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Kevin Barry's deliciously wicked collection Dark Lies the Island delivers on the many reckless promises made by his virtuosic and prizewinning debut novel, City of Bohane. It firmly establishes him as both a world-class word slinger and a masterful storyteller.
- Sales Rank: #615087 in Books
- Brand: Barry, Kevin
- Published on: 2015-04-07
- Released on: 2015-04-07
- Original language: English
- Number of items: 1
- Dimensions: 8.30" h x .51" w x 5.52" l, 1.00 pounds
- Binding: Paperback
- 192 pages
From Booklist
*Starred Review* Young as he is, Barry is already pushing a wheelbarrow of prizes stacked high with expectations. His first novel, City of Bohane (2012), received rapturous reviews and was a New York Times Notable Book. He has also been awarded the Rooney Prize for Irish Literature and the 2011 Author’s Club Best First Novel Award, and a story from this collection won the Sunday Times Short Story Award. As the title suggests, the stories are full of starry skies and scarred and scary types. Barry’s tales feature bogs and dogs, booze and lager, drugs and suffering. One character remarks, “I was finding out how carelessly life might be lived.” Several of the denizens of this dark Ireland live very carelessly indeed, as do those in exile in England. The writing is spectacular, alternately stately and hurried, occasionally clipped but never languid, steeped in the vernacular but never lacking precision, and very often pulsing with the rhythm of iambic pentameter. Smashing, compulsively readable stuff: Barry will be a household name, and soon. --Michael Autrey
Review
“[Kevin Barry] isn't sparing with his powers. Even his throwaway lines are keepers.” ―The New York Times
“He does humor. He does high drama. He even dabbles in horror (of a kind). And he can handle just about any other narrative form you might think of.” ―Star Tribune (Minneapolis)
“Barry's best short stories are like a spade to the face . . . [He] earns comparison with the great and shamefully neglected V. S. Pritchett, whose short stories also employed pronounced comic means for serious, compassionate ends.” ―The Guardian
“Outstanding . . . [These] stories triumph . . . They are funny, sad, troubling, illuminating, often in equal measure.” ―Financial Times
“By the end of a story, Barry has me in full sympathy with someone I might edge away from on the train. His regard for characters big and small and capacity to be funny without playing them for cheap laughs recalls George Saunders.” ―The New York Times Book Review
“Stealthy and shimmering . . . Darkness abounds in these thirteen stories, though it takes its different forms: vileness, foreboding, ignorance, isolation, self-delusion, despair.” ―The Boston Globe
“Barry is a prose wizard whose stories pulse on the page with all the humor and viciousness of life itself.” ―Sam Lipsyte, The Millions
“[Kevin Barry's] prose is almost literally indescribable . . . It's not hard to see a devoted following accrue around this singular talent.” ―Irish Independent
“A startlingly unique voice.” ―Observer (London)
About the Author
Kevin Barry is the author of the novel City of Bohane, winner of the International IMPAC Dublin Literary Award, and the story collection There Are Little Kingdoms. He lives in County Sligo, Ireland.
Most helpful customer reviews
6 of 6 people found the following review helpful.
Another great collection from Kevin Barry.
By P. McCLEAN
This is a thirteen story collection from Kevin Barry whose previous published works include his Rooney Award winning collection, "There Are Little Kingdoms", and his excellent novel, "The City of Bohane". I have read and reviewed both of these previous publications and they drove me to state that I will read anything Kevin Barry has published. "Dark Lies the Island" has not diminished my enthusiasm for his work.
Most of the stories in this collection are from the viewpoint of individuals. These individuals are all deeply involved in the emotions of the situations described. From the hotel owner in Killary Harbour, through the real ale enthusiast on a beer trip to Llandudno, to the alcoholic doctor on his rounds in Ireland, Kevin Barry brings the reader into his characters heads and shares the thoughts of these characters in a smooth and deeply sensitive way.
Barry is obviously a marvellous observer of human behaviour and keen listener to spoken language. All his stories use the language of the characters in a fashion that brings the stories to life and that adds credibility to the tales and authenticity to the voices of the narrators.
The range of story topics is wide and includes the activities of a drug dealer on the run from crooks, a pair of little old ladies touring the Sligo area, the actions of a girl with a tendency to self-harm, and the thoughts of a well-to-do father who has trouble liking his teenage daughter's boyfriend. While all the stories are about things that happen, I won't say ordinary things as some of them are quite extreme, they are often presented from a viewpoint that the reader may not be accustomed and many of them will give the reader pause for thought regarding people they may have dismissed out of hand in the past. As I mentioned in my review of his earlier collection, Barry must have an amazing ability to empathise with people from every walk of life.
This book reinforces my opinion that I have found another author whose work I will buy as soon as it is published and I will have no fear of disappointment.
4 of 4 people found the following review helpful.
Strong stories about Irish adrift
By John L Murphy
This second collection, published by London's Jonathan Cape in early 2012 after his first novel "City of Bohane" garnered praise, offers thirteen stories dispersed across divergent terrain. "Across the Rooftops" hints at tenderness even as "the man who introduced Detroit techno to the savages of Cork city" fumbles his callow youth away in one last attempt at seduction. As with "Wifey Redux," the narrators find themselves painfully self-aware. They despise their own lurches between inadequacy and savagery as they grapple with women, lust, and fear.
"Wifey" finds the suburbanized narrator avenging himself and his wife of seventeen years, Saoirse, on the smug suitor of his nubile daughter, Ellie. The narrator will end being arrested, face ground into the bonnet of his Volvo, after pursuing sneering tracksuited Aodhan McAdam into a showdown at a big-box store on the Naas Road, Dublin. Barry channels the self-parodic tale of how this mock-hero came to such a sorry end, and barbecued salmon in vac-packs will be the least of the man's worries, after he fails to adapt to allow a bold live-in swain into his own granite-topped kitchen, with garden patio and big-screen domain overlooking Dun Laoghaire.
One of his best tales, "The Fjord of Killary," unfolds in a West of Ireland village as a flood engulfs a jerrybuilt pub-disco which must distract its revelers. It's as if the Titanic drifted from Belfast into a dream world where surreally it transforms into a tilted symbol of Irish stolidity and ingenious, heedless defiance. Barry surrounds the narrator with copulating, jabbering Belorussian staff, clichéd locals out of Flann O'Brien, and weather which forces the teller to adapt, learn patience, and to wait storms out.
"A Cruelty" updates Joyce's "An Encounter" into a disturbing older man who bullies a fragile boy waiting in Boyle for a Sligo-Dublin train. The offhand nature of the violence and the threat of more, in such a daytime, mundane setting, jabs the power of its spare, matter-of-fact relation of sudden cruelty. One wonders if the frightened boy will leave, as many in Barry's stories do, for another destination. "Beer Trip to Llandudno" follows an ale club's bibulous band along a formidable pub crawl for real brews, and the North Wales setting allows the members to confide in their abandonment or abandoning Ireland, and when they "came over" to Northern England, to start again. Their earnest efforts to drink away their pain highlight the woes they seek to confront and forget as they pass from pub to pub.
More unraveling of family ties comes via "Ernestine and Kit." Their Sligo itinerary finds this middle-aged pair baby-napping from an Asda checkout line, as again cruelty is unleashed in ordinary settings, while those around them pay attention to video games, barbecues and wine. "The Mainland Campaign" as its title foreshadows takes us back to England, but the insecurity of the young goth charged with setting the bomb in the Camden Town tube station persists. "Ireland is magical," he tells his a German woman he courts. "England is ironical." But, he as many in London, cannot fit in. Meanwhile, the Tipperary teen transplant seethes: "If they were the mainland, we were what?"
Similar discontent lingers in "Wistful England," as another Irish transplant drinks and walks and broods. "Doctor Sot" conveys the venture of an Irish doctor on an outreach program to treat the "sex diseases" of New Age travelers from Devon holed up one atop Slieve Bo, where he comforts a psychotic woman. "The Girls and the Dogs" skirts similar territory, winding up in a chemical toilet in a trailer near Gort. Nobody in Barry's stories seems balanced, and this tilt towards the off-kilter characterizes his sympathy.
Ukrainians with tire irons scare the Co. Roscommon inhabitants living in a "White Hitachi" by the side of the road, and more highway predicaments by this stage do show Barry in a rut he needs to get out of. The title story finds Sara, a fresh graduate and a "cutter," preparing as she looks over Clew Bay in Co. Mayo to do more of the same to herself. UK Memories is the channel of songs she hears from the 1940s on her laptop, as texts come in from Flagstaff and Bremen, and calls from Granada. Sara hears John Lennon sing "For No One" and thinks of him settling near there on Dorinish Island with Yoko as he'd once planned; Sara muses about her mother who'd left with a Dublin broker who bought a failing vineyard in France. Her ties span the world, but she sits with her soundcloud and messages, to decide what to do with her set of knives.
The final story, "Berlin Arkonaplatz--My Lesbian Summer," finds the teller in gentrifying but very artsy Berlin. Patrick is told by his Sapphic Slavic companion Silvija that "I was the culmination of Irish literature." His own displacement in Germany leads the pair to hate the arrival of Americans as the harbinger of the end of any trend, and they rob flats for passports to sell to Ukrainians, while Vietnamese, Croat, and Tasmanian denizens flit about the studios. He fails to write his stories down. But someone does, as the collection closes, leaving him and his unsettled other characters forlorn and adrift. Like his first collection, 2007's "There Are Little Kingdoms" (see my review), these show promise and reward attention.
3 of 3 people found the following review helpful.
Strong Stuff. Six point two percent to volume.
By David R. Anderson
"Fjord of Killary," the first short story by Kevin Barry to reach these shores, showed up in the February 1, 2010, issue of the New Yorker. It sent me looking for "There Are Little Kingdoms," his 2007 collection of stories published in Ireland but not here. "Dark Lies the Island", Barry's second collection of stories, includes the 2010 New Yorker story and several other pungent treats including "Beer Trip to Llandudo" which won a 2012 London Sunday Times Short Story contest notable for both the honor bestowed and the prize (nearly $50,000).
There are thirteen stories in the new collection. The "Fjord of Killary" finds the patrons of the Water's Edge Hotel -- mostly "tough, knarly, west of Ireland" hill country people - holed up for the duration of a "particularly violent" storm, "an hysterical downpour, with great sheets of water streaming down from Mweelrea" which soon enough flooded the lower floors of the Hotel. Free drinks and the excitement generated by their predicament sustain the group while they await the outcome.
The prize story, "Beer Trip to Llandudo" is a gem, a story on a par with "Breakfast Wine" -- the pick of "Lttle Kingdoms." There, unless a third alcoholic is found to complement the two regular denizens of The North Star pub, it will be put on the block, and therein lies the tale. In "Llandudo", Barry presents us with the six members of the Real Ale Club, Lime Street, Aigburth, Liverpool on an ale tasting excursion to the old seaside resort town of Llandudo, Wales, at the height of summer. Here, to give you some idea of the clubs exploits, are the names of the ales consumed along their way that day: "Marston's Old Familiar" (case), "Phoenix Tram Driver" (on cask), "Bellhaven Bombardier" (one round), "Cornish Lightning" (a round), "Lancaster Bomber" (from the pump), St. Austell Tributes" (a round), "Whitstable Silver Star" (6.2 percent to volume), "Miner's Slattern" (on cask) and "Cumberland Pedigrees" (3.4 percent). As Big John put it at the end of the day, "We've supped some quality ale."
The understated badinage among the members is nothing short of masterful, particularly considering the rate at which they took on ale.
"Real Ale Club would not have marked Mo for a romancer."
" `The quiet ones you watch," said Tom N. `Maurice?' "
" `Mo? With a piece?' whispered Everett Bell"
Many of the other stories, including the title story "Dark Lies the Island," feel more sinister. Roddy Doyle, who provides a cover blurb, achieved a similar sense of lurking evil in his 1996 novel "The Woman Who Ran into Doors." "White Hitachi" and "Doctor Sot" deal with forlorn lives as does Barry in his just published story "Ox Mountain Death Song" (in the October 29, 2012 New Yorker). The Irish Times describes the darker stories in the new collection as "horrifically realistic narratives."
End Note. "Dark Lies the Island" apparently has not been published in the U.S. The accompanying cover illustration is from the English edition. Nevertheless, it is readily available from Amazon through its UK Book Depository at the standard U.S. shipping rate of $3.99. My copy came in less than ten days, much faster than the original estimated time of arrival.
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