The Island by Adrian McKinty

Published by Little, Brown and Company on May 17, 2022

The Island is an uncomplicated mix of thriller and horror elements. A widower named Tom has traveled to Australia for a medical conference. He’s taken his new wife and his two kids. The kids don’t like their stepmom, who is half their dad’s age, but they’re more upset that they haven’t seen any cool animals. Tom spends a few hundred bucks to buy a few hours of time on a private island, ignoring obvious warnings that invading the island’s privacy will be a bad idea. After another couple joins the tour, a ferry brings the six people and their two cars to Dutch Island.

Adrian McKinty signals that Dr. Tom is a disagreeable character when Tom complains that the car rental company gave him a lesser Porsche SUV than the one he reserved. McKinty signals that the reader should have sympathy for Tom’s wife, Heather, when she struggles to do her best in her unfamiliar parental role. Those signals alert the reader to the likelihood that things will not go well for Tom but that Heather will show her mettle. Just to make sure the reader doesn’t dwell on Tom’s unpleasant encounter with the island's residents, McKinty provides more tidbits about Tom’s past to suggest that that his eventual fate is only the product of karma.

Tom does something stupid that gets Tom and his family in trouble with the island’s inhabitants, a family of misfits named O’Neill, led by a woman they call Ma. The O’Neill family decides that vengeance requires them to kill Tom’s family, apart from the 14-year-old girl who will become a replacement wife for one of the O’Neills. For good measure, the O’Neill family tortures the tag-along couple so that the reader will have no doubt that the O’Neills are evil. This sets an action story in motion, as Heather and the kids use a combination of wits and luck to turn themselves from prey to hunter.

The story makes interesting use of Australia’s history of oppressing Aboriginal people. The plot is otherwise predictable, but the story moves quickly and generates the excitement that McKinty intended. The traditional season of beach reads is approaching. The Island falls neatly into that category — entertaining but no great loss if the reader leaves it buried in the sand.

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Belfast Noir by Adrian McKinty and Stuart Neville (eds.)

Published by Akashic Books on November 4, 2014

I don't know if Belfast is the noirest city on Earth, as the introduction to Belfast Noir claims -- surely Berlin provides strong competition -- but many of the Belfast-based stories collected here are fine examples of noir. Not all of the stories are dark, but the collection establishes Belfast as a fertile setting for crime fiction.

The Troubles and their continuing impact on life and culture in Belfast provide a background for many of the stories. Phrases like "wearing more jewellery than a Turf Lodge wide boy after a ram-raid at Lunn's" can make a Belfast story difficult to follow for readers who are unfamiliar with the city and its linguistic twists, but the local color (mostly gray as neutral ground between the hues of competing flags) shines through.

Some of the stories are true noir that showcase true writing talent:

The missing-presumed-dead father in Ian McDonald's "The Reservoir" returns to Belfast for his daughter's wedding and to confront the man who shot him. In Brian McGilloway's "The Undertaking," a wry story of crime gone awry, the undertaker of choice for Belfast's organized criminals is recruited to drive a hearse carrying a coffin bearing unknown cargo. A PI rescues a hooker and takes on a London crime boss who has designs on Belfast in Sam Millar's "Out of Time."

Murder, blackmail, and a wealthy man's dalliance with a teenage prostitute provide the ingredients for a juicy but dangerous story for a crime reporter in Garbhan Downey's "Die Like a Rat." The only noir story about dog fighting I've ever seen (a difficult but ultimately satisfying read for dog lovers) is "Pure Game" by Arlene Hunt. Alex Barclay wins the award for best prose in "The Reveller," a story of a son seeking revenge for his father's murder.

These stories are a little less noir but they are nevertheless excellent:

Lee Child's "Wet With Raid" is an audacious story of a dirty American agent who travels to Belfast to conduct dirty business. A barrister in Steve Cavanagh's "The Grey" defends a salty old con artist who claims to be innocent of a murder committed 30 years earlier. Perhaps the most unusual story in the collection, Eion McNamee's "Corpse Flowers" is told from the perspectives captured by surveillance cameras.

Two exceptional works are psychological profiles set against a background of crime:

Ruth Dudley Edwards' chilling "Taking It Serious" is about a mentally disturbed teen, his loving mum, the hidden secrets of his family, and the legacy of the IRA. In "Ligature," Gerard Brennan gets inside the tormented head of a troubled girl who does everything she can to get outside of her own head while she's locked up in a juvenile jail.

One story is just plain funny, proving that humor can be found everywhere, even in Belfast:

Claire McGowan's "Rosie Gant's Finger" features a boy detective of mixed religious heritage whose office is his mother's living room. He pedals his ten-speed to solve the mystery of a missing girl who got involved with a Belfast hoodlum.

Not so noir but still reasonably interesting stories:

Fascinated by the young woman who took up with her high school Spanish teacher, a student in Lucy Caldwell's "Poison" tries to give life to a fantasy. In the story I liked the least, Glenn Patterson's "Belfast Punk Rep," a writer explores the death of punk in Belfast by interviewing a prisoner. Even that story, however, isn't bad.

In fact, there isn't a bad story in the book.

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