»My ideal is a book that is brilliantly written with a proper, literary use of language, but also with a really gripping plot. That’s why I really like Tana French, or Gone Girl [by Gillian Flynn] – properly good writers writing crime fiction that obeys all the rules of the genre, but being as original as possible within those rules.«
Crime writer Declan Burke in conversation with his counterpart Sophie Hannah. Hannah’s latest novel The Carrier has just been published in the UK. Read the fine interview and portrait at irishtimes.com.
»In Sophie Hannah’s The Other Woman’s House, Tana French’s Broken Harbor, Mo Hayder’s Gone, and Gillian Flynn’s Gone Girl, the danger appears to come from a husband. In Megan Abbott’s Dare Me, set in the hothouse adolescent world of competitive cheerleading, it comes from another girl. In other books, it’s an entire culture—California’s porn movie industry in Christa Faust’s Money Shot, the Arab world in Zoë Ferraris’s City of Veils, the diseased American heartland in Hoffman’s So Much Pretty.«
Fictional women use stealth, subterfuge, and hand-to-hand combat to fight back in a man’s world. Elizabeth Hand’s worth reading essay about Femininjas you will find at the Boston Review and at Salon.
- The Man from Primrose Lane by James Renner
- Rubbernecker by Belinda Bauer
- The Carrier by Sophie Hannah
- The Burning Air by Erin Kelly
- The Chessmen by Peter May
Laura Wilson with a new crime fiction roundup. Her reviews of new books by James Renner, Belinda Bauer, Sophia Hannah, Erin Kelly and Peter May at The Guardian.