The Rules of Disclosure is the third part of the “unholy trinity” of Lisa McInerney’s Cork novels, which began with the Women’s Prize The glorious heresies in 2015 and continued with 2017 The miracles of blood. McInerney’s world is an irresistibly sordid demi-monde of drug dealers, sex workers and real estate developers, and she has a pleasant disdain for minimalism: here you will find important characters and many of them, with great emotions and going through so many incidents that staying on top of the plot can leave you with the pleasant groggy feeling of trying to follow a magic trick up close.
At the center of this world is Irish-Italian Ryan Cusack. On Heresies He was a teenager torn between his love of music and the life of a youthful gangster, and he was heading for a downfall. On miracles, he served his purgatory in Naples, where he faced the Camorra. Now Ryan is back in Ireland and hopes to become a legitimate citizen – he’s out of the drug business and the lead singer of a band about to break through. Success and redemption seem imminent.
Except Ryan’s past can’t leave him alone, or Ryan can’t leave his past alone, and the uncertainty about who is holding on to whom is typical of the rich tangle of motivations that animates McInerney’s narrative. All of his characters share that urge to flee the city and break free from each other, but every time they threaten to succeed, something calls them back.
For Ryan, the ties that bind take a very physical form now that his on-and-off girlfriend Karine is also the mother of his son. It’s a relationship that practically asks you to label it “codependency”: “Karine had always considered herself to be part of a system. One daughter in three, a dancer on a team, a friend on a squad. Something to someone. There was little I could do about the fact that it was defined by the absence of a man. “
Karine’s classmates roll their eyes, just like you would if you were her friend, but in the McInerneyverse, you have to keep your story close. The Cork novels take place in a consciously modern Ireland, with all its contradictions: “To be Irish was to be resentful, frivolous, European, nationalistic … young, talented and wet.” However, although this is no longer the country of the Magdalena laundries, it is still a country that must confront its misdeeds.
So it is inevitable that Ryan and Karine pick up where they left off. It’s also inevitable that when Ryan’s band needs a replacement guitarist, they recruit Mel, Ryan’s childhood neighbor, whose mother, Tara, played her own defining role in Ryan’s story before disappearing. The band’s manifesto reads: “Art and honesty are inseparable. You must reveal something about yourself with everything you create. These are our rules. ”And whether Ryan wants it or not, he will live by it.
Meanwhile, Maureen Phelan, “five foot three and made up mostly of cardigans,” the mother of Jimmy Phelan, Ryan’s former mob boss, has embarked on her own mission to set the record straight, not just the personal sense but with respect to the whole city. . Cork is a very masculine place, he thinks resentfully. “But then I guess isn’t that the way of history? It’s all fucking men. ”His quest to uncover the mothers of the city to match the fathers of the city develops the novel’s sense of place, as he hits the streets giving ad hoc lectures to German tourists.
Also in the business of rewriting the narrative is former sex worker Georgia, whom Ryan once drove out of the country with the barrel of a gun. When she learns of her return, she decides that justice demands that the truth be told about her criminal career and recruits journalist Medbh, perhaps the least ethical fictional hack since JK Rowling’s Rita Skeeter, to help her spread the word. As Medbh cuts out and shapes Georgia’s story to appeal to “those who yearned to be horrified and those who strayed from their own great empathy,” he could be a reproach to the lewd reader or a wise stand-in for the author: in this morally melodrama prickly, it makes sense for her to be a bit of both.
Where previous entries in the trilogy have sometimes had the feeling that almost too much is happening, Revelation exercise sufficient restraint to avoid being overwhelming, and in doing so brings Ryan’s saga to a successful conclusion. “It was both the end of the world and the best time to be Irish,” writes McInerney. “Wasn’t that all they could do to tell the story?”
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George is Digismak’s reported cum editor with 13 years of experience in Journalism