Well, my fourth book, The Night the Rich Men Burned, is set in the same universe but uses a largely new cast. The idea of having that setting, that world full of characters and probing into different areas of it, was very exciting for me. There’ll always be an emotional pull to go back and further explore some established characters, but at the same time there’s a need to create something new, something different. Eventually that need for newness might pull me away from Glasgow, but there are plenty of murky corners there to stick my nose into first.
QUESTIONS AND TOPICS FOR DISCUSSION
1. What do you consider to be Frank MacLeod’s defining characteristics? Is he a reprehensible murderer, a tragic figure, neither, or some combination? Is he worthy of readers’ sympathy? Why or why not?
2. How a Gunman Says Goodbye’s cast of characters (here) encompasses a wide swath of people on opposite sides of the law. Overall, who was your favorite character? Whom did you like the least?
3. What about Mackay’s portrait of organized crime surprised you? Overall, would you say his novels play against genre conventions or embrace them? What themes did you encounter about crime and criminality in the pages of How a Gunman Says Goodbye?
4. Were you surprised by the trajectory of Calum MacLean’s story in this book? Would you say he’s grown as an individual during the course of this novel? What do you think the changes Calum has undergone, if any, will mean for his future?
5. How would you compare Frank MacLeod with Calum MacLean? Who is the more formidable killer? Is one more sympathetic than the other? More moral? Age aside, would you say the two hitmen are more similar or different?
6. What do you think of Frank’s final act in How a Gunman Says Goodbye? Is this the pathetic surrender of a man with nowhere left to turn, the triumph of a man committed to his employers and his life’s decisions, or both?
7. What did you think of Calum’s relationship with Emma Munro, and of this recent development in his life? In Emma’s shoes, would you have pressed for more information about Calum’s profession sooner, or does Emma ask as soon as one reasonably might, given what she knows when? What do you make of the ultimatum Emma offers Calum, once she’s reasonably sure of the truth? Would you have made the same offer?
8. Discuss Peter Jamieson’s friendship and working relationship with Frank MacLeod. Do you think Jamieson makes the right decision to bring Frank back on the job in the novel’s opening pages? How well do you think Jamieson handles the attempt to change Frank’s role in his organization after the botched hit? Does Jamieson treat him with the necessary respect, given his years of service, or does he fail to do so? Do you agree with John Young that Jamieson has made the right decision about what to do with Frank in the end?
9. What do you think the immediate future holds for Calum MacLean? What are his intentions, and do you think he’ll be able to realize those goals? Ultimately, do you think Calum will meet the same fate as Frank MacLeod? Why or why not?
ABOUT THE GLASGOW TRILOGY
Calum MacLean’s story began in book one, The Necessary Death of Lewis Winter, and continues in books two and three, How a Gunman Says Goodbye and The Sudden Arrival of Violence, all now available from Mulholland Books. The following is an excerpt from The Sudden Arrival of Violence.
1
He’s working later than intended. It’s after seven o’clock in the evening now. Late enough to call it a good day’s work. Putting documents away. All into their folders, placed neatly on the shelf. He’ll be working on them again tomorrow. It’s boring work, sure, but he long ago reconciled himself to that. He’s been doing accounts for thirty-five years; you can reconcile yourself to anything in that time. Might be different if it was a bigger operation. Way back in time, when he’d had ambition, he thought he could build something exciting. Gave up on that. Richard Hardy is happy with what he has now. A one-man company. A little office in a small building where he looks after his select group of loyal customers. There are two offices downstairs; he doesn’t see the people there much. A small charity has the office across the hall from his–something for the children of the very poor. Run by two middle-aged, well-meaning women. Richard used to have a secretary, but he had to let her go. Tough times. But he’s surviving.
His customers are loyal because of the type of accountant he is. Reliable, solid, silent. Most of his clients are small-business owners, honest enough on the surface. They just want to catch a break now and then. It’s hard for them, Richard understands that. Moving money around saves some of it for the client. There’s nothing immoral about that, in his eyes. These people work hard; he helps them gain the fullest rewards. Surely the legal system has bigger things to worry about.
He’s getting his coat from the peg on the back of the office door. Cold night out. He’s not in any hurry. There’s nobody waiting for him at home. His wife died twelve years ago now; they had no kids. More her choice than his. He didn’t mind, not as long as she was there. Once she was gone, it got lonely. Would’ve been nice to have a family then. Twelve-hour working days eat away at the loneliness. His accounts have become his children. That thought makes him feel sad and pathetic.
Locking the office door carefully behind him. It’s a nice area these days. Wasn’t so quiet when he first got the office, but they’ve cleaned up around here in the last two decades. Never had a break-in, but you can’t be too careful. He has a client who develops property and rents it out. Some might call him a slum landlord, but Richard’s always thought that was unfair. People on very low incomes need somewhere to live, and they can hardly expect the Ritz. Anyway, this fellow had a string of break-ins at his office. The police figured it was something to do with his work, a disgruntled someone or other. They warned people connected with his business to be careful, Richard included. Really, though, what can you do? If people want to smash their way in, they will.
He’s the last one out of the building. No lights on anywhere else. The front door locks automatically behind him–you have to be buzzed in or have a key. There’s a little courtyard at the front of the building, with parking for a select few who use the surrounding buildings. He’s been around long enough to claim one of the spots. There are only two other cars there right now. One’s always there. Must be a company car that nobody takes home. The other one he doesn’t recognize. Ordinary-looking black saloon. He’s taking his mobile out of his pocket to check for messages: anyone wanting some late-night advice, which might require their file. He’s over beside his own car before he realizes there are two people inside the black saloon. Two men, it looks like, sitting there in the dark. As he unlocks his car, the passenger door of the other car is opening. A young man’s getting out, looking across at him. Looks well dressed. Dark coat, dark trousers, smart shoes. He’s walking briskly across, while the driver gets out to join him.
‘Excuse me,’ the young man’s saying, ‘Richard Hardy?’
‘Yes,’ Richard’s saying, a little uncertain. He has his car door half-open. He’s ready to drop in, if this turns out to be some nut, or some thug looking for information about one of his clients.
‘My name’s Detective Sergeant Lawrence Mullen. This is Detective Constable Edward Russell.’ He’s pulling his little wallet out of his pocket, holding it out for Richard to look at.
Richard’s nodding. ‘Okay. How may I help you?’
‘We need you to come with us to the station to answer a few questions about one of your clients.’
‘The station? Am I being arrested?’
‘No, no, not at all. There are documents we would like you to see. Confirm they belong to one of your clients. You’re a witness, nothing more.’ Saying it with a reassuring smile.
‘Can I ask who it is you’re investigating?’
‘I don’t think it’s wise to discuss that out here on the pavement,’ the cop is saying, looking briefly around for show.
Common sense says you don’t argue with the police. Being questioned may be damaging for his business, but it would be wor
se to cause a scene. Being arrested could be fatal for his business. A little bit of a panic. He’s dropped the mobile onto the driver’s seat of his car. He’s closing the car door, locking it and following the young cop across to his car. Then wishing he’d put the mobile in his pocket. Might need to call a lawyer. Too polite to ask if he can go back and get it. Too nervous to say anything.
‘We’ll try not to keep you long,’ the cop’s saying, sounding a little disinterested. ‘We’ll drop you back here when we’re done.’ He seems nice.
Richard’s getting into the back of the car. Detective Mullen is sitting beside him, the older one back in the driving seat. Starting the car. No great rush to it. The policemen both seem relaxed, and that’s relaxing Richard. The initial shock replaced by natural nerves. Richard’s not the sort of person who finds himself in the company of the police often.
‘Am I in any sort of trouble?’ Richard’s asking. It’s been a couple of minutes of silence. He feels the need to say something.
‘Oh no,’ Mullen’s saying with an impatient shake of his head. ‘You might have information that’s useful to us. One of your clients. We’ll not question you under caution. If you’d feel more comfortable with a lawyer present, then you can call one when we reach the station. It’s entirely up to you.’
He’s paying Richard no attention. Looking out the window, then looking straight ahead. The driver, he seems more interested. Richard’s seen him looking back in the mirror a few times. The driver, DC Russell, is starting to look nervous. Making Richard feel as though there’s more to this. Like maybe he is in trouble. Okay, he’s turned a blind eye to a few things. There are things he’s hidden away that should have been left in the open. Never pretended he was an angel. But, come on, that’s hardly a big deal, is it? He’s done nothing that he ought to be ashamed of, he’s damned sure of that.
‘Could you at least tell me what this relates to?’ he’s asking Mullen. He needs to hear something reassuring. Anything.
‘We’re investigating the way in which one of your clients makes his money. We believe he uses his legitimate business as a front for criminal activities. We just want to ask you a few questions. You’re under no suspicion. If anything,’ Mullen’s saying, ‘you’re a victim, too.’
The initial shock masked it. Now it’s seeping through. The feeling that something isn’t right. The cop who couldn’t care less and his nervous driver. These two want to ask him about a client. Want to ask about his money. So why take him away from the office? Richard is sneaking a look at Mullen. So relaxed, that one. Surely if there’s something they need to find out, they would have stayed at the office. They would want him to look things up. Go through his files. Check figures. That’s what he does. Can’t do it from the station. Surely they’re going about this the wrong way. He wants to say something. Wants to tell the cop they might be better doing this back where they started. Looking at Mullen again. That disinterested look doesn’t seem reassuring any more.
ABOUT THE AUTHOR
Malcolm Mackay’s acclaimed debut series, the Glasgow Trilogy, has been nominated for countless international prizes. The first of the series, The Necessary Death of Lewis Winter, was short-listed for the CWA John Creasey (New Blood) Dagger and the Theakstons Old Peculier Crime Novel of the Year Award and long-listed for the CWA Ian Fleming Steel Dagger. The second, How a Gunman Says Goodbye, was named the Deanston Scottish Crime Book of the Year. Mackay was born in Stornoway on Scotland’s Isle of Lewis, where he still lives.
BOOKS BY MALCOLM MACKAY
The Glasgow Trilogy
The Necessary Death of Lewis Winter
How a Gunman Says Goodbye
The Sudden Arrival of Violence
EXTRAORDINARY ACCLAIM FOR MALCOLM MACKAY’S GLASGOW TRILOGY
“Gripping and vivid.… Mackay succeeds magnificently.”
—The Guardian
“Superb.… Mackay is a true original, managing to conjure up a gripping new way of portraying city noir.… He’s no longer a rising star. He’s risen.”
—Marcel Berlins, The Times
“Reviewers often groan at the hyperbole with which publishers adorn new novels, but with Malcolm Mackay it is justified.… This is crime writing with ambition. The youthful Mackay has the command of a writer twice his age, and he has delivered a conclusion to his trilogy that is just as cohesive and forceful as his previous two books.”
—Financial Times
“Remarkable.… The existing clan of Scottish writers may have to look to their laurels.”
—Daily Express
“Mackay ratchets up the tension like a master.”
—Daily Telegraph
“Brutal, witty, and well-written… brilliant.”
—Sunday Telegraph
“An amazing novel, incredibly gripping from the first page to the last. A vivid portrait of the Glasgow underworld, it’s completely hypnotic.”
—Mark Billingham
“A real revelation, a real find for me.”
—Kate Mosse
“A dark, rich, brutal thriller.… It absolutely captivates you.… More than a page turner, it’s a page ripper. If you like Ian Rankin, Stuart MacBride, Val McDermid, Denise Mina—Malcolm Mackay is right up there.”
—Peter James
“Glasgow’s a tough city and this is a tough book.… Very authentic, very gritty, you can really feel the streets. First class.”
—Lee Child
“There aren’t too many crime novels that take the reader into the mind, such as it is, of a hitman.… Truly exceptional.”
—The Independent
“Remarkably original.… A wholly believable and unnerving portrait of organized crime.”
—The Observer
“Mackay writes in a tough-guy style that is reminiscent of Raymond Chandler and Dashiell Hammett at their most hard-boiled.”
—The Scotsman
“ ‘Tartan noir’ will have a new star.”
—Daily Mail
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Contents
Cover
Title Page
Welcome
Dedication
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter 43
Chapter 44
Chapter 45
Chapter 46
Chapter 47
Chapter 48
Chapter 49
Characters
Reading Group Guide A Conversation with Malcolm Mackay
Questions and Topics for Discussion
An Excerpt from The Sudden Arrival of Violence
About the Author
Books by Malcolm Mackay
Extraordinary Acclaim for Mal
colm Mackay’s Glasgow Trilogy
Newsletters
Copyright
Copyright
The characters and events in this book are fictitious. Any similarity to real persons, living or dead, is coincidental and not intended by the author.
Copyright © 2013 by Malcolm Mackay
Reading group guide copyright © 2015 by Malcolm Mackay and Little, Brown and Company
Excerpt from The Sudden Arrival of Violence copyright © 2014 by Malcolm Mackay
Cover design by Oliver Munday
Cover copyright © 2015 by Hachette Book Group, Inc.
All rights reserved. In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at [email protected]. Thank you for your support of the author’s rights.
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First ebook edition: April 2015
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