RATING: 2.5
Did you ever engage in the word play of good news/bad news? "There's good news and bad news. The good news is blah blah blah." At which you rejoice. "The bad news is yuck yuck yuck." At which you cry. That's essentially the theme of this book, with every good thing that happens counterbalanced by a horribly bad thing.
Charlie Millar is 27 years old and is employed by the British Security Service as a spy. On his current assignment, he is working in a subway photo booth. Operatives turn in pictures and speak in code which directs Charlie to do certain things with the negatives. Working in the same booth is a middle-aged man by the name of George Shaw. As it turns out, George is also a spy. Through some bureaucratic snafu, they were both assigned to the same post, which was not supposed to happen. One day, they each receive a mission via a canister of film. In spy school, they learned that if the 13th frame of the film was blank, they would need to kill someone. The 14th frame would show to who the target was. Charlie's 14th frame shows George; George's 14th frame shows Charlie. To say the least, they are both confused about this turn of events. However, confusion turns to determination when they find that they are both targets of someone else.
Against all odds, they band together to get away from the threats that surround them. It's an interesting premise, as neither of them entirely trusts the other. Is George leading Charlie to a remote region where it will be easier to kill him? Is Charlie doing something that means that George is going to breathe no more? As time goes on, they find that they have a lot in common, and the tensions ease. They both want to leave the Service. Ultimately, they manage to evade their pursuers, only to find more challenges in their new environment.
GOOD NEWS, BAD NEWS is the debut novel of David Wolstencroft who is the writer and creator of the BBC spy drama Spooks. That background has enabled him to craft an action-packed plot that has a lot of high drama as well as touches of humor. However, I had a few problems with the book, the first being the way that the opening chapters were narrated. They are told from Charlie's point of view and present him as an utter naïf, when clearly that is not the case. That section just didn't fit for me and should have acknowledged his occupation instead of depicting him as just an average guy who follows his co-worker out of curiosity.
I really enjoyed the main narrative section of the book and the dilemmas that Charlie and George faced both with their situation and in their relationship. Unfortunately, Wolstencroft went far afield in the conclusion of the book, and I felt cheated by how it resolved, relying on a cliché that's so bad that it should be outlawed. I wished that he had played it straight.
The good news is that Wolstencroft has the talent and imagination to write extremely well. The bad news is that he missed the mark in this book.