In Savage Quarters, a Reign of Sex, Violence and Alliteration - New York Times - 0 views
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What makes it stand out from the legions of other crime stories is its idiosyncratic language, a propulsive stream of muscular verbs and baroque slang spoken in the first person and present tense. It was almost as if Mr. O'Rowe had studied Samuel Beckett's chiseled prose and Martin McDonagh's outrageous violence and then tried to best them.
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his staccato poetry, which employs invented words and unusual syntax, has become increasingly sophisticated, abstract and all his own. He writes like someone who is laughing at his own audacity, testing his own alliterative limits ("submission is all he knows, the sissy/Surrender. Self-pity") and playing similar syllable sounds off each other ("kowtowing, cowardly"). If he uses a cliché, he'll make sure to give it a tweak ("days of salad"). Some lines are so rich that they can easily trip up actors.
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a writer who loves words almost as much as he does dirty jokes and bloody faces. Even bad sex sounds pleasingly musical.
