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Charles Bridge, a novel of the Cold War


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Charles Bridge, a novel of the Cold War from Jefferson Flanders

In 2019, Flanders’ DISTRICT OF COLUMBIA focused on the political turmoil of the 1960s. Now, he returns with a Cold War thriller, CHARLES BRIDGE, set in Prague, New York, and London of the 1980s.

ABOUT THE NOVEL:

Prague, 1983. Claire Markham, a New York antiques dealer, is recruited for a mission behind the Iron Curtain by a mysterious stranger whose organization, the New Exodus Project, arranges for Soviet Jews to emigrate to Israel. Intrigued, Claire agrees to help a Russian woman visiting Czechoslovakia to defect to the West. But when the exfiltration plan goes awry, she finds herself in a desperate race to the border, hunted by the KGB and the Czechoslovak secret police, with the odds of her escape diminishing by the hour.


Learn more about Flanders’ historical fiction here 

Cover design: Mick Wieland

Top Spy Thrillers and Espionage Novels of 2020

What are the top spy novels of 2020? Here are my picks (updated as novels are published throughout the year). Please note that I’m partial to historical fiction and authors who have a way with words; the novels I’ve selected reflect that bias.

V2: A novel of World War II by Robert Harris

V2: A novel of World War II

Novelist Robert Harris (Fatherland; Munich) has returned with a World War II thriller about the British military response to the V2 rockets that the Germans sent raining down on London in 1944, destroying buildings and killing civilians. The development and use of the V2 reflected Adolf Hitler’s desperate quest for miracle weapons (Wunderwaffe), an attempt to stave off Germany’s defeat at the hands of the Allies. While the German missiles caused death and damage in England, they had little, if any, impact on the outcome of the war.

Harris’ novel focuses on two characters—Kay Caton-Walsh, a young British intelligence officer who becomes involved in the search-and-destroy efforts against the V2 launch sites in Belgium; and Rudi Graf, a V2 engineer, whose doubts about Nazism and his role in the German war machine have grown. Graf, and his friend, Wernher von Braun, the leader of the V2 program, had been drawn to missile technology by their dream of building spaceships.

Harris delivers a tightly-plotted, deeply-researched tale, with enough twists and turns to keep the reader glued to the page. At the same time, he delivers a scorching indictment of von Braun—who was brought to the United States after the war and became the architect of the American space program—as an amoral schemer and careerist who welcomed the SS’s war crimes at Peenemünde (slave labor, summary executions, etc.) when they helped him build his missiles. Sadly, when it came to the complicity of von Braun and other German scientists, the exigencies of the Cold War arms race trumped the interests of justice.

Three Hours in Paris by Cara Black

Three Hours in Paris

The target, a political leader. The protagonist, his potential assassin. The premise isn’t new—it’s the basis for many historical thrillers, including Geoffrey Household’s marvelous Rogue Male and Frederick Forsyth’s The Day of the Jackal. Cara Black has adapted this plot, with a clever twist, in a novel set in Paris in June 1940, just as the Nazis have occupied the City of Light. Her protagonist in Three Hours in Paris, an American named Kate Rees who happens to be a crack shot with a rifle, is recruited by British intelligence to kill Adolf Hitler when he visits Paris for three hours (hence the novel’s title).

Kate Rees will fail in her mission—and the reader knows this in advance—and so Black’s challenge is to explore why her riflewoman misses her mark when she has Hitler in her sights, and how she will evade the German detective, Gunter Hoffman, who is intent on hunting her down. It’s a difficult task, but she succeeds in crafting a page-turner that keeps the reader guessing. Her deep knowledge of Parisian life during World War II adds a welcome authenticity to her tale.

Some may find that Three Hours in Paris too often veers into Dan Brown territory, with Kate threatened with capture by the Germans numerous times and always managing a clever (and near miraculous) escape. This focus on close calls makes for an engaging read, but calls for the more-historically inclined reader to suspend disbelief a few times too many.

The Secret Guests by Benjamin Black

The Secret Guests

Benjamin Black is a pen name for John Banville, an Irish author who is no stranger to writing about espionage—his 2009 novel, The Untouchables, retold the story of the infamous Cambridge spies through the eyes of an Anthony Blunt-like figure, Victor Maskell. Now, in The Secret Guests, Black/Banville has produced a more commercial spy thriller about the World War II sequestration of Britain’s princesses Elizabeth and Margaret on an Irish estate during the height of the Blitz. The royal heirs have been sent to neutral Ireland with the believe they will find safety there, removed from the nightly bombing of London by the Luftwaffe. Is the premise solely fictional? The book jacket for The Secret Guests claims that Black/Banville “has good information that princesses were indeed in Ireland for a time….”

Banville, a Dubliner, has a keen eye and ear for the pervasive class distinctions of Irish and British society. The main characters in the novel reflect those divisions: the Anglo-Irish detective, Strafford, assigned to watch over the girls; their host, the crusty and snobbish Duke of Edenmore; the well-bred English secret agent Celia Nashe; the icy British diplomat, Richard Lascelles; and the corpulent and shifty Irish pol, Daniel Hegarty, who negotiates the terms of the princesses’ stay at Clonmillis Hall.

Complications quickly arise—keeping the identity of the royal guests secret from the “help” at the Hall and from the nearby townspeople proves impossible. Many of the locals have bitter memories of the violence meted out by British troops during Ireland’s struggle for independence; revenge could be a motive for retaliating against the princesses. Since we know the historical outcome for the girls (Elizabeth ascending to the throne, and Margaret embracing the role of “rebel sister”) the suspense lies in how Detective Strafford and Agent Nashe will keep them from harm.

The novel comes at a curious time for the British monarchy. The furor over the Queen’s role in Brexit, the absurd drama over Prince Harry and Meghan Markle’s Megxit, and the entanglement of Prince Andrew with the late sex offender Jeffrey Epstein have raised questions about the future of the institution in the 21st century. In an increasingly secular Great Britain, how does the concept of a divinely-anointed monarch hold up? Will the Royals be retained for symbolic reasons? Or as the host family of tourist attractions like Buckingham Palace? The world of The Secret Guests, when the state of the British monarchy carried geopolitical weight, does seem long ago and far away.

The Coldest Warrior by Paul Vidich

The Coldest Warrior

Paul Vidich’s compelling new novel The Coldest Warrior explores the dark side of the Central Intelligence Agency’s Project MKUltra, a 1950s foray into psychological warfare that featured mind control experiments with LSD and other drugs given to unwitting human subjects. The program was first exposed by the Rockefeller Commission and the Church Committee in 1975, as part of a broader public airing of CIA dirty tricks (including assassination plots, illegal domestic spying, and other wrongdoing). These skeletons in the CIA’s closet were dubbed the Family Jewels by Agency insiders.

Vidich focuses his novel on a specific crime, the murder of Dr. Charles Wilson, an Army bio-weapons expert who is pushed to his death from the ninth floor of a Washington, D.C. hotel in 1953. While Wilson’s killing is fictional, its circumstances mirror the death of researcher Frank Olson, who was administered LSD by Sidney Gottlieb, the head of Project MKUltra, and fell or jumped to his death in New York City. After this chilling opening, The Coldest Warrior jumps forward to 1975, when the CIA is grappling with the public disclosure of its illegal activities of the past two decades.

Veteran CIA officer Jack Gabriel is asked to take on one last assignment before retiring, investigating possible Agency involvement in Wilson’s alleged suicide. (Did Vidich, who writes with a literary flair, name Gabriel after the guardian archangel of the Scriptures?) As Gabriel examines the evidence in this cold case, he realizes that the guilty parties now hold high positions in the corridors of power. The last third of the novel, as Gabriel moves toward a confrontation with those responsible, is particularly suspenseful, with a somber and fitting resolution.

The Coldest Warrior is more than an entertaining and well-crafted thriller; Vidich asks questions that remain relevant today. In a liberal democracy, how can we keep intelligence agencies acting within bounds? There will always be the temptation to bend or break the law, to adopt immoral tactics, in the face of threats seen as existential. The men involved in Project MKUltra thought the ends justified the means—as they saw themselves on the side of the angels in resisting Communism. The secrecy involved makes bringing Deep State wrongdoers to account very difficult, if not impossible (vide: the lack of accountability for those involved in the CIA’s black site torture of terror suspects).

There are no easy answers to this challenge—legislative efforts at tighter oversight of the CIA have produced mixed results. Our best hope for keeping the national security establishment in check requires a skeptical Congress and a critical and fearless press. In a historical irony, today conservative Republican members of Congress—normally deferential supporters of the national security state—are the ones asking the toughest questions about the motives and methods of our intelligence agencies.


Here are past lists of top spy thrillers. You can click for:

2019’s top spy thrillers

2018’s top spy thrillers

2017’s top spy thrillers

2016’s top spy thrillers

2015’s top spy thrillers

2014’s top spy thrillers

2013’s top spy thrillers

Ten classic British spy novels


Copyright © 2020 Jefferson Flanders
All rights reserved

District of Columbia, a novel

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District of Columbia, the latest novel from Jefferson Flanders

“A remarkable tale of political maturity, and its steep price.” – Kirkus Reviews

“In Jefferson Flanders’ compelling historical novel, the ideals of a privileged young man of the East Coast establishment and his like-minded friends are severely tested by the wrenching changes of the 1960s and ’70s that would transform America.” – BlueInk Review

ABOUT THE NOVEL:

Washington, D.C. January 1961. Dillon Randolph, a young State Department official, caught up in the heady days of President Jack Kennedy’s new administration, resolves to help make real the promises of the New Frontier. But the deepening Vietnam conflict causes Dillon to question not only the direction of the war, but also his most fundamental assumptions about his professional and personal life.

District of Columbia captures the turmoil of the 1960s at home and abroad. It tells a haunting and profound tale of lost innocence, of the arrogance of power, of the brutality and tragedy of war, and of lives forever transformed.

FROM THE AUTHOR:

District of Columbia proved to be a hard book to write. That’s meant as an observation, not a complaint.

The novel is largely set in the 1960s, a particularly difficult time for our country, a divisive time filled with painful memories, of assassinations, of civil strife, and of an unpopular and terribly-destructive war. Having lived through the period, it wasn’t easy to revisit those times. I had to grapple with my own conflicted feelings about the conflict in Vietnam, and where it fit into the Cold War.

District of Columbia began as a sequel to An Interlude in Berlin, and initially, I intended for the book to be a historical thriller. But as I told the story I felt compelled to tell, it became more of a political novel. That may not sit well with some of my readers, and I’m prepared for some negative responses (and reviews). All I can say in my defense is that sometimes as a writer your imagination takes you in an unexpected direction. I’ve learned not to resist when that happens.

My protagonist, a young diplomat, experiences many of the highs and lows of a decade of turmoil. Dillon Randolph is at heart a traditionalist; he is unprepared for the social and cultural sea change he confronts. The challenges in his life mirror what was happening for many of his generation.

A work in progress

A new year, and a work in progress—a novel set in 1959 Berlin.

I’m far enough along in the writing process to be able to see the shape of the finished work; so I’m past the point of writerly no return. Sometimes it’s better to walk away from a partial manuscript, when the imagined story somehow isn’t translating to the page. Fortunately, this isn’t one of those times, but I do have some works in progress that are no longer in progress—abandoned when I realized that they were falling short of the storytelling mark.

Leonid_Pasternak_-_The_Passion_of_creation

There is no one way to write fiction. I’m a block writer who works from a very loose outline. After composing blocks of dialogue and scenes, I stitch them together and then begin revising and rewriting. In contrast, sequential writers start at the beginning of a book and work their way methodically to its conclusion.

I’m not wired to write sequentially. Block writing allows me to skip around and make some progress every time I sit down to write. Since the length of the finished novel will be somewhere between 85,000 to 100,000 words, every word composed today means one less that I need to write tomorrow.

After the first draft is complete, I turn to revising. It’s the final write-throughs of a novel that I find to be the hardest part of the process. Nagging questions require answers: Does the narrative flow? Are the characters fully developed? Is the writing—the prose—clear? Is it specific enough? Is the story one I would find worth reading? And then I try not to let the perfect become the enemy of the good—it is possible to spend years rewriting the same book and in all that time no story is being told.

I take inspiration from those time-lapse videos of artists completing their paintings. First, the painter sketches a pencil or charcoal outline on an empty canvas, followed by the application of layer after layer of paint. Watching as a talented artist returns to the same spot on the canvas and alters previous brushstrokes (and in some cases scrapes off some of the existing paint) is a reassuring validation of the revision process I employ.

With any work in progress, I find it useful to focus my energies on step-by-step, day-by-day progress. If I do the work, meet deadlines, and rely on craft (not talent), the story will emerge, a story I trust will be worth telling.


Copyright © 2016 by Jefferson Flanders

The mind of the maker

Ernest Hemingway once hit out at critics who had analyzed his Nobel-prize winning The Old Man and the Sea:

“There isn’t any symbolism. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The shark are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.”

So was Papa right? After all, it can be argued, he wrote the novella. He is the maker, shouldn’t he know what he has put into his own writing? If he wanted the book to be loaded with symbols, he would have, correct? Who better to tell us what the text means?

And yet the insights of Freud and Lacan and others about how stuff in the unconscious can be manifested in unintended ways gives us pause. Some Freudian literary critics have tried viewing the text as the dream (the expression of the unconscious) and comparing it to the author’s biography (looking for links between the two).

When considering how what is in the mind of a writer is translated into the work, there are several layers. There is the personal experiences of the maker, everything that has happened and has been recorded by the mind, that may surface in different ways. Then there are the social and cultural images and ideas that have been implanted.

All of this ends up being transferred from the author to the page–whether or not the author is completely aware of what is happening.

The English author and mystery writer Dorothy Sayers has a marvelous little book, The Mind of the Maker, in which she compares the process of artistic creation with that of God’s relationship to man (through the Trinity). What is in God’s mind (the Word) is made real (in the Son) and is connected to man by the Holy Spirit. What is in the author’s mind (the Word) becomes real (the book or film) and is connected to the reader’s mind by the act of reading or watching.

So despite Hemingway’s protestations, it is very possible that there are deeper meanings in The Old Man and the Sea, some he intended (and is being disingenuous in denying) and others he did not intend.

And once released from the mind of the maker, and connected to the reader, the doctrine of free will suggests that the book takes on a life of its own.


Copyright © 2006 Jefferson Flanders

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