Bartholomew Port, known to all as Mew, steps into the bushes in a London park and steps out of the bushes in a Dublin one. Not only that – there are no cars; there are moving footpaths; there is no church; everything seems quite queer. Mew has arrived in a Dublin that is alive with song, with rumour, with ghosts, and with an unmistakable sense of insurgency. In this suspiciously timeless city that breathes an old revolutionary air, Mew fiercely misses his beloved Mootie, back home in London. An unravelling, an impossibility, a gathering of voices and a single dream, Dooneen is the layered, allusive and wildly original new novel from Keith Ridgway, ‘one of Ireland’s best writers, in a country with no shortage of them’ (The Times).

‘Comparisons become ridiculous at the level where Ridgway is working, but I will just say that for me there is a sense-memory of Kafka’s The Castle and Ishiguro’s The Unconsoled in my experience of the intimate and dreamlike Dooneen. The feeling is that of seeing fiction’s power of implication stretched before your eyes.’ 
— Jonathan Lethem

‘Ridgway has written a near perfect dream – a rebellion against reality, against space and form – but the blood is real, the panic, the love and friendship are there in front of you, can almost be touched. They don’t like you to say “masterpiece” in the endorsements, but read it, and tell me, what else can you call it?’
— Ben Pester, author of The Expansion Project

‘A hugely accomplished, politically acute, and strangely, intensely touching novel. Ridgway shows us – again – how it’s done.’
— Isabel Waidner, author of As If

‘Dooneen is surreal and unsettling, and will subvert your understanding of what time and reality – and even consciousness – is. It is also a poignant love story, and is Beckettian in its melancholy, wit and – most especially – its humanity. Keith Ridgway is a writer whose primary concern is the suffering of others, and his great skill is how quietly and subtly he evokes psychic pain.’
— Mary Costello, author of A Beautiful Loan