'An idiosyncratic and fascinating novel... refreshingly contemporary in language and style' -Zadie Smith
'The novel that has impressed, mesmerised and bamboozled me most this past year is Hawthorn and Child by Keith Ridgway. It begins as a police procedural, then spins outwards, never quite coming back to explain the mystery. A novel or a series of loosely connected short stories? I don't really care. Whatever it is, it's great.' -Ian Rankin, Guardian
'Ridgway's best compositions can be breathtakingly unpredictable ... At his best, Ridgway is unapologetically strange. And the writing is perfectly assured and elegant' --Scarlett Thomas, Guardian
'Ridgway writes with the keen sense of place and lucid, pared-down prose of a good crime novel, which makes the more outlandish deviations even more arresting'-Observer
'Not only in its dialogue, but in its bawdy subversiveness, Hawthorn and Child is a thoroughly Irish affair. Samuel Beckett and Flann O Brien come regularly to mind, although Keith Ridgway's blend of the grotesque and the absurd is all his own... An admirably conceived work of fiction' -Times Literary Supplement
'This unorthodox, word-of-mouth success follows a detective duo whose cases refuse to reach any neat resolution, instead heading off on dark, unpredictable tangents, the interlocking stories are too clever to be resisted.'-Sunday Express
'It sometimes seems as if the modernist tradition in Irish fiction has run its course. But Ridgway looks more and more a worthy inheritor of its best quality, the impulse to be fresh, startling and challenging without being wilful or arbitrary. Hawthorn and Child, with two policemen traversing London and trying to make sense of its crimes, is strange, disconcerting, often dark. It s also superbly written and compulsively readable.' --Irish Times
'His characters are so compelling and the situations in which he thrusts them so gripping ... it's worth reading Hawthorn and Child for the thrills alone ... And the black humour throughout is glorious' --Independent
Hawthorn and his partner, Child, are called to the scene of a mysterious shooting in North London. The only witness is unreliable, the clues are scarce, and the victim, a young man who lives nearby, swears he was shot by a ghost car. While Hawthorn battles with fatigue and strange dreams, the crime and the narrative slip from his grasp and the stories of other Londoners take over: a young pickpocket on the run from his boss; an editor in possession of a disturbing manuscript; a teenage girl who spends her days at the Tate Modern; and a madman who has been infected by former Prime Minister, Tony Blair. Haunting these disparate lives is the shadowy figure of Mishazzo, an elusive crime magnate who may be running the city, or may not exist at all.
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