The Russia in Fiction blog likes a good sub-genre. So how about, ‘books set in the Chernenko years’?
Except of course, Konstantin Chernenko was leader of the Soviet Union for so short a time that we can’t even talk about years. It would have to be ‘books set in the Chernenko year and 25 days’. He became General Secretary of the Communist Party of the Soviet Union in February 1984 and died in March 1985.
Après Chernenko, Gorbatchev et le déluge.
Paul Vidich’s The Mercenary, subtitled A Spy’s Escape from Moscow, is a terrific espionage thriller, that is not only set in early 1985 but is written in a style reminiscent of Cold War era spy novelists.
Sometimes —and may be more often than usual in the middle of a pandemic-inflicted lockdown— a bit of escapism is just the ticket.
Step forward, James Patterson ‘the most borrowed author in UK libraries for the past thirteen years in a row’, and author of, well, who knows? 120? 130 novels? Several a year, mostly with co-authors.
Private Moscow is the 15th in the Private series about an élite detective agency with branches around the world, founded and led by all-action American hero Jack Morgan. From cover through to final page, it gathers in the Russia-in-fiction thriller clichés in a fast-moving action movie-style plot. But there is more to Private Moscow than that.
I stayed up into the small hours to finish it …
Can we get the excuses out of the way first? Russia in Fiction reviews all sorts of stuff. Basically, if it is fiction that is set in, or at least features, Russia, then we might review it. Reviewing a book is not recommending a book. The idea is to get a sense of how Russia is portrayed in the popular imagination.
But even so, Russia in Fiction did a lot of umming and aahing before reviewing Ted Bell’s Tsar.
You know those heavy metal bands that are so over the top that you wonder whether they are being deliberately ironic, taking the mickey out of the genre itself? Think the movie This Is Spinal Tap (1984) and the amplifiers that go up to eleven because full-volume ten is not loud enough. That’s what Ted Bell’s Tsar reminds me of. It has all the usual elements of a Russia-related thriller, but ramps them up to beyond believable.
There is something fascinating about Soviet-related thrillers published in the 1980s, because we know the real life geopolitical plot outcome. That is, Mikhail Gorbachev came to power in 1985 and the Soviet Union collapsed in 1991. You cannot help but ‘read back’ into novels of that era, what we know to be the eventual outcome.
Blind Prophet is one of those novels that took me back to what got me into Russia in fiction in the first place. By the final pages I was speed-reading, not from boredom, but from the page-turning momentum of a terrifically plotted Cold War thriller, with all the key ingredients and more.