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.
Part one of this review is here
The former Soviet Union. It’s a short phrase that became commonplace after 1991. The phrase —and its abbreviation, FSU— cropped up in policy papers and elsewhere from that date on, and still does.
Did its first use appear in Donald James’s The Fall of the Russian Empire in 1982, almost a decade before the Soviet Union was former?
The plot of The Fall of the Russian Empire builds a scenario of workers’ unrest in the self-proclaimed workers’ state. The dissatisfaction of the workers swiftly turns into physical resistance to the Soviet regime and allies itself with nationalist sentiments amongst the republics that make up the Soviet Union.
In 1989, when Communist governments were thrown out of the power that they had usurped across Eastern Europe, the geo-political certainties of decades went with them. Almost overnight, multiple possible paths forward opened up; and fiction writers mapped them as much as did scholars, journalists and policy professionals.
John Hands’s Perestroika Christi was published in 1990. In that in-between bit during the collapse of Communism. Soviet control over the Central and East European satellite states had been lost, Germany was re-uniting —but what of the Soviet Union itself?
The Moscow Olympics of 1980 presented a setting for thriller writers that was too good to miss. Especially if they timed it right and got their book in the shops ahead of the Games.
Russia in Fiction has already reviewed one such book (John Salisbury’s 1980 novel Moscow Gold). David Grant beat Salisbury to the tape, with Moscow 5000 being published in 1979.
Well, we say David Grant. In reality, Moscow 5000’s author was renowned British thriller writer Craig Thomas (1942-2011), writing under a pseudonym. And the novel’s skilfully complex plot betrays that it is not written by a novice; with four strong and interlinked story lines coming to their conclusion in the running of the men’s 5000 metres final in the XXII Olympiad in Moscow’s Luzhniki Stadium in 1980.
From the Russia-in-fiction angle, two of these plot strands are notable; particularly so the Ukrainian nationalist one.
War-with-Russia novels were legion in the 1980s. Authors such as Tom Clancy, Ralph Peters, Dennis Jones, Larry Bond, Ian Slater, and General Sir John Hackett all produced one or more examples of military scenario fiction, usually written as a sort of alternative history.
To generalise with some degree of assurance, their plots consisted of carefully worked out military campaigns of the war-gaming variety, drawing on the detailed plans that NATO and the Warsaw Pact had developed for such eventualities. To make them more than simply glorified campaign manuals, human interest would be added by naming individual soldiers, sketching out their characters and home lives, and following them into battle.
Russia in Fiction has reviewed one of the betters ones, Red Army by Ralph Peters (1989). Red Metal, published three decades later, gives an updated and original take on the war-with-Russia concept.
Part one of this review is here
Richard Pape’s reputation as a daredevil and dashing ex-military man turned author, coupled with a handily placed article in a British tabloid, helped to create the impression that Arm Me Audacity was autobiography, fictionalised for reasons of national security. Part one of this review investigates the novel’s background. Part two returns to more familiar Russia-in-fiction reviewing territory. What is the book about? And how does it portray Russia?
In particular, to those familiar with the traits of Cold War espionage thrillers and their representation of the Soviet Union, how present are these in a popular thriller from the 1950s?
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.
Tatiana is the 8th of Martin Cruz Smith’s Arkady Renko novels, all of which were re-packaged in 2013, with new monochrome photo covers and availability as ebooks.
The Renko novels go all the way back to their remarkable opener, Gorky Park published in 1981, during the dying days of the stagnant but, from this distance, strangely beguiling Brezhnev years. The most recent, The Siberian Dilemma, was published in 2019.
In several interviews over the years —for example in the New York Times in 1990— Martin Cruz Smith has talked about how he originally intended to write a novel about an American detective who goes to Soviet Moscow. Then the ‘obvious idea’ came to him; to make his hero a Russian detective. Arkady Renko was created.