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.
The Cold War is dead, but Russia’s ambitions continue to rage.
So proclaims the front cover blurb of this 2011 thriller, in a bombastic non sequitur that typifies the return of ‘big bad Russia’ to Western thriller writers’ armoury at the end of this century’s first decade.
The Cold War ended at the end of the 1980s. For a decade or more, if thriller writers wrote about Russia, they wrote of decline and gangsterism. Then as a recovering Russia reasserted itself on the international stage, it once more became the ‘other’ against which Western spies and governments fought.
Russia in Fiction reckons that this return to a portrayal of Russia in these terms can be dated to around 2010. Alex Dryden was one of the earliest authors to embrace it.
The chilling thriller that predicted the Soviet military coup; so says the front cover blurb. Not a bad strap line.
Though that line is a little post-hoc, given that The Last Defector was published in paperback after the military coup of August 1991. Cape did not predict the military coup, just a military coup. Bit picky on our part, after all precise prediction is too much to ask.
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 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.
(Part one of this review is here)
Tom Bradby’s Secret Service goes for a straight down the line buy-in to the standard thriller-writer depiction of Putin-era Russia in the second decade of the 21st century.
(Part two of this review is here)
A quick review of what was for Russia in Fiction a quick summer read. If you fancy a spy/political thriller for the beach or the pool, this will do the trick.
Secret Service is the first in a trilogy written by Tom Bradby, a nationally known journalist and newscaster in the UK.
Part two of this review is here.
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’.