The Glorious Heresies: Winner of the Baileys' Women's Prize for Fiction 2016 Hardcover – 9 Apr 2015
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A rich, touching, hilarious novel (Financial Times)
A spectacular debut . . . a head-spinning, stomach-churning state-of-the-nation novel about a nation falling apart (Telegraph)
A big, brassy, sexy beast of a book (Irish Times)
A superb debut from a confident and comic writer (Mail on Sunday)
Fiendishly hilarious (The Times)
All the trappings of a possible future classic . . . a fascinating and accomplished commentary on modern Irish life (Big Issue)
A daring, exuberant and generous novel (Observer)
There is the humour and the sheer, seething, broiling energy of the prose, which is peppered with the kind of language your mother would call unforgivable. As in Roddy Doyle and Irvine Welsh at their best, it doesn't feel gratuitous. It just feels true (Sunday Times)
A rambunctious portrayal of a swaggering off-kilter underclasss (Patricia Nicol Sunday Times)
This year's Baileys prize winner, the interlinked stories of chancers, gangsters and no-hopers in Cork city, is crime caper, teen romance and blisteringly dark social satire all rolled into one. Angry, funny and full of heart (Guardian summer reads)
A big, bold debut from a true new Irish talent.See all Product description
Top customer reviews
Lisa McInerney’s multi-award winning debut novel is a smart, intricately plotted novel that marries a black comedy crime caper with a coming of age story while also commenting on the state of Ireland, written in a crackling voice that makes excellent use of Irish slang to add authenticity and which kept me engaged from beginning to end. The main story belongs to Ryan and the pull he feels between life as a drug dealer, love for his girlfriend Karine and the tantalising possibility of life as a musician – I believed in him and his emotional journey, for all the melodrama with Karine (who is a little bland). Relationships are at the heart of the book and my favourite scenes were those between Jimmy and Maureen (easily my favourite character as her actions become darker and deranged as she seeks revenge on the suffocating Ireland she grew up in) but I also came to feel some sympathy for Tony who does want to protect his son, even if he can’t express those feelings and frequently gives in to addiction. Tara Duane makes a sinister antagonist whose manipulation of Ryan, Tony and Georgie (who for me never really rose above her role as a prostitute and drug addict) drives the plot at key sections. I loved the way McInerney peppers the dialogue with slang because it makes the whole thing so authentic and even though I didn’t immediately get all of it, the context means you can understand it. I don’t think that McInerney had anything new or original to say about Ireland or the influence of Catholicism on Irish society but it was entertaining and heart felt and I can fully understand why it won both the Bailey’s Women’s Prize for Fiction and the Desmond Elliot Prize in 2016.
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