Charles McCarry is one of the best spy novelists around and has been since he left the CIA in the '70s to become a writer. I am particularly fond of a couple of his novels, "Tears of Autumn" and "The Secret Lovers," which are packed with vivid characters, stunning scenes, dense plotting and exemplary tradecraft. So this one was a disappointment.
The plot starts off well, with a nameless narrator working for a CIA-like organization referred to only as "Headquarters" meeting an asset in Buenos Aires. The asset is Luz Aguilar, who will become the love of the narrator's life and his partner in a revenge plot against the agency for what it did to his late father, who was also a spy. They look at each other and they both think, "Possibilities."
The narrator then spins the wheel backward to recount his father's downfall, which led not only to professional disgrace but also to unemployment, divorce and homelessness. Small wonder, then, the narrator vows to get back at the agency that did this to his old man by undermining it from within, a process that he acknowledges may take years.
We never learn what his revenge plan is, though, because he gets sidetracked by his love affair with Luz, who is herself the offspring of a couple who were betrayed by Headquarters and thus has her own reasons for wanting vengeance -- and then the story becomes more about Luz and her parents and the South American revolutionaries who surrounded them, rather than what the narrator had in mind.
So while we do get some remarkable scenes -- particularly one in the Mideast where the narrator comes within inches of dying, and another involving a possible Russian defector and a rocket launcher -- there's no coherence to the plot. The narrator gets medals from the agency, then gets yelled at by his boss, and we are never sure which is part of the revenge plot and which just happened, period.
The tradecraft here has been slightly updated from McCarry's earlier works. The spies still worry about dangles, use sign and countersign codes, send postcards setting up meetings -- but now they exchange flash drives instead of Xeroxed documents or Minox camera shots. It made me wonder if that's really how things work these days, or if technology hasn't made some of these old techniques obsolete.
Even more disappointing is the lack of character development. One of the Russian characters is a walking cliche' repository -- his name is Boris, he's rude, he plays chess, he always has to be the dominant one etc. Perhaps the biggest letdown is Luz. She's introduced in the book's opening as if she's the fulcrum upon which the whole book will balance, and then McCarry apparently doesn't know quite what to do with her besides make her a near nymphomaniac and catalog her orgasms.
The final scene of the book is a corker, I must admit, illustrating the epigraph that starts the book in a very literal fashion. But once it was done I thought, "Is that it?" I never felt that way about any other McCarry book. So go read those other, better ones, and give this one a miss.