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Showing posts with label McGuffin. Show all posts
Showing posts with label McGuffin. Show all posts

Tuesday, 4 December 2018

Book review - The Fox




Frederick Forsyth’s return after a fiction hiatus of five years sees his thriller The Fox published before it’s really ready. It seems rushed, for reasons I’ll go into soon, and is sadly unsatisfactory, and I believe the blame can be shared equally between Mr Forsyth and the publisher.

The publisher should do better. The list of books by Forsyth is impressive, with The Outsider following on from The Kill List, below which are two Non-fiction books listed, The Biafra Story and Emeka. Don’t Bantam Press know that The Outsider is non-fiction, being his autobiography?

The story is about a young British man, Luke Jennings, with Asperger’s Syndrome who has hacked into the US security system. Together with his family (mother, father, brother) he is arrested and they're sequestered in a safe place in England. Rather than prosecute him, both the Americans and the British decide to make use of his considerable gifts to tilt the balance of power – to interfere with Russian, North Korean and Chinese computer-linked weapons systems.

Forsyth’s page-turning ability is apparent as he peppers the story with facts and details about the clandestine and political world, even including most recent events, such as the Skripal poisonings in Salisbury and the summit meetings with North Korea. As usual, Forsyth employs his omniscient third person narrative, creating that immediacy of a reporter viewing events unfolding. Unfortunately, that technique here leaves little room for emotion. In truth, I felt that the book reads more like a film treatment than a novel; it was all tell, tell, tell and not much show.

It’s a quirk of mine, but I find it annoying when a character is referred to in two different ways. The putative hero is Sir Adrian Weston. Most of the time, we get Adrian or Sir Adrian. But then he drops in Weston. Bond was always Bond; end of.

The utilisation of Luke is serious wishful thinking, breaking down foreign firewalls virtually at the drop of a hat. Luke’s technical shepherd who directs the lad’s hacking activities is Jeremy Hendricks, who (to tick a box) ‘was gay but made no mention of it, choosing a quiet life of celibacy’ (p13).

Hendricks is an example of poor characterisation. We don’t really get to know Sue Jennings, Luke’s mother, or even Luke, ‘The Fox’ for that matter. We learn a little about Sir Adrian, even delving beneath his skin. But that’s all. The majority of characters – and there are over 30 listed (with organizations too) beginning on p303 – are ciphers. There is no emotional content, so as a reader I didn’t experience any tension when threats were described to silence Luke. Really, Luke is the main character, the reason for the story, Hitchcock’s McGuffin, yet he does not come alive, so then the threat of his death falls flat: it should create concern at least.

Since reading the book, I’ve looked at the reviews. They fall into two categories: excellent thriller, couldn’t put it down and the obverse, highly disappointing with a cop-out ending. I regret to concur with the naysayers.

An aside
I was fascinated to read about a sleeper agent: ‘The agent … masqueraded as a shopkeeper in the West End of London whose British name was Burke. His real name was Dmitri Volkov.’ (p73)

In my Tana Standish psychic spy novel Mission: Tehran (originally published 2009, re-published 2017) states:

Yuri – cover-name Neil Tomlinson – had hired the light cargo aircraft for the day and filed all the flight-plan papers at the nearby airport. He landed in a field a couple of miles away from Fenner House and picked up ‘agent Burke’.
Lieutenant Aksakov had already concealed the Escort behind a hedge and a cluster of trees and thrown the blonde wig and business clothes into the boot.
She was wearing the more familiar hard-wearing green cotton tunic and trousers. For this mission she’d left behind in the car’s boot her water flask, the folding stock version of the Kalashnikov automatic AKM, three hundred 7.62mm rounds and the P351-M radio set with scrambling and high-speed transmission apparatus. The vehicle was detonated to explode should she be unable to retrieve it. Instead, she carried her spring-loaded knife, spare blades, a Makarov pistol and thirty-two rounds. Six grenades and plastic explosive completed her weapons load. (p184)
Glossary: Burke - Code-name chosen because Aksakov specialised in throttling people without leaving a trace and this transitive verb stems from a nineteenth century murderer’s name. (p275)

Coincidence, then…

Editor comment:
There are a few instances where an editor should have intervened; here are just two of them.

1) ‘Though he was more than ten years older than the man at Yasenevo, he had noted the rising star of the SVR when he had been deputy chief of MI6.’ (p90) Of course the rising star of the SVR wasn’t in MI6, though that is the implication here. It should have read ‘Though he was more than ten years older than the man at Yasenevo, when he had been deputy chief of MI6 he had noted the rising star of the SVR.’

2) ‘Under the Shah, Israel had little to fear from Iran…’ (p170) Of course the Shah was never the head of state of Israel. Perhaps it should have read: ‘Under the Shah, Iran posed little threat to Israel…’

Friday, 17 April 2015

FFB - The Testament of Caspar Schultz

Real name, Harry Patterson, Jack Higgins' early novels were written under his own name as well as under the pseudonyms James Graham, Martin Fallon, and Hugh Marlowe. One of the reasons for several names is that he was prolific and publishers are reluctant to bring out too many books by a single author. His early books were thrillers that typically featured hardened, cynical heroes, ruthless villains, and dangerous locales. He published thirty-five novels of this type (sometimes three or four a year) between 1959 and 1974, ‘learning his craft’. Then he wrote The Eagle Has Landed

A number of his books feature several recurring characters – Nick Miller, Sean Rogan, Martin Fallon (no less!), Liam Devlin, Sean Dillon and Paul Chavasse.
 
The Testament of Caspar Schultz was first published as by Martin Fallon in 1962. It was republished in 1979 under the name Jack Higgins; my copy is the 2011 edition. The book was originally entitled The Bormann Testament but, for various reasons and at the publisher’s behest, the character of Martin Bormann vanished from the book and Patterson created a fictional Nazi leader, Caspar Schultz.  As with some of his other books, Higgins re-released an early version with updates, and so in 2006 this book was republished as The Bormann Testament (thereby restoring much of the earlier version, and adding more too.) I have not read this updated version.

Reading this, you have to bear in mind that it was set in 1960 – only fifteen years after the end of the Second World War. There were plenty of Nazis hiding in the woodwork, succulent meat for thriller writers’ plots. And some ex-Nazis were in reality in positions of authority and trust in the world of commerce and politics.

This is Higgins’ first Paul Chavasse novel. Half-French, half English, Chavasse works for a branch of British Secret Intelligence, the Bureau. The book begins very much like many of that period, the super-spy being called in by the nameless Chief to undertake an assignment.

Chavasse is tasked with tracking down a former Nazi, Schultz, and the man’s recently completed manuscript that explosively names ex-Nazi people currently in high places. Certain neo-Nazis are reluctant to see that manuscript published and are willing to kill to ensure its destruction.

This is early Higgins, with its attendant word-repetition, and yet the seeds of his subsequent thrillers can be glimpsed – pace, humour, a brave heroine, dastardly loquacious villains, not too graphic violence (but enough of it), a McGuffin (the manuscript), suspense, swift scene-change, betrayal and morality.

If you want a fast-paced read, then this will satisfy.
 
The other five Chavasse thrillers are:

Year of the Tiger (1963), The Keys of Hell (1965), Midnight Never Comes (1966), Dark Side of the Street (1967) and finally A Fine Night for Dying (1969).