Russia in Fiction has a thing about novels published at key junctures in Russian history and set in that same time. (Just search this blog for ‘Chernenko’ to get an insight into how thriller writers saw the Soviet Union in 1984.)
Writing about the Soviet Union in 1991 took matters to a whole new level. In fiction and non-fiction, a good number of authors wrote about the Soviet future only for there to be no Soviet Union by the time their books were published. As a French language summary of The Red Defector put it:
After more than two decades silence, a journalist who was once expelled from the Soviet Union has made contact. With a resurgent Russia back on the scene, his knowledge of how things used to be in Moscow could once again be useful.
But why was he so silent for so long? Can this really be the same man? And what do the things he learnt nearly 40 years ago tell us about Russia today?
You could be forgiven for thinking that these opening sentences sound like the back cover blurb for Fatal Ally. They are not. They are about its author, Tim Sebastian.
Charles Cumming is at the forefront of contemporary British thriller writers, and is on a bit of a roll at the moment. JUDAS 62 is his eleventh novel. The majority of these —with The Trinity Six being one of three exceptions— are not really Russia-in-fiction territory. But JUDAS 62 most definitely is.
‘Big bad Russia’ is back as the main enemy, and a large part of JUDAS 62 is set in the Russian city of Voronezh in 1993.
Canadian writer Anthony Hyde’s first novel, The Red Fox was published in 1985; the year that Mikhail Gorbachev became leader of the Soviet Union.
The Red Fox stands then as one of the last thrillers of the pre-reform Cold War era. It provides an example of that fascinating phenomenon where fiction proves more accurate in terms of forecasting than do the efforts of experts paid to analyse.
Intuition, applied in the service of entertainment but in the light of intelligent observation, can trump data-driven models bound by assumptions of continuity.
The central character of The Moscow Club —’the first great post-Cold War thriller’— comes straight out of the standard thriller stable. There is not a great deal of room for doubting that he is on the side of the angels and will triumph.
The reader knows, from the moment we encounter him rock-climbing, on vacation from his role as genius Soviet analyst with a secret CIA off-shoot agency, that Charles Stone is always going to win through.
That is not a plot-spoiler. It is just obvious. Stone’s work with an off-the-books CIA branch (slightly reminiscent of the off-the-books British agency for which Petra Reuter works in Mark Burnell’s superb novels) plunges him into the hunt for plotters in the KGB and the CIA alike. It then gets personal when his godfather (Winthrop Lehman) and his father (an academic, expert on Russia, broken by spying allegations and prison during the McCarthy witch-hunts of the early 1950s) turn out to be involved in some way.
Oh, and Stone’s estranged wife also comes into the picture. Handily, from many perspectives, she’s a beautiful, blonde, Moscow-based, TV reporter.
The first great post-Cold War thriller. So proclaims the front-cover strap line on this early paperback edition of Joseph Finder’s The Moscow Club. For once, the blurb has substance.
The Moscow Club is a great thriller. And it is post-Cold War. Though handily in terms of giving an undeserved sense of planning to the Russian in Fiction blog, its plot reaches back into the Soviet past, providing a neat link from our preceding mini-splurge reviewing novels on the death of Stalin.
According to the publicity blurb, The Moscow Club was named by Publishers Weekly as one of the ten best spy thrillers of all time. That might be pushing it. But Finder’s first novel might well nudge the top ten of the 100 books this blog will review, providing as it does almost 600 pages worth of densely plotted, action-filled, twist-on-twist thriller.
‘Cover for a thriller about Russia? No problem. If it’s a thriller, you’ll need a silhouette of someone. From behind is what most people choose. And Russia? Hmm … We’ll just put them on Red Square. That should do the job.’
But it wasn’t always like that. In the 1980s and into the 1990s, it was symbols, not silhouettes. Usually the hammer and sickle. Sometimes a red star.
Russia in Fiction might even have found the cover that sits on the boundary between symbols and silhouettes. Read on …
Jason Matthews was a newcomer to the spy fiction genre when Red Sparrow was published in 2013. Within five years, Red Sparrow was the first in the Dominika Egorova trilogy and was a movie starring Jennifer Lawrence, replete with graphic violence and what are best described as ‘scenes of a sexual nature’.