Wednesday, March 30, 2011

Falling Glass by Adrian McKinty

In 2003, a new sort of crime fiction protagonist slipped into our midst, much as he had slipped illegally into the U.S. in the fictional realm. The book was Dead I Well May Be and the hero, or anti-hero, was Michael Forsythe, a young guy hailing from the environs of Belfast. A small, wiry guy, (at least the way I pictured him)  you probably wouldn't have noticed him on the streets of New York, where he did the dirtywork for an Irish gang, but he turned out to be a figure to be reckoned with, as his enemies (and readers of the three Dead trilogy novels) would shortly come to know. Those who have been lucky enough to happen upon these books have been clamoring for more Michael Forsythe ever since. His tough, indeed ruthless way of achieving his ends was counterbalanced by his wit, his literary sensibilities, and his vulnerability, a kind of too open stance despite his bravado, which readers seem to have picked up on. When all's said and done, he's a thug, but readers do not love Michael Forsythe for this, but despite it. You may thrill to his acts of derring-do, but all the while understand that from the beginning his path is not so much a choice as a fate.

So, although McKinty has warned fans that his latest novel, Falling Glass, includes Forsythe, but without a starring role, he's still worth considering here as a background, a prime mover, or something more elemental, like the weather. This is Killian's book, not Michael's and I believe readers will be happy it is so. But it's still worth keeping Forsythe in mind, and possibly even read a Dead trilogy novel or two first if you haven't, because it's useful to have the Michael Forsythe frame of reference when you're considering Killian's alternatives. Let's just say that Forsythe is not incidental to the novel, but crucial to it.

Killian has traveled down much the same road as Forsythe. In fact, at a fateful meeting in an early novel, Killian failed to protect someone from Forsythe, which led to one man's death and allowed Forsythe to live to tell--or not tell--the tale. Killian has left his past in the Irish tinker culture to commit petty and not so petty crime for a number of years, but the advent of the Celtic tiger prosperity had allowed him to dream of the straight life, just as the departure of prosperity is now leaving him little option but to do 'one more job' in order to sort out his own financial nightmares.

The successful dispatch of one job quickly leads to the offer of another even more lucrative task. And it's to be a good deed, isn't it? Rescue two wee bairns from their drug addicted mother, who has broken custody rights and fled with them. Although Killian half-heartedly asks a time or two why the police haven't been called in, the money is too good to really ask this question seriously.

The fact that Killian is a tinker is not incidental to the tale, nor just a bit of colorful lore, thrown in. To be a tinker is to take part in the nomadic life of the human race, which belongs to a different value system than the settled peoples of the world entirely. It is a last remnant of oral culture, and is tied, as McKinty does tie it, to Homeric times and Homeric values. I found this rumination on a non-capitalistic culture surviving within a capitalistic one very thought provoking, especially in the context of the bust that followed the Irish boom. Killian starts the novel with a bunch of useless apartments, a one time seemingly sound investment that, as for so many, has turned out to be at best a headache and at worst a nightmare. By the midpoint of the story, he has reconnected to his tinker past, and gradually finds his true identity among them. That identity includes songs, fairs, fests, but also true honor and true hospitality.

I found myself thinking a lot about Laurens Van der Post's work, both fiction and nonfiction, on the culture of the Bushmen. It was not only white settlers who were their enemies, he claimed, but settled black Africans as well. At the time, I thought that it was because these two culture's were antithetical, but something about McKinty's book made me understand that the tinkers and Bushmen and the Romany gypsies are not so much opposites of our culture, as simply a past that has been despised and repressed. It seems like it might be a good time for that repressed to return.

Lest I give you any impression that this is not a crime novel, it certainly is. It's a fast-paced tale featuring more than one foe for Killian and more than one decision to make about where he really stands. Killian is no pacifist, and he has occasion to take up a weapon or two before the course of the book has run. But the superb ending is a duel of another order, and one well worth waiting for.

(I'm editing this to add some links to other reviews I've held off on reading till I was done myself :)

 Glenna's Inspirations;

Detectives Beyond Borders, where Peter Rozovsky gets further into the language aspect of the book;

David Park's review for the Irish Times;

Laura Wilson's Guardian piece;

And finally  my own review for Goodreads and a few other places, which emphasizes the crime novel aspect a bit more.

12 comments:

  1. Enjoyed reading about this! As you know, I've given up buying books for Lent, but I'm sure my library will have the McKinty books.

    Plus, Van der Post is waiting atop a stack of to-read books in my house!! Thanks to your recommendation.

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  2. Seana

    What a kind and thoughtful review. I thank you for that. And as you're probably aware my sympathies and thoughts do leak through the narrative in many places.

    I've read Van Der Post and I do wonder if we as a species are psychlogically equipped to live in cities surrounded by millions of people. I suspect not.


    Killian's views about Le Corbusier are my views. We're a biophilic species and deprivation from nature and other animals I think is very bad for our spiritual well being.

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  3. Interesting that story-telling and cities should come up in the same discussion. Has there ever been a literate culture that lacked cities?

    I suppose I have this in mind because one of our very oldest works of literature, The Epic of Gilgamesh, praises Gilgamesh's city of Uruk in its first chapter.

    Is urban, settled life the price we pay for being literate?
    ==========================
    Detectives Beyond Borders
    "Because Murder Is More Fun Away From Home"
    http://www.detectivesbeyondborders.blogspot.com/

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  4. Kathleen, for the moment, you would probably have to order this book from Amazon, possibly UK, or Book Depository, or possibly Kenny's Books in Galway. Both of the latter do free shipping. Lent isn't the real obstacle. The American publishing industry is. Still, you'd do well to read Dead I Well May Be at least beforehand anyway.

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  5. Adrian, truly my pleasure. I didn't mention the Dreaming life of the tinkers either, but I'm sure some of your aboriginal reading of late informs this as well.

    I wonder if the nomadic and settled aspects of life are more extreme ends of a continuity than true opposites.

    My much beloved teacher Mary Holmes would be on your side about the last hundred years of architecture.

    I did enjoy Killian getting so absorbed in Le Corbusier that he lost his cue in an early encounter...

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  6. Peter, well, I think it's possible that settled life is necessary for written literature, but I don't think the nomadic life is an obstacle for the oral storytelling culture. And of course we have Homer and those Icelandic sagas you're fond of out of that.

    I haven't read your own thoughts on Falling Glass yet, because I didn't want to be influenced by other reviews beforehand. But I plan to link yours and others to this post soon. And looking forward to reading your thoughts.

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  7. One theory (OK, it's just a panel in Larry Gonick's Cartoon History of the Universe, but Gonick did his research, and his books are immensely entertaining) suggests that the conquest of fire may have given rise to storytelling, What else does one do sitting around the fire but tell stories? So, to what degree is the conquest of fire a step on the road to settled, non-nomadic life?

    Hmm, and I don't know to what extent the Icelandic sagas reflect an earlier oral tradition. They are what some call the first body of written fiction in post-Roman Europe. The society of the sagas is a settled, though rural one. Where settled, rural life fits in this discussion, I don't know.
    ==========================
    Detectives Beyond Borders
    "Because Murder Is More Fun Away From Home"
    http://www.detectivesbeyondborders.blogspot.com/

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  8. Me either. But I think one especially strong feature of this book is to describe a life which might be brief and even difficult while showing its strengths, its heroic nature. Yes, as Killian says, we romanticize it, but like all infatuations, there is some grain of truth that we're seeking there.

    Another thing that I had no idea of was that Belfast was the heart of Irish mythic culture, and Dublin an afterthought. Of course, the balance has probably been tipped irreversibly by Jimmy Joyce.

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  9. Yep, I liked the jab at Dublin: It was a Viking city foe centuries, then an English city for 300 years, and an Irish city for just 80.

    V-word: patra

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  10. All that tourist claptrap about riding around in Viking boats there begins to make a bit more sense.

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  11. Great review! I've added a link to the main Ireland Challenge page.

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  12. Hey, thanks, Carrie. I was a bit mixed up by what I was doing over there, but I think many people who are trying to fulfill this challenge would like this one.

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