Underneath the grand, stately textures and rich, ironic nuances (which make this new, non-Smiley le Carre novel superior reading), there's a surprisingly conventional thriller-romance here—something of a step backward, perhaps, from the originality and moral/psychological delicacy of the Smiley-Karla trilogy. A Smiley-ish Israeli spymaster, Schulmann, a.k.a. Kurtz, is determined to flush out the Palestinian mastermind behind terrorist bombings in Europe. (Shrewdly, if sentimentally, le Carre makes Kurtz an anti-Begin sort of Israeli, hoping to prevent military action by eliminating terrorism more economically.) His plan? The traditional one: to infiltrate the Palestinian network with an agent who'll lead the Israelis to mastermind Khalil. But the way in which Kurtz accomplishes this infiltration is oblique, circuitous, quintessential le Carre: Kurtz secretly abducts Khalil's younger terrorist-brother Salim; handsome, troubled Israeli agent Becker quasi-seduces a young, leftist English actress on vacation in Greece, Charmian, a.k.a. "Charlie the Red." And, once the reluctant Charlie agrees (for not-entirely-convincing reasons) to be an Israeli agent, evidence of an England/Greece love-affair between Salim and Charlie is elaborately, painstakingly fabricated—love-letters, hotel-rooms, etc.—while Charlie gets deeply into her political, passionate role by playing out the love-story, with Becker (whom she does truly love, though he remains sexually aloof) as Salim. Thus, when Salim dies in an Israeli-staged car-crash, his comrades find the planted evidence and naturally seek out his grieving girlfriend, who may Know Too Much: with such credentials Charlie will become an almost-trusted terror recruit (spending devastating time in a Lebanon refugee camp). . . and will eventually be ready to get a bomb-assignment from Khalil in Europe, setting him up for Israel's assassins. Unfortunately, Charlie herself, for all the elegant prose and smart dialogue that le Carre lavishes on her, is never quite believable in her wavering political loyalties, her role-playing confusions; throughout, in fact, le Carre's narrative craft occasionally seems hamstrung by his determination to be fully fair to both sides of the Mideast terror. And the finale, with its strong-but-ordinary showdown and patly romantic fadeout, is faintly disappointing. Still, though a bit tenuous (and even, in the Charlie/Becker playlets, a trifle dull) by le Carre standards, this is clearly, compellingly, the work of one of today's few great storytellers—from its spacious yet tugging narration (a modern equivalent of Dickens) to its edge-of-your-seat interrogations and confrontations. So Smiley followers may be in for a slight let-down, but they—and others—will want to read every word nonetheless.
Pub Date: March 1, 1982
ISBN: 0743464656
Page Count: -
Publisher: Knopf
Review Posted Online: Sept. 27, 2011
Kirkus Reviews Issue: March 1, 1982
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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