5★
“The lane lit up: the car had made its decision, and was coming to collect him. Easier to conquer that steep hill on four wheels: his own legs were trembling now, partly the cold, mostly with all this effort. Not so long ago his worst problem had been insomnia.”
Retired academic Max Janáček, is running from those who broke into his country cottage where he’s lived quietly for the past 20 years. He needs not only to escape them but to make it back to his home to get his flight kit.
“His passport – the word ‘his’ designating ownership rather than identity, but it was a passport he’d paid for, and definitely bore his photograph – plus a grand in cash…”
You get the idea. The little old lady next door will have to find another neighbour to cut her firewood. It’s no spoiler to say he gets his flight kit and goes.
“There were hotels where they gave you a robe, hotels where they didn’t give you a robe, and hotels where, if they did give you a robe, you wouldn’t want to wear it, and Max found one of these…”
Max is the first of the characters in this intricately tangled story of the British secret service from before and after the Berlin Wall came down (1989) to today. We don’t know why ‘Max’ is being hunted, but he does.
When the story moves to a Secret Service HQ at Regent’s Park in London, the Park, we find an investigation into evidence of the Park’s misdoings underway. If only Malcolm and Griselda, who are running Monochrome (the investigation), could actually get at the old archives. New data gets uploaded to the cloud (hello hackers), but the old stuff is still on paper, in folders, down in the guarded basement archives, where they can’t go.
“ . . . the digital cloud, where newer secrets are stored holding more pixels than actual clouds hold raindrops, and while this is turning out to present security problems of a kind previously unencountered, things haven’t yet reached the pass where wise minds decide that old ways are best. So for the moment the future is allowed to unravel at precisely the speed of time, while the past continues to brood in its chambers, yielding up secrets only when forced to do so by those brave enough to confront the archive’s warder.”
Of course, it seems Monochrome is expected to report “nothing to see here”, but when a file drops almost literally in Malcolm’s lap, the action heats up.
They begin interviewing witness #137 and learn about activities that took place in Berlin, which we eventually understand leads to what’s happening today, including the attack on Max.
A bright new recruit to the service was interviewed, and as her account moves from her first interviews to the current day, readers of the Slough House series will begin to recognise some names and events. It isn’t necessary to know any of this to enjoy the story – it’s more like small Easter egg surprises for fans, I think.
Here’s one. She is going for an interview, and I apologise to the author for editing phrases here to piece this together. She is startled to see the man behind the table. He asks her to call him David, not Sir. (Fans should recognise the OB, the Old Bastard, River's grandfather, and the author actually uses the term later, in case we missed the reference.)
“Because this was David Cartwright, who had once been pointed out to her in the lobby at the Park. ‘There’s the man who drives the whole shebang.’
. . .
Like any large organisation, Regent’s Park ran on rumour, except when it was flying on legend.
. . .
A mixture of Rasputin and Robespierre, it was said, though in person he looked kindlier than either description suggested.
. . .
More importantly, a man who was immensely busy, what with being a legend. So what on earth was he doing here, gracing her send-off with his presence?
. . .
‘And I,’ he said, ‘will call you Alison.’
Which was when she understood that the whole thing was an embarrassing mistake. He thought she was someone else, and she would now have to explain this to him while somehow maintaining the fiction that it was her fault, not his; … then a single thought. ‘Work name. ’
He was watching her, expectantly.
‘I’m already used to it.’
‘Good. Good.’
And Alison North, as she now was, and would remain for some while, smiled her agreement.
‘Now, Berlin. Been there before?’ ”
She’s a great character, and her time in Berlin was eye-opening for her. The door on the house the Service has for offices is in a shabby part of the city and has a big ghost painted on the door. So much for “secret” service.
“‘Looking for the spooks, baby?’ someone called, in English. ‘Three houses down. With the fancy door.’
Laughter accompanied this.
Alison was too British to respond.
. . .
The Spooks’ Zoo, Berlin was called. And a thing about zoos was, the animals were on display.”
They sure are, and Alison’s work with Brinsley Miles is especially interesting, because he keeps insisting she go out with him night after night, often to cheap bars, strip clubs, all kinds of dives for drinks and or meals. He doesn’t hit on her, but through him she meets “Otis” and others. Finally, one night on her own, walking down Berlin’s main avenue, she sees the better places.
“On the Kurfürstendamm, she passed a bar, and was so grateful for the strength of mind that prevented her walking in and ordering a drink that she stopped at the next one to celebrate.”
Seems silly, but drinking on her own probably seemed like a relief.
The author explains the difference between work names and code names - the difference between an alias and the insulting nickname you all called the teacher you disliked.
“It boils down to this: an agent has a work name, and will of course be absolutely aware of what that name is. An asset, however, or a target, or even an innocent, unwittingly involved in a Service operation, will have a code name, of which they are entirely ignorant, and which will never be used in their presence.”
At the very end of the book, we can piece together who some of these people are today. There were a few places where I thought it was moving slowly – more fool me. Everything was necessary – the political climate, the intrigue, the revenge sought.
Another terrific book which I especially enjoyed because I understood the background, but it would be excellent as a standalone, too.
I loved Sean Barrett's audio narration, too. When I first tried it, some time ago, I think I was annoyed because I didn't have the text to refer to. Sometimes, I need to see names and phrases. But I got a copy of the book, and now I think his gravelly voice is perfect.