Abstract
While the prevailing context for much Northern Irish crime fiction has been assumed to be the Troubles, the parallel in the Republic of Ireland has been the ‘Celtic Tiger,' the recent period of rapid economic growth. Although that boom does weave in and out of much contemporary crime fiction, this chapter also demonstrates the genre’s breadth and diversity. It does so with a focus on Gene Kerrigan’s novels, Alan Glynn’s trilogy, and Declan Hughes’s Ed Loy series, before concluding with an extended discussion of Tana French’s work, particularly her third novel, Faithful Place. Prominent thematic patterns discussed include corruption and the state, rapid social change, the blurred lines between organized crime and white collar crime, and uncertainty both economic and supernatural.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsNotes
- 1.
One of few scholarly articles to address Kerrigan at length is Rosemary Erickson Johnsen’s ‘Crime Fiction’s Dublin: Reconstructing Reality in Novels by Dermot Bolger, Gene Kerrigan, and Tana French,’ in ‘Irish Crime Since 1921,’ ed. William Meier and Ian Campbell Ross, special issue, Éire-Ireland 49, no. 1–2 (Spring-Summer 2014): 121–141.
- 2.
Some novels draw in all of these contexts, as does Declan Burke’s The Lost and the Blind (2014), which includes historical episodes from World War II, the post-Celtic Tiger crash, and the Troubles, all in an ambitiously plotted set of events.
- 3.
Cormac Millar, The Grounds (Dublin: Penguin, 2006; repr. London: Penguin, 2007), 368.
- 4.
For more on this history of economic modernisation, see Conor McCarthy, Modernisation, Crisis and Culture in Ireland, 1969–1992 (Dublin: Four Courts, 2000).
- 5.
Andrew Kincaid, ‘“Down These Mean Streets”: The City and Critique in Contemporary Irish Noir,’ Éire-Ireland 45, no. 1–2 (Spring/Summer 2010): 45.
- 6.
Declan Hughes, City of Lost Girls (London: John Murray, 2010; repr. 2011), 179. Earlier in the same novel, Loy has already made it clear that he has begun to find the crash an enervating topic, at least as it is discussed by his friend Tommy (Hughes, City, 87).
- 7.
Alan Glynn, Winterland (London: Faber, 2009; repr. 2010), 144, 156.
- 8.
Alan Glynn, seminar discussion with the author and students, ‘Imagining Ireland I’ undergraduate seminar, Trinity College Dublin, 10 February 2014.
- 9.
Declan Hughes, The Wrong Kind of Blood (London: John Murray, 2006; repr. 2007), 334.
- 10.
For a more formal discussion of corruption in Ireland, see an article by Conor Brady, the former editor of the Irish Times and author of a series of historical crime novels: ‘The Journalist and the Policeman: Seekers for Truth or Rivals in the Game?’, in Meier and Ross, ‘Irish Crime Since 1921’: 193–204, particularly 200–201. See also Niamh Hourigan, Rule-Breakers: Why ‘Being There’ Trumps ‘Being Fair’ in Ireland (Dublin: Gill & Macmillan, 2015), and Elaine Byrne, Political Corruption in Ireland 1922–2010: A Crooked Harp? (Manchester: Manchester University Press, 2012).
- 11.
Hughes, Wrong, 139.
- 12.
Hughes, Wrong, 84–85.
- 13.
See Byrne, Political Corruption, particularly 9–11, 215. Byrne argues that ‘favourable planning decisions at local government level’ were vital for developers’ profits, particularly in an administrative context where ‘Local councillors’ – such as those bribed in Hughes’s The Wrong Kind of Blood – ‘now had the extraordinary power to override management decisions on land rezoning and planning permission decisions’ (Political Corruption, 215).
- 14.
Hughes, City, 200.
- 15.
Hughes mentioned Loy to Alan Glynn as long ago as 1995, as Hughes explained during ‘Crime Fiction and Contemporary Ireland,’ a panel discussion with Paul Charles, Declan Hughes, Gene Kerrigan, Brian McGilloway, Niamh O’Connor, and Louise Phillips, ‘Irish Crime Fiction: A Festival,’ Trinity College Dublin, 23 November 2013.
- 16.
Hughes, Wrong, 29.
- 17.
Hughes, Wrong, 192.
- 18.
Hughes, Wrong, 281.
- 19.
See, for example, Hughes, Wrong, 32–33.
- 20.
Hughes, Wrong, 5.
- 21.
On Hammett’s Red Harvest, see Andrew Pepper, Unwilling Executioner: Crime Fiction and the State (Oxford: Oxford University Press, 2016), particularly Chapter 5, ‘“No Good for Business”: States of Crime in the 1920s and 1930s,’ 131–165.
- 22.
Elsewhere, in some of the series’ most hard-boiled language, Loy comments with a kind of pride on the public’s low regard for his profession: ‘you hired a private detective, and no-one wants to know who a private detective is. He’s too shabby and disreputable and hustle-a-buck ordinary to make the grade at your charity balls and grand-a-plate dinners and that suits him fine, because that way, he can get on with what he’s been hired to do. That’s the only point of him really, like a dog that’s been bred to work, he can’t relax by sitting around. He’s got to be prying and poking and stirring things up until somehow, out falls the truth, or enough of it to make a difference’ (Hughes, Wrong, 200). In City of Lost Girls, however, a woman Loy is interviewing questions his ethics: ‘Dublin’s a small town, Mr Loy. I happen to know, was at school with someone whose husband divorced her because you provided him with evidence of her infidelity. And there was a pre-nup, and she landed hard on her ass with fuck all. So don’t paint yourself as some kind of service to widows and orphans, some knight in shining armour.’ Nor does Loy mount a defence: ‘I don’t think I blush, but I can feel the heat on my brow’ (Hughes, City, 141).
- 23.
Hughes, Wrong, 52.
- 24.
Hughes, Wrong, 127. By City of Lost Girls, the fifth novel in the series, Loy is still sounding this note, if more numbly so: ‘In Dublin, it sometimes seems as if more than one degree of separation is too much to hope for’ (Hughes, City, 89).
- 25.
Hughes, Wrong, 48.
- 26.
Hughes, Wrong, 87.
- 27.
Hughes, Wrong, 127.
- 28.
Hughes, Wrong, 94.
- 29.
Hughes, Wrong, 314.
- 30.
Hughes, Wrong, 342.
- 31.
Hughes, Wrong, 336.
- 32.
Declan Hughes, ‘Irish Hard-Boiled Crime: A 51st State of Mind,’ in Down These Green Streets: Irish Crime Writing in the 21st Century, ed. Declan Burke (Dublin: Liberties, 2011), 161.
- 33.
Hughes, ‘Irish Hard-Boiled Crime,’ 164. Macdonald is the source of epigraphs in both The Wrong Kind of Blood, 131, and the second Loy novel, The Colour of Blood (London: John Murray, 2007), 129.
- 34.
Hughes, Wrong, 345–346.
- 35.
Declan Hughes, All the Dead Voices (New York: William Morrow, 2009; repr. New York: Harper, 2010), 207.
- 36.
‘Crime Fiction and Contemporary Ireland’ panel discussion.
- 37.
Niamh O’Connor, ‘The Executioners’ Songs,’ in Burke, Down These Green Streets, 200.
- 38.
Gene Kerrigan, ‘Brutal, Harrowing and Devastating,’ in Burke, Down These Green Streets, 262.
- 39.
Gene Kerrigan, The Rage (London: Harvill Secker, 2011; repr. New York: Europa, 2012), 9.
- 40.
Paul Murray, An Evening of Long Goodbyes (London: Hamish Hamilton, 2003; repr. London: Penguin, 2011), 234.
- 41.
On 4 July 2007, for example, Taoiseach Bertie Ahern famously remarked of people ‘moaning’ about the economy, ‘I don’t know how people who engage in that don’t commit suicide,’ a remark that his subsequent apology did little to prevent symbolising the official response to those who were questioning the Irish economy. For a discussion of this remark and its contexts, see Fintan O’Toole, Ship of Fools: How Stupidity and Corruption Sank the Celtic Tiger (London: Faber, 2009; reprinted and updated 2010), 119–124.
- 42.
Gene Kerrigan, Little Criminals (London: Vintage, 2005; repr. New York: Europa, 2008), 50.
- 43.
Gene Kerrigan, The Midnight Choir (London: Harvill Secker, 2006; repr. New York: Europa, 2007), 23.
- 44.
Gene Kerrigan, Dark Times in the City (London: Harvill Secker 2009; repr. New York: Europa, 2013), 16.
- 45.
Kerrigan, Rage, 23. In a later passage that echoes Hughes’s depiction of the rationale for succeeding generations of civic corruption – ‘if everyone was on the take, it cancelled itself out; as good as if no-one was’ (Hughes, Wrong, 334) – a highly ranked Garda accuses a Detective Sergeant of ‘throwing around allegations about the very people who have an important role in getting this country up from its knees’ (Kerrigan, Rage, 277). Anticipating such rationales, the novel preemptively undercuts the senior officer in an earlier scene, when James Snead, a retired construction worker, gives one acidly concise view of Irish politics: ‘After all the bullshit about the fight for freedom, about throwing off the foreign yoke – they gave the country away. The politicians fell in love with the smart fellas – gave them any law they wanted. The smart fellas made speeches and gave interviews about how smart they were, and the journalists kissed their arses. And in the end it was the smart fellas broke the country in pieces, without any help at all from the red brigades’ (Kerrigan, Rage, 88). This argument has its precedents in the earlier Dark Times in the City, where the crime boss Lar Mackendrick defends himself against an IRA man’s accusation that he is ‘part of what’s wrong with this country.’ Mackendrick smiles in reply: ‘Half this city was built on crooked land deals and politicians selling bent planning permission. … All those big-time tax frauds the banks organized – you see any bankers in jail? The difference is I steal thousands, they steal millions’ (Kerrigan, Dark, 226). Lar eventually rebuts the IRA man’s point in more personal terms that echo Snead: ‘Thirty years you spent blowing things up, shooting people dead in front of their wives and their kids – and you’re lecturing me on the spirit of the fucking nation?’ (Kerrigan, Dark, 227).
- 46.
Kerrigan, Rage, 128.
- 47.
Kerrigan, Rage, 56.
- 48.
Kerrigan, Midnight, 246. Other writers make similarly intimate references to the social pressures of the time. Declan Hughes, for example, has Ed Loy’s friend Detective Inspector Dave Donnelly complain about the ‘hit on his salary because of the public service pension levy,’ a very specific reference indeed to the austerity regime that followed the economic crash in Ireland, when the levy served as a back-door pay cut on public sector salaries (Hughes, City, 92). Loy responds with characteristically bone-dry sarcasm: ‘There’s no room any more for the politics of envy, as you know, Dave. We should just sit back and wait for the bankers and developers who got us into this mess to get us out of it, as of course they will, in due course, once they’ve figured out a way to screw us all over again’ (Hughes, City, 92).
- 49.
Kerrigan, Midnight, 285.
- 50.
Dark Times in the City is more overt in titling Part 2 of the novel ‘Entrepreneurs,’ among the most totemically Celtic-Tiger-ish of words, both for its marking of elevated status in that era and for the way it grew to signify a vapidly self-congratulatory kind of entitlement (Kerrigan, Dark, 117).
- 51.
Kerrigan, Little, 109. Byrne argues, however, that despite the enormous expense of the tribunals they still worked to the government’s material advantage: ‘the financial yield to the exchequer as a direct consequence of the inquiries is twice their estimated cost. When indirect revenue is considered, the yield to the exchequer is over four times their outlay’ (Political Corruption, 181).
- 52.
Kerrigan, Little, 134.
- 53.
Kerrigan, Little, 132–133.
- 54.
Kerrigan, Little, 207.
- 55.
See O’Toole, Ship of Fools; Byrne, Political Corruption; and Hourigan, Rule-Breakers.
- 56.
Kerrigan, Little, 89.
- 57.
Kerrigan, Little, 11–12.
- 58.
Kerrigan, Little, 181.
- 59.
Kerrigan, Midnight, 303. The phrase ‘these days’ recurs throughout the series, typically as an indicator of the boom-era hubris of thinking everything had changed. In this same novel, for example, the vain and shallow Minister for Justice vacuously asserts that ‘These days … we get things done. On the streets at home, or on the world stage’ (Kerrigan, Midnight, 236). Kerrigan quickly juxtaposes this with a woman who, unhappy with her latte, gets the server fired by complaining that ‘the customer expects certain standards these days’ (Kerrigan, Midnight, 240). This juxtaposition underscores the self-congratulatory vapidity of the phrase, putting a particular point on the novel’s criticisms of the Celtic Tiger’s excesses.
- 60.
Kerrigan, Little, 95.
- 61.
Kerrigan, Little, 98.
- 62.
Kerrigan, Little, 141–142.
- 63.
Kerrigan, Little, 147.
- 64.
Kerrigan, Little, 292.
- 65.
Kerrigan, Rage, 171; for Maura’s confession to Bob Tidey, see Kerrigan, Rage, 176, 178–183, 307. Declining Church authority is also mentioned in The Midnight Choir, through a brief encounter with a priest who ‘still received from his parishioners the regard that used to be the birthright of all priests, before the scandals broke the Church’ (Kerrigan, Midnight, 258)
- 66.
Kerrigan’s novels make this point more than once. When the Minister for Justice questions Synnott in The Midnight Choir about the ‘ambitions’ of gangland criminals, Synnott thinks – but does not say – ‘Same as yours, minister, same as your horsey friend’s. They want position and wealth with the least amount of sweat possible. They do whatever it takes’ (Kerrigan, Midnight, 235). A strand of contemporary Irish crime fiction – including Hughes, Glynn, and Kerrigan – has regularly depicted little meaningful difference between gangsters and white collar criminals, as suggested by panellists at Trinity’s 2013 festival of Irish crime fiction. Recent Irish history has lent itself well to perceiving criminality across class and occupation, with no particular exemption – quite the opposite – carved out for the upper classes during the boom.
- 67.
Kerrigan, Rage, 16. This same character, Bob Tidey, comments in the best attempt he can muster to give some hope to a suspect’s relative, ‘There’s no happy ending to this, but let’s see what we can see, right?’, a cautiously balanced assessment, at once frank and, within its limits, encouraging (Kerrigan, Rage, 55).
- 68.
French has commented on this in several interviews, including Clare Coughlan, ‘Paper Tiger: An Interview with Tana French,’ in Burke, Down These Green Streets, 343.
- 69.
Tana French, ‘The Secret History by Donna Tartt (1992),’ in Books to Die For: The World’s Greatest Mystery Writers on the World’s Greatest Mystery Novels, ed. John Connolly and Declan Burke (London: Hodder, 2012), 568–569.
- 70.
French, ‘The Secret History,’ 572.
- 71.
Tana French, In the Woods (New York: Penguin, 2007, repr. 2008), 274.
- 72.
Tana French, Faithful Place (New York: Penguin, 2010; repr. 2011), 247.
- 73.
John Connolly, I Live Here (Dublin: Bad Dog, 2013), expanded and reprinted in Night Music: Nocturnes 2 (New York: Atria, 2015), 422.
- 74.
Eve Patten, ‘Contemporary Irish Fiction,’ The Cambridge Companion to the Irish Novel, ed. John Wilson Foster (Cambridge: Cambridge University Press, 2006), 261.
- 75.
Tana French, Broken Harbour (Dublin: Hachette, 2012), 13.
- 76.
Rosemary Erickson Johnsen has suggested that French’s first four novels comprise an ‘alternate … tour’ of Dublin, with ‘different levels of the housing market explored one book at a time’ (‘Crime Fiction’s Dublin,’ 132). Shirley Peterson elaborates on this theme in ‘Homicide and Home-icide: Exhuming Ireland’s Past in the Detective Novels of Tana French,’ Clues: A Journal of Detection 30, no. 2 (2012): 97–108.
- 77.
French, Broken Harbour, 267.
- 78.
Tana French, The Secret Place (New York: Viking, 2014), 432, 450–452.
- 79.
French, Secret, 424.
- 80.
See, for example, Johnsen, ‘Crime Fiction’s Dublin,’ 133.
- 81.
French, Broken, 351.
- 82.
French, Broken, 363.
- 83.
French, In the Woods, 77, 374.
- 84.
Rachel Schaffer, ‘Tana French: Archaeologist of Crime,’ in ‘Special Issue on Tana French,’ ed. Rachel Schaffer, Clues: A Journal of Detection 32, no. 1 (2014): 36.
- 85.
Marilyn Stasio, ‘The Old Neighborhood,’ New York Times, 16 July 2010, http://www.nytimes.com/2010/07/18/books/review/Crime-t.html?_r=0 (accessed 5 March 2016).
- 86.
French, Faithful, 328.
- 87.
French, Secret, 206.
- 88.
French, In the Woods, 185.
- 89.
French, Faithful, 2.
- 90.
French, Faithful, 109.
- 91.
‘Interview with Tana French,’ July 2010, Goodreads.com, http://www.goodreads.com/interviews/show/536.Tana_French (accessed 5 March 2016).
- 92.
French, Broken, 187.
- 93.
French, Faithful, 331.
- 94.
French, Faithful, 395.
- 95.
Maureen T. Reddy, ‘Authority and Irish Cultural Memory in Faithful Place and Broken Harbor,’ in Schaffer, ‘Special Issue on Tana French’: 86.
- 96.
French, Faithful, 385.
- 97.
Hughes, Wrong, 303.
- 98.
French, Faithful, 133–134.
- 99.
William Meier and Ian Campbell Ross, ‘Editors’ Introduction,’ in Meier and Ross, ‘Irish Crime Since 1921’: 19.
- 100.
French, Faithful, 400.
References
Barclay, Alex. Killing Ways. London: HarperCollins, 2015.
Brady, Conor. ‘The Journalist and the Policeman: Seekers for Truth or Rivals in the Game?’ In Meier and Ross, ‘Irish Crime Since 1921’: 193-204.
Burke, Declan. Absolute Zero Cool. Dublin: Liberties, 2011.
———. ed. Down These Green Streets: Irish Crime Writing in the 21 st Century. Dublin: Liberties, 2011.
———. The Lost and the Blind. Surrey: Severn, 2014.
Byrne, Elaine. Political Corruption in Ireland 1922–2010: A Crooked Harp? Manchester: Manchester University Press, 2012.
Carson, Paul. Cold Steel. London: Heinemann, 1998.
———. Ambush. London: Heinemann, 2004. Reprint, London: Arrow, 2005.
Carter, Andrea. Death at Whitewater Church. London: Constable, 2015.
Connolly, John. I Live Here. Dublin: Bad Dog, 2013. Expanded and reprinted in Night Music: Nocturnes 2, 399–443. New York: Atria, 2015.
Coughlan, Clare. ‘Paper Tiger: An Interview with Tana French.’ In Burke, Down These Green Streets, 335–344.
‘Crime Fiction and Contemporary Ireland.’ Panel discussion with Paul Charles, Declan Hughes, Gene Kerrigan, Brian McGilloway, Niamh O’Connor, and Louise Phillips. ‘Irish Crime Fiction: A Festival.’ Trinity College Dublin, 23 November 2013.
Dillon, Eilís. Death in the Quadrangle: An Irish Mystery. London: Faber, 1956. Reprint, Boulder: Rue Morgue, 2010.
French, Tana. In the Woods. London: Hodder & Stoughton, 2007. Reprint, New York: Penguin, 2008.
———. The Likeness. New York: Penguin, 2008. Reprint, 2009.
———. Faithful Place. New York: Penguin, 2010. Reprint, 2011.
———. ‘Interview with Tana French.’ Goodreads.com, July 2010. http://www.goodreads.com/interviews/show/536.Tana_French (accessed 5 March 2016).
———. Broken Harbour. Dublin: Hachette, 2012. Reprint, New York: Penguin, 2012.
———. ‘The Secret History by Donna Tartt (1992).’ In Books to Die For: The World’s Greatest Mystery Writers on the World’s Greatest Mystery Novels, edited by John Connolly, Declan Burke, and Ellen Clair Lamb, 567–572. London: Hodder, 2012.
———. The Secret Place. New York: Viking, 2014.
———. The Trespasser. New York: Viking, 2016.
Gaffney, Frankie. Dublin Seven. Dublin: Liberties, 2015.
Glynn, Alan. Winterland. London: Faber, 2009. Reprint, 2010.
———. Bloodland. London: Faber, 2011.
———. Graveland. London: Faber, 2013.
———. Seminar discussion with the author and students. ‘Imagining Ireland I’ undergraduate seminar. Trinity College Dublin, 10 February 2014.
Hammett, Dashiell. Red Harvest. New York: Knopf, 1929. Reprint, New York: Vintage/Black Lizard, 1992.
Hourigan, Niamh. Rule-Breakers: Why ‘Being There’ Trumps ‘Being Fair’ in Ireland. Dublin: Gill & Macmillan, 2015.
Hughes, Declan. The Wrong Kind of Blood. London: John Murray, 2006. Reprint, 2007.
———. The Colour of Blood. London: John Murray, 2007.
———. All the Dead Voices. New York: William Morrow, 2009. Reprint, New York: Harper, 2010.
———. City of Lost Girls. London: John Murray, 2010. Reprint, 2011.
———. ‘Irish Hard-Boiled Crime: A 51st State of Mind.’ In Burke, Down These Green Streets, 161–168.
Hunt, Arlene. Blood Money. Dublin: Hachette, 2010.
Johnsen, Rosemary Erickson. ‘Crime Fiction’s Dublin: Reconstructing Reality in Novels by Dermot Bolger, Gene Kerrigan, and Tana French.’ In Meier and Ross, ‘Irish Crime Since 1921’: 121–141.
Kerrigan, Gene. Little Criminals. London: Vintage, 2005. Reprint, New York: Europa, 2008.
———. The Midnight Choir. London: Harvill Secker, 2006. Reprint, New York: Europa, 2007.
———. Dark Times in the City. London: Harvill Secker, 2009. Reprint, New York: Europa, 2013.
———. The Rage. London: Harvill Secker, 2011. Reprint, New York: Europa, 2012.
———. ‘Brutal, Harrowing and Devastating.’ In Burke, Down These Green Streets, 249–263.
Kincaid, Andrew. ‘“Down These Mean Streets”: The City and Critique in Contemporary Irish Noir.’ Éire-Ireland 45, no. 1–2 (2010): 39–55.
McCarthy, Conor. Modernisation, Crisis and Culture in Ireland, 1969–1992. Dublin: Four Courts, 2000.
McGowan, Claire. Blood Tide. London: Headline, 2017.
Meier, William, and Ian Campbell Ross, eds. ‘Irish Crime Since 1921.’ Special issue, Éire-Ireland 49, no. 1–2 (2014).
———. ‘Editors’ Introduction: Irish Crime Since 1921.’ In Meier and Ross, ‘Irish Crime Since 1921’: 7–21.
Millar, Cormac. The Grounds. Dublin: Penguin, 2006. Reprint, 2007.
Murray, Paul. An Evening of Long Goodbyes. London: Hamish Hamilton, 2003. Reprint, London: Penguin, 2011.
Nugent, Andrew. The Four Courts Murder. London: Headline, 2006.
O’Connor, Niamh. If I Never See You Again. London: Transworld, 2010. Reprint, 2011.
———. ‘The Executioners’ Songs.’ In Burke, Down These Green Streets, 195–200.
O’Toole, Fintan. Ship of Fools: How Stupidity and Corruption Sank the Celtic Tiger. London: Faber, 2009. Reprinted and updated 2010.
Patten, Eve. ‘Contemporary Irish Fiction.’ In The Cambridge Companion to the Irish Novel, edited by John Wilson Foster, 259–275. Cambridge: Cambridge University Press, 2006.
Pepper, Andrew. Unwilling Executioner: Crime Fiction and the State. Oxford: Oxford University Press, 2016.
Peterson, Shirley. ‘Homicide and Home-icide: Exhuming Ireland’s Past in the Detective Novels of Tana French.’ Clues: A Journal of Detection 30, no. 2 (2012): 97–108.
Phillips, Louise. Red Ribbons. Dublin: Hachette, 2012.
Reddy, Maureen T. ‘Authority and Irish Cultural Memory in Faithful Place and Broken Harbor.’ In Schaffer, ‘Special Issue on Tana French’: 81–91.
———. ‘Contradictions in the Irish Hardboiled: Detective Fiction’s Uneasy Portrayal of a New Ireland.’ New Hibernia Review 19, no. 4 (2015): 126–140.
Schaffer, Rachel, ed. ‘Special Issue on Tana French.’ Clues: A Journal of Detection 32, no. 1 (2014).
———. ‘Tana French: Archaeologist of Crime.’ In Schaffer, ‘Special Issue on Tana French’: 31–39.
Stasio, Marilyn. ‘The Old Neighborhood.’ New York Times, 16 July 2010. http://www.nytimes.com/2010/07/18/books/review/Crime-t.html?_r=0 (accessed 5 March 2016).
Van Dyke, W.S., dir. The Thin Man. Hollywood: Metro-Goldwyn-Mayer, 1934.
Author information
Authors and Affiliations
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Cliff, B. (2018). Crime Fiction and Contemporary Ireland. In: Irish Crime Fiction. Crime Files. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-56188-6_3
Download citation
DOI: https://doi.org/10.1057/978-1-137-56188-6_3
Published:
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-137-56187-9
Online ISBN: 978-1-137-56188-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)