domingo, 6 de setembro de 2009

ANNA IN-BETWEEN By Elizabeth Nunez


ANNA IN-BETWEEN By Elizabeth Nunez
347 pp. Akashic Books. $22.95

Caribbean Variations
By AMY FINNERTY*
(The New York Times Book Review)


The title of her latest novel suggests a sit-com, or the upbeat identity lit marketed to teenagers. But Elizabeth Nunez layers “Anna In-Between,” a psychologically and emotionally astute family portrait, with dark themes like racism, cancer and the bittersweet longing of the immigrant. Foremost, she explores the late innings of a successful marriage, in which husband and wife cling together in the shadow of mortality.
Anna is a book editor in New York whose job is to nurture writers “of color” for a specialty imprint. Returning to the unnamed Caribbean island of her childhood to visit her aging parents, John and Beatrice Sinclair, she discovers that her mother has breast cancer and, infuriatingly, has been praying the rosary in solitude rather than seeing a doctor. John, a restrained provider with a profound respect for privacy, has been aware of Beatrice’s condition, but has remained passively silent.
Upwardly mobile during colonial years, Anna’s parents are as stiff-lipped as the British and as stoic as their enslaved ancestors. Anna’s “in-between” status strands her between enlightened progress (American medicine and the sharing of feelings) and her parents’ propriety; between youth and middle age; between the lonely self-sufficiency of her life in New York, which she has convinced herself is fulfilling, and the unassailable structure and security of her parents’ household. The career-minded Anna also feels the generational chasm between herself and women like her mother, who throughout her life has been honored, cherished and financially supported while not working.
Growing up relatively privileged, Anna had been called “roast breadfruit” — dark outside, white inside — by her peers while enduring racist insults from the soon-to-depart colonizers. Now, she quotes T. S. Eliot and identifies with Jane Austen’s heroines. She wants to transcend race and edit books that are neither “chick lit” nor “urban lit” nor “ghetto lit” but “serious literary” works. Yet she must serve the publishing-industry bottom line that panders to niche readerships, or lose the impressive job from which she derives so much of her self-esteem.
John, a pragmatist and former civil servant, has also had to inhabit ethical gray areas, acting at one time as the Euro­peans’ “local man,” negotiating labor contracts for the oil industry. While Beatrice enjoys the fruits of his labor, ordering servants about, Anna feels conflicted about being served tea by a maid, in an exclusive enclave with “well-tended lawns on one side of the iron gates, . . . garbage on the other.”
Divorced and childless, she’s also an awkward fit in her childhood home. Despite her parents’ unvarying routine of naps, meals and gardening, their traditional, undemonstrative marriage has proved more durable than her own, sustained by a long shared history and the embers of passion.
The plot is as languorous as the Sinclairs’ retirement, with Nunez, whose previous novels include “Bruised Hibiscus” and “Prospero’s Daughter,” taking detours into the island’s social history and Anna’s multiethnic ancestry. Africans, Asians and Europeans have mixed, but subtle resentments and snobberies endure. The East Indians are perceived by some as “clannish,” more willing than blacks to sacrifice to send a family member to college. The Hindus and Muslims who arrived as indentured workers have thrived and are “competing with each other in a show of religious fervor,” building ghastly shrines on their suburban lots.
Sophisticated Anna seems at first to have outgrown both the postage-stamp geography of the place and her parents’ values. But she ultimately gives in to the rhythms and small decencies of her tropical birthplace.
Her parents are revealed to her in all their complexity and provide her with a model for happiness.
*Amy Finnerty is an editor at World Affairs Journal.


http://www.nytimes.com/2009/09/06/books/review/Finnerty-t.html?ref=books

sábado, 5 de setembro de 2009

'The Lieutenant: A Novel' by Kate Grenville


'The Lieutenant: A Novel' by Kate Grenville
BOOK REVIEW By Bill Marx


A young scientist's journey to 18th century Australia becomes a meditation on the West's influence -- not always for the better -- on so-called primitive peoples.

latimes.com
September 6, 2009

The Lieutenant, A Novel by Kate Grenville

Atlantic Monthly Press: 308 pp., $24


About the early encounters between Europeans and the Other -- non-white, non-Western peoples -- the late Polish foreign correspondent Ryszard Kapuscinski observed that "the Other is a looking glass in which I see myself and in which I am observed -- it is a mirror that unmasks and exposes me, something we would prefer to avoid."In her latest novel, award-winning Australian author Kate Grenville uses more than a metaphorical mirror to memorably dramatize the early encounters between Europeans and Aborigines. Scientific instruments of discovery (telescope and sextant, mathematics and linguistics) freshen up "The Lieutenant," a novel that is a prescriptive plea for cultural understanding and draws revelatory connections between emotional empathy and scientific discovery. Time and space turn out to be an educative form of the Other as well.The novel's protagonist, Daniel Rooke, is based on a historical figure, William Dawes, an astronomer, mathematician and master of languages who accompanied the British First Fleet on its sea voyage to New South Wales in 1788. There, 2nd Lt. Dawes befriended (and perhaps became the lover of) a 15-year-old Aborigine girl, meticulously recording in his notebooks the vocabulary he learned from her. Unhappy with the British treatment of the indigenous people, Dawes left the service, becoming a lifelong crusader against slavery. His career has inspired many multicultural parables, including Thomas Keneally's novel "The Playmaker." By telling the story from Rooke's viewpoint, Grenville confronts dogged empiricism with the primal astonishment engendered by a new world, "a place so strange it took a layer off a man and left him peeled."The novel's early chapters underline the irony that Rooke's intellect turns him into a vulnerable Other in his homeland. A child from a lower-class family, his obsession with mathematics transforms him into a socially awkward outsider. His sister's affection helps compensate for Rooke's mistreatment by snobbish fellow students at the Portsmouth Naval Academy, where he's sent after displaying his scientific talent. Having a head that teems with numbers may isolate the prodigy, but the power of abstraction also liberates Rooke from conventional moral and religious beliefs. "To think mathematically was to feel the action of God in oneself," muses the young math whiz, concluding that "whatever he was, he was part of a whole, one insignificant note within the great fugue of being."For Grenville, scientific curiosity and social marginalization (rather than Christian brotherhood) generates Rooke's open-mindedness when he becomes an astronomer and navigator on the Sirius, bound for New South Wales. The tragicomedy of the first meeting between the natives and the British repels Rooke: An officer communicates British superiority by firing a gun at a wooden shield. Grenville explores the ways in which the British and Aborigines misinterpret each other (the impatient natives see the English as visitors who overstay their welcome), but she leaves no doubt that the West introduces the poisons of violence and cruelty to that land.Grenville also satirizes how the British use literature to assert their ownership of history. Rooke's friend, Lt. Silk, jots down notes for what he hopes will become a bestselling volume of melodrama. Rooke treasures the unusual; Silk fashions the exotic into the familiar. The need of the colonizers to shape reality takes a sinister turn when, after an Aborigine kills a man, Silk and Rooke are ordered to "punish" the natives, a mission that may require beheadings.For Rooke, vengeance isn't an option once he befriends the bright young Aborigine girl Tagaran, who teaches him some of the tribe's language and customs. Grenville nimbly draws on grammatical material in Dawes' notebooks, but the insertion of the real world doesn't entirely compensate for the idealization of the relationship.The bond between Rooke and Tagaran never becomes erotic (Rooke is embarrassed to see her naked) or spookily unpredictable; instead, the scientist methodically spells out the sentimental moral lesson for the reader: "Everything in his life had come down to the sensation of her fingers against his. The person he was, the history he carried within himself, every joy and grief he had ever experienced, slipped away like an irrelevant garment." Admirable as empathy can be, the theme of learning to appreciate naked humanity can be thumped too hard.Still, Rooke's order-infused mind continually fascinates as he maps languages, charts relationships and calibrates the ebb and flow of his emotions. The crisp prose of "The Lieutenant" approaches poetry whenever Rooke contemplates nature: He knows the calculations behind the celestial machinery and accepts the divine indifference of the stars, yet Rooke struggles to discover an ethical and imaginative meaning in their beauty.Grenville strikes her most lyrical notes when the astronomer looks up, as in this passage on the atmospheric light show created by the birth of a moonrise: "Knowledge of why it happened only made the sight more lovely. He was willing to sit transfixed, the mosquitoes whining around his ears, until the instant where the stretched liquid parted and let the moon sail alone though indigo space.""The Lieutenant" compels as a historical novel exploring the sins of Australia's colonial past, an admirable testament to the necessity that the West learn to appreciate rather than condemn the Other. But Grenville's most thrilling achievement is to filter that lesson in social acceptance through the computational consciousness of a man whose head is in the stars.Marx teaches at Boston University and edits the online magazine the Arts Fuse and World Books, an online feature for PRI's "The World."


Copyright © 2009, The Los Angeles Times


latimes.com/entertainment/news/arts/la-ca-kate-grenville6-2009sep06,0,4876320.story

'The Bride's Farewell' by Meg Rosoff
BOOK REVIEW By Donna Seaman*


The story of a headstrong, independent woman in 19th century England.


The Bride's Farewell, A Novel by Meg Rosoff

Viking: 214 pp., $24.95

latimes.com
September 6, 2009


Meg Rosoff, a London-based American, writes harrowing, psychologically complex novels for young adults. In "How I Live Now," 15-year-old Daisy leaves the United States for England to spend the summer with her cousin, and ends up on a perilous journey in the midst of war. An international bestseller, it was shortlisted for the Los Angeles Times Book Prize, and took the Printz Award and the Guardian Children's Fiction Prize. "Just in Case" and "What I Was" are intense enough to crossover as books that galvanize teens and adults. The same holds true for her compulsively readable new novel "The Bride's Farewell."Pell Ridley, 15, is a natural-born horsewoman. Everyone assumes that she will marry Birdie Finch, her neighbor in Nomansland, the smothering little village they call home in mid-19th century England. Birdie is a blacksmith and Pell will be a great help to him. Pressured to agree to the match, Pell is actually dead-set against marriage: "Toil and hardship and a clamor of mouths to feed? Not now, Pell thought, not ever." Look what it has done to her mother. Married to a mean drunk, she's given birth to nine children while living hungry and cramped in a mud hovel. Pell pitilessly describes her mother as "worn and shapeless with a leaking bladder," and fears she'll end up the same way. So just before dawn on her wedding day, Pell sneaks out, leaps on her horse, Jack, and is about to steal away when quiet, stubborn Bean, her youngest brother, appears. Jack easily carries them both.Pell's plan is to ride to the horse fair at Salisbury, where she hopes to find work. So the children make the long journey, sleeping wherever they can find a bit of shelter until they join the jostling crowd of horses, wagons and people streaming into town. What a sensuously complex and menacing scene Rosoff conjures, from the taunts of leering men to the "river of blood" flowing from the roadside slaughter of animals to the fires burning at each encampment in the vast gathering. Desperate for a job, Pell finally impresses a man with her keen horse sense. She also wonders about the identity of a far more enigmatic stranger whom she dubs Dogman because he is accompanied by two attentive hounds. They will meet again.As in every fairy tale, the world of this novel is a harsh and monstrous place, where one's mettle is forever being tested. Malevolent forces separate Pell and Bean, and each descends into a circle of hell in a land sickened with poverty, brutality and prejudice. Crushed and appalled, Pell journeys on alone, stunned by the strange sight of the "ancient giant's ring" on the Salisbury Plain, which we know as Stonehenge, and the outline of an enormous chalk horse, mute and majestic testimony to the deep well of human consciousness contained within this old, secretive land.Pell is a marvel -- smart and resilient, noble and brave. After sustaining terrible losses, she stumbles into an outlaw romance. The book's ending feels rushed, but that's because we want more of this wrenching, picaresque tale and its slashing critique of cruelty and injustice. Rosoff's prose is strong and muscular, its cadence that of a horse's canter, its chiming tone ballad-like. Teens will be enthralled by Pell and her archetypal quest; adults will revel in the novel's canny wit, lyricism and piercing insights.


*Seaman is an associate editor for Booklist and book critic for Chicago Public Radio.
Copyright © 2009, The Los Angeles Times


latimes.com/entertainment/news/la-ca-meg-rosoff6-2009sep06,0,7949548.story

Raymond Carver revisited in 'Collected Stories'


Raymond Carver revisited in 'Collected Stories'
BOOK REVIEW By David L. Ulin*


A new retrospective, which includes uncut versions of some of his short stories, takes us farther along on his path.

Collected Stories

Raymond Carver

Library of America: 1,020 pp., $40

latimes.com
September 6, 2009


When does an act of reclamation cease to be about restoration and become about something else? That's the question raised by "Collected Stories," the Library of America's new collection of the complete short fiction of Raymond Carver, who died at 50 in August 1988. Complete, of course, is a relative concept in regard to Carver, an inveterate rewriter who published many stories in different versions at various points in his career. Not only that, but in 1995, it was revealed that his 1981 breakthrough, "What We Talk About When We Talk About Love," was extensively reworked by Gordon Lish, who as fiction editor of Esquire helped bring Carver's work to a national audience. Lish moved from Esquire to Alfred A. Knopf in the late 1970s and cut some of the stories in "What We Talk About" by more than three-quarters, paring down the language, even changing endings to highlight what he called "a peculiar bleakness." He was right; "What We Talk About" is stunningly desolate, a group of stories so laconic they almost perfectly reflect the resignation of characters struggling with alcoholism, infidelity and the desperation of diminished dreams. "Things change," one protagonist notes. "I don't know how they do. But they do without your realizing it or wanting them to." Despite the book's success, Carver was unhappy at how he was labeled; "There's something about 'minimalist,' " he grumbled in 1983, "that smacks of smallness of vision and execution that I don't like." Two years ago, his widow Tess Gallagher announced plans to release the stories as her husband had conceived them, in a collection called "Beginners": the uncut "What We Talk About When We Talk About Love." "Beginners" is published for the first time in "Collected Stories," and although it comes at the end, it can't help but function as a centerpiece. That's either as it should be or a significant problem, depending on your perspective, but regardless, it skews the way the collection showcases Carver's career. The purpose of a retrospective is not so much to highlight individual stories as to trace how a writer's aesthetic has grown. Here, the prominence of "Beginners" adds a subtext that threatens to subvert the larger arc. That's because, in the main, the pared-down versions of the stories are better, which opens the question of where authenticity resides. Are the unedited drafts more essential because they represent the truer Carver? Or is the point the continuum of his writing, developed through the intersection of internal and external influences? These are key questions when it comes to Carver, for he was not a solitary artist but one who thrived in community. From his days at Chico State in the late 1950s, he sought mentors; first, John Gardner, who "made me see that absolutely everything was important in a story," and later peers Chuck Kinder, Dick Day, Richard Ford and Tobias Wolff. In "On Becoming a Novelist" (for which Carver wrote the foreword), Gardner lays out the template: "Once when I was driving through Colorado with a friend, traveling down a mountain pass, we came upon an accident. A pickup truck and a car had collided, and from fifty feet away we could see the blood. We pulled over and ran to help. All the time I was running, all the time I was trying, with my friend's help, to pry open the door of the car in which a nine-months pregnant woman had been impaled through the abdomen, I was thinking: I must remember this! I must remember my feelings! How would I describe this?" That's a rigorous -- some might say brutal -- standard, but it applies to Carver's work as well. In his late story "Intimacy," he admits as much, describing a writer's visit to his ex-wife, presumably to make amends, when in fact he is after material. "She says, I'm beginning to understand something. . . . ," Carver writes, after they go back and forth. "I think I know why you're here, even if you don't. But you're a slyboots. You know why you're here. You're on a fishing expedition. . . ."Tell me about the knife, I say." Here, Carver reveals the ruthlessness of the author appropriating his life. That's not to suggest that his stories are mere autobiography -- although "Intimacy" may be as close as he gets. Like any fiction writer, he draws on his experience for narrative and emotional effect. There's no way to read Carver's early work, collected in "Will You Please Be Quiet, Please?" (1976) and "Furious Seasons" (1977), without seeing his existence: the teenage marriage, the two kids in quick succession, the crummy jobs and part-time education, the drinking and the bankruptcies. This is what gives the writing such power, the fact that it is so specific, so sharp. Take "They're Not Your Husband," in which an unemployed salesman, obsessed with his wife's appearance, drops by the coffee shop where she works and comments on her to the other men. Or "Nobody Said Anything," where a boy plays hooky to go fishing, only to come home and confront his parents' crumbling marriage from which hooky offers no escape. Gardner didn't teach him about that; Carver had to live it, had to know the anxiety of that kid, the despair of that husband, the way that, as he writes in "Jerry and Molly and Sam," "life had become a maze, one lie overlaid upon another until he was not sure he could untangle them if he had to." What Gardner did was emphasize the need to pay attention, to know that stories are everywhere and that any life, no matter how seemingly undramatic, might be the substance of literature, if only we look at it with enough depth. This is the revolutionary thing about Carver's writing, although over the years it's also been the most misunderstood. In 1983, Granta famously labeled him, along with contemporaries such as Ford and Wolff, "dirty realists"; six years later, Tom Wolfe derided them as "K-Mart realists" in Harper's. The idea is that there's something less than artful about their fiction, that their stories are unformed, anecdotal slices-of-life. But that's not true, any more than it's true that in editing "What We Talk About," Lish eclipsed its authenticity, effacing Carver's voice while recasting the book, somehow, as his own. Indeed, "Collected Stories" makes a compelling case for the opposite, for Carver's interaction with Lish, like his interaction with Gardner, as a stop upon a longer path. "What We Talk About" came at a particularly vulnerable moment: Carver was newly sober, divorcing his first wife, Maryann, and exploring the beginnings of his relationship with Gallagher. It makes sense, then, that his work on the book would be marked by a give-and-take, a feeling out of what he had to do. Some of the most unexpectedly moving writing in "Collected Stories" comes in letters Carver sent Lish arguing against the edits; "I'm mortally afraid of taking out too much from the stories," he wrote on July 10, 1980, "of making them too thin, not enough connecting tissue to them." For detractors of "What We Talk About," that's a central criticism, but if Lish went too far in certain instances -- he eviscerated "A Small, Good Thing," cutting it by nearly 80% and renaming it "The Bath" -- it's impossible to imagine Carver arriving at the expansiveness of his 1983 masterpiece "Cathedral" without going through the edits Lish imposed. If nothing else, he had to learn to stand up for his work, to recognize his authority. In February 1983, he wrote Lish, "I don't need to tell you that it's critical for me that there not be any messing around with titles or text." It's no coincidence that among the 12 pieces in "Cathedral" is a restored version of "A Small, Good Thing," one of Carver's greatest stories in its final form. "Beginners" also features a fuller take of "A Small, Good Thing," but its inclusion here seems unnecessary. It's not that these drafts aren't worth attention, but they are not essential in the manner "Collected Stories" requires. That becomes especially glaring when you consider what's missing: Carver's poems, which are a corollary to his narrative work. In them, he covers much of the same material (hunting, fishing, domestic drama) with a similarly unsentimental eye. His poetry and fiction speak to each other stylistically, the staccato "She says" of "Intimacy" echoed in the structure ("He said it doesn't look good / he said it looks bad in fact real bad / he said I counted thirty-two of them on one lung before / I quit counting them") of "What the Doctor Said." Carver left some evidence that, at the end of his life, he was looking to blur the genres; his late poem "Lemonade" is actually a little story about a man who's lost his son. There are any number of ways to read this, not least as a lament by a man who was himself dying of lung cancer as he wrote. But most of all, it suggests a larger process, an integration that "Collected Stories" does not entirely reflect.


*Ulin is books editor of The Times.


Copyright © 2009, The Los Angeles Times


http://www.latimes.com/entertainment/news/arts/la-ca-raymond-carver6-2009sep06,0,5711022,print.story

'Blame: A Novel' by Michelle Huneven, book review


'Blame: A Novel' by Michelle Huneven

Book review by By Brigitte Frase



A sympathetic, well-wrought story of a brilliant young woman's slow crawl toward self-understanding after her life is upended by a horrible accident.


latimes.com
BOOK REVIEW
September 6, 2009

Blame: A Novel by Michelle
Huneven
Sarah Crichton Books/Farrar, Straus & Giroux: 296 pp., $25
We first see the heroine -- and she truly becomes one over the course of "Blame" -- through the eyes of 12-year-old Joey, who is bedazzled by her glamorous uncle Brice and his tall, blond girlfriend Patsy MacLemoore, who's drunk (as usual) when she gives the girl a beer and botches an attempt to pierce her ears.A year later, in May 1981, Patsy awakens from a blackout in a California jail. The sheriff tells her that while turning too quickly into her driveway the night before, she mowed down a mother and her young daughter who were passing out Jehovah's Witnesses literature. Because the deaths occurred on private property, she is allowed to plead guilty to criminal negligence instead of manslaughter, which she readily does, remembering absolutely nothing.The brilliant, beautiful PhD and college history professor finds herself, at the age of 29, sentenced to four years in a women's penitentiary. Huneven does a masterful job of describing the tedious, stressful and at times dangerous conditions Patsy endures amid arsonists, armed robbers and murderers. She stands up to bullies, endures the brutal whims of guards and makes enduring friends. She had heard that in prison there was time "to read, write, make yourself into a lawyer. Nobody mentioned that the time was filled with the ambient sounds of women raging, gates clanging, an ever-crackling public-address system." There is hard work too when she is assigned to the fire-control squad.Patsy corresponds with Joey and her long-suffering parents, and she forms a tentative friendship with Mark Parnham, the bereaved husband and father who is able to forgive what she cannot.She resists her fellow inmates' entreaties to join their AA group, remembering how pathetic she thought her father, who claimed that his greatest achievement in life was to kick alcohol. Finally she joins, out of boredom and seeking camaraderie. She dutifully accepts the routine of spiritual reading, journal-keeping; she would even pray, "even if her higher power was To Whom It May Concern."When she is sprung to freedom, Patsy feels like an alien in a mostly sober society. She'd been a boozer since the age of 13: doing homework drunk, writing her dissertation drunk, teaching drunk, picking up men in bars, drunk. Now she learns just how taxing normalcy is, never having experienced it before. Huneven makes an astute observation when she has Patsy, at a dinner party, marveling over how slowly people sipped their wine. She makes a resolution "to be good, whatever that meant. Her soul, that scrap of energy, was in tatters, no doubt beyond repair. Her only hope was to make herself useful to others, try to balance wrong with right."She continues to go to meetings, resigns herself to never again be the life of the party, sponsors female prisoners, gets her teaching job back, makes solid friendships with Brice and his beautiful young lover Gilles, becomes a second mother to Joey who feels unloved by her stepmother. She goes into therapy with a shrink who assumes Patsy is seeking an "authentic, unenslaved self." "Not at all. That never even occurred to me." Her modest goal is to learn how to live with guilt.The 20-some years after prison are decent, uneventful ones, but beautifully rendered as Huneven delves into Patsy's moral struggles and her deepening relationships. The most complex bond is the one she forges with Cal Sharp, 35 years older but a charismatic, revered mentor in AA circles. Despite the misgivings of her friends and family, she marries him, and they make a rich, though not problem-free life together. As Cal visibly ages and fades and she sees that they don't have much to talk about, she is tempted to have an affair with a vibrant, stimulating colleague but resists, willing to pay the emotional cost of spurning love: "She was nauseous and elated and furious. If he'd only kept his mouth shut, they could've ridden it out to a lower key and gone on for years."But then, upsetting her careful, penitent life, comes Joey with news that upends everything Patsy thinks she knows about herself: "[H]istory demonstrates that events transpire and narratives are built around them." Good luck, dumb luck, bad luck happen randomly, but people can't help but build meanings into them.When we leave Patsy, she has left the house to her bossy stepdaughter-in-law and her family, looked with sorrow at her doddering husband asleep in front of the television and moved out to a little private hideaway, pondering her revised past and her uncertain future.The satisfactions "Blame" offers readers are elegant prose and, deeper than that aesthetic pleasure, the intelligence and compassion Huneven brings to her characters. She holds them all with the utmost tenderness.Frase is a critic and reviewer.

Copyright © 2009, The Los Angeles Times


www.latimes.com/entertainment/news/la-ca-michelle-huneven6-2009sep06,0,2598664.story

quinta-feira, 3 de setembro de 2009

The Defector by Daniel Silva


The Defector

By Daniel Silva


1
Vladimirskaya Oblast, Russia
Pyotr Luzhkov was about to be killed, and for that he was grateful.
It was late October, but autumn was already a memory. It had been brief and unsightly, an old babushka hurriedly removing a threadbare frock. Now this: leaden skies, arctic cold, windblown snow. The opening shot of Russia's winter without end.
Pyotr Luzhkov, shirtless, barefoot, hands bound behind his back, was scarcely aware of the cold. In fact, at that moment he would have been hard-pressed to recall his name. He believed he was being led by two men through a birch forest but could not be certain. It made sense they were in a forest. That was the place Russians liked to do their blood work. Kurapaty, Bykivnia, Katyn, Butovo. . . Always in the forests. Luzhkov was about to join a great Russian tradition. Luzhkov was about to be granted a death in the trees.
There was another Russian custom when it came to killing: the intentional infliction of pain. Pyotr Luzhkov had been forced to scale mountains of pain. They had broken his fingers and his thumbs. They had broken his arms and his ribs. They had broken his nose and his jaw. They had beaten him even when he was unconscious. They had beaten him because they had been told to. They had beaten him because they were Russians. The only time they had stopped was when they were drinking vodka. When the vodka was gone, they had beaten him even harder.
Now he was on the final leg of his journey, the long walk to a grave with no marker. Russians had a term for it: vyshaya mera, the highest form of punishment. Usually, it was reserved for traitors, but Pyotr Luzhkov had betrayed no one. He had been duped by his master's wife, and his master had lost everything because of it. Someone had to pay. Eventually, everyone would pay.
He could see his master now, standing alone amid the matchstick trunks of the birch trees. Black leather coat, silver hair, head like a tank turret. He was looking down at the large-caliber pistol in his hand. Luzhkov had to give him credit. There weren't many oligarchs who had the stomach to do their own killing. But then there weren't many oligarchs like him.
The grave had already been dug. Luzhkov's master was inspecting it carefully, as if calculating whether it was big enough to hold a body. As Luzhkov was forced to kneel, he could smell the distinctive cologne. Sandalwood and smoke. The smell of power. The smell of thed evil.
The devil gave him one more blow to the side of his face. Luzhkov didn't feel it. Then the devil placed the gun to the back of Luzkhov's head and bade him a pleasant evening. Luzhkov saw a pink flash of his own blood. Then darkness. He was finally dead. And for that he was grateful.

2
London: January
The murder of Pyotr Luzhkov went largely unnoticed. No one mourned him; no women wore black for him. No Russian police officers investigated his death, and no Russian newspapers bothered to report it. Not in Moscow. Not in St. Petersburg. And surely not in the Russian city sometimes referred to as London. Had word of Luzhkov's demise reached Bristol Mews, home of Colonel Grigori Bulganov, the Russian defector and dissident, he would not have been surprised, though he would have felt a pang of guilt. If Grigori hadn't locked poor Pyotr in Ivan Kharkov's personal safe, the bodyguard might still be alive.
Among the lords of Thames House and Vauxhall Cross, the riverfront headquarters of MI5 and MI6, Grigori Bulganov had always been a source of much fascination and considerable debate. Opinion was diverse, but then it usually was when the two services were forced to take positions on the same issue. He was a gift from the gods, sang his backers. He was a mixed bag at best, muttered his detractors. One wit from the top floor of Thames House famously described him as the defector Downing Street needed like a leaky roof—as if London, now home to more than a quarter million Russian citizens, had a spare room for another malcontent bent on making trouble for the Kremlin. The MI5 man had gone on the record with his prophecy that one day they would all regret the decision to grant Grigori Bulganov asylum and a British passport. But even he was surprised by the speed with which that day came.
A former colonel in the counterintelligence division of the Russian Federal Security Service, better known as the FSB, Grigori Bulganov had washed ashore late the previous summer, the unexpected by-product of a multinational intelligence operation against one Ivan Kharkov, Russian oligarch and international arms dealer. Only a handful of British officials were told the true extent of Grigori's involvement in the case. Fewer still knew that, if not for his actions, an entire team of Israeli operatives might have been killed on Russian soil. Like the KGB defectors who came before him, Grigori vanished for a time into a world of safe houses and isolated country estates. A joint Anglo-American team hammered at him day and night, first on the structure of Ivan's arms trafficking network, for which Grigori had shamefully worked as a paid agent, then on the tradecraft of his former service. The British interrogators found him charming; the Americans less so. They insisted on fluttering him, which in Agencyspeak meant subjecting him to a lie-detector test. He passed with flying colors.
When the debriefers had had their fill, and it came time to decide just what to do with him, the bloodhounds of internal security conducted highly secret reviews and issued their recommendations, also in secret. In the end, it was deemed that Grigori, though reviled by his former comrades, faced no serious threat. Even the once-feared Ivan Kharkov, who was licking his wounds in Russia, was deemed incapable of concerted action. The defector made three requests: he wanted to keep his name, to reside in London, and to have no overt security. Hiding in plain sight, he argued, would give him the most protection from his enemies. MI5 readily agreed to his demands, especially the third. Security details required money, and the human resources could be put to better use elsewhere, namely against Britain's homegrown jihadist extremists. They bought him a lovely mews cottage in a backwater of Maida Vale, arranged a generous monthly stipend, and made a onetime deposit in a City bank that would surely have caused a scandal if the amount ever became public. An MI5 lawyer quietly negotiated a book deal with a respected London publisher. The size of the advance raised eyebrows among the senior staff of both services, most of whom were working on books of their own—in secret, of course.
For a time it seemed Grigori would turn out to be the rarest of birds in the intelligence world: a case without complications. Fluent in English, he took to life in London like a freed prisoner trying to make up for lost time. He frequented the theater and toured the museums. Poetry readings, ballet, chamber music: he did them all. He settled into work on his book and once a week lunched with his editor, who happened to be a porcelain-skinned beauty of thirty-two. The only thing missing in his life was chess. His MI5 minder suggested he join the Central London Chess Club, a venerable institution founded by a group of civil servants during the First World War. His application form was a masterpiece of ambiguity. It supplied no address, no home telephone, no mobile, and no e-mail. His occupation was described as 'translation services,' his employer as 'self.' Asked to list any hobbies or outside interests, he had written 'chess.'
But no high-profile case is ever entirely free of controversy—and the old hands warned they had never met a defector, especially a Russian defector, who didn't lose a wheel from time to time. Grigori's came off the day the British prime minister announced a major terrorist plot had been disrupted. It seemed al-Qaeda had planned to simultaneously shoot down several jetliners using Russian-made antiaircraft missiles—missiles they had acquired from Grigori's former patron, Ivan Kharkov. Within twenty-four hours, Grigori was seated before the cameras of the BBC, claiming he had played a major role in the affair. In the days and weeks that followed, he would remain a fixture on television, in Britain and elsewhere. His celebrity status now cemented, he began to move in Russian émigré circles and cavort with Russian dissidents of every stripe. Seduced by the sudden attention, he used his newfound fame as a platform to make wild accusations against his old service and against the Russian president, whom he characterized as a Hitler in the making. When the Kremlin responded with uncomfortable noises about Russians plotting a coup on British soil, Grigori's minder suggested he tone things down. So, too, did his editor, who wanted to save something for the book.
Grudgingly, the defector lowered his profile, but only by a little. Rather than pick fights with the Kremlin, he focused his considerable energy on his forthcoming book and on his chess. That winter he entered the annual club tournament and moved effortlessly through his bracket—like a Russian tank through the streets of Prague, grumbled one of his victims. In the semifinals, he defeated the defending champion without breaking a sweat. Victory in the finals appeared inevitable.
On the afternoon of the championship, he lunched in Soho with a reporter from Vanity Fair magazine. Returning to Maida Vale, he purchased a house plant from the Clifton Nurseries and collected a parcel of shirts from his laundry in Elgin Avenue. After a brief nap, a prematch ritual, he showered and dressed for battle, departing his mews cottage a few minutes before six.
All of which explains why Grigori Bulganov, defector and dissident, was walking along London's Harrow Road at 6:12 p.m. on the second Tuesday of January. For reasons that would be made clear later, he was moving at a faster pace than normal. As for chess, it was by then the last thing on his mind.
The match was scheduled for half past six at the club's usual venue, the Lower Vestry House of St. George's Church in Bloomsbury. Simon Finch, Grigori's opponent, arrived at a quarter past. Shaking the rainwater from his oilskin coat, he squinted at a trio of notices tacked to the bulletin board in the foyer. One forbade smoking, another warned against blocking the corridor in case of fire, and a third, hung by Finch himself, pleaded with all those who used the premises to recycle their rubbish. In the words of George Mercer, club captain and six-time club champion, Finch was 'a Camden Town crusty,' bedecked with all the required political convictions of his tribe. Free Palestine. Free Tibet. Stop the Genocide in Darfur. End the War in Iraq. Recycle or Die. The only cause Finch didn't seem to believe in was work. He described himself as 'a social activist and freelance journalist,' which Clive Atherton, the club's reactionary treasurer, accurately translated as 'layabout and sponge.' But even Clive was the first to admit that Finch possessed the loveliest of games: flowing, artistic, instinctive, and ruthless as a snake. 'Simon's costly education wasn't a total waste,' Clive was fond of saying. 'Just misapplied.'
His surname was a misnomer, for Finch was long and languid, with limp brown hair that hung nearly to his shoulders and wire-rimmed spectacles that magnified the resolute gaze of a revolutionary. To the bulletin board he added a fourth item now—a fawning letter from the Regent Hall Church thanking the club for hosting the first annual Salvation Army chess tournament for the homeless—then he drifted down the narrow corridor to the makeshift cloakroom, where he hung his coat on the rollaway rack. In the kitchenette, he deposited twenty pence in a giant piggy bank and drew a cup of tepid coffee from a silver canister marked chess club. Young Tom Blakemore—a misnomer as well, for Young Tom was eighty-five in the shade—bumped into him as he was coming out. Finch seemed not to notice. Interviewed later by a man from MI5, Young Tom said he had taken no offense. After all, not a single member of the club gave Finch even an outside chance of winning the cup. 'He looked like a man being led to the gallows,' said Young Tom. 'The only thing missing was the black hood.'
Finch entered the storage cabinet and from a row of sagging shelves collected a board, a box of pieces, an analog tournament clock, and a score sheet. Coffee in one hand, match supplies carefully balanced in the other, he entered the vestry's main room. It had walls the color of mustard and four grimy windows: three peering onto the pavements of Little Russell Street and a fourth squinting into the courtyard. On one wall, below a small crucifix, was the tournament bracket. One match remained to be played: s. finch vs. g. bulganov.
Finch turned and surveyed the room. Six trestle tables had been erected for the evening's play, one reserved for the championship, the rest for ordinary matches—'friendlies,' in the parlance of the club. A devout atheist, Finch chose the spot farthest from the crucifix and methodically prepared for the contest. He checked the tip of his pencil and wrote the date and the board number on the score sheet. He closed his eyes and saw the match as he hoped it would unfold. Then, fifteen minutes after taking his seat, he looked up at the clock: 6:42. Grigori was late. Odd, thought Finch. The Russian was never late.

He began moving pieces in his mind—saw a king lying on its side in resignation, saw Grigori hanging his head in shame—and he watched the relentless march of the clock.

6:45 . . . 6:51 . . . 6:58 . . .

Where are you, Grigori? he thought. Where the hell are you?
Ultimately, Finch's role would be minor and, in the opinion of all involved, mercifully brief. There were some who wanted to have a closer look at a few of his more deplorable political associations. There were others who refused to touch him, having rightly judged Finch to be a man who would relish nothing more than a good public spat with the security services. In the end, however, it would be determined his only crime was one of sportsmanship. Because at precisely 7:05 p.m.—the time recorded in his own hand on the official score sheet—he exercised his right to claim victory by forfeiture, thus becoming the first player in club history to win the championship without moving a single piece. It was a dubious honor, one that the chess players of British intelligence would never quite forgive.
Ari Shamron, the legendary Israeli spymaster, would later say that never before had so much blood flowed from so humble a beginning. But even Shamron, who was guilty of the occasional rhetorical flourish, knew the remark was far from accurate. For the events that followed had their true origins not in Grigori's disappearance but in a feud of Shamron's own making. Grigori, he would confide to his most devoted acolytes, was but a shot over our complacent bow. A signal fire on a distant watchtower. And the bait used to lure Gabriel into the open.
By the following evening, the score sheet was in the possession of MI5, along with the entire tournament logbook. The Americans were informed of Grigori's disappearance twenty-four hours later, but, for reasons never fully explained, British intelligence waited four long days before getting around to telling the Israelis. Shamron, who had fought in Israel's war of independence and loathed the British to this day, found the delay predictable. Within minutes he was on the phone to Uzi Navot giving him marching orders. Navot reluctantly obeyed. It was what Navot did best.


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Red Queen by H. M. Brown


Red Queen

By H. M. Brown


'Riveting, atmospheric and tautly written, Red Queen is a remarkable debut.' (Michael Robotham)



Shannon and Rohan Scott have retreated to their family's cabin in the Australian bush to escape a virus-ravaged world.

After months of isolation, Shannon imagines there's nothing he doesn't know about his older brother, or himself – until a stranger slips under their late-night watch and past their loaded guns.

Reluctantly the brothers take the young woman into their fold, and the dynamic within the cabin shifts.

Possessiveness takes hold, loyalties are split, and trust is shattered.

Before long, all three find themselves locked into a very different battle for survival.

Daring, stylish and sexy, Red Queen is a psychological thriller that will leave you breathless.