Tag Archives: tension

Between Two Fires: A Single Spy

09 Monday Oct 2017

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Review: A Single Spy, by William Christie
Minotaur/St. Martin’s, 2017. 388 pp. $26

Alexsi Ivanovich Smirnov, the orphan-thief protagonist of this superb, hair-raising thriller, is both feral and sympathetic. I wouldn’t have thought that possible, but, then again, if you read A Single Spy — and if you like this genre at all, I suggest you do — you’ll discover that many things are possible.

The first is that Alexsi, as a mere teenager, is more than a match for the smugglers he’s taken up with in Azerbaijan. This would be a dangerous occupation anytime, but in 1936, there are Russian soldiers on one side and rival gangs on the other, and no one can afford scruples. Still, Alexsi trusts his instincts. As a practiced thief, he has a sixth sense for when others intend to rob or sell him, and whoever tries winds up with his throat cut. However, the NKVD catches him where he shouldn’t be, and just when he thinks he’s about to get a bullet in the skull, they startle him by offering him a job. If he passes their tests — and the penalty for failure is that bullet — he’ll work for them, doing the killing, robbing and prowling he’s always done, except for the state. The rewards can be enormous, as he learns immediately:

The first thing Alexsi noticed was that, unlike every other Soviet apartment, there wasn’t anyone else living there. Which was unprecedented in his experience. There were freshly painted walls and thick blue curtains. A sofa, chairs, a table. Spare and severe furniture, in the Soviet style, but to his eyes unbelievably luxurious. A gas stove and a refrigerator instead of an ice box. He opened it up and was greeted by a gust of cool air and shelves filled with food. Milk, sour cream, butter, cheese. If they were trying to impress him, it was working.

But everything’s a test. No question his handlers ask is ever innocent, no matter how it sounds, so he must think one step ahead, always. His greatest asset is his poker face, which conceals more than they know, in particular a detestation for bullies and a soft spot for a friend’s family, his only childhood respite from a violent, abusive father.

In the abstract, it seems improbable that an NKVD agent, hired and trained to be a ruthless operative for Comrade Stalin, would possess both a human core and a healthy skepticism of the Soviet regime. Yet Alexsi, despite his savage instincts for survival, has a code that tells him not to hurt anyone who hasn’t tried to harm him. Naturally, his instructions and that code will conflict. And the complications multiply, because he can only escape the fearful, terrifying Soviet Union by accepting an assignment to Berlin. There, he eventually joins the Abwehr and becomes a double agent, reporting everything back to Moscow at the risk of his life. Caught between two fires, Alexsi must be slippery indeed to avoid the flames. “No — and furthermore” governs every moment. Not only must he please his two masters while avoiding detection, once more, no conversation is innocent, no matter with whom. He takes to heart his NKVD mentor’s advice never to reveal his true identity to anyone, for any reason — and if they guess, he must find a way to dismiss it convincingly. The tension fairly ripples off the page.

Alexsi’s vantage point allows him to make private observations, comparing the two totalitarian regimes he knows. For instance, the night of Kristallnacht, he’s studying in a university library, when he overhears someone ask nervously whether the rioting in the streets has been authorized. If it is, that means they can go see what’s happening; if not, they must stay put. Alexsi thinks, This could only happen here.

Wilhelm Canaris, head of the Abwehr (courtesy Bundesarchiv via Wikimedia Commons)

While reading A Single Spy, I thought often of Alan Furst’s Night Soldiers, another excellent thriller about the training and adventures of an NKVD agent. Christie takes a different approach, making Alexsi’s education a tutorial affair rather than at a school among inquisitive classmates, probably essential to the scheme, because it allows the spy-in-training to keep his inner self private. But the novels are similar in at least two respects. Both rely on atmosphere, and both introduce plenty of sex. Christie even has Alexsi’s training include it, in a chilling scene that I find hard to believe and suspect was included for its titillation. The only other false note is how Aleksi, as a junior agent in Berlin, manages to be told certain monumental secrets from none other than Wilhelm Canaris, the chief of the Abwehr.

But these are quibbles. Overall, A Single Spy satisfies in many ways.

Disclaimer: I obtained my reading copy of this book from the public library.

Where Tension Comes From (or Not): The Devils of Cardona

03 Monday Jul 2017

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Review: The Devils of Cardona, by Matthew Carr
Riverhead, 2016. 401 pp. $27

Nobody likes the priest of Belamar de la Sierra, a Spanish village in Aragon near the French border, and for good reason. But when he’s assassinated in March 1584, and his body used to desecrate his church, whatever he’s done to deserve his fate is immaterial. The crown and the Inquisition have accused Moriscos, former Muslims forcibly converted to Catholicism, of the murder. By definition, their crime is at once political and an apparent example of the heresy that must be rooted out of Spain.

An advisor to King Philip II counsels His Most Catholic Majesty to appoint a civil rather than an ecclesiastical investigator, much to the disgust of the Inquisition authorities. Nevertheless, Bernardo Mendoza, judge and erstwhile soldier in the wars against the Muslims, comes highly recommended, and he’s permitted to pursue the inquiry.

Philip II of Spain, ca. 1550, credited to Titian’s studio (courtesy Museo del Prado, Madrid, via Wikimedia Commons; public domain in the U.S.)

That, however, is easier said than done. Not only do the people of Belamar de la Sierra, Christians of old lineage and Morisco alike, distrust the royal investigator and pretend they know nothing about the priest’s death, they all have stories about the extortion, debauchery, and rape the late man committed at their expense. But hardly has Mendoza heard even an inkling of these offenses when more murders occur, and more again, involving bandits, Moriscos, greedy landowners, rogue officers of the law, Inquisitors, and just about everyone else in Aragon. Double-crosses abound, no road is safe, and everyone is on the take.

Consequently, Carr has plenty of material with which to keep the wheels spinning at a dizzying rate. He also knows a great deal about sixteenth-century Spain, whether he’s writing about religious belief, politics, church architecture, or fashion, which he conveys in often vivid prose. I further appreciate Carr’s eye for themes, which include religious prejudice, where justice lies between poor alternatives, and misperceptions about Islam, which is certainly topical.

Despite all the busyness in The Devils of Cardona, though, it’s flat. It’s obvious very early on that the Moriscos are largely innocent, so there’s no mystery there. If you can’t tell by analyzing the clues, you know by the overly earnest tone praising these people and showing how badly they’ve been abused. I can’t argue; was there ever a more detestable monarchy or one that perverted law or morality in a more monstrous fashion? But I don’t need to read set-piece paragraphs explaining how Moriscos are really good guys once you get to know them. And that’s standard here, as Carr habitually tells you how to feel about his characters by giving them pleasant or unpleasant facial features, a judgment to which they live up, without fail. The good guys are obviously good, and the bad guys are really, really bad. And the baddest guys around are the landowners, so by page 200, or halfway through, you know that’s where Mendoza’s sleuthing will lead him. There’s little doubt how that will end.

Carr tries to throw you off the trail by introducing further and further twists, usually acts of violence, some of which are predictable too. But there’s a better way to keep readers turning the pages. We all want the innocent to triumph, and the inquisitors to be damned. But that’s abstract, and you could get that by reading a history of the period. Rather, I want to care about Mendoza and to see Inquisitor Mercader, his chief ecclesiastical adversary, in a way that makes him a full person. Unfortunately, Carr doesn’t allow either.

Donald Maass, a literary agent whose books have shaped my approach as a novelist and a reviewer, addresses this issue in his latest effort, The Emotional Craft of Fiction. He argues that the best you can get out of adding plot points is to keep the pages turning through sheer intricacy. But many, if not most, readers will give up, because you’ve failed to engage their empathy, and if they do finish the book, they’ll have trouble remembering it. To make a deeper, more lasting impression, you have to connect the characters’ inner lives with the action, and the manner in which you do so strikes a chord (or doesn’t). Tension resides in the reader’s mind, not the words on the page. And this is true, Maass says, for any type of fiction you can name, thriller or literary, romance or fantasy. Makes sense to me.

I think Carr is an able writer, and The Devils of Cardona is only his first novel. I hope his future efforts reveal his characters to greater depth and complexity–and if he manages that, he won’t have to work so hard at plotting.

Disclaimer: I obtained my reading copy of this book from the public library.

In Memoriam: Helen Dunmore

16 Friday Jun 2017

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I read in the New York Times this morning that Helen Dunmore, poet and historical novelist, died on June 5, in Bristol, England. Even though I never met her, I feel sad and bereft, because her voice was one that always moved me. Her novel The Lie was the first book I reviewed on this blog, more than two-and-a-half years ago, and I can’t say I’ve read a more powerful one since. When Dunmore wrote about loss, as she did in that novel, she did so with breathtaking honesty, pulling no punches, sparing nothing and no one. Yet throughout, it’s empathy that comes through most clearly, which is why I can’t put her books down, despite how much they terrify me.

Speaking of terror, I’ve read three of her thrillers, and they’re marvelous. The Siege deals with the German attack on Leningrad during the Second World War, a subject that, by the way, has received plenty of fictional attention. A sort-of sequel, The Betrayal, centers on the so-called Doctors’ Plot, Stalin’s last purge before he died. And Exposed, reviewed here, reinvents the Soviet spy ring that infiltrated British Intelligence during the late 1950s and early 1960s.

Helen Dunmore has influenced me as a writer, even though her choice of subject matter and characters differ from mine. I admire her economy, her directness, her lucid prose that never lets beautiful sentences get in the way, and how she can make ordinary moments extraordinary. Most of all, she renders those ordinary moments so that she needs no Very Significant plot points to generate tension, for character drives her gripping narratives, first, last, and always.

I will miss her, and from six thousand anonymous miles away, I offer my condolences to her friends and family. Literature is the poorer for her death.

A Decent Guy Struggling Against Evil: Midnight in Europe

09 Monday Feb 2015

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Review: Midnight in Europe, by Alan Furst
Random House, 2014. 251 pp. $27

Reading Alan Furst’s pre-World War II spy fiction is like eating pastry from the hand of a master chef: You savor it, enjoying the many flavored layers, and sigh when you’re done. Midnight in Europe, his fourteenth effort, is no exception, though whether the flavors meld well or leave as strong or lingering an aftertaste as previous novels is another matter.

Cristián Ferrar is a typical Furst protagonist–brilliant, handsome, escaped from his native country (Spain, in this case), well connected, attracts interesting women, appreciates the good things in life (so must spend a lot of time in Paris), and holds strong principles without having to shout them from the rooftops. A decent man, in other words; but December 1937 will test any European’s sense of decency, not least in Spain, where Franco’s Fascist troops are winning a civil war in which mercy and justice have no meaning.

Bomb damage, Spain, 1937. (Courtesy Library of Congress)

Bomb damage, Spain, 1937. (Courtesy Library of Congress)

The Republican forces resisting Franco lack both unity and weapons. Ferrar can do nothing about the political mess strangling his country, but, as a lawyer with a respected firm of international scope, he may know people who might just possibly be willing and able to run guns to the Republicans. However, this is worse than risky business. Hitler and Mussolini are actively supporting Franco, which means the Gestapo will be watching; and even Stalin, who grudgingly supplies the Republicans, won’t let anyone else do so, which means the NKVD will unleash its hit men on nominal allies. Will the democracies help? Don’t even ask. As one character observes, “Europe is a nice neighborhood with a mad dog. Just now the dog is biting Spain, and nobody else in the neighborhood wants to get bitten, so they look away.”

Rueful political irony, a Furst specialty, is a particular pleasure of Midnight in Europe. A Macedonian underworld figure “spent his teenage years fighting Bulgarian bandits. After that, being a gangster was easy.” A scrappy Polish dockworker in Gdansk, upset that German agents are muscling into the waterfront, complains that he hasn’t punched a German “in days.”

Another Furst trademark is atmosphere you can practically eat with a spoon:

 

Parisians found themselves restless and vaguely melancholy for no evident reason, an annual malady accompanying the nameless season that fell between winter and spring. The streets were quiet–only dog walkers beneath shiny umbrellas and the occasional couple with nowhere to be alone. In the cafés, newspapers on their wooden dowels went unread, as though the patrons refused to read them until they produced better news. A change of government was in the air, though nobody believed it would change anything but itself.

Even so, Midnight in Europe, the thirteenth Furst novel I’ve read, seems too gentle to be a thriller. The only scenes that truly gripped me were those toward the beginning, in Spain, and a couple toward the end. I wish the author had set more of the story in Spain, territory that, if I remember correctly, he hasn’t revisited since a large, breathtaking swath of his first novel, Night Soldiers. Romance moves Ferrar almost as much as politics, and that’s fine, but he just isn’t tested enough, either on the street or in his heart. You sense he can get out of any trouble he gets into, and that nobody he trusts will ever turn on him.

Some years back, a literary agent told me that to sell well, American authors must write thrillers that have American or British protagonists. American readers, he said, won’t buy them otherwise–at least not in large numbers–whereas Europeans don’t trust Americans to get European characters right. Furst has been bucking this trend for years, though Mission to Paris had a European-American protagonist, and Midnight in Europe has scenes in New York.

So I wonder whether market forces (or perceptions of them) have influenced his latest output. His books have generally gotten shorter, softer, and less complex. (Oddly, that relative simplicity doesn’t stop the text of Midnight in Europe from identifying characters when they reappear, as if the reader might have forgotten who they are. This is so out of character for Furst that I suspect an intrusive editorial hand.) In fairness, basing fiction on the dread before the storm is no easy task. Even more ambitious, the latest novels feature spies who aren’t professionals but have volunteered or been coerced into it. Furst clearly admires that scheme and an author who made good use of it, Eric Ambler. (Check out Journey into Fear sometime, and you’ll see what I mean.) But it doesn’t always click.

By all means, if you’re a Furst fan, read Midnight in Europe. But if you’re just starting out with him, try Mission to Paris, which I find the best of the last half-dozen titles. And if you’re in for a longer, wilder ride, try Night Soldiers (and its long, fascinating section on the training of an NKVD agent) or Dark Star.

Disclaimer: I borrowed my reading copy of this book from the public library.