When the Kissing Had to Stop was a celebrated ‘coming threat’ thriller back in its day, that is just before the 1960s —the end of the Chatterley ban et cetera—got going.
From the Russia in Fiction perspective, this reasonably slim novel is worth a quick review simply because, as thrillers tend to do, it provides a useful caricaturish picture of popular conceptions of Russia. Specifically, When the Kissing Had to Stop offers a conservative, even establishment, portrayal of a Soviet Union taking over Britain with the same ruthlessness with which it had imposed its rule in Eastern Europe at the end of the Second World War.
Like many such ‘Red threat to the UK’ novels (see our review of Russian Hide and Seek for a list), When the Kissing Had to Stop tells us more about England and about the author’s politics than it does about Russia.
‘Nobody knows more about Russia than you’ (p. 33). So Dr Sam Gaddis, the hero of Charles Cumming’s fifth novel, is told.
Part-way through The Trinity Six, Russia in Fiction was less impressed with Gaddis, being more inclined along the lines of
‘Blimey – Dr Sam Gaddis gives academics a bad name. He is so slow, as if he’s never read a thriller in his life. Every coincidence that happens, he accepts unquestioningly. He completely fails to read the situation.’
Happily Gaddis improved, and with him the novel, which is a relatively complex example of the ‘secrets from history which must never come to light’ genre.
It is a happy coincidence that the Russia in Fiction blog is being written at a bumper time for Russia-in-fiction trilogies. We are in the middle of those by Sarah Armstrong and Ben Creed. The final one of Henry Porter’s Paul Samson series was published in April of this year, followed the next month by the last in Tom Bradby’s Kate Henderson series (the first is reviewed here, the third is mentioned here). And we are certainly at the end of the Dominika Egorova trilogy by Jason Matthews, as he sadly passed away a few months ago (again, the first is reviewed here).
And now his namesake Owen Matthews brings us the second in his Alexander Vasin series.
Red Traitor differs from the first novel in the series, Black Sun (2019). Black Sun was very much a detective story, and notable for its plot being contained geographically and culturally in the distinctive and little-known world of the Soviet closed city.
Red Traitor ranges more widely. In genre terms Red Traitor moves onto the ground of the international relations thriller, with sonar-pinging echoes of Tom Clancy’s early work.
Part two of this review is here
Mutilated bodies found in the snow. That is a fairly standard starting point for a Russia-in-fiction detective novel. Think, of course, of the classic of the genre, Martin Cruz Smith’s Gorky Park (1981). Or more recently, G.D. Abson’s second Natalya Ivanova novel, Black Wolf (2019).
City of Ghosts starts with five mutilated bodies found in the snow. This novel is no shy newcomer sneaking into the back of the Russia-in-fiction incident room hoping not to draw attention to itself.
City of Ghosts is the first of the Revol Rossel thriller series. Set in Leningrad in 1951, as the Stalin era is coming to an end, this is a book that knows its Russia, knows Leningrad, and knows Soviet history. The Stalin era did not limp off the global stage but —so far as its reputation for terror and oppression went— it stayed right on until the end of its road. And Leningrad was a particular target for Stalin’s personal ire.
Within this setting, Ben Creed (the pen-name of the co-writing duo Barney Thompson and Christopher Rickaby) develops a macabre tale brimming over with multiple ideas and intentions.
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.
Ssshh, I’m sneaking this book into these ‘Russia in fiction’ reviews , despite the fact that Henry Porter’s Brandenburg is not about Russia or set in Russia.
So why am I mentioning it here? Two real reasons: first, it’s just a terrific book — one of my favourite political thrillers; second, whilst it might not really be ‘Russia in fiction’, it does feature —as a major character— a young Vladimir Putin, serving as a KGB Colonel in Dresden.
Christopher Reich’s third book very much merits the description of Russia-focused thriller. And a turn-of-the-century one at that, with the plot revolving around oligarchs, violence, and financial misdeeds.