John Connolly has been called the unrivalled master of Maine noir; his writing not so much hard boiled as noir boiled,.. and indeed The White Road is detective gothic from first to last.
Connolly has used his skill in the past to weave the black styles of the fairy tale and gothic chill into his writing, but it is his fascination with ghost stories that has increasingly influenced his books. In The White Road the reader is snagged into the shadowy world created by the southern States' memory of horrors that beggar belief, ancient wounds that gape open below the thinly closed surface - of old money and slave traditions. There is nothing so black and white as the pale moonlit KKK robe, or as dark as midnight coloured skin.
Charlie Parker, doggedly loyal to old friends, and stubbornly supportive
of lost causes, agrees to help in a horrifying murder case in South Carolina. In doing
so, his own ghosts are given free rein in a place where atmosphere alone would
murder hope. His is not so much an investigation, more a decent into the abyss.
The chilling preacher Faulkner is again a dark presence in the background whilst
Parker's friends, Angel and Louis, damaged and deadly, follow their own avenging
trail. So brilliant at creating villains, Connolly has given us the strange and
menacing Mr Kittim and the deformed killer Cyrus Naim, both of whom lead Parker
down one shadowy road after another.
There is never a simple answer to Connolly's plots, but as the differently coloured strands of The White Road are pulled together, the dark and the pale flowing into one, it is again clear that the storytelling is superb. There are few authors who can make their words dance to such a dark rhythm as Connolly'...
Each of John Connolly's previous three books became immediate bestsellers. Born
in Dublin, he spends much of each year researching in the USA, and now in his
early 30s, he is the only no American to have won a Shamus, one of the prestigious
US awards given to crime writers. He has said of The White Road : 'I suppose I
have always been influenced by the gothic tradition, and in this case I found the
Greek myth element also became more important as the drafts progressed. These
ones perhaps not as well known as some, although the structure was in place before I
discovered that there was a myth that echoed the tale ... which I find kind of
interested in itself. And there is, toward the end, a nod at the idea of a boat journey
to the underworld.'
Will Landon is a junior SIS officer, just important enough to represent the Service at the funeral: the head of the Asian department has commited suicide, and Landon's job is damage limitation. The first surprise is that the dead spy had a publicity agent of the Palestine Liberation Organization in the family. The second one is that SIS didn't know his sister-in-law even existed. So when she publicly accuses the Service of killing him, Landon braces himself for trouble - and soon finds it. In Florida, meanwhile, ruthlessly ambitious Jill Sheridan - the woman who means to head the service one day - is engaged in some damage limitation of her own, staying well out of the way as her lover's wife involves her in a very messy divorce. It's bad enough when someone tries to blackmail Jill by involving her in a pornographic movie. More importantly, though, how did an Islamic terrorist group find out where she was? It's finally Landon who makes the connection between these two incidents and two hundred and sixteen bottles of illicit "whiskey" that turn out to contain a poison that could wipe out half the population of London.
Glenn Meade began writing Resurrection Day in the summer of 1999. In the novel an al-
Qaeda terrorist cell threatens to attack Washington with a weapon that will cause untold
devastation and bring America to its knees. He finished the novel at the end of August 2001
and flew to Italy for a short holiday. Eleven days later he switched on the TV in his hotel
room and watched in horror as the al-Qaeda hijackers destroyed the twin towers and the world
was changed forever.
Glenn knew two of the victims who perished that day. One was a passing acquaintance he
had met on frequent trips to New York. The other was a former top FBI counter-terrorist
chief, an acknowledged expert on al-Qaeda. Glenn had consulted him during the research for
the novel. His death was an incredible irony. Exasperated by his FBI superiors, whom he
had repeatedly warned of the likely risk of an attack by Islamic extremists on US soil, he felt
he was not being listened to and resigned from the Bureau to start a new career - as Head of
Security at the Twin Towers. He died when the first plane hit.
Glenn had a constant dread while writing the novel that al-Qaeda might carry out a major
terrorist attack on a US city. Having done extensive research and having interviewed many
terrorist experts in the States and listened to their opinions he had come to the stark
conclusion that such an assault was not only possible, but imminent.
In the course of his research the FBI wanted to know the outline of the novel in great detail in
return for their help. As he investigated exactly how the FBI might deal with an attack of this
kind, Glenn began to feel that he was dealing with a vast bureaucratic Organisation that
sometimes behaved like a headless chicken.
After September 11, Glenn thought the book would never be published. "I set out to give the
reader a startling, fly-on-the wall insight into a world in crisis 'he told his publisher, ' in which
real men and women react to the deadly menace of a monumental terrorist attack on a major
US city. I also wanted to tell and honest, yet chilling, page-tuning story, one that read like
truth - and was partly based on truth and which showed the immense danger the world faced
from the aberrant, ultra extremist style of Islamic terrorism that takes human destruction to its
ultimate end.
Should we alarm people with a story like this? The truth is that we have come to live
in the time of our own fiction. We can choose to ignore that reality but only at our
own peril. Just as the spy-writers of the Cold War era forewarned us with their stories
of emnity between East and West and made us acutely more aware of the dangers of a
nuclear Armageddon or the pre-W.W.2 thriller writers alerted the world to the Nazi
menace, I believe it is beholden upon the fiction writer to use his skills with integrity
to heighten whatever fidelity or fear it is he wishes to throw light upon."
Glenn Meade was born in Finglas, Dublin in 1957. His three novels to date - Snow Wolf,
Brandenburg, and The Sands of Sakkara have all been international bestsellers,
translated into over twenty languages and have enjoyed both critical and commercial success.
Snow Wolf has been bought by Propaganda Films in Los Angeles and will be a major
motion picture.
From the mid-eighties, Glenn wrote and directed a number of his own plays for the Strand
Theatre in Dublin, where he began writing before turning to thriller writing in 1994. He was
worked in the field of pilot training for Aer Lingus for many years and as a journalist for the
Irish Times. He now writes full time.
Critics have compared his novels - an exciting blend of fact and fiction to that of Frederick
Forsythe, John le Carre and Tom Clancy. His meticulously researched thrillers are a result of
years of research in Russia, Egypt, Europe and the USA. In his new novel, Resurrection Day, about a daring and dramatic attack on the US capital by an al-Qaeda terror group armed with a weapon of mass destruction and completed before the events of
September II t", he spent many months in Washington DC and interviewed senior White
House staff, Secret Service agents, US Federal planners and senior FBI terrorist experts (some
of whom were later involved in the hunt for al Queada terrorist suspects on US soil, after the
September 11"' attacks)