL.” Sunday Times.
“The writing is a joy.” Ken Bruen.
“A cross between Raymond Chandler and Flann O’Brien.” John Banville.
Crime Always Pays, a comedy crime caper, will be published by Severn House in 2014.
He is also the editor of Down These Green Streets, a collection of essays, interviews and short fictions about the rise of Irish crime writing.
With John Connolly, he is the co-editor of Books To Die For, a collection of essays by the world's leading crime writers on the subject of their favourite crime novels and authors.
Eightball Boogie, Absolute Zero Cool and Slaughter's Hound were all shortlisted in the crime fiction category for the Irish Book Awards.
Absolute Zero Cool won the Goldsboro Last Laugh Award at Crimefest 2012.
Praise for Declan Burke:
“A fine writer at the top of his game.”
Lee Child.
“Prose both scabrous and poetic.”
Publishers Weekly.
“Proust meets Chandler over a pint of Guinness.” The Spectator.
“A sheer pleasure.” Tana French.
“A hardboiled delight.” The Guardian.
“Imagine Donald Westlake and Richard Stark collaborating on a screwball noir.” Kirkus Reviews (starred review).
“The effortless cool of Elmore Leonard at his peak.” Ray Banks.
“Among the most memorable books of the year, of any genre, was ABSOLUTE ZERO COOL.” Sunday Times.
“The writing is a joy.” Ken Bruen.
“A cross between Raymond Chandler and Flann O’Brien.” John Banville.
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Displaying 1 - 28 of 28 reviews
February 22, 2015
What do you get when you take a crew of wild, willful, quirky, criminal characters, load them with drugs and alcohol, and let them try for easy money?
Ha! It was a trick question! You get bored! Burke's problem is: his book has only weirdos. Nobody to like, nobody to relate to. Any one or two of these bizarros would be hilarious, if let loose in the real world, but unfortunately they're locked up in Burke's zoo: a place populated only by other crazies. Why is the Kramer character from Seinfeld funny? Because he doesn't fit in to all the normal situations with all their normal characters in the real world.
Burke has created a world where everybody is a kidnapper, an armed robber, or some random whacko-wannabe. It's easy to predict what will happen when they come together: they'll act stupid. But it's hard to care.
If that wasn't lame enough, Burke takes two-thirds of the book to get the story going, so for 200 pages it's just crazy assholes, banging into each other. Too much of a good thing is terrible. Burke needs to trade his crazy characters to Brian Freeman for a depressed, traumatized workman and a detective to be named later. It would liven up Freeman's trademark dreariness, and tone down Burke's jittery, irrational meth high.
Ha! It was a trick question! You get bored! Burke's problem is: his book has only weirdos. Nobody to like, nobody to relate to. Any one or two of these bizarros would be hilarious, if let loose in the real world, but unfortunately they're locked up in Burke's zoo: a place populated only by other crazies. Why is the Kramer character from Seinfeld funny? Because he doesn't fit in to all the normal situations with all their normal characters in the real world.
Burke has created a world where everybody is a kidnapper, an armed robber, or some random whacko-wannabe. It's easy to predict what will happen when they come together: they'll act stupid. But it's hard to care.
If that wasn't lame enough, Burke takes two-thirds of the book to get the story going, so for 200 pages it's just crazy assholes, banging into each other. Too much of a good thing is terrible. Burke needs to trade his crazy characters to Brian Freeman for a depressed, traumatized workman and a detective to be named later. It would liven up Freeman's trademark dreariness, and tone down Burke's jittery, irrational meth high.
February 6, 2018
Das hat richtig Spaß gemacht. Ein Gauner-Krimi, wie ihn sich Elmore Leonard nicht schöner hätte ausdenken können. Mit ganz viel Rafinesse und Sprachwitz: "Doug machte ein Geräusch wie eine feuchte Tapete, als er sich vom Laken löste." Declan Burke? Den merk ich mir!
March 6, 2014
Drawing upon dark humour and clever use of coincidence, Declan Burke’s THE BIG O is a kidnap caper that’s violently funny and is written in a manner eerily reminiscent of Elmore Leonard. The kidnapper, Ray, doubles as a painter; an occupation he readily uses to scope his targets. Wanting to retire from the business, Ray takes on one last job to snatch the wife of a doctor for the purpose of netting some insurance cash. Along the way Ray becomes involved with the doctors receptionist and later discovers the target and Karen (receptionist) know one another, having formed a common bond in despising the no-so-good doctor.
Karen is the strongest character here; it’s her past that catches up to Ray and throws the scheme off balance when a former boyfriend is released from prison. Demanding a stash of cash, gun, and bike – all of which Karen is unable to return proves to be the catalyst for a train wreck of unfortunate events that turn a simple snatch and grab into a deadly showdown.
I really liked Burke’s easy flowing narrative and inventive characters. While coincidence upon coincidence has a tendency to become unbelievable and disinteresting, in THE BIG O it actually works. Each scenario is plausible (if you suspend your belief a tad) and down right funny. The light hearted nature to the serious scheme complements these characters perfectly. I liken the overall style to a cross between Elmore Leonard, Victor Gischler (SHOTGUN OPERA), and Carl Hiaasen. Dubbed a screwball noir – the subgenre couldn’t be more apt.
Karen is the strongest character here; it’s her past that catches up to Ray and throws the scheme off balance when a former boyfriend is released from prison. Demanding a stash of cash, gun, and bike – all of which Karen is unable to return proves to be the catalyst for a train wreck of unfortunate events that turn a simple snatch and grab into a deadly showdown.
I really liked Burke’s easy flowing narrative and inventive characters. While coincidence upon coincidence has a tendency to become unbelievable and disinteresting, in THE BIG O it actually works. Each scenario is plausible (if you suspend your belief a tad) and down right funny. The light hearted nature to the serious scheme complements these characters perfectly. I liken the overall style to a cross between Elmore Leonard, Victor Gischler (SHOTGUN OPERA), and Carl Hiaasen. Dubbed a screwball noir – the subgenre couldn’t be more apt.
October 17, 2018
Da ich in meiner letzten Rezension zu Olivia Kiernans „Zu nah“ daran rumgemäkelt habe, dass der Handlungsort in dem Krimi völlig austauschbar war, muss ich hier nun klar stellen, dass er das nicht ist. Es wird in keiner Zeile angegeben, wo die Geschichte sich abspielt, aber ganz gewiss nicht in Europa, schon gar nicht in Irland. Der Krimi – oder fast schon die Krimikomödie – liest sich so verdammt amerikanisch, dass ich nochmal nachlesen musste, aber ja, der Autor wohnt tatsächlich noch in Irland und ist nicht in die USA ausgewandert. Nichtsdestotrotz ist das die einzige Gemeinsamkeit, die Burkes Krimi mit Kiernans Thriller gemein hat, denn diese Geschichte hier, ja genau diese hier, ist eine der abgefahrensten Stories, die ich je gelesen habe.
Figurenkarussell
Dabei passiert erst mal so gar nicht viel. Der Schönheitschirurg Frank darf nicht mehr praktizieren, nur noch beraten und lässt sich gerade von seiner Frau Madge scheiden. Das kostet beides fürchterlich viel Geld und so sucht er nach einem Lösungsweg. Da kommt ihm die Versicherung ganz recht, die eine halbe Millionen locker macht, wenn Madge – noch seine Frau – entführt wird und Lösegeld verlangt wird. Deshalb engagiert er jemanden, der seine Frau entführt. Dieser jemand beauftragt Ray, der wiederum Karen in einer Bar aufgabelt und mit ihr eine Beziehung anfängt. Was Ray nicht weiß ist, dass Karen nicht nur Franks Sprechstundenhilfe ist, sondern auch Madges beste Freundin. Und dann gibt es da noch Rossi, Karens Ex, der seine Ducati, seine Waffe und sein Geld zurückfordert, welche Karen aber mittlerweile benutzt, um Läden zu überfallen, damit sie Anna durchfüttern kann. Komplettiert wird das Ensemble durch die Polizistin Doyle, die Straftaten wittert, als Frank den Diebstahl seines Smartphones meldet, aber dabei den Diebstahl seiner Aktentasche unterschlägt. Die wiederum wurde von Rossi geklaut….
Viel los! Nichts los?
Zugegeben, es ist eine Menge los bei Declan Burke. Zumindest im Figurenensemble geizt er nicht. Mit der Geschichte allerdings schon, denn ständig passiert etwas, aber die Entführung selbst findet dann auch erst in den letzten Seiten statt. So muss man sich also für das Buch öffnen und nicht gleich Mord und Totschlag, oder eben Entführung erwarten, sondern sich auf die Charaktere einlassen. Genüsslich diese Figuren kennen lernen, die alle ihre Eigenarten haben und von denen es keiner so genau mit dem Gesetz nimmt, abgesehen von Doyle vielleicht. So ist es auch ein wenig schwierig am Anfang den Überblick zu behalten, denn alle genannten bekommen ihre eigenen Kapitel, doch nach einigen Seiten hat man sich eingelesen und springt fröhlich auf das Figurenkarussell auf.
Heimlicher Star
Die heimliche Hauptfigur des Krimis ist definitiv Karen. Sie steht in der Mitte, verbindet alle losen Enden miteinander und ist Dreh- und Angelpunkt der Geschichte. Karen piesackt gerne Frank, lästert mit Madge über ihn und hat zwei, drei größere Geheimnisse. Als sie Ray kennenlernt geht sie eigentlich davon aus, dass das nur was Kurzes wird, aber irgendwie scheinen die beiden füreinander geschaffen. Offiziell streicht Ray Wände, doch nach einigen zufälligen Auffälligkeiten weiht er Karen ein und der Plan ändert sich. Schließlich will jeder ein Stückchen vom Kuchen.
„Karen hatte einen schiefen verwachsenen Kiefer, nachdem sie ihr Kinn wiederholt auf den Rand des Waschbeckens im Badezimmer geschlagen hatte, während ihr Vater unten in der Küche auf dem Boden lag, mit einer Gabel im Brustkorb knapp über dem Herzen.“ (S. 21)
Der arme Schlucker
Die wohl tragischste Figur im Ensemble ist Frank. Unglaublich, aber wahr. Sollte man doch meinen, Frank ist ein Ekel – schließlich will er seine Frau entführen lassen. Aber eigentlich ist er ein armer Tropf. Seine Fast-Ex-Frau und ihr Anwalt wringen ihn aus, seine neue Geliebte ist ein Dummchen, natürlich wunderschön, aber nur auf sein Geld aus und schnappt sich die Reste und für Frank bleibt eigentlich nichts übrig. Nachdem noch zwei Klagen im Anzug sind, ist er völlig am Ende. Aber wir wissen ja, schlimmer geht es immer!
„Frank war der festen Überzeugung, dass dies der beste Morgen seines ganzen Lebens war.
…..
Er drehte sich um, bevor ihm dämmerte, dass er genau das nicht hätte tun sollen, aber jetzt war es ja schon zu spät. Sie hatte seinen Namen nur ausgesprochen, um ihn durcheinanderzubringen. Und als er sich jetzt umdrehte, spürte er auch noch etwas Kaltes und Hartes an seinem Handgelenk, das mit einem metallischen Klicken einschnappte und sich eng darumlegte.“ (S. 288)
Die Falle schnappt zu
Und so treibt man durch und mit den Figuren durch die Geschichte, plant die Entführung, ändert die Pläne. Leidet, aber vor allem lacht und schmunzelt mit den Figuren, die alle ihre Eigenheiten haben und auf ihre Vorteile bedacht sind. Einer schlimmer wie der andere, aber doch irgendwie liebenswürdig genial. Und man könnte meinen, es passiert doch gar nichts, doch man muss eben auch einfach mal die Herrlichkeiten von grotesk guter Charakterzeichnung genießen, wenn die Ganoven und Ganövchen hier einen exzellenten Tanz aufführen, rein mit der Planung bedacht, die dann in den letzten Seiten reinknallt und das Buch abschließt.
Fazit:
Eine Krimikomödie par excellence, mit hervorragend gezeichneten Charakteren, aber zugegebenermaßen einer schleichenden Handlung, die erst am Ende explodiert.
Figurenkarussell
Dabei passiert erst mal so gar nicht viel. Der Schönheitschirurg Frank darf nicht mehr praktizieren, nur noch beraten und lässt sich gerade von seiner Frau Madge scheiden. Das kostet beides fürchterlich viel Geld und so sucht er nach einem Lösungsweg. Da kommt ihm die Versicherung ganz recht, die eine halbe Millionen locker macht, wenn Madge – noch seine Frau – entführt wird und Lösegeld verlangt wird. Deshalb engagiert er jemanden, der seine Frau entführt. Dieser jemand beauftragt Ray, der wiederum Karen in einer Bar aufgabelt und mit ihr eine Beziehung anfängt. Was Ray nicht weiß ist, dass Karen nicht nur Franks Sprechstundenhilfe ist, sondern auch Madges beste Freundin. Und dann gibt es da noch Rossi, Karens Ex, der seine Ducati, seine Waffe und sein Geld zurückfordert, welche Karen aber mittlerweile benutzt, um Läden zu überfallen, damit sie Anna durchfüttern kann. Komplettiert wird das Ensemble durch die Polizistin Doyle, die Straftaten wittert, als Frank den Diebstahl seines Smartphones meldet, aber dabei den Diebstahl seiner Aktentasche unterschlägt. Die wiederum wurde von Rossi geklaut….
Viel los! Nichts los?
Zugegeben, es ist eine Menge los bei Declan Burke. Zumindest im Figurenensemble geizt er nicht. Mit der Geschichte allerdings schon, denn ständig passiert etwas, aber die Entführung selbst findet dann auch erst in den letzten Seiten statt. So muss man sich also für das Buch öffnen und nicht gleich Mord und Totschlag, oder eben Entführung erwarten, sondern sich auf die Charaktere einlassen. Genüsslich diese Figuren kennen lernen, die alle ihre Eigenarten haben und von denen es keiner so genau mit dem Gesetz nimmt, abgesehen von Doyle vielleicht. So ist es auch ein wenig schwierig am Anfang den Überblick zu behalten, denn alle genannten bekommen ihre eigenen Kapitel, doch nach einigen Seiten hat man sich eingelesen und springt fröhlich auf das Figurenkarussell auf.
Heimlicher Star
Die heimliche Hauptfigur des Krimis ist definitiv Karen. Sie steht in der Mitte, verbindet alle losen Enden miteinander und ist Dreh- und Angelpunkt der Geschichte. Karen piesackt gerne Frank, lästert mit Madge über ihn und hat zwei, drei größere Geheimnisse. Als sie Ray kennenlernt geht sie eigentlich davon aus, dass das nur was Kurzes wird, aber irgendwie scheinen die beiden füreinander geschaffen. Offiziell streicht Ray Wände, doch nach einigen zufälligen Auffälligkeiten weiht er Karen ein und der Plan ändert sich. Schließlich will jeder ein Stückchen vom Kuchen.
„Karen hatte einen schiefen verwachsenen Kiefer, nachdem sie ihr Kinn wiederholt auf den Rand des Waschbeckens im Badezimmer geschlagen hatte, während ihr Vater unten in der Küche auf dem Boden lag, mit einer Gabel im Brustkorb knapp über dem Herzen.“ (S. 21)
Der arme Schlucker
Die wohl tragischste Figur im Ensemble ist Frank. Unglaublich, aber wahr. Sollte man doch meinen, Frank ist ein Ekel – schließlich will er seine Frau entführen lassen. Aber eigentlich ist er ein armer Tropf. Seine Fast-Ex-Frau und ihr Anwalt wringen ihn aus, seine neue Geliebte ist ein Dummchen, natürlich wunderschön, aber nur auf sein Geld aus und schnappt sich die Reste und für Frank bleibt eigentlich nichts übrig. Nachdem noch zwei Klagen im Anzug sind, ist er völlig am Ende. Aber wir wissen ja, schlimmer geht es immer!
„Frank war der festen Überzeugung, dass dies der beste Morgen seines ganzen Lebens war.
…..
Er drehte sich um, bevor ihm dämmerte, dass er genau das nicht hätte tun sollen, aber jetzt war es ja schon zu spät. Sie hatte seinen Namen nur ausgesprochen, um ihn durcheinanderzubringen. Und als er sich jetzt umdrehte, spürte er auch noch etwas Kaltes und Hartes an seinem Handgelenk, das mit einem metallischen Klicken einschnappte und sich eng darumlegte.“ (S. 288)
Die Falle schnappt zu
Und so treibt man durch und mit den Figuren durch die Geschichte, plant die Entführung, ändert die Pläne. Leidet, aber vor allem lacht und schmunzelt mit den Figuren, die alle ihre Eigenheiten haben und auf ihre Vorteile bedacht sind. Einer schlimmer wie der andere, aber doch irgendwie liebenswürdig genial. Und man könnte meinen, es passiert doch gar nichts, doch man muss eben auch einfach mal die Herrlichkeiten von grotesk guter Charakterzeichnung genießen, wenn die Ganoven und Ganövchen hier einen exzellenten Tanz aufführen, rein mit der Planung bedacht, die dann in den letzten Seiten reinknallt und das Buch abschließt.
Fazit:
Eine Krimikomödie par excellence, mit hervorragend gezeichneten Charakteren, aber zugegebenermaßen einer schleichenden Handlung, die erst am Ende explodiert.
November 25, 2015
RATING: 3.25
Oftentimes a book that is attempting to be a "caper" has a bit of a complicated set-up; that is certainly the case for THE BIG O. Let's start with one of the lead characters, Karen King. Karen is a receptionist for a disgraced plastic surgeon named Frank. Being somewhat short of viable financial options, Frank decides to hire someone to kidnap his wife, Madge, in order to cash in on a sizeable insurance policy. Madge is also Karen's best friend.
In addition to her day job, Karen is a sometime armed robber. During the course of one of her robberies, she almost shoots a customer in the store, Ray. As it turns out, Ray is the guy that Frank has hired to kidnap Madge. Furthermore, despite their rather awkward introduction, there's an undeniable attraction between Karen and Ray, a fact that he finds confounding, as he has never been in love before. Things are complicated by the fact that Karen's ex, a guy named Rossi, is being paroled and trying to get some cash to build a rehabilitation center for ex-cons, money that he believes is in Karen's hand.
The lives of all of the characters interweave with one another. Ultimately, Karen and Ray partner up to pull a double cross on Frank. Their task is made more difficult by the actions of Rossi, who was for me the most interesting character in the book, although not necessarily a sympathetic one. When he leaves prison, he robs a charity shop in order to clothe himself in an admittedly garish get-up. But then again, Rossi is an Elvis wannabe. His driver is a narcoleptic. And then there's the half-wolf, Stalin.
Believe it or not, all of this comes together, although not necessarily in a credible way. I personally didn't find the book particularly funny, nor did I think the caper was all that clever. I guess I've been spoiled by Donald Westlake. But THE BIG O was enjoyable, if not especially memorable.
Oftentimes a book that is attempting to be a "caper" has a bit of a complicated set-up; that is certainly the case for THE BIG O. Let's start with one of the lead characters, Karen King. Karen is a receptionist for a disgraced plastic surgeon named Frank. Being somewhat short of viable financial options, Frank decides to hire someone to kidnap his wife, Madge, in order to cash in on a sizeable insurance policy. Madge is also Karen's best friend.
In addition to her day job, Karen is a sometime armed robber. During the course of one of her robberies, she almost shoots a customer in the store, Ray. As it turns out, Ray is the guy that Frank has hired to kidnap Madge. Furthermore, despite their rather awkward introduction, there's an undeniable attraction between Karen and Ray, a fact that he finds confounding, as he has never been in love before. Things are complicated by the fact that Karen's ex, a guy named Rossi, is being paroled and trying to get some cash to build a rehabilitation center for ex-cons, money that he believes is in Karen's hand.
The lives of all of the characters interweave with one another. Ultimately, Karen and Ray partner up to pull a double cross on Frank. Their task is made more difficult by the actions of Rossi, who was for me the most interesting character in the book, although not necessarily a sympathetic one. When he leaves prison, he robs a charity shop in order to clothe himself in an admittedly garish get-up. But then again, Rossi is an Elvis wannabe. His driver is a narcoleptic. And then there's the half-wolf, Stalin.
Believe it or not, all of this comes together, although not necessarily in a credible way. I personally didn't find the book particularly funny, nor did I think the caper was all that clever. I guess I've been spoiled by Donald Westlake. But THE BIG O was enjoyable, if not especially memorable.
August 16, 2013
I really struggled with what rating to give this book. In some regards, I want to give it two stars (it was okay) but ultimately I have to give it one, as the story just did not draw me in. I saw another review that said it's only in the last fifty or so pages that things really start to cook, and I have to agree with that. Everything before just seems to be a bit of setup, and then characters doing this or that, but it didn't really add to the story. Burke writes well, I just couldn't get into the story.
March 20, 2013
What at great book. Think Elmore Leonard, but double speed. Screwball seems to be the way folks describe this bok, and screwball it is. A twisted web of characters hurtling towards an improbable climax. Each and every one of them are simultaneously likable and despicable.
Passes the Bechdel test with ease (no small feat for a straight up noir crime novel written by a man), for what that's worth.
A terrific palate cleanser. Good for what ails you. Highly recommended.
Passes the Bechdel test with ease (no small feat for a straight up noir crime novel written by a man), for what that's worth.
A terrific palate cleanser. Good for what ails you. Highly recommended.
November 15, 2020
2.75 stars. I disliked this book about as much as I loved Eight Ball Boogie. Ugh. I hate to give a poor review. After reading EBB I was excited to tear into this. It was hard to follow, hard to finish, way too much going on, way too much absurd coincidence. I kept getting this weird feeling that the author binge-watched Get Shorty a dozen times, while polishing off a bottle of Jay, then sat down & cranked out this story. It took me awhile to read it bc I wasn't looking forward to it :( I'm sorry! This one just wasn't my cup of tea.
January 29, 2012
Meet Ray.
Ray lit a cigarette and cracked the window, humming along with the stereo. Wondering how it was that Bruce always got himself hooked up on these women named Mary. 'Thunder Road,' 'The River,' 'Mary's Place'… Christ, the man was obsessed.
Ray, if he was Springsteen, he'd have shot through for Mexico long ago, nabbed himself a Juanita, some shit like that. Ray had only ever met one Karen before, this Kiwi blonde in Hamburg with an oral fixation. Ray getting blowjobs on busses, trains, even one time in the linen closet of a motel on the outskirts of Saarbrucken, near the French border. Ray on his back in a pile of dirty sheets coming up with a whole new language all his own. (page 22)
Ray is one of the central characters in Declan Burke's second novel, The Big O. Potted plot: Frank is an inept plastic surgeon with wife difficulties. His lawyer talks him into having the soon-to-be-ex kidnapped while she is still covered by the good doctor's insurance. But Madge (the aforementioned ex) is best friends with Karen, a single thirty-something whose secrets include a stashed .44 magnum and the weekly adrenaline rush she gets from armed robbery. What does a chick like this fear? Karen is in danger of falling for the man pulled out of retirement to be Madge's "baby-sitter."
"The guy I work for," he said, "that I worked for, sometimes he needs people held a while. I'm the one who does the holding." ....
Karen sipped some vodka-tonic. "So how come you're retired?"
"It was jump or be shoved. The Fridge checked out. A new shylock took over."
"The Fridge?"
"The guy liked to eat."
"What happened to him?"
"What happens to every fridge," Ray said. "Bottom of a canal. Punctured." (page 10-1)
Yep. Our boy Ray.
There's crossing and double crossing, a detective who gets rumor of the crime, golfing tips, orphans, pats on the head, and a madman named Rossi who's out of jail and out for revenge. Oh, plus a wolf. And Elvis hair. Mayhem and marijuana, hot n' stylish, loads of heart. Loads of fun on every page. Which is nice.
This review began with Ray, but it could have just as easily begun with any of the six main characters. The Big O is told in short, fast chapters of only a page or two, alternating from the point-of-view of Ray or Karen or Frank to Madge or Doyle or Rossi. Bear with me as I draw an analogy with "The Little O..." The experience is like eating those nice, spicy olives from that vendor in the Powerscourt Shopping Arcade: each one tasty, meaty, savory, different. "I'll have just one more," is a constant promise.
Days (the novel begins on a Wednesday, packing in all its action before the end of the following Tuesday) provide larger section breaks. I guess those Wednesday - Thursday - Fridays are roughly equivalent to containers of olives, but here the unruly analogy breaks down. Even being the big fat bastard that I am, I've never sat down and eaten three tubs of olives in a row.
A final important note, though: both spicy olives and The Big O go well with BEER. Put the mouse over the pic at right for a secret message on that subject.
One niggle: the setting. Where exactly are these characters? The city is never named. Snappy dialogue refers to currency as "five grand" or "ten large" without ever adding dollars, euros, pounds or roubles. Rossi in the dole queue starts complaining that he does not know his RSI number (an Irish identifier) and then later someone starts talking of the (American) Social Security. Likewise, the links connecting these characters push the bounds of coincidence.
Mick says: the dialogue, characters, plot and action were swift, sharp and entertaining enough to merit the suspension of disbelief. The same way that Training Day is a great movie despite the yawning implausibility of its crucial coincidence. Yes, the same way that 2006's Running Scared ran so fast and slick. Winners all, big time.
Riding the movie theme hard into this review's conclusion: The Big O is the stuff Tarantino or Guy Ritchie would make into a film, a great fun film like Snatch, Layer Cake or Get Shorty. Filled with as many great characters as Pulp Fiction or (my personal fave 90's crime flick) Things to do in Denver When You're Dead. Burke's Big O would inspire a classic full of tough crooks, wise cracks, drugs, flash and boobies. "Wow," viewers would say.
And then the hippest moviegoers, leading their hot redheaded dates outta the cinema, slipping on their designer shades, would say "Yeah, but have you read the book it was based on? The book was better."
October 16, 2024
Fun with lots of humor,
Faintly Irish,
Has an Elmore Leonard Donald Westlake feeling storyline.
Faintly Irish,
Has an Elmore Leonard Donald Westlake feeling storyline.
June 23, 2013
By day Karen works for disgraced plastic surgeon Frank, by night she carries out armed robberies. Whilst holding up a store she meets Ray, who also has two roles – mural painter and kidnapper.
Frank lives the high-life, but he’s bankrupt. He needs a lot of money, and fast, to resolve his many problems. So he employs local crook Terry to kidnap his ex-wife, Madge. The plan – get an insurance payout for $500,000 and jet off somewhere hot.
The trouble is Madge is Karen’s best friend and Ray is the one who’ll be snatching her. Throw psychopath Rossi, fresh out of prison and gunning for Karen, into the mix and things are going to get very messy, very quickly…
Two comments before I start this review:
1) I’ve clearly been living in a hole for the last few years as this was my first experience of Mr. Burke’s writing.
2) I have a very short attention span.
Number one is now corrected (thankfully) but number two is a permanent affliction. I get bored easily, I find it hard to stick with long books that don’t grab me by my throat in the first couple of pages, I physically groan when I see the book size measure on the kindle screen going off the scale.
Can’t help it, it’s just me.
So when I start The Big O, I don’t know of Mr. Burke and the book looks huge. Oh dear. But this is the opening paragraph:
In the bar Karen drinking vodka-tonic, Ray on brandy to calm his nerves. Karen told him how people react to death and a stick-up in pretty much the same way: shock, disbelief, anger, acceptance.
Then Karen goes on to describe how to carry out said stick-up, it transpires this is how she met Ray (having nearly shot him). And so within a couple of paragraphs we plunge headlong into a whip-crack smart novel that barrels along at high pace that simply compels me to finish it. For the next couple of days I’m stuck with my nose in my kindle, much to my wife’s disgust as she wants me to get stuck into dreaded DIY instead, but I’m simply too absorbed by the characters and their activities to do anything else but read.
In short I thoroughly enjoyed The Big O and was disappointed when I finally put it down, simply because the joyride was over.
This is a very cleverly plotted, character driven novel. There are relatively few characters but all are very strong, have flaws (to varying degrees) but display hidden depths that are gradually revealed as the narrative progresses, adding to it.
The action is split into seven segments – the week long period over which the snatch is planned and occurs. These segments are then broken up by short chapters (which keeps the pace high) each headlined with the particular person whose perspective it follows – the narrative is modified accordingly. The prose is economic, very sharp and strongly dialogue driven.
What I really liked about The Big O and that set it apart from the pack was that initially the story seems well sign posted, i.e. it appears obvious what’s going to happen next, but Burke was simply lulling me into a false sense of security before throwing me into a tail spin with a twist. This happened on numerous occasions. In the end I gave up guessing – hence the joyride.
For example, Anna. I had a concept of who the character was and how they fitted with the others, but I was completely wrong (I won’t say any more so as not to give it away). Then there’s the snatch, again the cards fall in a completely different way to how I envisaged they would. It’s very, very well done.
Overall a thoroughly enjoyable, clever and well plotted read that simply makes me want to find more of Burke’s work.
**Originally reviewed for Books & Pals blog. May have received free review copy.**
Frank lives the high-life, but he’s bankrupt. He needs a lot of money, and fast, to resolve his many problems. So he employs local crook Terry to kidnap his ex-wife, Madge. The plan – get an insurance payout for $500,000 and jet off somewhere hot.
The trouble is Madge is Karen’s best friend and Ray is the one who’ll be snatching her. Throw psychopath Rossi, fresh out of prison and gunning for Karen, into the mix and things are going to get very messy, very quickly…
Two comments before I start this review:
1) I’ve clearly been living in a hole for the last few years as this was my first experience of Mr. Burke’s writing.
2) I have a very short attention span.
Number one is now corrected (thankfully) but number two is a permanent affliction. I get bored easily, I find it hard to stick with long books that don’t grab me by my throat in the first couple of pages, I physically groan when I see the book size measure on the kindle screen going off the scale.
Can’t help it, it’s just me.
So when I start The Big O, I don’t know of Mr. Burke and the book looks huge. Oh dear. But this is the opening paragraph:
In the bar Karen drinking vodka-tonic, Ray on brandy to calm his nerves. Karen told him how people react to death and a stick-up in pretty much the same way: shock, disbelief, anger, acceptance.
Then Karen goes on to describe how to carry out said stick-up, it transpires this is how she met Ray (having nearly shot him). And so within a couple of paragraphs we plunge headlong into a whip-crack smart novel that barrels along at high pace that simply compels me to finish it. For the next couple of days I’m stuck with my nose in my kindle, much to my wife’s disgust as she wants me to get stuck into dreaded DIY instead, but I’m simply too absorbed by the characters and their activities to do anything else but read.
In short I thoroughly enjoyed The Big O and was disappointed when I finally put it down, simply because the joyride was over.
This is a very cleverly plotted, character driven novel. There are relatively few characters but all are very strong, have flaws (to varying degrees) but display hidden depths that are gradually revealed as the narrative progresses, adding to it.
The action is split into seven segments – the week long period over which the snatch is planned and occurs. These segments are then broken up by short chapters (which keeps the pace high) each headlined with the particular person whose perspective it follows – the narrative is modified accordingly. The prose is economic, very sharp and strongly dialogue driven.
What I really liked about The Big O and that set it apart from the pack was that initially the story seems well sign posted, i.e. it appears obvious what’s going to happen next, but Burke was simply lulling me into a false sense of security before throwing me into a tail spin with a twist. This happened on numerous occasions. In the end I gave up guessing – hence the joyride.
For example, Anna. I had a concept of who the character was and how they fitted with the others, but I was completely wrong (I won’t say any more so as not to give it away). Then there’s the snatch, again the cards fall in a completely different way to how I envisaged they would. It’s very, very well done.
Overall a thoroughly enjoyable, clever and well plotted read that simply makes me want to find more of Burke’s work.
**Originally reviewed for Books & Pals blog. May have received free review copy.**
October 4, 2016
A fun caper in the style of Elmore Leonard. One jarring note is the occasional Irish/English vernacular in the midst of the American gangster talk, but it's fine, creating distance from these comical characters.
October 13, 2008
When Karen the armed robber runs into Ray the kidnapper in the midst of a hold-up, sparks start to fly. However, Karen comes with some rather serious baggage - an ex about to be released from prison and Anna.
Ray is not without his problems. It just so happens that he's been hired to kidnap Karen's best friend, Madge. It also isn't such a good thing when police detective Stephanie Doyle takes a shine to Ray and starts giving him more attention than he'd like. Stephanie Doyle is investigating Frank, Madge's soon-to-be ex-husband, for illegal distribution of prescription drugs. Frank just so happens to be the one who hired Ray to kidnap Madge so he could con the insurance company out of the ransom money.
And if that circle of "just so happens" isn't dizzying enough for you, Karen's ex - the one being released from prison - throws another ball into the air for Burke to juggle. And juggle them he does!
If someone had given me a summary of this novel as enticement to read it, I probably wouldn't have given it much thought. But once I picked it up, I was hooked! Characters who normally wouldn't interest me, had me turning pages to find out just what craziness was going to happen next. It was a constant comedy of errors.
Throughout the book I couldn't help but hear "It's a Small World" humming in my head. Everyone is intertwined to everyone else in some rather strange coincidences. But the coincidences simply add to the humor. If I was asked to describe this book, I might say, "if you crossed the land of the misfit toys with Desperate Housewives, you might come close to this crew!" Some people with far too much money and time on their hands crossed with the societal outcasts...all of them misfits in their own ways, and everyone wanting what they don't have. No one is happy with what they do have.
Burke's juggling act in this plot is really genius. How he makes everything somehow link together is amazing. I kept picturing the flow chart he had to have while he was writing to make sure there were no loose ends. But the genius is actually in the way he leads you by the nose right up to the end. I was following, following, following: "oh, of course that's what's gonna happen next!" Then bam! I was blindsided by the final "coincidence." Didn't see it coming at all, but I was grinning from ear to ear when it was revealed.
I have to say that this was one of the rare plot-driven books that really kept me entranced. I wasn't especially fond of the characters, save Anna. They were crass, some were overly spoiled, others were career criminals. They were all smoking pot so often I was getting high just reading the book. But, I had to find out how everything was going to play out in the end. I felt exactly the same way about The Gun Seller by Hugh Laurie.
If you're looking for something deep and realistic, you'll have to look elsewhere. The Big O is funny, at times ridiculous or even absurd, and just plain entertaining. It's a fun book; enjoy it - don't look for enlightenment!
Ray is not without his problems. It just so happens that he's been hired to kidnap Karen's best friend, Madge. It also isn't such a good thing when police detective Stephanie Doyle takes a shine to Ray and starts giving him more attention than he'd like. Stephanie Doyle is investigating Frank, Madge's soon-to-be ex-husband, for illegal distribution of prescription drugs. Frank just so happens to be the one who hired Ray to kidnap Madge so he could con the insurance company out of the ransom money.
And if that circle of "just so happens" isn't dizzying enough for you, Karen's ex - the one being released from prison - throws another ball into the air for Burke to juggle. And juggle them he does!
If someone had given me a summary of this novel as enticement to read it, I probably wouldn't have given it much thought. But once I picked it up, I was hooked! Characters who normally wouldn't interest me, had me turning pages to find out just what craziness was going to happen next. It was a constant comedy of errors.
Throughout the book I couldn't help but hear "It's a Small World" humming in my head. Everyone is intertwined to everyone else in some rather strange coincidences. But the coincidences simply add to the humor. If I was asked to describe this book, I might say, "if you crossed the land of the misfit toys with Desperate Housewives, you might come close to this crew!" Some people with far too much money and time on their hands crossed with the societal outcasts...all of them misfits in their own ways, and everyone wanting what they don't have. No one is happy with what they do have.
Burke's juggling act in this plot is really genius. How he makes everything somehow link together is amazing. I kept picturing the flow chart he had to have while he was writing to make sure there were no loose ends. But the genius is actually in the way he leads you by the nose right up to the end. I was following, following, following: "oh, of course that's what's gonna happen next!" Then bam! I was blindsided by the final "coincidence." Didn't see it coming at all, but I was grinning from ear to ear when it was revealed.
I have to say that this was one of the rare plot-driven books that really kept me entranced. I wasn't especially fond of the characters, save Anna. They were crass, some were overly spoiled, others were career criminals. They were all smoking pot so often I was getting high just reading the book. But, I had to find out how everything was going to play out in the end. I felt exactly the same way about The Gun Seller by Hugh Laurie.
If you're looking for something deep and realistic, you'll have to look elsewhere. The Big O is funny, at times ridiculous or even absurd, and just plain entertaining. It's a fun book; enjoy it - don't look for enlightenment!
October 7, 2013
I recently extolled the virtues of Declan Burke’s The Big O on the occasions of its re-release as an e-book. It occurred to me while writing that blog my original reading of The Big O was five years ago. It might be time to see if I’d still agree with my original assessment.
I read it again. Liked it even more.
Much of that is due to my maturing as a reader and writer myself. (it’s not like the book changed in the interim. It’s the same copy I read in 2008. Any changes must be some Harry Potter shit.) Now I can see how Burke pulled off much of what he did, mainly in how responsibly he sets up things that may seem off-the-wall later. Far from limiting my enjoyment, this understanding enhanced it. Listening to Tower of Power is always a pleasure, but understanding how the horn lines and rhythm sections are put together adds a level of appreciation for whoever wrote the chart, and his ability is take the same musical tools available to everyone else and make something unique from them.
Burke’s work is like that. He operates on multiple levels in what is admittedly a “screwball noir,” using everything in the toolbox to good effect. He knows there are some things he can get away with because the book is, in effect, a comedy, so he weaves the characters’ lives more closely together than might seem plausible in a more “serious” work. The effect created is not unlike classic comedy films, where complication after complication turn out to be related somehow until you have people leaving rooms half a second before someone looking for them enters through another door. Knowing how hard it is to pull off—trust me, I do know—makes it that much more satisfying to see it done successfully.
It is, unfortunately, not uncommon to re-read something and wonder, “Why did I do that?” After giving The Big O a second going-over, I was left thinking, “What took me so long?” Now my task is to work Eightball Boogie and Absolute Zero Cool each into the To Be Read list before too much time passes. I don’t like to make the same mistakes twice.
I read it again. Liked it even more.
Much of that is due to my maturing as a reader and writer myself. (it’s not like the book changed in the interim. It’s the same copy I read in 2008. Any changes must be some Harry Potter shit.) Now I can see how Burke pulled off much of what he did, mainly in how responsibly he sets up things that may seem off-the-wall later. Far from limiting my enjoyment, this understanding enhanced it. Listening to Tower of Power is always a pleasure, but understanding how the horn lines and rhythm sections are put together adds a level of appreciation for whoever wrote the chart, and his ability is take the same musical tools available to everyone else and make something unique from them.
Burke’s work is like that. He operates on multiple levels in what is admittedly a “screwball noir,” using everything in the toolbox to good effect. He knows there are some things he can get away with because the book is, in effect, a comedy, so he weaves the characters’ lives more closely together than might seem plausible in a more “serious” work. The effect created is not unlike classic comedy films, where complication after complication turn out to be related somehow until you have people leaving rooms half a second before someone looking for them enters through another door. Knowing how hard it is to pull off—trust me, I do know—makes it that much more satisfying to see it done successfully.
It is, unfortunately, not uncommon to re-read something and wonder, “Why did I do that?” After giving The Big O a second going-over, I was left thinking, “What took me so long?” Now my task is to work Eightball Boogie and Absolute Zero Cool each into the To Be Read list before too much time passes. I don’t like to make the same mistakes twice.
May 4, 2014
Declan Burke's "The Big O", a comedic mystery, happens to be very funny. It is a hard-to-put-away book, and a pleasant, easy read, with zero depth, but quite well-written.
We meet Karen, a stick-up woman, and Ray, a professional kidnapper. They are the protagonists in the plot, with Frank, a plastic surgeon, his soon-to-be ex-wife, Madge, a career criminal, Rossi, and Doyle, a policewoman, being the remaining central characters. There is also the mysterious Anna. Frank and his lawyer concoct a scheme to have Madge kidnapped to get a big insurance payoff. Through cunning, coincidence, or sheer stupidity, all characters have their own take on the scheme, and participate in it one way or the other.
Mr. Hughes seems intent on having each character connected in some way to every other character. Coincidences galore. Obviously, this is implausible, but in some strange way it makes the novel funny. Unlike most mysteries and thrillers, "The Big O" manages to maintain the pace and tension of the plot from the beginning to the end.
What mostly bothers me about the book is that it was not until page 67, where I read the phrase "off-licence", that I realized the plot does not take place in the U.S., but rather in Ireland. Aside from this single phrase, there is nothing that localizes the plot in any particular country or place. While some readers may find it interesting, to me it is a bit jarring. On the other hand, I really like the writing and several passages (for instance, about a good exercise for wrists or about not coming up for air for fourteen minutes) made me laugh hard. This is a perfect book to read when one wants to pleasantly spend time, without having to think much.
Three stars.
We meet Karen, a stick-up woman, and Ray, a professional kidnapper. They are the protagonists in the plot, with Frank, a plastic surgeon, his soon-to-be ex-wife, Madge, a career criminal, Rossi, and Doyle, a policewoman, being the remaining central characters. There is also the mysterious Anna. Frank and his lawyer concoct a scheme to have Madge kidnapped to get a big insurance payoff. Through cunning, coincidence, or sheer stupidity, all characters have their own take on the scheme, and participate in it one way or the other.
Mr. Hughes seems intent on having each character connected in some way to every other character. Coincidences galore. Obviously, this is implausible, but in some strange way it makes the novel funny. Unlike most mysteries and thrillers, "The Big O" manages to maintain the pace and tension of the plot from the beginning to the end.
What mostly bothers me about the book is that it was not until page 67, where I read the phrase "off-licence", that I realized the plot does not take place in the U.S., but rather in Ireland. Aside from this single phrase, there is nothing that localizes the plot in any particular country or place. While some readers may find it interesting, to me it is a bit jarring. On the other hand, I really like the writing and several passages (for instance, about a good exercise for wrists or about not coming up for air for fourteen minutes) made me laugh hard. This is a perfect book to read when one wants to pleasantly spend time, without having to think much.
Three stars.
October 21, 2008
I've been reading a lot of tough guy novels lately. I'm not sure why. I'm not exactly the toughest guy on the block. Most of these books feature a lone wolf, a big gun, and a hot car. They rarely include any funny business.
THE BIG O, thank goodness, adds a big dose of humor to the template. But be forewarned, the humor here is specific to its intended crime-reading audence. For example: "Frank was startled to realize he'd been daydreaming about Margaret. Seeing her gagged, cuffed and blindfolded. And not in a sexy way." That's the kind of jokes you'll get here.
But don't prejudge this book as being strictly for guys. The men in this crime caper are all morons with Morrissey quiffs. The women are a hundred times more interesting. And they say funny things too. Like this: "Fuck your A-bombs, there's nothing as dangerous as a bored woman," And: "You wouldn't know this, Ray. But when a girl's out with a guy? Mostly she needs to make her own fun." The women get all the good zingers.
And finally: While reading, I couldn't figure out why this book was called THE BIG O. Finally on page 277 (of 280!), Burke spelled it out for me. "Karen had never looked into a gun barrel before, never seen that big black O stare her straight in the face." I guess I should have just paid more attention to the jacket photo.
THE BIG O, thank goodness, adds a big dose of humor to the template. But be forewarned, the humor here is specific to its intended crime-reading audence. For example: "Frank was startled to realize he'd been daydreaming about Margaret. Seeing her gagged, cuffed and blindfolded. And not in a sexy way." That's the kind of jokes you'll get here.
But don't prejudge this book as being strictly for guys. The men in this crime caper are all morons with Morrissey quiffs. The women are a hundred times more interesting. And they say funny things too. Like this: "Fuck your A-bombs, there's nothing as dangerous as a bored woman," And: "You wouldn't know this, Ray. But when a girl's out with a guy? Mostly she needs to make her own fun." The women get all the good zingers.
And finally: While reading, I couldn't figure out why this book was called THE BIG O. Finally on page 277 (of 280!), Burke spelled it out for me. "Karen had never looked into a gun barrel before, never seen that big black O stare her straight in the face." I guess I should have just paid more attention to the jacket photo.
July 14, 2012
The Big O is a comic crime caper – think of Carl Hiasson strained though a noir filter. The story is broken into a succession of short scenes each written from the perspective of one of the six principle characters. The structure works to provide a nice, quick pace and enables Burke to flesh out the characterisation, where each person is slightly larger than life with certain foibles. The plot is driven by multiple coincidences, each binding the actors into ever-more overlapping and mutually dependent or conflicting relationships. The prose is well honed and expressive, and there are plenty of comic asides and some astute observation. The only thing that grated after a while was the use of coincidence, which was clearly deliberate but edged towards excessive. I also couldn’t figure out Doyle, the detective, and her relationship with Ray, which seemed tenuous, or her motives. And there was one scene near the end that made little sense to me. But that probably says more about me than the novel. The Big O is a very enjoyable read and a comic crime caper that is genuinely comic.
May 30, 2010
All you have to do is read the opening sequence in this book to know whether you'll like it or not, and if you're not blown away by it, you probably shouldn't be reading my reviews anyway. The easiest comparison is to Elmore Leonard, though with an Irish twist, but seriously, it's that good.
Burke drew the short straw when in a fit of downsizing, Houghton Mifflin not only cancelled the paperback, but cancelled the sequel. Shortsighted of you, HM, or I guess that's now HMH, because now they're merged into a larger conglomerate. People who like this book can get the sequel from another big corporate group that starts with A and can download it on a reader that starts with K. Don't have one of those? Guess what--you can download one on to your computer for free, completely legally. Downside is that you have to read the book on your computer, but in this case, it's definitely worth it.
(And believe me, fellow indie lovers, if I knew of another way to get it, I would tell you.)
Burke drew the short straw when in a fit of downsizing, Houghton Mifflin not only cancelled the paperback, but cancelled the sequel. Shortsighted of you, HM, or I guess that's now HMH, because now they're merged into a larger conglomerate. People who like this book can get the sequel from another big corporate group that starts with A and can download it on a reader that starts with K. Don't have one of those? Guess what--you can download one on to your computer for free, completely legally. Downside is that you have to read the book on your computer, but in this case, it's definitely worth it.
(And believe me, fellow indie lovers, if I knew of another way to get it, I would tell you.)
March 10, 2011
While coincidences and happenstance are usually the sign of lazy writing in crime fiction, Declan Burke takes those coincidences and makes a unique hard-boiled farce. This book is like an Ealing comedy by way of Dashiell Hammett.
I won't go into any detail about the characters or the plot, the revelations in the reading are just too much fun. The story twists and turns and the character relationships manage to retain depth even when everything around them gets crazy.
That's the secret to the book's success. Real characters with real emotions that live in an absurd world. A blast.
I won't go into any detail about the characters or the plot, the revelations in the reading are just too much fun. The story twists and turns and the character relationships manage to retain depth even when everything around them gets crazy.
That's the secret to the book's success. Real characters with real emotions that live in an absurd world. A blast.
March 18, 2013
Declan Burke's THE BIG O is a fast, funny as hell crime novel with a surprising amount of heart. Relying on a degree of coincidence that on the surface might seem extreme, the coincidences themselves become a character of sorts, as the reader begins guessing (incorrectly, in my case) where the next cross-pollination will take place.
Alternating as needed between the POVs of the main players (each fully formed and well defined, not to mention entertaining as hell!), Burke keeps the plot and pace running smoothly and strongly. The humor is ever-present, and dark.
Recommended!
Alternating as needed between the POVs of the main players (each fully formed and well defined, not to mention entertaining as hell!), Burke keeps the plot and pace running smoothly and strongly. The humor is ever-present, and dark.
Recommended!
October 11, 2008
Terrific! The concept of Irish crime writing in screwball comedy style was new to me, I have to confess, but I loved it. Try it once and you might well be hooked too. This is fast-paced and funny, like a rollercoaster combination of Carl Hiaasen and Elmore Leonard, with oddly lovable characters and some great lines in Irish blarney. The short - tiny - chapters, deadpan wit and multiple viewpoints put me in mind of Armistead Maupin's Tales of the City, and this has equal bucketloads of charm.
December 5, 2008
One of my favorite things about noir is the way that storylines twist around each other and cross in unexpected ways, and Burke accomplishes that with aplomb here. A good choice for Bruen fans who'd like a little more comedy and a little less black.
July 12, 2015
I really liked the book. In the hands of a lesser writer, the random association of so many closely-related individuals would not make for a credible plot. In Burke's hand, it reminds one that the real world is often stranger than any plot one might conjure. Nice writing; great dialog.
April 24, 2016
Crime caper set in Ireland with numerous point of view characters, dark humor, and a twisty plot. I did like the book for the most part and appreciated that it was under 300 pages but felt the author put too much emphasis on style over substance.
June 29, 2009
A caper novel written in humorous character sketches.
December 1, 2010
WORST book i have ever read. Period.
February 25, 2011
I wrote a bit about this droll book in November 2008 here (including a tangent on locale): http://douglevin.blogspot.com/2008/11...
February 13, 2014
Gaelic noir and funny too - a must-read
Displaying 1 - 28 of 28 reviews