Mission to Paris by Alan Furst (2012)

When you are in Paris, you have to make love to somebody. (p.76)

This is the twelfth of Alan Furst’s historical espionage novels, all set on continental Europe in the late 1930s or early years of World War Two, in which fairly ordinary European men find themselves caught up in cloak and dagger activities, but are generally consoled by sensuous love affairs with one or more willing young ladies. The very strong love elements in Furst’s novels make them as much romantic novels as historical or spy thrillers.

This one is something of a return to the brooding intensity of his debut, Night Soldiers, with a real sense of growing menace and threat until almost the last pages. The previous two or three books in the series featured interesting hero figures – Carlo Weisz, Jean Mercier, Costa Zannis – who had sporadic undercover adventures, but then tended to return back to the safety of their hotel rooms or apartments for a good kip and some sensual sex with their lady of the moment – before setting out on another adventure, and so on. They felt episodic, only intermittently featuring violence which gave any sense of real danger.

Nazi menace

But in Mission to Paris the hero becomes enmeshed in a web of intrigue that doesn’t let up, but draws him deeper and deeper into peril – in which the Nazis who are tracking him systematically crowd into every part of his life, at first just requesting favours, then threatening vague reprisals, then physical violence and eventually he finds himself running for his life. It is this steadily mounting sense of threat and peril which is reminiscent of the powerful mood of the first books in the series.

The story is set against the looming threat of a European war. Hitler and the Nazis are screaming about the injustices being suffered by ethnic Germans in the Sudeten area of Czechoslovakia and in western Poland – all, of course, preparing the way for his invasions of  those countries. Many pundits and many ordinary people are concluding that some kind of war with Germany is inevitable. Into the feverish atmosphere of war-worried Paris arrives a Hollywood movie star, Fredric Stahl (in fact born in Austria and who’s made good in the States) who has carved out a niche as an actor of sturdy, reliable male characters. He is coming over to play the lead in a Warner Brothers France production titled Après la Guerre.

As background, the novel gives examples of the incredibly widespread and well-organised propaganda efforts the Nazis are making to promote the parties of the right, to spread disinformation about Hitler’s intentions, to praise Germany, to promote the idea that it is silly to fight the Germans, there will be no war, to blame all warmongering on communists and Jews. In other words, of the Nazis’ extensive use of ‘political warfare’.

As to Stahl, the Ribbentropburo of the German Foreign Ministry knows about his stay in Paris, knows about his Austrian background, and is drawing up plans to exploit him in all sorts of ways: these include setting him up for press interviews with right-wing papers which distort his banal answers into apparent calls for peace, or a more menacing invitation to fly to the Reich to attend a film festival.

German figures from his past suddenly appear out of nowhere, journalists put words into his mouth, Paris salon hostesses introduce him to charming people who run Franco-German Friendship societies, would he like to attend a meeting, give an interview for their magazine, attend a German film festival? As the pressure grows on Stahl from multiple directions, the novel conveys a good sense of claustrophobia and mounting paranoia.

Things take a distinct turn half way through when Stahl reluctantly agrees to attend the wretched film festival in Berlin, and finds his contact at the American Embassy in Paris, J.J. Wilkinson, asking if he would mind taking a large sum of money with him and making a clandestine rendezvous with an American agent working under deep cover in Berlin. At this point Stahl crosses the line from innocent bystander to active agent, and the tension and pressure cranks up from that point onwards right to the end.

Plot summary

As usual with Furst’s novels, the text is divided into four parts or ‘acts’:

1. German money – 14 September to 30 September 1938

September 1938. We are introduced to Hollywood movie star Frederic Stahl, born Franz Stalka in Vienna 40 years previously, ran away to sea from his strict father aged 16, was on board a neutral ship when the Great War broke out. The ship was fired on by Italians and limped to Barcelona where the Austrian Legation gave him a desk job for the remainder of the war. Shipped back to Austria he tried to escape his domineering father and supine family by taking to acting. He played small parts at local theatres, then got a gig in Paris, where he was talent spotted by the Warner Brothers agent and sent to Hollywood. Here he’s created a brand as a clean-cut, reliable good guy. He’s been sent by the studio to star in a movie in Paris, Après la Guerre, alongside a French producer, director, crew etc. He’ll play the hero, leader of three soldiers who find themselves released after the 1918 Armistice and having to make their way home across a war-ravaged Europe.

The text actually opens with a scene depicting a hitman from the Nazi Ribbentropburo, named Herbert. The sinister Baroness Cornelia Maria von Reschke und Altenberg, a German aristocrat who has established one of the top salons in Paris, is a German agent, surreptitiously handing out funds and favours to French VIPs who can influence public opinion and policy in a direction favourable to Germany. As one of her many workstreams she has given a bag of money to one Prideaux, the chef de cabinet of a French senator, to pass onto his boss in return for Germany-friendly speeches. However, handling so much money went to Prideaux’s head and he has absconded to the Black Sea port of Varna, before moving on into Turkey. Unfortunately, Herbert and his henchman Lothar have tracked him down to Varna, with instructions to recover the money and terminate Prideaux. We watch Herbert and Lothar hire a local assassin to murder Prideaux. This opening scene sets the scene and mood, showing the sophistication and extent of their efforts to influence opinion in France, and the ruthlessness if someone crosses them.

The scene then shifts to Stahl on board the transatlantic liner, Ile de France, having a mild flirtation with a star-struck (and married) fan, Iris. He is met at le Havre by Zolly Louis, Warner Brothers man in Paris, and driven to the capital city in a stylish 1938 Panhard Dynamic car, where he’s been booked into a nice room at the Hotel Claridge. Stahl has barely unpacked before the hotel present him with letters and invitations, including one from the Baroness Cornelia Maria von Reschke und Altenberg. No reason not to go, so he dresses smartly and takes a cab to her luxury apartment but, as he takes her wizened claw and observes her tight face with the blue vein in her forehead and her fawning manner, he begins to feel antipathy, confirmed as he is then introduced to a succession of businessmen who gently but consistently ask him his opinion about Germany, about the situation in Europe, wouldn’t peace be better, isn’t war futile, you know it’s all these Jews who want war, they own all the armaments companies – and so on and on.

In the midst of this stifling atmosphere, Stahl is relieved to meet the stylish young Kiki de Saint-Ange, who whisks him away to a much more cool Bohemian party on the Left Bank. Being driven there in the big Panhard they come across men posting up affiches blanches to the walls, indications of the partial mobilisation the French government is beginning as war looms. Stahl’s chauffeur, Jimmy, is on the list and later Stahl learns that the director slated to direct his movie has been called up and sent to Alsace. The threat of a European war is becoming very real.

Next morning Stahl gets a cab out to the Paramount film studios in the Paris suburb of Joinville where, in Building K, he gets measured for his costumes by the costume designer, Renate Steiner, herself an émigré from Germany – her husband is a communist so they had to flee when Hitler came to power. Renate is brisk and professional and half way through her friends Inga and Klaus stop by to excitedly tell her that Daladier and Chamberlain have signed the Munich Agreement, in effect handing over the Sudeten part of north-west Czechoslovakia to Germany in exchange for Hitler’s promise of peace.

Stahl’s taxi back to the hotel gets stuck in a crowd of marchers protesting against the scandalous sellout to Hitler, and Stahl is forced to get out and walk. Suddenly, masked men attack the marchers with iron rods and Stahl finds himself coming to the defence of a woman being hit, next thing he’s struck by a bar himself, several times, falls to the ground, and is in the middle of fighting back when he is arrested and taken to a police station.

After a grim night Stahl is released by Zolly Louis, who has greased a few palms, but ‘Hollywood actor spends night in Paris gaol’ becomes one of the many threats the Germans will hold over him. Although he has a girlfriend / confidente / lover, Betsy Belle, back in Hollywood, he nonetheless accepts an invitation from Kiki to meet for a drink. He and Kiki stroll round lovers’ Paris in the evening, until they come across a nice discreet hotel and slip into it for an evening of slow, sensual sex.

This first ‘act’ ends with the three brief documentary-style examples of the way the Germans are bringing pressure to bear at every level of French society, but especially on the media and opinion formers:

  • We find Hervé Charais, news commentator for Radio Paris, relaxed in his bedroom and (naturally) admiring his half-dressed Spanish mistress (p.63) while she taunts and teases him and gently suggests that maybe his commentaries ought to put the German view a bit more, mention the hardships of the poor German minorities trapped in the Sudetenland or Poland and subject to bullying and intimidation. ‘How about it,’ she asks, as she takes his pecker in her hand…
  • The Director of the National Press Guild of Germany writes to the chief executive of the Havas Agency, the leading French wire service, confirming an all-expenses paid trip to the Reich where he will have dinner with the German Foreign Secretary, von Ribbentrop, and then a meeting with the Führer himself.
  • We hear LaMotte, wine king, in a phone conversation with the publisher of Le Temps, chatting about a weekend away together, the tennis they’ll play, and casually linking the money he’s about to spend on his next advertising campaign in the magazine, with a few comments on recent editorials about Germany: doesn’t he think the magazine is being a bit harsh? After all it was Hitler who invited Chamberlain and Daladier to Berchtesgarten, it was Hitler who defused the crisis; all the Germans want is peace. Honest.

2. Agent of Influence – 12 October to 4 November 1938

Stahl meets the cast of the movie – Pasquin the burly comedian, Brecker the blonde German, Justine Piro his female lead, Jean Avila the boy wonder director.

Mme Boulanger in the Warner Brothers office has fixed up an interview with Loubec, a journalist from Le Matin with his photographer René. Expecting to give an easygoing chat about the new movie and  his c-stars, Stahl is amazed when the interview is all about his attitude to war, to the Germans, with insinuating comments about his lack of active service during the Great War. When he sees the headline next morning – Hollywood stars speaks out for rapprochement – he realises how badly he’s been stitched up.

Stahl receives an invitation to visit the US Embassy, where he is seen by Second Secretary J.J. Wilkinson, who formally welcomes him to Paris. Wilkinson points out that he’s already been seen consorting with people known for their Nazi sympathies – the Baroness von Reschke, Philippe LaMotte – as well as managing to be locked up in prison for the night. An impressive start. Wilkinson explains to a puzzled Stahl that he is an ‘agent of influence’; a casual word from him will be widely reported and might help nudge public opinion, towards pacifism, fatalism, the wish for peace at any price: exactly what Hitler wants.

Next day  Stahl is appalled when a cast reading of the script is interrupted by Karl ‘Moppi’ Moppel’, Stahl’s boss at the Austro-Hungarian legation in Barcelona where Stahl worked during the Great War. What the hell is he doing here? How did he track him down to the studio? Moppi acts all innocent – he just wants to see his old friend, but has just enough time to make it clear that Stahl is Austrian, something the other cast members didn’t know. It’s a small nudge designed to alienate him from them and push him a little closer to the Nazi camp.

His Hollywood girlfriend Betsy Belle writes a letter dumping him, saying she’s met an older man who’ll ‘look after her’. On the rebound, Stahl phones Kiki and takes her out to a movie theatre where, to his surprise, she manoeuvres his hand between her thighs and makes him masturbate her to a brief gasping climax, all the time watching the silver screen.

Moppi continues to pester Stahl with phone calls and with invitations to lunch at the famous restaurant, Maxim’s. Eventually Stahl gives in, determined to go along and tell him to stop bloody bothering him. He finds a table full of repellent Nazis stuffing themselves with the best French food who invite him to a little film festival they’re having: all-expenses paid, luxury hotel, good food, he just has to watch half a dozen movies and select the best. Stahl stands up and delivers his speech, saying he absolutely will not go and telling them to stop pestering him. But as he walks away, he hears them laughing and drooling over the desserts as they arrive, completely unperturbed.

Next day Stahl goes back out to Building K out at Joinville for further fittings for his costume, where he finds Renate red-eyed and tearful, until he is prompted to give her a big hug. Things are bad at home; her husband is depressed at having gone from big-shot journalist in Berlin to nobody in Paris and gets so low he threatens suicide. Stahl is a friendly shoulder to cry on. ‘Gee, ma’am, wish there was more I could do to help.’

Madame Boulanger, slightly embarrassed at setting him up with the reptile Loubec, now fixes for Stahl to meet André Sokoloff, Russian émigré journalist, senior correspondent for Paris Soir, at the Brasserie Heininger. This is the ‘famous’ restaurant which, rather monotonously, features in every single Furst novel. Sokoloff appals Stahl by giving him an in-depth explanation of how ‘political warfare’ works, a nudge here, a word there, an interview, a commentary piece in a paper, and so on (pp.109-114). What appals him most is the extent of the active treachery of such large parts of French society which would rather have the country ruled by Hitler than by a Jew or a liberal.

When Stahl gets back to his hotel room it’s to find a Nazi bruiser has broken into his room and is calmly lounging on his sofa. It is Herbert who threatens him, warning him that he must come to the Reich for the film festival or he and his colleagues would be upset and you don’t want to upset us do you? You never know what might happen. Before getting up and casually sauntering out the door. It is his arrogance, his assumption that Stahl wouldn’t dare start anything, which Stahl finds so upsetting and demoralising.

Cut to the scene back at the Ribbentropburo in Berlin, where a meeting is convened to go through a long list of eminent French people who are being targeted with invitations, bribes or smears and threats, to toe the Nazi line. It includes discussion of some eye-opening examples, like the Catholic priest who preaches against Nazi ideology and who they’re working on the Vatican to get transferred to Martinique. Towards the bottom of the list is Stahl and, when he hears that the actor is refusing to play ball, the Deputy Director gets into a fury and threatens his underlings that Stahl better go to this bloody festival or else!

Stahl goes for a walk to calm down after the scary encounter with the Nazi in his room, and is sitting in a bar nursing a cognac when Kiki walks in. The conversation morphs from her cheering him up into the seductive role-playing mode of a soft porn movie, and he ends up taking her back to his luxury hotel (the Claridge) where she is soon ‘half-stripped, in high heels and lacy bra and panties’ before Stahl kneels and performs cunnilingus on her (p.125). All frightfully French and sophisticated.

Next day, back at the sound studio out at Joinville, his co-star Brecker arrives at a rehearsal at the studio with his arm in a sling. It was broken in a bar-room brawl. Can it possibly be some kind of threat from the Nazis? Stahl is now so spooked he is seeing their malign influence everywhere.

Stahl seeks another meeting with Wilkinson at the Embassy, tells him about the accumulated incidents and talks through what to do? Well, no laws have been broken – and each one of the incidents by itself is almost trivial. ‘Is he going to go to the film festival?’ Stahl is trying to decide, when Wilkinson points out that, if he does decide to go… well, there’s a little favour he could do for his government…

3. Espionage – 9 November to 10 December 1938

In act three, Stahl crosses a line by agreeing to work undercover for Wilkinson, becoming an agent, a spy. He phones the Nazis and agrees to go to their bloody festival. Has a horrible time on the plane to Berlin, along with repellent Emhof and reading Nazi propaganda rags. Taxi to the Hotel Adlon. The streets are absolutely packed with uniformed men and violence is in the air. He dresses for the evening meal, sucks up to the revolting German hosts – notably Otto Raab, the embittered mediocrity who’s found his niche in the Nazi Party as a hack turning out propaganda movies, and who is organiser of the festival.

Over the festival banquet, Stahl strikes up conversation with the athletic and attractive Russian émigré film star, Olga Orlova, who is one of Hitler’s favourite German actresses, and quite quickly she invites him to pop along to her bedroom after the banquet. Yummy. He waits a decent interval, makes his excuses to his hosts and goes up to her room. The reader expects that this is going to lead to yet another Furstian soft porn interlude. Instead, she calls for his identification, which turns out to be a Reichsmark note whose numbers she has been tipped off to check. They match; his identity is confirmed. Because it turns out, Olga is a spy, too. The mission Wilkinson gave Stahl was to smuggle in $100,000 in cash, which he hands over to Olga in return for the latest top secret documents she has secured. These he will stash in the secret compartment in his bag and take back to Wilkinson. Exchange made, Olga and Stahl agree he must stay in her room till the early hours as if they had had sex, which is their cover story for any snoopers. She goes to sleep in the bed, he on the couch.

Intermittently throughout the evening – when he stepped out for a cigarette, when he was in Olga’s bedroom – he and Olga both smelled burning. The omniscient narrator tells us this is because these events just happen to be taking place on Kristallnacht, the night of 9-10 November 1938, when, in reprisal for the assassination of a German official in the Paris embassy, the Nazi authorities encouraged the destruction of synagogues and Jewish businesses across Germany and the roundup of up to 30,000 Jews to be taken off to camps. Obviously neither Olga nor Stahl understand this is what’s happening, though they realise it’s something bad.

Next day, Stahl has to watch a series of revolting Nazi films and ends up giving the top award to a propaganda farrago titled Hedwig’s Mountain, produced and directed by none other than Otto Raab, amid much backslapping and a graceful speech. Stahl plays his role to perfection without a trace of repulsion, secretly gratified that he is doing these scum some damage.

At the banquet the night before, the waiter serving him and Olga – Rudi – had been unpleasantly intrusive until Stahl bluntly told him to go away. As he’s preparing to leave the hotel, Stahl is horrified when the waiter approaches him and threatens to blackmail him and Olga. Were they really sleeping together – or doing something traitorous, conspiring against the Führer, for example? He wants $5,000 and fast! At first he thinks it’s a ridiculous joke, but then, as the waiter’s bitterness becomes more apparent, and as he thinks of all the stories he’s heard about the Gestapo, Stahl becomes genuinely frightened. He phones Olga on an emergency number, explains the situation, and in 40 minutes she appears with the required money in a bag, and they go up to Rudi’s attic room. Here she mollifies and soothes him, distracting him as she gets out the money, and then shoots him in the head with a silenced gun. She scribbles a suicide note and arranges the body to look like suicide. Stahl, stunned, watches her. Nobody mentioned murder. He’s really in it, now. Up to his neck.

Nonetheless, Stahl takes a taxi to the Berlin Tempelhof airport and flies unhindered back to Paris, job done. Next day he is relieved to see the Warner Brothers press people did a small release about how he’s doing his bit to ‘promote’ his new movie in Germany. Clever way of spinning it.

Out at the Joinville studio, the movie finally starts filming – Furst supplies interesting detail on the script, the opening scenes, technical problems overcome and so on.

In the costume room, Stahl discovers Renate in tears; she has broken up with her depressive husband – more accurately, he’s run off with a younger model. As her hands touch his body as she adjusts shirt and trousers and outfits, as she measures him and as she walks away from him with a sexy sway, Stahl realises he really fancies her or, as Furst puts it, ‘He wanted to fuck her’ (p.165). He makes subtle moves but she doesn’t respond.

Stahl is invited out to a society dinner party where he meets Wilkinson to hand over Olga’s documents. Wilkinson gives Stahl (and the reader) more insight into the complex international situation. Turns out the money he’s given him to give to Olga, is not US government money. Congress, the Senate and most of the population don’t want anything to do with Europe. But Roosevelt knows war is coming and is strongly anti-German. This money comes from private donors and friends of the president’s in order to gather information to help Roosevelt make his case Stateside, to influence important people. Stahl has got himself involved in America’s efforts at ‘political warfare’.

Finishing a day’s filming unexpectedly early, Stahl surprises Renate in her costume room wearing only stockings and suspenders, trying out a blouse. She squeals and runs for the changing room. Stahl is absolutely confirmed in his erotic obsession with her now. He fantasises about her, though she remains cool.

Stahl continues to be pestered by Moppi, this time invited to come meet the famous Wolf Lustig, the most eminent producer in Germany, at a reception being given at the Pré Catelan restaurant in the Bois de Boulogne. It is being hosted by the Roussillon wine people (who we know from early on are pro-German organisation) and the witchy Baroness is presiding – once again Stahl has to shake her claw and stare into her beady eyes – before being introduced to Lustig who he takes an instant dislike to. Lustig, confident and jokey like Emhof, like all these arrogant Krauts, offers Stahl a role in his next production. It will be set in Poland, titled Harvest of Destiny, about a good-hearted German girl who is victimised by cowardly Poles and Jews. ‘Does he want at least to come on the reconnaissance journey round Poland? All expenses paid?’ Stahl feels physically ill and can’t extract himself fast enough.

Stahl goes to meet Wilkinson again. Wilkinson by this time has become a kind of commentator on the action: when something happens to Stahl, Stahl goes to Wilkinson to have it interpreted and explained. Now Wilkinson explains that the ‘recce’ could quite possibly be a spying mission – what better cover than a film producer looking for locations, and quite justifiably taking detailed notes of railway lines, bridges, infrastructure? The more that is revealed to him, the more horrified Stahl becomes at the complexity of the web of deceit which seems to be enmeshing Europe and the lust for violence which underpins it all.

In a new narrative thread, we are introduced to two new characters, Freddi Müller, one of the Führer’s favourites up at his Berchtesgarten retreat, and his wife, Gertrude ‘Trudi’ Müller. Olga is a valued guest of the Führer’s from time to time and the narrator explains how Trudi has developed a lesbian crush on her. A crush Olga the professional spy knows she can exploit. One morning the two women gear up to go for a healthy, vigorous, Aryan walk up a nearby mountain – but snow and bad weather close in and force them back to the hotel they’re staying in. Here, Trudi has a slow luxurious soak, while Olga gets busy riffling through husband Freddi’s briefcase and using a specially adapted Leica camera to snap everything she finds in it, lots of information about Poland.

Through secret channels Olga communicates to Wilkinson that she has new information for sale, but at an even higher price than the previous product. Wilkinson is set to send another courier to Berlin to collect it, but the agent is injured in a car crash, so he’s at a loss. In conversation with Stahl, Wilkinson discovers that the movie he’s working on now moving to do its foreign location shoots – first stop will be Morocco, to a place called Erg Chebbi in the Ziz Valley on the edge of the Sahara Desert (p.192).

So Wilkinson arranges for Olga to send a courier with the photos of the documents all the way to Morocco  and gives Stahl a pack of cash to meet him and pay for it. From Stahl’s point of view, we see the flights of him and the film crew in several stops down to Morocco, a bit of atmospheric reconnoitring into the desert, and the set-up for a few days’ filming. In the middle of all this, Stahl takes a break to go to the railway station as planned, and meets almost the only European on the train, a pudgy German. They identify each other and make a discreet swap, Stahl’s money for Olga’s envelope full of photographed documents.

Mission accomplished, Stahl relaxes and invites Renate out for a drink or a meal that night after work, but she is stuck in looking after her room-mate member of the crew, who’s got food poisoning. Stahl is frustrated at his lack of progress with her. He keeps seeing her stockings, her suspenders, her smooth creamy thighs etc.

Early next morning he is woken by the movie’s director, Avila. The police have arrived. As usual nowadays, Stahl’s heart almost stops with fear that he’s somehow been exposed and will spend the next thirty years in a Moroccan gaol. But the police just want them to come to the morgue to identify a body, as almost the only other Europeans in town. It is, inevitably, the corpse of the pudgy German, who had been horribly garroted and thrown off the train. Both Avila and Stahl say they’ve never seen him before.

4. A Good Soldier – 17 December 1938 to early February 1939

The filming is completed without further incident and the crew all fly back to Paris. Stahl makes an appointment to meet Wilkinson at what has become their regular rendezvous, the American Library in Paris. Wilkinson is shocked to hear about the murder, but grateful for the Polish documents – he explains they’ll come in handy influencing senators and congressmen of Polish origin, back in the States.

Stahl chats more to Renate on the plane home, keeping up a slight but relentless pressure for a date. That night she invites him to her small Bohemian flat in rue Varlin for a home-made dinner. They’re drinking wine and relaxing in an intimate candle-lit atmosphere, when Stahl surprises her (and the reader) by asking her to strip. But – thus addressed point blank – she does: she gets up and does a slow strip-tease in front of him, finally unbuttoning his flies, extracting his manhood and kneeling to perform fellatio. Lucky old Stahl.

Meanwhile, in a completely different time zone and mood, Olga is entertaining Trudi to tea in a chintzy tearoom in Berlin. We have, by being party to her thoughts, by this time realised that she mainly works for the Soviets, but sells things onto Wilkinson or the British, if they’ll buy. She’s not fussy. Unexpectedly, there is a phone call for her. At first surprised, Olga is terrified when a voice says simply, ‘Get out now, the Gestapo are in your apartment.’

Flushed and stressed, she takes leave of Trudi who, to her surprise, insists on helping her, so she accepts a lift to the train station. But this is heaving with Gestapo so they drive around before finding a tiny hotel. They take a room then Olga sends Trudi out to buy peroxide and scissors. They cut Olga’s hair short and dye it. Next morning Trudi drives her beloved and now disguised Olga out to the Berlin suburbs, they have a tearful goodbye and then Olga catches a series of local trains to Frankfurt, where she catches a fast one to Prague.

Stahl is at Renate’s when there is a phone call, it is for him, it is long distance from Berlin, one of those arrogantly confident German voices saying they wish to know the whereabouts of a certain Olga Orlova, maybe he can help them. Furious and terrified, Stahl slams the phone down. How did they know he’d be at Renate’s? How did they get her number? It is designed to scare him, and her. As has become usual, Stahl meets Wilkinson to discuss the news and its implications, this time on one of those tourist boats that ply up and down the Seine.

Later Stahl is phoned in his hotel room by another smiling German voice, which asks him to look out the window and there, in the apartment opposite, a hand waves and he hears a voice laughing. Now he is really spooked.

Kiki phones Stahl for a meeting at a cafe in a smart part of town. Instead of her usual seductive self, she is scared. She says she has come from the Baroness and is delivering what she calls ‘a final warning’. They want to know where Olga is. They will brook no refusals.

Meanwhile, back on the film production, as it approaches the end of the year, the entire crew fly to Hungary for the final location shooting at an old Hungarian castle, a key scene in the movie. When I read that the castle belongs to none other than Count Polyani I burst out laughing. Count Janos Polanyi has appeared in numerous previous Furst novels, and is a spymaster at the Hungarian legation in Paris. At a stroke I knew the book would have a happy ending.

Furst litters this series of novels with recurring characters which is entertaining, but the drawback is that their appearance mostly militate against seriousness: they remind me of the gallery of characters you get at the beginning of Tintin books, and the childish pleasure to be had identifying them and trying to remember which one appeared in which story. Same here.

The count is, of course, a noble old host – roast venison is served along with bulls blood wine, and the filming cracks on at a good rate. Except that early on New Year’s Day 1939, the cameraman comes hurtling into the breakfast room to announce that all the cameras have been stolen. A message is left that the crew must bring a ransom to an old inn down the Danube.

The count is amused at this presumption and rustles up to aristocratic friends, Ferenc and Anton to sort out  his guests’ little problem. They load a large motorboat and steam down the Danube with Avila and Stahl in attendance but the Hungarians insist that, as their guests, they stay aboard the boat. They anchor it near the old inn and then the count and pals disappear into the woods. After some suspense, our chaps hear a sudden outburst of shooting – single shots then an automatic – and then the roar of a car engine.

The count and pals reappear: three Germans were waiting, but they caught them napping, there was a shootout in which everyone missed, and the Germans ran away. Alas the cameras were nowhere to be seen. Laughing over the incident, the count steers the boat back upstream towards the castle. He secures some more cameras from Budapest and the filming is finally finished. The crew assemble to fly out of Budapest airport, but at passport control there is a problem.

Renate has a German passport, she has never been naturalised in France and she doesn’t have the correct exit visa. The rest of the crew can leave, but she can’t. So they all board the plane out, but Stahl also refuses to go, insisting on staying with his new girlfriend, despite a strong hint from the passport official that it is his last chance.

This ought to be scary but, as with the appearance of Count Polanyi, there is a pantomime feel about the menace. Stahl is not one of the completely powerless Jews I read about in the work of Primo Levi – he is an American film star. Therefore, he is able to get a taxi to a nice hotel, from where he makes an appointment with the American consulate. Here he is shown right in and meets a nice young man named Stanton, who says he’ll be able to expedite getting Renate an American visa which will allow them both to fly right over Hitler’s Germany. Might take a week or more, though. Outside is a long line of people queueing for visas, who are not American film stars.

So they’ve secured one route to freedom, but this is trumped after Stahl makes a person to person call with his agent, Buzzy Mehlman, in California. He explains the situation and Buzzy says he’ll get on it. Result? At 11am next day Jerry Silverberg turns up, Warner Brothers’ man in Eastern Europe, who has fixed everything: train to Arad on the Romanian border; bribe Major Mihaly of the border guard to get into Romania; train to Constanta on the Black sea; steamer to Istanbul; ship to Lisbon; boat to New York; 20th century Limited transcontinental train back to Hollywood. He’s booked all the tickets, first class. Such is the power of Hollywood and American money.

Sure enough, Renate and Stahl get the rather slow train to Arad where there is a civilised exchange of money with Major Mihaly, who waves them across the border.

Stahl and Renate are in a hotel room in Constanta waiting for the ferry, when the narration tells us that… so is Herbert, the Nazi hitman we met in the opening scene of the book, and his sidekick Lothar. On January 13 Herbert packs his Luger and swaggers off to the Princess Maria hotel where Stahl and Renata are staying. He bangs on their bedroom door with increasing impatience, thinking they are unarmed, helpless prey, getting bored and frustrated and hungry for his lunch. However, Stahl still has the pistol Count Polanyi gave him back at the castle, during the trip down the river. As Herbert’s threatening becomes more impatient, angry and Germanic, something in Stahl snaps and he fires through the door. There is the sound of a body falling – then silence.

They smuggle the corpse down onto a nearby bench overlooking the sea then go on to the dock to await their ship. It is a long journey, three weeks at sea, with a few stopovers, before they reach New York. As the Statue of Liberty comes into view Renate is crying and Stahl is choked up. The nightmare is over, and they are both free.


Dramatis personae

As always it’s only when you list them, that you realise what an enormous number of characters a Furst novel contains, and how they add a great sense of depth and complexity and historical verisimilitude to the story.

The characters listed here (and the plot summary above) don’t include the plot and characters of the movie Stahl is making –  Après la Guerre – which has a cast of characters and a storyline all its own, which we get to hear quite a lot about as we watch it being rehearsed and filmed. Then there are further ‘stories’ embedded in the text, such as the plot of the film which Stahl and Kiki watch as she masturbates herself on his fingers and which Furst describes in some detail. Or the numerous background stories, such as the slightly complex chain of events which led up to the Kristallnacht and which Furst explains for us.

On multiple levels, then, and in interlocking and overlapping webs, Furst’s books are tremendously dense with story and character, which makes for a rich and rewarding reading experience, like the multiple layers of flavour in an expensive wine.

  • Louise Prideaux, chef de cabinet of a French senator, who has absconded with a sizeable bribe given him by the Countess to pass on to the senator, but instead he’s done a bunk and is holed up in a cheap hotel in the Black Sea port of Varna (p.4).
  • Herbert, Nazi thug, organises killings for the Ribbentropburo (p.7).
  • Lothar, Herbert’s sidekick, fat, fiftyish, jolly (p.8).
  • General Aleksey, the Russian émigré they’ve hired to assassinate Prideaux (p.9).
  • Deputy Director of the Ribbentropburo, based in the Reich Foreign Ministry at 3 Wilhelmstrasse, young, incisive, angry (p.13).
  • Herr Hoff, Ribbentropburo functionary in charge of the French section, so gets handed the Fredric Stahl brief (p.15).
  • Fredric Stahl, Hollywood movie star, born Franz Stalka in Vienna, he now makes $100,000 a picture and has been sent by Warner Brothers in a deal to appear in a Paramount France production (p.15).
  • Iris, the wife of a drunk mid-Western businessman who Fredric has a kiss and a cuddle with on the transatlantic liner, the Ile de France (p.16).
  • Zolly (short for Zoltan, Hungarian) Louis, Warner Brothers man in Paris (p.21).
  • Jimmy Louis, Zoltan’s nephew and chauffeur of the huge 1938 Panhard Dynamic automobile in which Fredric is driven round (p.23).
  • Jules Deschelles, producer of the movie Fredric’s to appear in, Après la Guerre (p.36).
  • Baruch ‘Buzzy’ Mehlman, Stahl’s agent at the William Morris Agency in Hollywood (p.25).
  • Walter Perry, right hand man to Jack Warner, boss of Warner Brothers (p.25).
  • Mme Boulanger, 50-ish, determined head of publicity at Warner Brothers Paris (p.27).
  • Karl ‘Moppi’ Moppel, a threatening presence from the past, Stahl’s boss at the Austro-Hungarian legation in Barcelona where Stahl worked during the Great War (p.32).
  • Frau Hilda Bruner, his friend (p.34).
  • Jean Casson, a French film producer who was the hero of two Furst novels, The World At Night and Red Gold. We don’t see him; Stahl walks past his door on the way to Deschelles’ office (p.36).
  • Baroness Cornelia Maria von Reschke und Altenberg, sinister hostess of a leading Paris salon, German and pretty obviously a German agent.
  • Betsy Belle, Stahl’s official Hollywood fiancée / lover, ie they take care to be seen out and about together and photographed by the gossip columns (p.40).
  • Philippe LaMotte, managing director of the Roussillon wine company, also director of the Comité Franco-Allemagne, a German propaganda front.
  • Kiki de Saint-Ange, stylish young Parisienne who frequents the Baroness’s salon but prefers a racier, more bohemian set on the Left Bank. Quite quickly she and Stahl become lovers and he is excited by her open-minded sexual inventiveness (p.48).
  • Renate Steiner, married German émigré costume designer for the movie, fled Germany with her husband because he is a communist (p.53).
  • Inga and Klaus, two émigré friends of Renata who cycle by to tell her the Munich Agreement has been signed (30 September 1938) (p.54).
  • Justine Piro, female lead in the movie (p.71).
  • Pasquin, burly frequently drunk French comedian, co-star in the movie (p.72).
  • Gilles Brecker, Germanic looking co-star in the movie (p.82).
  • Jean Avila, young Wunderkind director who is now slated to direct Après la Guerre (p.73).
  • J.J. Wilkinson, Ivy league Wall Street lawyer, now Second Secretary at the US Embassy in Paris and conduit for money from President Roosevelt’s anti-German friends (p.74).
  • Loubec, journalist from Le Matin with his photographer René (p.89)
  • André Sokoloff, Russian émigré journalist, now senior correspondent for Paris Soir, a friendly presence who explains in some detail how ‘political warfare’ works, the extent it has penetrated French high society, the sheer number of top French who are, in effect, traitors to their own country (p.109-114).
  • Emhof, pop-eyed Nazi in charge of the group at Maxim’s who invite Stahl to the film festival in Berlin (p.99).
  • Otto Raab, mediocre German film director who has found is niche in the Nazi party (p.145).
  • Olga Orlova, Russian émigré movie star, one of Hitler’s favourites, who turns out to be a spy for hire and who plays a key role in the final sections of the book (p.146).
  • Rudi the waiter, who tries to blackmail Stahl and Olga with fatal consequences (p.148).
  • Wolf Lustig, Germany’s most successful movie director (p.176).
  • Freddi Müller, one of the Führer’s favourites up at the Berchtesgarten.
  • Gertrude ‘Trudi’ Müller, Freddi’s wife who has developed a lesbian crush on Olga, a crush Olga ruthlessly takes advantage of (p.184).
  • Count Janos Polyani, who has featured in several of the previous novels as a spymaster based in the Hungarian legation in Paris. The film crew use his castle as the final location for the movie (p.233).
  • Jerry Silverberg, fairy godmother aka Warner Brothers man in Eastern Europe who fixes the entire escape route for Stahl and Renate out of Hungary and back to the US of A (p.249).

Credit

Mission To Paris by Alan Furst was published in 2012 by Weidenfeld and Nicholson. All quotes and references are to the 2013 Phoenix paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory – Russian émigré writer, Ilya Serebin, gets recruited into a conspiracy to prevent the Nazis getting their hands on Romania’s oil, though it takes a while to realise who’s running the plot – Count Polanyi – and on whose behalf – Britain’s – and what it will consist of – sinking tugs carrying huge turbines at a shallow stretch of the river Danube, thus blocking it to oil traffic. (298 pages)
2004 Dark Voyage – In fact numerous voyages made by the tramp steamer Noordendam and its captain Eric DeHaan, after it is co-opted to carry out covert missions for the Allied cause, covering a period from 30 April to 23 June 1941. Atmospheric and evocative, the best of the last three or four. (309 pages)
2006 The Foreign Correspondent – The adventures of Carlo Weisz, an Italian exile from Mussolini living in Paris in 1938 and 1939, as Europe heads towards war. He is a journalist working for Reuters and co-editor of an anti-fascist freesheet, Liberazione, and we see him return from Civil War Spain, resume his love affair with a beautiful German countess in Nazi Berlin, and back in Paris juggle conflicting requests from the French Sûreté and British Secret Intelligence Service, while dodging threats from Mussolini’s secret police.
2008 The Spies of Warsaw The adventures of Jean Mercier, French military attaché in Warsaw between autumn 1937 and spring 1938, during which he has an affair with sexy young Anna Szarbek, helps two Russian defectors flee to France, is nearly murdered by German agents and, finally, though daring initiative, secures priceless documents indicating German plans to invade France through the Ardennes – which his criminally obtuse superiors in the French High Command choose to ignore!
2010 Spies of the Balkans The adventures of Costa Zannis, senior detective in the northern Greek port of Salonika, who is instrumental in setting up an escape route for Jews from Berlin through Eastern Europe down into Greece and then on into neutral Turkey. The story is set against the attempted Italian invasion of Greece (28 October 1940) through to the German invasion (23 April 1941).
2012 Mission to Paris The adventures of Hollywood movie star Frerick Stahl, who travels to Paris to make a movie and becomes embroiled in increasingly sinister Nazi attempts to bully, blackmail and intimidate him into making pro-German or at least pacifist statements, and then gets caught up in actual espionage with more and more at stake.
2014 Midnight in Europe
2016 A Hero in France

Spies of the Balkans by Alan Furst (2010)

The map at the start shows the ‘Balkan escape route 1941’, highlighting the train track from Berlin to Salonika on the Greek coast. So we have a possible subject matter, and date, before we’ve read a word.

Like all Furst’s novels the text follows the adventures of one manly man, a good man, in this case the Greek detective Constantine ‘Costa’ Zannis who enjoys smooth, sophisticated sex with his English girlfriend. As in all Furst’s novels, events are very precisely dated, so as to embed them in the troubled events of war – this one taking place between 5 October 1940 and 5 April 1941, giving a powerful sense of the historical events the characters are caught up in, as well as a dynamic sense of movement to the story, pace, at times rising to genuine tension.

Like all Furst’s historical spy stories, the text is divided into a handful of parts or ‘acts’, in this novel, four:

1. Dying in Byzantium – 5 to 27 October 1940

Introducing us to Costa Zannakis, senior detective in the port town of Salonika, to his staff in his office on the Via Egnatia, to his family and girlfriend, the succulent English woman Roxanne (‘content, feline and sleepy, her damp middle clamped to his thigh as they lay facing each other,’ p.46), to his beloved dog Melissa, and other characters such as Elias, the venerable poet who remembers fighting with the partisans in the Balkan Wars before the Great War, Vangelis, the ancient head of the police department, and so on.

Roxanne introduces Costa to Francis Escovar, a posh English travel writer who he immediately suspects of being a spy. More importantly he meets Emelia Krebs who begs him to help her set up an ‘escape route’ for the harassed Jews of Berlin. Costa’s role is to manage their transfer on through Bulgaria, into Greece, and then on to Turkey. Being a good chap he agrees. He can use his contacts in the Bulgarian police to smooth the way, and also pull in favours with the Turkish consul to facilitate ongoing journeys into Turkey.

2. The Back Door To Hell – November 1940 to mid-January 1941

Mounting political threats finally solidify as Mussolini’s Italian Army invades Greece from Albania (which it had invaded in April 1939) on 28 October 1940. Costa is called up and moved north to the village of Trikkala, along with detachments of the Greek Army. His unit are housed in a school which becomes the main radio contact for the area, and here he is met by a liaison officer from Yugoslavia, Marko Pavlic.

A local criminal is suborned by threatening foreigners to locate the building with a radio mast and to place a white blanket on the roof. This acts as a marker for the Italian dive bombers which appear and bomb the schoolohuse. Costa only just survives because he happens to have been standing in the doorway, the frame of which protects him. He pulls Pavlic from the wreckage and is himself taken to hospital with cuts to leg, damaged wrist, one eardrum punctured. And eventually patched up and sent back to Salonika, having made his military contribution.

Alas, at the first sign of trouble his English lovely, Roxanne, suddenly needs to leave. She gets Costa to drive her to an airfield where she is being met by an RAF plane, no less. Costa realises, sadly, that Roxanne was always a British spy, ‘not on you, my darling,’ she insists, but still. Deception.

Ho hum, but every cloud has a silver lining and back into his life comes Anastasia ‘Tasia’ Loukas, who he’d had a fling with previously, and who now wants to test out some of the tricks she’s learned from being an enthusiastic bisexual during their period apart. Lucky old Costa.

Back in his office, Costa continues working through the plans to set up the escape route. He and Emilia settle into a routine of sending innocent-looking letters about business to fictional companies requesting fictional orders, in which are concealed coded details of the people being sent down from Berlin.

Costa uses his underworld contacts in Salonika (Sami Pal) to identify a leading underworld figure in Budapest, Gypsy Gus, who he flies up to meet and concludes a deal with to smooth the refugees’ passage through Hungary.

We follow the fraught journey across Europe of the Gruens, renamed the Hartmanns, who encounter various problems but overcome them, in Budapest thanks to the enthusiastic stewardship of Akos, the white falcon’, a teenage psychopath who Gypsy Gus puts in charge of ensuring the ‘packages’ safety.

At every step, Furst makes us aware of the threat, the permanent threat from the Nazis, SS, Gestapo spy machinery, designed to keep watch on everyone. And we are introduced to Haupsturmführer Albert Hauser, a tidy-minded Gestapo official who had been instructed to arrest the Gruens and is irked to find them disappeared. And so starts to keep tabs on their social contacts, including one Frau Krebs. — Thus giving the story an ominous threatening sense of a net closing in on Emilia.

Back in Salonika Costa’s boss in the police, Vangelis, then brokers a meeting with Nikolas Vasilou, the richest man in Salonika, who is persuaded to donate money to fund the escape route. The quid pro quo is that Vangelis has assured Vasilou that Costa might one day end up Head of Police in Salonika: a good man to have in your debt. OK. Here’s your money, Zannakis, spend it well.

As Vasilou’s Rolls Royce purrs away Costa catches a glimpse of Vasilou’s (third) wife, the matchlessly beautiful Demetria, and it is love at first sight!

3. A French King – mid-January to 9 February 1941

British SIS officers tell Escovil he has to manage the escape of an airman, Harry Byer, from Paris. Byer is an important scientist who rashly enlisted in the RAF, was shot down in France, rescued and transported to a safe house in Paris by the Resistance. Escovil has an uncomfortable meeting with Costa in which he forces him to take the mission. Costa travels to Paris, meets the French people guarding Byer, but there is a complication. When one of the French resisters takes him to the Brasserie Heininger for dinner, Costa nearly gets into an argument with a drunk SS man who, unfortunately, follows them to the secret hotel where Byer is being kept. In getting away, Costa is forced to shoot the SS man as he approaches their car.

So, Plan B, which is Costa goes to track down his uncle, old Uncle Anasta, who moved to Paris all those years ago. Amazed to see him, Anasta calls on contacts until Costa meets an amazingly smooth man who is obviously doing very well out of the occupation (the French king of the title) who arranges for them to join an illicit cargo flight which is carrying machine guns to Bulgaria, departing from a foggy field somewhere north of Paris.

Arriving at Sofia airport Costa and Byer are nearly put under arrest until he persuades the captain unloading the crates to phone his old friend, Ivan Lazareff, chief of detectives in Sofia. What it is to have friends! Lazareff takes him and Byer for a tasty restaurant lunch, arranges exit visas and later the same day, Costa is back in Salonika, greeted like a hero by his family, handing over Byer to a suspicious Escovil,  before collapsing exhausted onto his bed.

4. Escape from Salonika – 10 February to 5 April 1941

10 February 1941. Back in his office Costa has to deal with some petty cases, then Escovil phones and irritates him by demanding a meeting and then demanding to know exactly how he got Byer out of Paris which – as it involved his uncle and Costa promised the rich Frenchman complete silence – he refuses to do.

Then he plucks up the courage to call Demetria, who he is completely besotted by – but she has gone, left with Vasilou for Athens. But then he opens one among the many letters waiting on his desk to read that she has escaped Athens on the pretext of visiting her mother and is a hotel in a village not 10 miles away. Costa takes a taxi there. They rendezvous in the place’s one shabby hotel. They sit on the bed, sad adulterers. If this was Graham Greene, just this adultery would give rise to hundreds of pages of suicidally-wracked guilt. Being Furst it only takes a glass of retsina before she’s slipping her silk panties over her garter belt and Costa makes the important discovery that her bottom is fuller and rounder than it appeared when she was dressed – and then that she is an ‘avid and eager lover without any inhibitions whatsoever’ with a fondness for fellatio. Lucky Costa. But she is another man’s wife, and not just any man, the richest man in town. This is all a very bad idea.

Next day a phone call out the blue for Roxanne, his former English lover. She drives round to his apartment. No romance, she is all business, every inch the hardened SIS agent. She describes the deteriorating situation in the Balkan countries which, one by one, are being forced to ally with Nazi Germany or will be invaded. One hope is to mount a coup in Belgrade against the pro-Nazi government. If a vehemently anti-Nazi regime can be put in place, the British will support it and that will hold up the Germans. Roxanne has come to ask Costa if he can pull strings, and contribute in a small way to the success of the coup. A wistful farewell and… she is gone!

1 March. King Boris of Bulgaria signs a pact with the Axis Powers and allows German troops to swarm into Bulgaria, not to occupy, to ensure ‘stability’ elsewhere in the Balkans. The border between Greece and Bulgaria is 475 km long.

As March proceeds Hitler threatens Yugoslavia and Costa makes arrangements for his friends and family to flee Greece. He secures visas for his lieutenant Gabi Saltiel and his family, and tells his own family they must go to Alexandria. Without him. He will stay and fight.

Costa takes a train to Belgrade where he meets up with the friend, Pavlic, who he pulled to safety from the bombed schoolhouse all those months previously and, along with a squad of hand-picked Serbian detectives, they carry out the British orders which are to arrest 27 senior Army officers and hold them in preventative custody while the Serb Air Force can carry out a coup, replacing the pro-Nazi government with an anti-Nazi one. Which is what – despite one or two hairy moments – happens.

Emilia is visited by the Gestapo man Hauser who adopts a polite tone but she is not fooled. When her husband returns home they realise they must part. She drives to see her grandfather (very rich) who has secured exit visas. Their chauffeur drives them all the way to the Swiss border which they cross with ease. Well, that was simple.

Costa’s office seems empty without Saltiel. Costa helps his family pack – even his beloved Melissa – then sees them off on a ship bound for Alexandria. Goodbye my beloved family.

A phone call from Demetria. She has finally left Vasilou. She is in a luxury hotel in Salonika. He takes a fast taxi there, runs up to her room, they order champagne, and in a few seconds she is just wearing bra and panties. And so on. It does seem to be a kind of law in these novels, that the men hold guns and the women hold penises.

The end is a sudden clot of plot. An anonymous letter, clearly from Escovil, includes one ticket on the last steamer heading to Alexandria, the Bakir. They go to board but the captain says, trouble with the engines, come back tomorrow. They’re lying in bed in the hotel next morning when the Germans begin bombing the city. The first hits are the ships in the port including the Bakir. They take what they can carry and trot to the train station. It is mayhem but they just about squeeze Demetria on the last train out of town. Costa plans to stay but has to hit a few surly men to get them to let Demetria get a tiny space on the jam-packed steps, so she implores him to stay. Thus it is that Costa ends up hanging onto the handrail by the door, one foot on the platform, almost swinging off at the bends. But instead of stopping at the next stop, the train accelerates through it and the next one, until it reaches the Turkish border. Without wanting to, he has fled Greece.

But Costa and Demetria have no visas and are just being turned away by an unimpressed Turkish official when a weedy little man pops up with Costa’s name on some list which he puts in front of the Turk – who jumps to his feet and salutes Costa! ‘Certainly he and his wife may enter Turkey!’ The little man is an agent of the British and tells an amazed Costa that he is now a captain in the British army! They will be taken to Izmir where they will help to co-ordinate the Greek resistance. They are safe. They will live!

And the little man who saved them? Is none other than the shabby little agent S. Kolb who has cropped up in numerous other Furst novels, helping out various protagonists. When his name is given on the penultimate page, I burst out laughing. It’s like the moment at the end of the movie Robin Hood, Prince of Thieves when the tall knight takes off his helmet to reveal it is – Sean Connery!

Although they deal with terrible events, there is a kind of Steven Spielberg sentimentality to Furst’s novels which means you are never really threatened, upset or afraid.


The political and strategic backgrounds

The timelines in Furst’s novels keep you on your toes regarding your World War Two knowledge and their depth of research into – here – the fast-moving political situation in the Balkans over a six month time period is fascinating.

Above all, the novels make you realise what it felt like day to day to live through the changing and generally grim events of these years. The story we on the British side are told is always very monolithic – Dunkirk, Battle of Britain, Blitz, the Desert War, D-Day, Victory.

Furst’s novels are very well-researched attempts to take you into the maze, the extremely complex mesh, of political developments on the continent, showing the reader the wide range of attitudes or opinions which were available for people to hold. Every European nation had to consider its position vis-a-vis not only the Nazis, but the likelihood of help from the Allies (Britain alone, before the Americans joined in December 1941) or the risk of entanglement with communist Russia. And every individual in those nations had to decide whose side they were on, how long they could delay making a decision, how things would pan out and affect them and their loved ones.

In Salonika, in the morning papers and on the radio, the news was like a drum, a marching drum, a war drum. (p.224)

Shucks, it was nothing

Something that places Furst’s novels a little on the simple side, psychologically, is that in all of them the protagonist is a hero: they may have foreign names but beneath the foreign clothes and foreign food and foreign languages, you can make out the lineaments of a clean-cut, all-American liberal fighting for Truth and Justice. Furst’s heroes abhor Hitler and his bully boys, they instinctively sympathise with the Jews or any other refugees. They are all decent men.

But if there is one thing we know about WW2 it is that it unleashed a very large amount of horrific indecency – betrayal, violence, torture, mass murder. Furst’s heroes not only never really see this, but even if they have minor adventures ‘in the field’, you can rely on them always returning to the healing presence of a round-bottomed young lady in their bed, trailing a winsome finger over lovely female contours, before making inventive love.

The carefree, problem-free sex (no periods, no pregnancy, no venereal disease) are symptomatic of fictions in which the hero encounters various problems, but has no inner problems or complexity. There is an untouchable innocence about the novels which is what makes them so easy and enjoyable to read. The Second World War without tears.

Style

Furst has developed a relaxed easygoing style which easily incorporates the thoughts of the main characters. In the last two novels, however, I’ve noticed the characters starting to say ‘fuck’ quite a lot. I dare say lots of people did say ‘fuck’ or its equivalent during the war, but it is such an Anglo word that rather undermines the effort of setting the stories among foreigners, among Greeks and Turks and Hungarians. Once they all start saying ‘fuck’, they all sound like they’re in an American action movie.

Zannis walked back to the office. Fucking war, he thought. (p.172)

Shut your fucking mouth before I shut it for you. (p.183)

Go fuck Germans and see where it gets you, Zannis said to himself. (p.192)

They start to sound like Rambo or Bruce Willis or anyone out of The Godfather. The advent of ‘fuck’ also made me notice the way other aspects of Furst’s style have also become more unbelted, more American. This is a Gestapo officer reviewing his card index of suspects:

He returned to his list and flipped over to the Ks: KREBS, EMILIA and KREBS, HUGO. The latter was marked with a triangle which meant, in Hauser’s system, something like uh-oh. (p.177)

Uh-oh? This makes the supposedly fearsome Gestapo officer sound like a character in Scooby-Doo or The Brady Bunch. And here is Costa, trying to decide whether to phone his mistress at her home, given the risk her husband might be there and might answer the phone:

Zannis’s eye inevitably fell on the telephone. He didn’t dare. Umm, maybe he did. Oh no he didn’t! Oh but yes, he did. (p.175)

The blurbs on the cover talk about Furst’s sophistication but I think they’re confusing descriptions of exotic locations, nice meals in fancy restaurants and women slipping out of their cami-knickers with psychological depth or acuity. In moments like these Furst’s characters come perilously close to being pantomime figures.


Dramatis personae

As always, it’s only when listing them that you realise the scale and breadth of Furst’s imagination in creating such a multiplicity of characters whose paths cross and recross in fascinating webs of intrigue.

  • Constantine ‘Costa’ Zannis, detective in Salonika, a sea port in northern Greece.
  • Gabriel – Gabi – Saltiel, his assistant.
  • Vangelis, head of the Salonika police force.
  • Spiraki, head of the local office of the Geniki Asphakia, the State Security Bureau (p.21).
  • K.L. Stacho, Bulgarian undertaker, somehow mixed up with the mystery German in the first part of the book (p.22).
  • Roxanne Brown, Costa’s sexy English girlfriend, ostensibly head of the Mount Olympus School of Ballet (p.24) though when the Italians invade she is exfiltrated by RAF plane, suggesting she was always some kind of British agent.
  • Laurette, Costa’s lover from way back, from his early years growing up in Paris.
  • Balthazar, owner of a popular restaurant in Vardar Square (p.24).
  • Sibylla, the stern clerk in Costa’s office (p.27).
  • Ivan Lazareff, chief of detectives up in Sofia, capital of Bulgaria (p.28).
  • Emilia ‘Emmi’ Krebs, née Adler, rich Jewess from Berlin, who entreats Costa to smuggle into Turkey two Jewish children (Nathaniel and Paula) she’s brought with her all the way from Berlin (p.30).
  • Ahmet Celebi the Turkish consul (p.35).
  • Madam Urglu, ‘in her fifties, pigeon-chested and stout’, Celebi’s secretary (p.37), in reality the Turkish legation’s intelligence officer (p.142).
  • Elias, king of Salonika’s poets (p.41).
  • Francis Escovil, English travel writer Roxanne introduces to Costa, pretty obviously a spy (p.44).
  • Captain Marko Pavlic, Costa’s liaison counterpart from the Yugoslav General Staff (p.74).
  • Behar, young illiterate Greek thief, bribed to place a white sheet on the roof of the schoolhouse which has been commandeered by Greek soldiers after the invasion, which acts as a marker for dive bombers who score a direct hit on it, wounding Costa and Pavlic, and killing many others (p.80).
  • Anastasia ‘Tasia’ Loukas, who works at Salonika city hall, former lover with a bisexual twist (p.94).
  • Sami Pal, Hungarian crook in Salonika, dealing in forged passports among other things (p.103)
  • Gustav Husar aka Gypsy Gus, head of Sami’s gang in Budapest (p.107).
  • Ilka, once beautiful, still sexy, owner of the bar where Gypsy Gus does business (p.119)
  • Nikolaus Vasilou, richest man in Salonika (p.120).
  • Demetria, Vasilou’s stunning goddess wife (p.122).
  • Herr and Frau Gruen, rich Jews helped by Emmi Krebs to flee Berlin, given the names Herr and Frau Hartmann (p.123).
  • The vindictive woman who picks up on the fact the Hartmanns lied when they said they were going to Frau H’s mother’s funeral, and confronts them on the boat to Hungary (p.127).
  • Man wearing a maroon tie who follows Akos and the Hartmanns to their cheap hotel and who Akos scares off by slicing the tie with his razor sharp knife (p.131).
  • Akos (Hungarian for white falcon), psychotic young fixer for Gypsy Gus (p.119).
  • Haupsturmführer Albert Hauser, dutiful officer in the Gestapo sent to arrest the Gruen / Hartmanns a few days after they arrive safely in Salonika (p.135).
  • Traudl, Hauser’s departmental secretary, a ‘fading blonde’, ‘something of a dragon’ (p.177)
  • Untersturmführer Matzig, Hauser’s devoted Nazi assistant (p.136).
  • Colonel Simonides, of the Royal Hellenic Army General Staff, gives a speech to the top 50 people in Salonika, including Costa, explaining that sooner or later the Germans will intervene to support the Italians and will win and occupy Greece. Everyone in the room should prepare for that event (p.148).
  • Jones and Wilkins, two British Secret Intelligence Service operatives who arrive in a yacht from Alexandria, compel a meeting with Francis Escovil, and surprise him by handing him a mission to smuggle a British scientist out of Paris (p.160).
  • Harry Byer, British scientist, pioneer of location finding radio beams who foolishly enlisted in the RAF and got shot down over France. Smuggled by the resistance to a safe house in Paris. Jones and Wilkins want Escovil to use Costa to smuggle him out (p.161).
  • Moises, ancient Sephardic Jew who owns the best gunshop in Salonika (p.171)
  • Didi, French aristocratic woman who is Costa’s contact in Paris, and takes him to dinner at the Brasserie Heininger, then onto the hotel where Byer is being hidden (p.180).
  • The Brasserie Heininger. Like the Fonz saying Heeeeey or Captain Kirk saying ‘Beam me up Scotty’, this is the scene the audience waits for in every Furst novel, the appearance of this fictional up-market restaurant. Here Costa is taken to lunch there by his contact in the French Resistance and, as always, they are seated at table 14, the one with the bullet hole from the shootout which featured in the first novel in the series, Night Soldiers.
  • The drunken SS officer who nearly picks a fight with Costa at the Heininger.
  • French aristocrat guarding Byer at the Paris hotel (p.185). Typically, Costa guesses that Didi and this officer are lovers.
  • Uncle Anastas, Costa’s uncle who stayed on in Paris minding a second hand store in the vast flea market at the Porte de Clignancourt (p.194). He is astonished to see his nephew, then earnestly sets about using his contacts to get him smuggled out of Paris.
  • The unnamed friend of a friend who looks like a French king, smoothly accepts the $4,000 Costa gives him, and explains the process for being flown out of France (p.197).
  • An emigre Greek who drives them up to a field north of Paris (p.199).
  • The Serbian (?) pilot of the plane which flies them to Sofia (p.200).
  • Vlatko, a bulky pale-haired Serb detective who Pavlic elects his number two when he and Costa set about rounding up potential Army opponents of the Yugoslav coup (p.239).

Credit

Spies of The Balkans by Alan Furst was published in 2010 by Weidenfeld and Nicholson. All quotes and references are to the 2011 Phoenix paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory – Russian émigré writer, Ilya Serebin, gets recruited into a conspiracy to prevent the Nazis getting their hands on Romania’s oil, though it takes a while to realise who’s running the plot – Count Polanyi – and on whose behalf – Britain’s – and what it will consist of – sinking tugs carrying huge turbines at a shallow stretch of the river Danube, thus blocking it to oil traffic. (298 pages)
2004 Dark Voyage – In fact numerous voyages made by the tramp steamer Noordendam and its captain Eric DeHaan, after it is co-opted to carry out covert missions for the Allied cause, covering a period from 30 April to 23 June 1941. Atmospheric and evocative, the best of the last three or four. (309 pages)
2006 The Foreign Correspondent – The adventures of Carlo Weisz, an Italian exile from Mussolini living in Paris in 1938 and 1939, as Europe heads towards war. He is a journalist working for Reuters and co-editor of an anti-fascist freesheet, Liberazione, and we see him return from Civil War Spain, resume his love affair with a beautiful German countess in Nazi Berlin, and back in Paris juggle conflicting requests from the French Sûreté and British Secret Intelligence Service, while dodging threats from Mussolini’s secret police.
2008 The Spies of Warsaw The adventures of Jean Mercier, French military attaché in Warsaw between autumn 1937 and spring 1938, during which he has an affair with sexy young Anna Szarbek, helps two Russian defectors flee to France, is nearly murdered by German agents and, finally, though daring initiative secures priceless documents indicating german plans to invade France through the Ardennes – which his criminally obtuse superiors in the French High Command choose to ignore!
2010 Spies of the Balkans The adventures of Costa Zannis, senior detective in the north Greek port of Salonika, who is instrumental in setting up an escape route for Jews from Berlin through Eastern Europe down into Greece and then on into neutral Turkey. The story is set against the attempted Italian invasion of Greece (28 October 1940) through to the German invasion (23 April 1941).
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

The Spies of Warsaw by Alan Furst (2008)

Furst has written 14 spy novels set in or around Eastern Europe in the late 1930s when the clouds of war were gathering over the continent. The last seven or so have appeared at nice regular two-year intervals, conform to a nice predictable formula and his readers can look forward to the usual predictable pleasures.

Hero There’ll be a central male protagonist – as the novels have gone by these have tended to become steadily posher, so this one is Jean-François Mercier de Boutillon, 46, whose ancient family long ago lost their noble title and vast lands, and so is now plain Colonel Mercier. Mercier fought and was wounded in the Great War, and then in the 1920 Russian invasion of Poland, alongside the rather better-known de Gaulle. He was given a medal by the Polish government and partly because of that has ended up serving as French military attaché in Warsaw. He is tall, dark and handsome, walks with a slight limp from a war wound, because of which he sometimes uses an elegant silver-topped cane – but he nurses a secret sorrow: his beautiful wife, Annemarie, died suddenly three years earlier of influenza (p.55). Luckily his height, good looks, aristocratic bearing and independent means have kept in a regular supply of young lovelies to console him. His daughter, Gabrielle, thinks he is irresistible (p.190).

Sex The male protagonist usually has an easygoing way with women and enjoys soft porn sex with at least one round-bottomed young lady during the course of the book. For example, after a tennis match at the country house of Polish aristocrat Prince Kazimierz, Mercier is in the shower when the door to the bathroom opens and the lovely Princess Antoniwa enters, lets her robe slip to the floor, before stepping into the steamy shower to join him. You can almost hear Je t’aime playing on the movie soundtrack as they enjoy literally steamy sex. Later, we are treated to a description of his initiation into the joys of mutual masturbation by an older cousin, Albertine, when he was a teenager (pp.121-124).

High society Prince Kazimierz. Princess Antoniwa. Country houses. Mercier’s own upbringing at boarding school, the huge family apartment in the snobby 7th arrondissement of Paris. Part of Mercier’s job is to attend cocktail parties given by the various embassies, meeting and remeeting the beau monde of Warsaw. ‘Daaahling, have another one of these simply delicious canapés.’

Espionage One of Mercier’s jobs is managing ‘agents’. The one who features in this book is a shabby German businessman, Edvard Uhl, who works in the giant Krupps arms manufacturers. He was picked up by one of Mercier’s ‘honey trap’ woman agents, and has now been blackmailed / seduced into travelling once a month to Warsaw where he a) has hot, giggling rumpy-pumpy with the supposed ‘Countess Sczelenska’ (real name Hana Musser, a half-Czech, half-German refugee from the ‘fulminous Nazi politics’ of the Sudetenland), and b) the following day meets Mercier to hand over blueprints and diagrams about German tanks, and receive a packet of collars in return. But Uhl is getting increasingly nervous…

Paris Furst has acknowledged his debt to Eric Ambler who wrote half a dozen spy thrillers set in Eastern Europe, actually during the last years of the 1930s, with brilliantly atmospheric evocations of Eastern and MittelEuropa. Following the master, his stories are set outside the Anglophone comfort zone of Britain or the USA, instead among the capital cities and fog-shrouded landscapes of Hungary, Turkey, Serbia, Romania or, in this case, Warsaw.

However, although the adventures often take place in remote parts of Eastern Europe, the texts’ centre of gravity is nearly always the European city Furst which lived in for years and where his heart obviously belongs – lovers’ Paris, the Paris where French movie producer Jean Casson, Hungarian exile Nicholas Morath, Russian émigré Ilya Serebin, and Italian foreign correspondent Carlo Weisz (the heroes of his previous novels) all have apartments regularly adorned by nubile young ladies, and where they depart from for foreign adventures before gratefully returning in various states of disrepair. Paris is the meta-location of these novels, thus Mercier feels ‘the Parisian mystique take hold of his heart: a sudden nameless ecstasy in the damp air’, as soon as he is back there (p.119).

Datestamps As usual the novel is divided into a handful of long parts or acts – in this case, four – each made up of numerous much shorter sections, often marked with a date stamp to give a sense of the urgent passage of time, of the ominous forward momentum of events. The earliest is 17 October 1937, the last one 9 May 1938.


1. Hotel Europejski

It is autumn 1937. Herr Uhl, happily married with kids, makes excuses to visit the factory down on the Polish border once a month but in fact pops over to Warsaw, checks into the Hotel Europejski and has championship sex with the plump, big-bottomed ‘Countess Sczelenska’. Colonel Mercia is French military attaché to Warsaw. We meet him playing tennis with the cream of Warsaw’s cosmopolitan high society at the rich country mansion of Prince Kazimierz.

Mercier is the ‘control’ of Herr Uhl, meets him in a seedy café in a working class quarter, pays him money, takes diagrams of German tank technology. Later Mercier packs night wear and a revolver and is driven by Marek, the loyal Polish chauffeur, down to Katowice on the German border where he and Marek crawl at night through the various lines of barbed wire, before a searchlight goes on and they have to shoot their way out and back to the Polish side. The tank traps which used to feature in these defences have been filled in: Why? To make them easier for tanks to cross. Why? When? Puzzling.

Uhl gets panicky on the train back into Germany and becomes convinced ‘they’ ie the Gestapo, are waiting for him at passport control. He dodges out of the queue waiting to hand over their passports, nips back under the train to steps down to the river and walks back to the previous station. But this suspicious activity was noticed and reported, a report which eventually percolates up to Sturmbannführer (Major) August Voss in local Sicherheitsdienst (SD) headquarters at Glogau. It takes them a while but his operatives eventually match the description of a pot-bellied businessman with a big knobby nose who behaved suspiciously with Uhl.

Thus, after Mercier’s next rendezvous with Uhl a month later, Mercier, leaving the rendezvous cafe separately, accidentally sees Uhl being forcefully chatted up by a stunning blonde and tails the pair back to a rent-by-the-hour hotel in the red light district. But when the blonde comes running downstairs ten minutes later, and is followed by a big goon carrying a package wrapped in bedsheets, Mercier intervenes, there’s a fight, the Krauts make off in a getaway car and Mercier unwraps the roped-up bedsheets to discover Uhl inside, almost dead. Not quite. He is spirited away to hospital.

In a different plotline – Mercier is invited to a diplomatic reception given to entertain businessmen from the French company Renault, who are trying to sell the Polish government armaments. His regular consort drops out and at suggests a replacement, the girlfriend of a Russian émigré writer (Maxim Mostov), the young and lovely Anna Szarbek, who works for the League of Nations as a lawyer. Guess what happens, go on, guess. Yes, they fall in love and thus begins a passionate love affair set against the looming threat of war!

Among Mercier’s routine chores are regular meetings with his opposite number, Colonel Anton Vyborg, who we’ve already met in Furst’s novels Dark Star and The Polish Officer, both set a few years later, after the German invasion of Poland in September 1939. In one meeting Mercier admires a map which Vyborg casually mentions was drawn up by Captain de Milja of the Geographical Section (p.222). Alert readers will remember that this same de Milja is the Polish Officer in the novel of the same name. If the reader had read either of those novels he would have a strong sense of the doom which all these characters are heading towards…

Mercier is reprimanded by the Ambassador for the diplomatic embarrassment of ‘the Uhl Affair’, and is recalled to Paris to explain.

2. On Raven Hill

Paris, where almost all Furst’s novels start and end. Mercier returns to the huge apartment in the 7th arrondissement and bumps into cousin Albertine, the one who initiated him into the joys of sex when he was an innocent 14-year-old. Now she is formal, polite, friendly – but with a teasing hint of flirtation…

Mercier has a formal interview with Colonel Bruner who reprimands him for causing a scene and losing an agent. Meanwhile, in Berlin, Sturmbannführer August Voss has his ear bitten off by his boss about the cack-handed fiasco with Uhl. Infuriated Voss had had one of his thugs identify who it was who interfered in the street, i.e. he has got Mercier in his sights.

In every single one of Furst’s novels he mentions the fictional Brasserie Heininger, the supposedly upmarket, must-be-seen-at Paris nightclub and restaurant. In Night Soldiers it was the scene of an exciting and thrilling shootout, when the Bulgarian head waiter was assassinated for interfering in politics by assassins who then shot the place up and the owners left one mirror, cracked by a bullet hole, in place as a memento, the table beneath it, table 14, quickly becoming the most fashionable one to dine at.

But whereas in Night Soldiers the actual event was part of a genuinely gripping narrative about the criminal and espionage underworld of Paris, repetition of this story has made it boring and banal, and it is now getting irritating (p.137). Mercier is taken to the Brasserie for lunch by Aristide de Beauvilliers, the intellectual on the French High Council for War who, of course, insists on sitting at the famous table and telling him the story of the bullet hole – yawn.

Mercier reports that Uhl was due to go watch German tank manoeuvres at a place called Schramberg. He’s been reading the German General Guderian’s book about tank tactics, Achtung – Panzer! He’s come to the conclusion that the Germans will attack through Belgium, north of France’s supposedly impenetrable Maginot Line. De Beauvilliers agrees but explains that the French Army is in the grip of old men who think they’re infallible. Pétain, hero of Verdun, has ridiculed the Ardennes theory, so it is squashed. Meanwhile, French politicians are so polarised that no decisions, no funding for the Army, is forthcoming. We readers know all this means France will be conquered in a matter of weeks by Hitler’s Blitzkrieg in June 1940.

Mercier returns to Warsaw. He attends another reception where he is anxious to see whether Anna Szarbek will attend. She does. His heart soars. Walking her back to her apartment they are caught in a sudden snowstorm and duck into a cinema where they end up snogging. He sees her to her door where she is charmingly shy and conflicted about whether they should see each other again. Women, huh?

In action mode, Mercier slips into civilian clothes, flies to Switzerland, is briefed by a useful fellow official at the French consulate there, given a pistol, maps, compass and then driven by a reliable local, Stefan, across the border to Schramberg. He makes his own way out to the test zone, hides and then observes the German tank manoeuvres for himself.

3. The Black Front

Mercier celebrates Christmas and New Year at his estate back in southern France. The loyal family retainers. The loyal hunting dogs. Mass at the local church with the surviving relations, including an irritating right-wing uncle. Then, gratefully, back to Warsaw. Mercier sends his report of the German tank manoeuvres to Paris. De Beauvilliers hints that it will be ignored by the foolish high command.

Mercier receives a clandestine plea from the two Russian diplomats who he’s always meeting at receptions, a Jewish couple, Viktor and Malka Rozen. They have been ordered back to Moscow. They know they will be interrogated and shot. They wish to defect. He checks with his superiors, then makes an appointment to meet them, but they don’t show.

In Paris Madame Dupin had told him about a League of Nations conference to do with laws surrounding national minorities and refugees. He immediately wonders whether Anna will be going and, if so, she will be free from the clutches of the Russian boyfriend. He arranges with his bosses to go, impatiently and excitedly boards the train and – lo and behold! – she is on it and – quelle surprise! – they are soon in her overnight compartment where he quickly finds out she has ‘small breasts in a lacy black bra’ (p.216) among other discoveries.

Back in Warsaw, Mercier returns to routine work: a letter from Uhl, now recovered, saying he is being sent to safety in Quebec, with a new identity and job. Meetings. Colonel Vyborg invites him to a private meeting and tells him he is under surveillance by people attached to the German embassy. Neither of them know they are thugs hired by Sturmbannführer Voss, the angry man humiliated in the Uhl fiasco.

One night there is a frantic beating at the door and it is Madame Rozen. This sparks the most exciting passage in the novel as she has fled the embassy, but her husband twisted an ankle and is in a park up the road. It is midnight. Mercier packs his Browning pistol and makes his way through the deserted streets, making the reader as tense as he is. He finds Rozen, becoming incoherent with the freezing cold, and supports him all the way back to his apartment, with one interruption. An angry man steps out to confront them but Mercier waves his gun and the man strolls away. From the description, the reader suspects it is Voss not anybody from the NKVD who might be tailing the Rozens.

Mercier calls the embassy and his people put in place a successful operation to exfiltrate the two Russians, his boss Jourdain, the embassy chauffeur Marek, a motorcycle guard, they drive out to a remote airfield where a plane arrives bearing Colonel Bruner, Mercier’s boss, all the way from Paris. The Rozens climb into it and it departs. Panic over. Mercier returns to his apartment for a well-earned kip.

Next night he entertains Anna to dinner and Furstian sex. She has moved out of the apartment she shared with the Russian writer. They are now definitely an item.

At a diplomatic dinner given by the Portuguese embassy, Mercier is surprised to find himself in conversation with the courtly old Dr Lapp, a German businessman assumed to have some part in the Abwehr or German intelligence. Very slyly he indicates that he is a true German patriot and not so keen on the present regime. Shall we meet again, somewhere more private? Mercier repeats the conversation to his boss who points out that he’s becoming quite the spymaster. It was the incident of saving Uhl from being abducted by the Germans; everybody heard about it and everybody deduced his role.

4. A Shadow of War

March 1938. Mercier, in his capacity as military attaché, goes on a typically boring trip to a Polish arms, armoured car and light tank factory, the Ursus Tractor Company in the suburb of Wola. Mercier leaves the factory after a long, exhaustive tour but his faithful driver Marek is not waiting as they’d arranged. Instead, out of the shadows emerge three menacing figures who, before, he can react, surround Mercier and start beating him up, whipping him with a horsewhip, punching and kicking to the ground. It’s looking bad for our hero when a shot rings out and the bad guys desist the beating and run off. The gun was fired by Marek the driver who comes running up to his boss and helps him to his feet. He describes how he’d parked a few streets away and had himself been approached by a thug who drew a gun. Being the sturdy dependable type he is, Marek simply shot this figure.

The reader knows the three assailants are Major Voss and two of his SD thug pals. Voss is very angry at Mercier for interfering in the abduction of Uhl, and blames him for his recent transfer to a small provincial town, Schweinfurt. This demotion was the last straw had determined him to travel to Warsaw with two drinking buddies and ugly bullies from the SD – Meino and Willi – fired up by fantasies of kidnapping Mercier and torturing him, maybe in front of his pretty girlfriend. They were met off the train and driven around by local German thug, Winckelmann, and this is the man who approached Marke threateningly and who Marek shot dead.

Safely back in the centre of town, Mercier is tended by Anna. A few days later he has the planned meeting with Dr Lapp. Mercier passes on the message he has been given by his bosses that Dr Lapp should travel to Paris and phone the number he hands him. He’ll be met by the sophisticated de Beauvilliers and discussion about recruiting him will proceed from there. But Mercier has his own agenda. Running like an unobtrusive thread has been gossip and speculation about a shadowy organisation that opposes the Nazis from within, in fact which originated within the Nazi party itself. Initially, there was a genuinely socialist wing of the party, which wanted to do away with big industrialists, redistribute wealth to the workers and so on. But Hitler needed rich backers and so, in the Night of The Long Knives in July 1934, he had most of the leaders of the Sturmabteilung (SA) murdered.

But some survived and went underground in what is rumoured to call itself the Black Front. Now Mercier asks Lapp about a name he has heard, a Halbach. Lapp is reluctant to speak, but eventually says, yes it still exists, in feeble shape. Halbach lives under a pseudonym in a Czech border town, writing anti-Nazi pamphlets.

Mercier plans what will be the final sequence in the novel. He gets funds from de Beauvilliers, and maps, and takes local trains to the little town where he confronts Halbach, saying he knows his real identity but – relax! don’t panic! – is offering him the chance for a new, faked Swiss identity, to escape before the Gestapo find him. He just needs his help tracking down another Black Front colleague, known as Hans Köhler. Halbach tells him that Köhler’s real name is Johannes Elter.

Mercier takes Halbach to Prague to get a new passport and identity, buys a decent second-hand car and drives the pair of them across the border, on a tense car journey all the way to Berlin, where Elter lives. They stay overnight in a rough brothel, visited by drunk SS men. Next day Mercier drives Halbach to the converted church where he knows he is part of a model railway club (!). Elter is shocked to see his old comrade. In private, Halbach explains that the Gestapo are moving in but that he, Halbach, has found a sponsor who can guarantee safety. All he must do is bring all the secret documents he can get his hands on from office I.N.6, the section of Military Intelligence dedicated to making plans against France, to a certain hotel the next day.

It’s a lot for Elter to take in but he handles Halbach’s passport, is shown the money, and promises to be at the bar the next evening. Halbach returns to Merciers car and they drive north for three hours to the port of Rostock where Halbach catches the ferry to Denmark, to be a free man, his job done. Mercier returns and checks into the grand hotel where, the next evening, exactly on time, Elter appears with a heavy briefcase. Mercier takes him up to his bedroom, hands him passport and cash. The pair stand in the darkened room. For a moment I thought the door was about to burst open and the Gestapo rush in but in fact Elter hesitantly says that, if there’s more money, he’s prepared to do this some more. Mercier, momentarily wrong-footed, quickly agrees. They part.

Mercier examines his haul. 73 documents ranging from the trivial to maps of the Ardennes with attack routes sketched. Next day he flies from Tempelhof airport to Le Bourget with the docs in a fake bottomed briefcase, and by taxi to the French High Command. Waits several days. When he is called in for an interview, his colleague de Beauvilliers offers him a job with his small intelligence unit in Paris. But his boss, Colonel Bruner, genial and pleased, congratulates him, confirms his promotion to colonel and then floats the theory that maybe the whole thing was a set-up: Halbach an imposter, Elter a fake, the documents a deliberate decoy, part of a canny plan to deceive the French.

Disgusted Mercier catches a cab back to the family apartment where cousin Albertine is getting drunk with Anna who he’s brought along for the trip.

The novel ends with a short paragraph explaining how, 24 months later, General Guderian did invade France through the ‘impenetrable’ Ardennes, to the north of the supposedly ‘impregnable’ Maginot Line, leading France to capitulate within weeks and establish the pro-Nazi Vichy regime.


Dramatis personae

Listing them makes you realise just how many interesting and credible characters Furst creates in each of his novels. The sheer number, and the complex ways they overlap and interact, feed into the larger webs and networks of characters which recur across the novels, themselves symbolic or embodying the complex web of diplomatic, espionage and intelligence manoeuvring across pre-war Europe.

  • Lieutenant-Colonel Jean-François Mercier de Boutillon, French military attaché to Warsaw.
  • Annemarie, his fragrant wife, who died three years earlier.
  • Gabrielle, lovely daughter number one.
  • Béatrice, daughter number two, living in Cairo.
  • Albertine, cousin who initiated him into the joy of sex.
  • Prince Kazimierz, member of Polish aristocracy.
  • the lovely Princess Antoniwa, ditto.
  • Edvard Uhl, businessman and industrial spy for Mercier.
  • ‘Countess Sczelenska’, real name Hana Musser, refugee from the Sudetenland, honey trap mistress of Uhl.
  • Sturmbannführer (Major) August Voss, permanently angry head of the SD in Glogau, who is handed the report about the suspicious behaviour of Uhl on the train back into Germany, whose agents track him down and are about to abduct him from a Warsaw hotel when Mercier intervenes to rescue Uhl – leading to Voss being reprimanded – which leads to his vendetta against with Mercier.
  • Winckelmann, one of his thugs in Warsaw.
  • Meino and Willi, thuggish SD friends Voss travels to Warsaw with to beat up Mercier.
  • Marek, Mercier’s loyal embassy driver.
  • Wlada, Mercier’s skinny nervous housekeeper at his Warsaw apartment.
  • Anna Szarbek, lawyer for the League of Nations, who Mercier falls in love with.
  • Maxim Mostov, Russian émigré writer and journalist, who is upset when Anna leaves him for Mercier, and then is exposed, along with many others, by the intelligence handed over by the Rozens (see below) as a spy, and so deported from Poland back to the USSR.
  • Colonel Anton Vyborg, Mercier’s opposite number in the Polish military, with whom he has regular meetings, Vyborg featured in Furst’s earlier novels, Dark Star and The Polish Officer.
  • Captain de Milja of the Geographical Section of Polish Intelligence, mentioned in an off-hand reference by Vyborg, he was the lead figure in Furst’s earlier novel, The Polish Officer.
  • Jourdain, Mercier’s colleague at the French embassy in Poland.
  • The French ambassador to Poland.
  • Colonel Bruner, Mercier’s superior at the Quai d’Orsay back in Paris.
  • Madame Dupin, assistant director of Protocol.
  • de Beauvilliers, the 60-year-old intellectual on the French High Council for War, politely dismissive of the current French Army leadership under the hero of the Great War, old General Pétain.
  • Viktor and Malka Rozen, two Jewish Russian agents in Warsaw who Mercier helps to escape when their own government turns against them.
  • Colonel de Gaulle, Mercier’s contemporary at the St Cyr military college, and with whom he shared adventures as French representative to the army of General Pilsudski during the Russo-Polish war of 1920.
  • General Guderian, theorist of tank-led Blitzkrieg.
  • Stefan, drives Mercier from the French embassy in Switzerland across the German border to Schramberg, where Mercier observes Wehrmacht tank manoeuvres in the snow.
  • Dr Lapp, a German businessman who looks like Buster Keaton, is assumed to have some part in the Abwehr or German intelligence, who approaches Mercier at a diplomatic dinner, apparently offering to hand over intelligence.
  • Halbach, member of the underground anti-Nazi movement, the Black Front.
  • Elter, fellow member of the Black Front who Halbach persuades to smuggle documents out of the French section of German High Command headquarters in Berlin.

Credit

The Spies of Warsaw by Alan Furst was published in 2008 by Weidenfeld and Nicholson. All quotes and references are to the 2009 Phoenix paperback edition.

BBC mini-series

The Spies of Warsaw was adapted by the BBC into a two-part mini-series for TV, snappily retitled Spies of Warsaw and starring a post-Dr Who David Tennant as the dashing Colonel Mercier.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory – Russian émigré writer, Ilya Serebin, gets recruited into a conspiracy to prevent the Nazis getting their hands on Romania’s oil, though it takes a while to realise who’s running the plot – Count Polanyi – and on whose behalf – Britain’s – and what it will consist of – sinking tugs carrying huge turbines at a shallow stretch of the river Danube, thus blocking it to oil traffic. (298 pages)
2004 Dark Voyage – In fact numerous voyages made by the tramp steamer Noordendam and its captain Eric DeHaan, after it is co-opted to carry out covert missions for the Allied cause, covering a period from 30 April to 23 June 1941. Atmospheric and evocative, the best of the last three or four. (309 pages)
2006 The Foreign Correspondent – The adventures of Carlo Weisz, an Italian exile from Mussolini living in Paris in 1938 and 1939, as Europe heads towards war. He is a journalist working for Reuters and co-editor of an anti-fascist freesheet, Liberazione, and we see him return from Civil War Spain, resume his love affair with a beautiful German countess in Nazi Berlin, and back in Paris juggle conflicting requests from the French Sûreté and British Secret Intelligence Service, while dodging threats from Mussolini’s secret police.
2008 The Spies of Warsaw The adventures of Jean Mercier, French military attaché in Warsaw between autumn 1937 and spring 1938, during which he has an affair with sexy young Anna Szarbek, helps two Russian defectors flee to France, is nearly murdered by German agents and, finally, though daring initiative secures priceless documents indicating german plans to invade France through the Ardennes – which his criminally obtuse superiors in the French High Command choose to ignore!
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

The Foreign Correspondent by Alan Furst (2006)

Furst

Furst’s novels are all historical spy adventures, set in Continental Europe, often in Eastern Europe or the Balkans, in the dark days before the Second World War and on into the early years of the conflict. They feature fairly ordinary, everyday guys who become reluctantly embroiled in ‘spying’, in its unglamorous, everyday forms – receiving and passing on information, meeting people from foreign powers who slowly take control of your life, who persuade you to take risks you’d prefer not to. So:

  • In Blood of Victory (set in late 1940 and 1941) the Russian émigré writer, Ilya Serebin, finds himself slowly drawn into a plot to sink barges in the Danube river to choke off Nazi Germany’s supply of oil from Romania.
  • In Dark Voyage (set over two months in 1941) grizzled Dutch merchant captain, Eric DeHaan, finds himself reluctantly recruited into the Dutch Royal Navy and carrying out a number of clandestine voyages, ferrying Allied soldiers, arms and equipment on a number of hazardous missions around the Mediterranean.

The Foreign Correspondent

Although they go off on missions to the East, many of Furst’s protagonists are based in Paris, safe haven for many exiles as the grim 1930s progressed. This novel, though it features trips to Berlin and Prague, is more rooted than most i the boulevards and cafés of the city of light, and includes a map of Paris at the start, with key locations in the story marked on it.

It follows the ‘adventures’ of Italian émigré journalist Carlo Weisz. He’s landed a good job as Paris correspondent for Reuters, where he’s looked after by an understanding manager, Delahanty, who doesn’t mind that in the evenings Weisz helps write and organise an anti-Fascist, anti-Mussolini freesheet, Liberazione, cobbled together by half a dozen Italian refugees who meet at the Café Europa, the galleys then smuggled to Italy, where it’s printed and distributed via an informal network.

The text is divided into four long parts, within which the numerous sub-sections are simply divided by line breaks. As with all Furst’s novels, these short sections come with date stamps  and sometimes precise times of day, to convey the pace of events, and give a sense of urgency and thrill.

The narrative covers events between 4 December 1938 and 11 July 1939, ie the dark slide towards war, and features the following true historical events:

  • The Nazi occupation of the remainder of Czechoslovakia, beginning 15 March 1939
  • Victory of the Nationalist (fascist) forces in the Spanish Civil War on 1 April 1939
  • 7 April the Italian navy bombarded the coast of Albania, then invaded
  • Signing of the Pact of Steel, 22 May 1939

Dark times, darkly captured and broodingly conveyed.

1. In the Resistenza

We meet Weisz in Civil War Spain, as that conflict grinds to an end, accompanied by the veteran female journalist, Mary McGrath, and driven around by a driver provided by the Republican side. They visit the front lines, are shot at by Nationalist soldiers across the river, then briefly interview the legendary ‘Colonel Ferrara’, an Italian commanding an International Brigade on the Republican side, then drive off to the nearest town to file their reports.

Back in Paris, the high profile Italian exile, vociferous opponent of Mussolini, and editor of Liberazione, Bottini, is assassinated by agents of OVRA, while in bed with his mistress Madame LaCroix. It is a warning to other exiles, and we are introduced to the head of the little squad which carries out the execution, an Italian nobleman and committed Fascist, Count Amandola. But as Mme LaCroix happens to have been the wife of a French politician, this prompts the French police to open a murder investigation which will wind on for the rest of the narrative.

Thus it is that on returning to Paris, Weisz discovers Bottini to be dead and is offered the editorship of Liberazione by the small band of exiles, led by Arturo Salamone, and which he reluctantly accepts. He feels it is his duty, and he is a good journalist, he should be able to manage. The meeting is followed by a short text which is the ‘report’ of ‘Agent 207’, summarising the decisions of the meeting. Aha. One of them is a spy, or at least an informer, passing on his reports to OVRA.

Soon afterwards, in a Paris bar, Weisz bumps into an acquaintance from his two years of study at Oxford, Geoffrey Sparrow, who is accompanied by his petite girlfriend, Olivia. She enjoys flirting with Weisz, who finds himself entranced by her ‘smart little breasts’ (p.43). They go on to another bar where Sparrow accidentally-on-purpose introduces Weisz to a ‘Mr Brown’, an obvious British agent (which we know for sure since we’ve met him in previous novels). So – the old friend act and the flirting were designed to ‘ensnare’ him. At this stage it’s just an introduction and an agreement that they’re on the same side, but we all know something more will come of it…

Weisz is invited to room 10 of the Sûreté National offices, to meet the French detectives investigating the Bottini murder. They let it be known that he’s being watched, and mention that an Italian official was recently expelled from France. Was that a threat or a tip-off? As so often in Furst, the main character is puzzled about what’s going on, about the deeper or ‘hidden’ meaning of sometimes the simplest conversations. As exiles, most of his protagonists are at the mercy of ‘the authorities’ and live with a permanent sense of insecurity.

Finding himself the attention of the British and French security services, and probably of OVRA into the bargain, Weisz not unnaturally becomes convinced he’s being followed, narrowing it down to a man in a check jacket who keeps popping up behind him in the street, then on the Métro. It’s mildly ironic then, when a completely different man leans over him in the Métro carriage and slips him an envelope before quickly exiting the carriage.

Weisz brings the envelope to the next meeting of the Liberazione group at the Café Europa, where it turns out to contain detailed technical specifications for what looks like a torpedo, the writing in Italian. A new design for an Italian torpedo? Who was the man who gave it to him working for? Is it a trap? Is the door about to burst open and French police find them with the evidence that they’re spies, so they’ll all be shot? Or is it a genuine bit of clandestine information but – who should it be passed on to? The French authorities? The British? Mr Brown?

This is typical of the fog of uncertainty in which Furst’s characters (and the reader) move. Also typical is the low level of suspense: it doesn’t feel like it matters all that much, and the group decide to burn the document quickly, which they do. And nothing happens. No police burst in. The man who gave it to Weisz never reappears. There are no repercussions at all. The novels are full of mysterious threats and loomings.

Weisz regularly fantasises about sex. He imagines making love with Sparrow’s girlfriend. He thinks about calling up his old girlfriend Véronique for sex. He fantasises about his lazy landlady Madam Rigaud, who has accidentally on purpose bumped his ample hips against him many a time. He remembers the myriad highly erotic encounters with his former German lover, Christa von Schurr. He remembers having sex with the well-known British spy and recruiter, Lady Angela Hope, who – apparently – made a great deal of noise, ‘as if he were Casanova’, twice, before attempting to wangle Italian state secrets out of him (futilely, it turns out). He goes to sleep.

2. Citizen of the Night

The Reuters man in Berlin, Wolf, is getting married and going on honeymoon, so Weisz’s boss, Delahanty, sends him to Berlin to cover. We have been privy to Weisz’s sensuous memories of making love with Christa – now he sees the assignment to meet her again. Sure enough, as soon as he contacts her she comes to his hotel room, and for the rest of his stay they meet every afternoon to enjoy a sequence of pornographic encounters, livened up by varieties of underwear and positions, and the ability to perform time after time. Underwear, panties, bra, camisoles are described in loving detail.

In between sex sessions, Christa invites Weisz out to a remote fairground where he is introduced to an unnamed man (p.88). He hands over a list of Nazi agents who have penetrated to high position in Italy, lots of them, over 150. Weisz is left wondering: Has Christa only revived the affair to ‘recruit’ him for her people, to make him a conduit to a free press outside Germany? What is he expected to with the list? Weisz experiences a familiar feeling of perplexity.

Furst’s men (they’re all men) move rather dreamily around Paris and other European capitals, cocooned in an atmosphere of good food, fine wines, bars and cafés high and low, seeming to end up in bed with a steady stream of uninhibited, easy and sexually inventive women, but plagued by obscure meetings and ambiguous conversations which leave them permanently puzzled about what they’re meant to be doing, and for who…

Germany threatens to occupy the remainder of Czechoslovakia which Hitler hadn’t already seized as a result of the Allied betrayal during the Munich Crisis (August 1938). And so Weisz’s boss tells him to pack and go by train from Germany to Prague to record the event.

He travels down with two other journalists, Hamilton of The Times and Simard from Havas, but the train is stopped by the Germans at Kralupy, before it reaches Prague. The three journalists pay the very reluctant town taxi to drive them through snow to the capital, the driver grumbling all the way. They’re still driving slowly around town when two students bundle into the car carrying a Nazi flag which they’ve torn down. Seems like a student prank for a few moments until a Gestapo car swings after them and starts shooting, bullets through the windows, little Simard gets injured and there’s frantic argument about how to tie a tourniquet. The taxi driver skedaddles through Prague’s snowy back streets to an old stables which the students know about, and where they help them hide out till the cops are gone.

In a separate plotline S. Kolb, a seedy little man who works for the British SIS (and who we have met in previous books) is despatched by his masters to track down Colonel Ferrara who we met in the opening pages. Ferrara had managed to escape from Spain after Madrid fell and the Spanish Civil War ended in March 1939. Kolb tracks him to a French internment camp near Tarbes, in the south, then bribes the camp’s commandant with a lot of francs to let Ferrara free.

At first sceptical that he’s going to be shipped back to Italy, Ferrara lets himself be persuaded into a taxi to a station, and then onto a train to Paris. Here Kolb fixes him up with a room at the Hotel Tournon and it is here that Weisz is introduced to him, via Mr Brown.

Mr Brown explains to Weisz that ‘they’ would like him to write Ferrara’s biography, the biography of an Italian patriot and hero who resisted Mussolini. Ferrara agrees; later, when Weisz puts it to the Liberazione group, they also agree. So Weisz gets into the habit of going every evening, after his main day’s work, to the Hotel Toulon, there to smoke lots of cigarettes and type up Ferrara’s life story.

In short order, Weisz dumps his Paris girlfriend, Véronique and buys a typewriter in a flea market. He uses it to type out copies of the list of Nazi agents in Italy which Christa gave him back in Germany and which he carried round Prague and back to Paris. He’ll post copies to the British and French authorities – the flea market typewriter was so they couldn’t match it against his own typewriter, if they manage to trace it to him,

This section closes with Furst giving us a brief sketch of the Liberazione‘s distribution network in Italy: the conductor on the Paris-to-Genoa train; Matteo, who works at the printing works of Italy’s second newspaper, Il Secolo and slips printing the free sheet in between bigger jobs; Antionio who drives a coal delivery truck from Genoa to Rapallo and takes copies with him; Gabriella and Lucia, 16-year-olds in a convent school in Genoa who help distribute free copies; ending with readers like Lieutenant DeFranco, a detective in the rough waterfront area of Genoa, who enjoys reading the copy posted in the police station’s lavatory.

3. The Pact of Steel

Back in Paris. Véronique phones to tell Weisz that a threatening man came to cross-question her about Weisz and Liberazione, pretending to be – but obviously not – a member of the Sûreté. The Liberazione group meet and discover that Salamone has been dismissed from his job. The threat from OVRA seems to be looming from different directions. Agent 207 reports the meeting.

Weisz is despatched by his Reuters boss to cover the crowd assembled outside the hotel where King Zog of Albania is discovered to be staying. King Zog shows himself at the balcony, some cheer, some throw bottles, the crowd turns ugly and Weisz is suddenly hit very hard on the head, by some kind of sharp but heavy implement, regaining consciousness on the floor and helped to a nearby café by a cop. Staggering home, he fears he’s being followed. Was it an OVRA attack? A random bit of thuggery?

Next evening he meets up with Ferrara to move the book forward, and finds Kolb and Brown there. They go to a ‘mad’ nightclub up in Pigalle, where the girls dance naked except for shoes. Here Ferrara picks up a fetching naked girl called Irina. The reader suspects this will end badly: possibly she, too, is an OVRA agent or will lure him to a sticky end…

News comes in to Reuters that Mussolini’s Foreign Minister, Count Ciano, is flying to Berlin to sign a so-called ‘Pact of Steel’ between Fascist Italy and Nazi Germany. Delahanty orders Weisz back to Berlin to cover it for the Italian point of view.

While Weisz is packing a new guest at the hotel looms menacingly at his door and we strongly suspect something bad is going to happen to Weisz, when the old hotel retainer Bertrand arrives puffing and panting up the stairs with Weisz’s plane tickets, thus saving him in the nick of time. The novels are full of close shaves, what-might-have-beens, or even perfectly innocent events which we – sharing the protagonist’s paranoia – think of as unnecessarily sinister. Thus in a hundred little ways, we enter the atmosphere of fear and suspicion which the characters move in…

Back in Berlin, Weisz gets a cryptic message from Christa inviting him to a party at a friend’s house. When he arrives at the apartment given on the invitation, there is no party and the door is open. He tiptoes through eerily empty rooms suspecting something bad has happened and, again, the reader is thinking the worst. But Christa is simply lying in bed, naked. She had fallen asleep. They have sex several times, as she explains that she thinks she’s being watched and so arranged this rendezvous at the apartment of a friend.

Weisz is an eye witness of the signing of the Pact of Steel at a formal hall in Berlin. Up till this moment the Italian exiles Weisz moves among have been hoping Italy will somehow keep out of Hitler’s mad plans, especially as Mussolini is on record as saying Italy wouldn’t be ready for war until 1943.

Weisz notices the changed atmosphere in Berlin, the number of uniforms on the street – SS, Gestapo, Wehrmacht, Luftwaffe, Kriegsmarine, Hitler Youth and so on, the expectation of violence. Then he’s back in bed with Christa.

Idly, he trailed a finger from the back of her neck down to where her legs parted, and she parted them a little more. (p.186)

When his trip ends he is upset, kisses Christa goodbye in the street, she walks away and out of sight, and he wonders if it’s forever. Oddly, as in all these Furst novels, I had absolutely no sense of emotional involvement or upset whatsoever. I see the logic of these characters’ emotions – but I don’t feel them. For me, these novels are like diagrams of emotion and feeling. Blueprints.

Back in Paris Weisz discovers the café where the Liberazione group meet has been burned down. Salamone has had a heart attack. Things are not looking good for our little group. The same man who pretended to be a Sûreté officer to interview Véronique, turns up at Elena’s workplace, the Galeries Lafayette, asking about her. Infuriated, Elena tails him through the Métro back to 62 Boulevard de Strasbourg. There’s a card claiming it’s the office of a photo agency. Next day Weisz rings the number on the card and establishes it’s an obvious front, they know nothing about press photos. Then Weisz goes along himself and finds letters in the postbox with Croatian names and addresses. Possibly agents of the Croatian Ustasha, sub-contracting to OVRA.

4. Soldiers for Freedom

Weisz and Ferrara continue working on the biography. Weisz reads in a newspaper a small article about a spy circle in Berlin being rounded up and imprisoned. His heart stops, as he thinks it must be Christa and her circle – and from this point onwards, for the last 60 or so pages of the novel, its protagonist’s overwhelming motivation is to find out what’s happening to Christa and try to ensure her safety.

Mr Brown takes Weisz to meet a ‘Mr Lane’, obviously a more senior SIS figure, who talks him into considering expanding the Liberazione operation, increasing the print runs, expanding the distribution network. Now that Mussolini is an official ally of Hitler, Britain will put more effort into trying to undermine his regime. But Weisz can only think about Christa.

Taking the initiative regarding the threat from OVRA, Weisz makes an appointment to see the inspectors investigating the Bottini murder. He takes along a case full of evidence about the phony Sûreté guys, and the evidence suggesting they are Ustashe agents operating illegally in France. They are interested. ‘Leave it with us; we’ll be in touch.’ At their next meeting they show Weisz photos, some of which he identifies as the men he’s seen. This confirms something the detectives knew (though they’re very vague about it to Weisz). As a sort of reward, they tell him there’s an OVRA agent within Liberazione, Zerba the art historian. Weisz is shocked, and so is Salamone when he tells him later. The latter’s first reaction is to kill him, but the police and Weisz had said No, let him continue  his activities.

Weisz has made a decision about the British suggestion to increase Liberazione activity: he asks Kolb if he can organise a meeting with his boss, Mr Brown. Here he asks if the SIS can find out Christa’s situation. Brown grudgingly agrees, but insists that, in return, Weisz a) hurry up and finish the Ferrara book b) agrees to go back to Italy to organise the printing and distribution of Liberazione on a much larger scale and in the process c) is seen, spreading the rumour of defiance, raising morale among the anti-Mussolini opposition.

Tense climax

And so the last forty pages of the novel follow Weisz’s tense journey across the border, to Genoa and then to clandestine meetings with the distribution network, as he pays Matteo to find extra capacity at the print works, meets an underworld fixer, Grassone, who can supply newsprint by the ton, and then is taken to meet an old Genoese criminal who is prepared to rent him a huge underground vault to operate in.

They’ve just been shown round the vault and emerged into the daylight into a busy marketplace, when rough hands are placed on Weisz’s collar and he realises a policeman is arresting him. He tries to get away, but is slapped and kicked to the ground and finds himself wriggling under a market stall. The cop is tugging at his legs when suddenly the market traders start throwing things at Pazzo, who turns out to be the well-known and much-hated local cop, such a barrage, that Pazzo is forced to turn and flee.

Leader of the vegetable throwers had been a huge old lady, Angelina. She picks Weisz up and dusts him off and then takes him off through a maze of alleys to a church, where she hands him over to Father Marco for safekeeping. Weisz realises he can’t go back to the hotel, so he’s abandoning his things and in fact the entire project.

Was he betrayed? Was it a misunderstanding (surely the OVRA would have sent a whole squad of heavies not a fat local policeman)? Who cares. Now he’s going home. But when he goes down to the docks to try and board the Hydraios, sailing back to Marseilles, part of the carefully worked out plan – he finds that the slack dock passport controller, Nunzio, has been joined by two serious looking detectives. There is no way through without being cross-questioned and arrested. Forlorn, he watches the ship slip its moorings and sail away.

Promptly Weisz abandons Genoa. He has money and so he buys a completely new outfit and travels to the resort of Portofino where he puts himself about among the rich tourists, hoping to get himself invited aboard one of the many rich tourists yachts. He fails with the Brits and the Americans, but then scores a success with the party of Sven, a self-made Dane, who shrewdly realises he’s in trouble but invites Weisz to join their yacht party anyway.

As if by magic, a few days later Weisz is back in Paris. And the last pages cut to Berlin where Kolb has been sent to extract Christa. Although she is being followed everywhere by the Gestapo, Kolb has a taxi driver follow her when she takes a group of Hitler Youth girls out to a lake (where many of them strip naked and frolic in the waves, to Kolb’s delight). He hisses at Christa from the treeline, and persuades her to come there and then, clamber into the boot of the car, be driven to a safe flat, where they’ll change her appearance, give her new papers and smuggle her into Luxembourg.

On the very last page Weisz arrives tired and demoralised back at the Hotel Dauphine, his Paris base, and the landlady. Madam Rigaud, tells him a new guest has checked in, a German countess, who seemed keen to see Herr Weisz. She’s put her in room 47.

Never has a man run up flights of stairs with such enthusiasm! To a joyous happy ending.


A web of characters

Blurbs on the books tend to praise the tremendous ‘atmosphere’ of Furst’s historical novels. I personally don’t find them ‘atmospheric’ so much as stuffed with an amazing grasp of historical detail and an astonishingly large cast of characters.

The novels feature not just the main protagonist (always a fairly average, if foreign, bloke: Serebin, DeHaan, Weisz) but a realistic web of secondary, tertiary and minor characters, many of whom only appear in fleeting scenes, but are given vivid thumbnail descriptions, quick lines, enough to make an impact and create the sense of a fully-populated imaginative world.

This way that the novels just teem with people and takes us to a wealth of urban settings and locations, helps the novels read like life, like confused, hectic, twentieth-century modern life in big cities, in huge industrialised nations lumbering towards war.

Characters

I set out to make a list of all the characters which appear in the book and was amazed at just how many of them there are.

  • Carlo Weisz, Italian émigré journalist, Paris-based correspondent for Reuters news agency, who works part time producing Liberazione, an anti-Mussolini free sheet.
  • Hotel Dauphine, Weisz’s home in Paris.
  • Madame Rigaud, landlady of the Hotel Dauphine, broad-hipped and complaisant, about whom he has vivid sexual fantasies.
  • Ettore, il Conte Amandola, agent of OVRA, the pro-fascist agency.
  • OVRA, the Organizzazione di Vigilanza e Repressione dell’Antifascismo (p.98)
  • Bottini, émigré lawyer from Turin and outspoken critic of Mussolini, he is assassinated by OVRA agents in the opening pages.
  • Madame LaCroix, Bottini’s plump noisy mistress. The OVRA agents murder her in bed with Bottini and make it look like he killed her then committed suicide, in order to achieve maximum humiliation of the anti-fascist figurehead. However, Mme LaCroix happened to be married to a French politician minister, and this draws the French Security forces into an investigation of her death, which will eventually draw Weisz into collaborating with them.
  • Staff of the Liberazione freesheet, who meet in the Café Europa:
    • Arturo Salamone, former insurance salesman in Italy, now main organiser of the paper
    • Sergio
    • Elena, fiery little exile
    • Michele Zerba, art historian from Siena (p.239)
  • giellisti (p.8) collective name of the opponents and resisters of Mussolini’s fascism, a conflation of Giustizia e Libertà (p.220).
  • Agent 207 – spy inside Liberazione group, we read his reports of the secret meetings immediately after they’ve happened – obviously he or she is one of the core members. Towards the end of the novel we learn the agent is Zerba, the art historian. (pp.29, 152)
  • confidente – Mussolini’s secret police / secret agents.
  • Mary McGrath, a veteran correspondent in her 40s (p.13) a journalist who we meet accompanying Weisz in Civil War Spain.
  • Sandoval, Spanish driver, assigned by the Republicans to drive Weisz and McGrath around the battlefield and to nearest towns to file his copy.
  • ‘Colonel Ferrara’ – nom de guerre of an Italian hero of the Great War who became an anti-Mussolini  figurehead and volunteered to fight in Spain, where has become a legendary figure (p.18). Kolb buys his freedom from a French internment camp and accompanies him to Paris where Weisz is engaged to write his heroic biography, Soldier for Freedom.
  • The military censor in Castelldans (p.24)
  • S. Kolb (p.50), a meagre little man, his career at a Swiss bank was ruined after he was (unfairly) caught embezzling money, then recruited by the British Secret Intelligence Service, after which he has been thrown into all kinds of perilous situations. In this novel he is given the money to purchase Colonel Ferrara’s freedom, brings him to Paris, settles him in a safe apartment and supervises Weisz writing his biography.
  • Commandant of the French internment camp near Tarbes where Ferrara is being held.
  • Hotel Tournon – the Paris hotel Kolb books Ferrara into.
  • Monsieur Devoisin, a permanent undersecretary at the French Foreign Ministry, who Weisz visits for official briefings (p.61).
  • Irina – one night Ferrara, Weisz and Kolb go to a nightclub to blow away the blues, to the Club Chez les Nudistes, up in Pigalle, where the girls wear only high-heeled shoes and are illuminated by blue lights. She seduces Ferrara on the dance floor and quickly becomes his beloved – ‘she is my life. We make love all night.’ (p.235)
  • Véronique, one of Weisz’s lovers, works in an up-market art gallery (p.132). He has some dainty sex before formally dumping her as his affair with Christa re-ignites.
  • Delahanty, Weisz’s boss at Reuters Paris bureau (p.27)
  • Geoffrey Sparrow, Oxford friend of Weisz’s (p.41)
  • Olivia, Sparrow’s flirtatious girlfriend (p.43)
  • Edwin Brown, ‘Mr Brown’, an agent of the British Secret Intelligence Service, SIS (p.44).
  • Mr Lane, Brown’s superior in SIS (p.219)
  • Sir Roderick (p.233). We don’t get his last name. Lane refers to him as the head of SIS, also mentioned in previous books.
  • Count Polanyi, well known Hungarian spy (pp.48, 125)
  • Nicholas Morath, his nephew and central character in Kingdom of Shadows (p.125)
  • Lady Angela Hope, the dashing British spy and recruiter who the text goes out of its way to make clear Weisz made love to, very noisily, twice (p.49).
  • Inspector Pompon of the Sûreté National who interviews Weisz in room 10 of the imposing Interior Ministry on the rue des Saussaies (p.63).
  • Inspector Guerin, Pompon’s partner (p.223).
  • Eric Wolf, Reuters man in Berlin, getting married, going on honeymoon in Cornwall for a fortnight, Weisz is sent to Berlin to cover for him (p.70).
  • Christa Zameny, Weisz’s passionate lover, who married German count von Schirren some years before (p.75). When Weisz appears in Berlin they immediately, with barely a word spoken, resume their careers as championship sexual performers, Christa’s panties and bra repeatedly falling to the floor, ‘her breasts shining wet in the light’ (p.85).
  • Gerda, German secretary at Reuters Berlin office.
  • Dr Martz, cheerful Nazi official at the Berlin Press Club.
  • Ian Hamilton, journalist from The Times (p.98) on the short trip to Prague.
  • Prague taxi driver.
  • The two students in Prague.
  • Brasserie Heininger (p.124) the glitzy night-life bar and dance floor which appears in every one of Furst’s novels.
  • Moma Tsipler and his Wienerwald Companions – a Viennese Jazz band who’ve appeared in previous novels and are in residence at the Brasserie Heininger during this one.
  • Louis Fischfang (p.125) film scriptwriter and a lead character in The World At Night and Red Gold.
  • Voyschinkowsky, known as ‘the Lion of the Bourse.’ (p.125)
  • André Szara, protagonist of Furst’s second novel, Dark Star (p.125).
  • Cara Dionello, rich Argentinian, part of the Polanyi party (p.125).
  • King Zog of Albania, in exile in Paris after the Italians seize Albania (p.156)
  • Matteo, printer in Genoa who uses his job as cover to print copies of Liberazione before getting it clandestinely shipped off round Italy.
  • Antonio, truck driver who delivers Liberazione from Genoa to Rapallo
  • Gabriella and Lucia 16-year-old schoolgirls who help distribute Liberazione.
  • Lieutenant DeFranco, detective in the rough waterfront district of Genoa who enjoys reading Liberazione (p.139)
  • Gennaro, transport policeman on the Paris to Genoa train (p.171)
  • Perini, owner of Perini’s barbershop in the rue Mabillon (p.143).
  • Bertrand, loyal old porter at Weisz’s hotel, the Dauphine (p.176).
  • Adolf Hitler, bounding up and down with happiness after signing the Pact of Steel (p.184).
  • Count Ciano, Italian Foreign Minister (p.184).
  • The assistant manager of the Galeries Lafayette, nicknamed ‘the Dragon’ (p.194).
  • Old Madame Gros, secretary at the Galeries Lafayette (p.195).
  • Grassone, ‘fatboy’, huge underworld figure in Genoa (p.253).
  • Emil, slick underworld fixer in Genoa (p.255).
  • ‘The landlord’, owner of the old wine cellar which Weisz can use as a base for the expanded printing of Liberazione (p.263).
  • Pazzo, the local bully boy policeman who tries to arrest Weisz in Genoa (p.265).
  • Angelina, immense woman wearing a hairnet who retaliates against Pazzo and secures Weisz’s freedom (p.266).
  • Father Marco, who gives Weisz sanctuary after Angelina has got him away from the local police (p.267).
  • Nunzio, easy-gong customs officer at Genoa docks.
  • Klemens, former German street fighter now agent for SIS, driver of the car in which Kolb collects Christa and spirits her away from her watchers (p.274).

Nets and webs

The novel is, in other words, populated by an amazingly intricate web of characters who are shown interacting in a multitude of expected or unpredictable ways. For me, Furst’s novels have complexity instead of ‘atmosphere’. It’s the sheer proliferation of characters, with numberless walk-on parts for taxi drivers, bartenders, customs officials and so on, which gives the novels their extraordinary sense of range and their imaginative suasion.

As explained in reviews of his previous novels, I don’t find Furst’s novels particularly thrilling for most of their length – not until the deliberately exciting final chapter or so. For most of their length they consist of accounts of meetings, interviews, rendezvous, the handing over of documents, discussion of secrets, making of arrangements and so on, in offices, street corners and cafés. And the making love.

Fine food They routinely feature rather sumptuous descriptions of meals at fancy restaurants (at the Ritz hotel in Paris, the Adlon in Berlin, the famous Brasserie Heininger) accompanied by fancy cocktails or champagne.

Sex And of course, the novels are laced with descriptions of knowing, sensual sex with one of the hero’s various lovers or mistresses (Marie-Galante in Blood of Victory, Demetria and Maria Sombel in Dark Voyage, and the very sensuous and imaginative Christa von Schirren in this novel). We read descriptions – muted tasteful descriptions – of Weisz having sex with Véronique, with Lady Angela Hope, with Christa, or fantasising about having sex with little Olivia or his Paris landlady.

He knew what she liked, she knew what he liked, so they had a good time. Afterwards, he smoked a Gitane and watched her as she sat at her dressing table, her small breasts rising and falling as she brushed her hair. (p.32)

In Furst’s fiction, you’re never far away from silk bras or panties suavely slipping off smooth flesh.

After a time, she moved her legs apart, and guided his hand, ‘God,’ she said, ‘how I love this.’ He could tell that she did. Sliding down the bed, so that her head was level with his waist, she said, ‘Just stay where you are, there is something I have wanted to do for a long time.’ (p.181)

Good living The fine food, the champagne cocktails, the beautiful women stripping down to their cami-knickers in each novel tend to counter-balance – or even outweigh – the rarer action scenes: the strange men following the hero down a darkened street, the shots from the police as they crash a roadblock, the dive bombers attacking the naval convoy. Much more often you get paragraphs like this:

She stood and took off her jacket and skirt, then her shirt, stockings and suspenders, and folded them over the top of the chaise longue. Usually she wore expensive cotton underwear, white or ivory, and soft to the touch, but tonight she was in a plum-coloured silk, the bra with a lace trim, the panties low at the waist, high at the hip, and tight, a style called, Véronique had once told him, French cut. (p.94)

Sensual and soft More broadly, if something actually violent isn’t happening (which it generally isn’t) Furst’s general purpose setting is noticeably sensual and gentle. It’s not just the sex and fine wine which contributes to the sense of softness about the novels, it’s the default attitude which is – oddly given the subject matter – consistently sweet and gentle.

All his life he’d gazed at rivers, from London’s Thames to Budapest’s Danube, with the Arno, the Tiber and the Grand Canal of Venice in between, but the Seine was queen of the poetic rivers, to Weisz it was. Restless and melancholy, or soft and slow, depending on the mood of the river, or his. That night it was dappled, black with rain and running high in its banks… (p.123)

Very often poetic and wistful:

For a time, Weisz just stood there, alone on the wharf, as the crew disappeared up the flight of stone steps. When they’d gone, it was very quiet, only a buzzing dock light, a cloud of moths fluttering in its metal hood and the lapping of the sea against the quay. The night air was warm, a familiar warmth, soft on the skin, and fragrant with the scents of decay; damp stone and drains, mud flats at low tide.
Weisz had never been here before, but he was home. (p.246)

It is these kind of cadences which give the novels, overall, a dreamy feel which I think explains why the reader is rarely really gripped by the storyline, but is more often absorbed by the endless variety of new characters, interested in the depictions of real historical moments and geopolitical developments – and lulled by the rhythms of much of the prose.

At times this rises to overtly physical descriptions of food or sex but, even in the absence of those obvious highlights, is everywhere characterised by a kind of sweet and gentle sensuality, which helps make the novels such easy, interesting, sexy and rewarding reads.


Credit

The Foreign Correspondent by Alan Furst was published in 2006 by Weidenfeld and Nicholson. All quotes and references are to the 2007 Phoenix paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory – Russian émigré writer, Ilya Serebin, gets recruited into a conspiracy to prevent the Nazis getting their hands on Romania’s oil, though it takes a while to realise who’s running the plot – Count Polanyi – and on whose behalf – Britain’s – and what it will consist of – sinking tugs carrying huge turbines at a shallow stretch of the river Danube, thus blocking it to oil traffic. (298 pages)
2004 Dark Voyage – In fact numerous voyages made by the tramp steamer Noordendam and its captain Eric DeHaan, after it is co-opted to carry out covert missions for the Allied cause, covering a period from 30 April to 23 June 1941. Atmospheric and evocative, the best of the last three or four. (309 pages)
2006 The Foreign Correspondent – The adventures of Carlo Weisz, an Italian exile from Mussolini in Paris in 1938 and 1939, as Europe heads towards war. He is a journalist working for Reuters and co-editor of an anti-fascist freesheet, Liberazione, and we see him return from Civil War Spain, resume his love affair with a beautiful German countess in Nazi Berlin, and back in Paris juggle conflicting requests from the French Sûreté and British Secret Intelligence Service, while dodging threats from Mussolini’s secret police.
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

Dark Voyage by Alan Furst (2004)

Furst has written 14 historical espionage novels, generally set in Eastern Europe, Russia or the Balkans, set towards the end of the 1930s and going on into the early years of the Second World War.

This, the eighth in the series, marks a notable change of location by being set, not in the hotels, cafés and bars of continental Europe, but aboard an old tramp steamer chuntering along the coast of North Africa. Although it is frequently in port, with cafés and intrigue, the predominantly maritime setting is unique in Furst’s oeuvre, and makes for an interesting and stimulating change.

The plot

Eric DeHaan is 41, the weathered captain of the tramp freighter Noordendam, of the Netherlands Hyperion Line, plying its trade around the Mediterranean. While docked in Tangiers in April 1941, he is called to a meeting in a local restaurant, to find the owner of the Line – Wim Terhouven – along with Marius Hoek, the woman artist Juffrouw Wilhelm, and Commander Hendryck Leiden of the Royal Dutch navy all waiting for him. Without much in the way of choice he is drafted into the Royal Dutch Navy (based in London since the Nazis invaded Holland in May 1940) with the rank of Lieutenant Commander (p.15).

So now he is working for the Allied cause. His contact for missions will be Wilhelm who, as an artist, is given more freedom than many men. Back on board ship we begin to get to know the large and varied crew (of about 40):

  • Johannes Ratter, patch over the eye he lost in an accident (p.24)
  • Stas Kovacz the Polish engineer, stooped and bearlike (p.62)
  • Mr Ali, the gentlemanly wireless operator
  • ‘Patapouf’, the plump assistant cook (p.63)
  • Van Dyck, the bosun, in charge of loading the cargo, strongest man DeHaan’s ever met (p.102)
  • Able Seaman Amado
  • Kees
  • Ruysdal
  • Vandermeer

DeHaan is ordered to repaint the ship and reflag it to impersonate a Spanish steamer of the same size, the Santa Rosa. Safer for cruising round the Spanish end of the Med. Able Seaman Amado will, when necessary, pretend to be captain. (This is the cue for a fascinating account of how the outbreak of the Spanish Civil War caused fights on Spanish ships around the world, including the one Amado was lucky to escape from, pp.39-40.)

Wilhelm passes on instructions for the ship to sail to Rio de Oro bay, where they pick up a detachment of British commandos, commanded by one Major Sims, trim and tense (p.43). The mission is to ferry the commandos to Cape Bon, where they will go ashore and attack the ship-spotting base there, which seems to be using some kind of new technology which can track and monitor passing ships, even in the thickest fog. Something to do with infra-red, which DeHaan has never heard of.

They drop the commandos, return to the ship and some time later hear bangs and bullets. Obviously a firefight. When they see a flashing torch from the shore DeHaan and his crew go back in small boats to pick up the survivors. He has to trek quite a way through desert, stony gulches and wadis to find the battered survivor of the firefight – Major Sims is missing presumed dead, and there are several badly wounded. There’s another confused firefight on the trek back to the shore in which the plump cook ‘Patapouf’ is killed. But the commandos have captured some of the German equipment, are gotten safely back aboard ship, and it steams to the safety of British-held Alexandria.

2. In Admiralty Service

In Alexandria DeHaan is ordered to report to a caricature British officer, all red face and handlebar moustache, who insists on being called ‘Dickie’ (p.92). Then on to another Brit officer who shows him a cable from the Hyperion Line. From now on he is under direct British control. They are loaded to the brim with munitions, with two Hurricane fighter planes on deck and provided with a (Jewish) doctor, Dr Shtern (p.103), before being lined up in a small convoy of freighters escorted by a destroyer, HMS Covington, off towards Crete, which has just been attacked by the Germans in a daring airborne invasion (started 20 May 1941).

The Noordendam experiences engine trouble – fixed by the tough Polish engineer – but meaning they are left behind by the others. When they join them and dock in the only port not in German hands, Sphakia, they’ve barely begun unloading when they’re attacked by German Ju87s, Stukas. The first three planes are destroyed by the destroyer’s heavy cannon, but then DeHaan finds himself on his knees in the ruined bridge, bleeding, covered in glass and half deaf. There was a direct hit on the freighter next to them which has wrecked the bridge of the Noordendam.

Cut to five days later and DeHaan, still alive, is back in Alexandria. They unloaded at Crete and sailed back, wrecked but still seaworthy. Next thing we know DeHaan is in Algeciras, Spain, where he’s been ordered to meet another British officer, Commander Hallowes. The next mission is to sail to the Baltic with a cargo of radio antennas, masts and equipment, designed to help set up a listening station up there. Precise details will be sent him by courier.

June 1. Back in Tangier DeHaan hooks up with Hoek, who is his local contact. Then with Yacoub, a local fixer, an Arab nationalist. And finally the courier, a young nervous Brit who hands over typed instructions on the mission: sail to Lisbon, collect cargo, sail to coast of Sweden, rendezvous with Allied ship.

3. Ports of call

Maria Bromen is a Russian journalist (like several previous Furst characters). She’d interviewed DeHaan years earlier in Rotterdam. Now she learns he’s in Tangier and arranges a meeting where she begs him to take her on board ship to freedom. She has travelled this far south incognito, on the run from Russian agents, presumably the NKVD, because she refused to play ball with them. Because DeHaan has a heart of gold, he agrees, getting Van Dyck to navigate the ship’s cutter into the more derelict docks of Tangier and then tracking her down to a set of sheds in a horrible wasteland, to collect her.

The voyage from Tangier to Lisbon is uneventful, livened up by the screening of a knackered version of a Jimmy Cagney movie the first mate picked up in the souk. At Lisbon, DeHaan gives Maria money and watches her walk down the gangplank, regretfully, and out of his life. Good luck. Then he goes to see the ship’s agent, a nervous Portuguese who is fronting for the mission and not happy about it. The agent hands over the fake papers which officially claim the ship is carrying sardines, and then scuttles off.

On the way back to the ship, DeHaan is called over by a Brit in a car, calling himself Mr Brown. Now, throughout the previous 200 pages we have periodically caught up with the movements of one S. Kolb and learned that he is a British agent who has been spirited at great trouble out of Germany and down here to Lisbon. Now Brown informs DeHaan that the British want him to take Kolb on the trip to the Baltic. It is hinted that DeHaan has no choice, so he agrees.

The crew load the crates, full of aerials, as well as guns and Lord knows what, and off they steam north along the coast of Portugal and France. Two incidents: a fire starts in one of the holds, oily rags apparently igniting the cab of one of the lorries. DeHaan spots it and he and the crew manage to put it out before the whole thing explodes, but the officers angrily discuss the possibility of sabotage and many suspect the odd little man Kolb. Throw him overboard, they say. And, close to the coast of Sweden, they witness a full blown air raid with searchlights, ack ack guns and swooping dive bombers attacking a naval base. But sail by it unscathed.

4. Baltic harbours

The last 70 pages of the novel. Will they make it to the rendezvous safely? Will they manage to get rid of the contraband cargo? Is Kolb some kind of spy who’ll sabotage everything? Will the ship make it safely to Ireland, its next destination? What will become of DeHaan and Broman’s love affair? It’s all set up quite nicely to keep the reader hooked. The sea. The black night. The suspense:

The Noordendam ran dark now. And silent – bell system turned off, crew ordered to be quiet, engine rumbling at dead-slow speed on a flat sea. A mile off the port beam, one fishing village, a few dim lights in the haze, then nothing, only night on a deserted coast. (p.240)

They do rendezvous successfully, with a smelly old fishing boat, the Ulla, its skipper co-operating with a Scottish commando and a man DeHaan chats to, a British scientist, the one who is going to erect the aerials and create an Allied listening post, here on the barren, deserted south Sweden coast. After repeat trips back and forth, all the cargo is unloaded and the empty Noordendam turns and sets sail for Malmö, there to pick up a legitimate cargo.

Until they are intercepted by a German patrol boat, M-56, searchlight and heavy duty cannon. The efficient keen Nazi captain, sub-Lieutenant Schumpel (p.256) insists on coming aboard and quickly sees through all their subterfuges, realising the terrified Amado is not the captain, that the ship is not the Spanish Santa Anna, not believing DeHaan’s story about smuggling booze, suspecting something much more incriminating. So he orders them to sail towards the nearest German port, closely shadowed by the gunship, and with himself and 6 or 7 Nazi soldiers distributed through the crew room, radio room and engine room to supervise.

These closing forty pages rise to the tension of a genuine action thriller. Without DeHaan’s prompting, his crew take on the Nazis – the cabin boy and a sailor jumping the Nazi commander and stabbing him to death, while the bosun knocks another goon out. In the radio room they capture the terrified stripling put in charge of the radio. In the engine room they find the chief engineer has already killed one German and tied up the other.

After reviewing the options (ram the German boat? – No, it would dodge and fire enough shells to sink them) DeHaan and his officers decide to ‘make smoke’, closing the air flaps on the furnaces to generate clouds of thick black smoke. At the same time they begin to veer away from the German-ordered course, and radio garbled messages to the Germans that they have engine trouble – the ship is on fire – going to fetch the commandant – abandon ship – and almost make it out of range of the gunboat when it finally starts firing shells.

The third one hits the stern, but above the water line. Impossible to steam West, that’s what the M-56 and cruising spotter planes will expect. Has to be East, towards Latvia and Russia. In the early hours of 22 June 1941 they approach the port of Liepaja. They are ushered in by Russian patrol boats, then met by a harassed official, partly expecting to be arrested, maybe spend the war in a camp.

What they don’t know is that at midnight Hitler launched Operation Barbarossa, the German invasion of the Soviet Union. Now a tramp steamer which has been helping the British is a heroic ally of the Soviet people. Relieved, DeHaan and crew then learn they are being dragooned into a convoy of all available shipping evacuating people from the port. A ramshackle collection including a ballet company, various police officers, soldiers and so on, along with a grand piano and miscellaneous military equipment, cram the Noordendam‘s decks.

The accompanying destroyers blow their hooters and, as they hear and can even see fighting erupting around the harbour, the convoy steams out to sea, heading north past the Gulf of Riga, then East towards Kronstandt. Through mine fields where they lose some boats. Then are attacked by German bombers, strings of them. Finally a chain of bombs explodes aboard the Noordendam, crippling the engines and severing the steering equipment. As the rest of the convoy steers East, the ragbag of soldiers and civilians packed into the Noordendam collect the dead and cover them, treat the wounded, and watch the ship drift helplessly north towards the shore of Finland. Eventually it crashes gently into rocks on a low, unmarked island off the coast.

And here, eerily and mysteriously and abruptly, the novel ends. By this stage I think we are meant to find the ship itself has become a legend. Furst has subtly built up the picture of it as a floating world, a universe to itself, with a crew gathered from all the nations – Arabs, Greeks, German communists, Spanish survivors, Polish anti-fascists, the sturdy DeHaan himself.

Like these later Furst novels it doesn’t end tragically, as the harsh WW2 milieu suggests – it ends dreamily, vaguely, romantically. It ends like a Shakespeare romance, on a note of wistful mystery, confirming the way in which – despite the occasional shootouts and deaths, these novels are essentially romances.

They searched for her, some time later, once the war in that part of the world had quietened down…They asked the people who lived along that rockbound coast, fishermen mostly, if they’d seen her, and some said they had, while others just shook their heads or shrugged. But, in the end, they found nothing, and she was never seen again. (Last sentences, p.309)


Sensual sex

I associate these later Furst novels with slinky, sensual, stockings-slipping-off sex as much as clandestine meetings in exotic capitals and intense firefights. The last two novels in particular seem to have acquired a formulaic rhythm: puzzling encounters with ‘agents’ and/or violent action > comfortingly sensual sex.

Throughout the text are sprinkled DeHaan’s memories of his brief affair with Arlette in Paris. Smelling hashish in a Tangier back street transports reminds him of the time he and Arletta tried the drug and ended up making passionate love, ‘ferocious and wildly chaotic’ (p.6).

On the way to drop the commandos, DeHaan remembers more Arlette:

At a crucial moment on their first night together, what his hand found pulsed, and the heat of it surprised, then inspired him. (p.49)

Immediately following the hair-raising raid on Cap Bon, the text jumps to DeHaan in bed with Demetria, a woman he picks up at a party back at Alexandria:

Freed of her daily life, and a stiff linen suit, her underwear buried somewhere in the rumpled sheets of the hotel bed, she lay back in her flesh, luxuriant, legs comfortably apart – the colour the French called rose de dessous casually revealed, and smoked with great pleasure. (p.85)

The odd character, Kolb, whose narrative periodically intersperses the main, ship-board one, spends his first few sections hanging round in a safe room in Hamburg, waiting for news of how he’s going to be exfiltrated. His only contact with the outside world is a large German woman, Fräulein Lena. He imagines her big body only held in place by an elaborate arrangement of corsets and stays. Finally he makes his move, on her next visit plying her with sticky apricot brandy, and discovering that:

God, she was as lonely as he was, soon enough strutting round the room in those very corsets – pink, however, not black – that had set his imagination alight. And, he did not have to dismantle them, as he’d feared, she did that herself while he watched with hungry eyes. And soon enough, he was to learn that secret depravities did lurk – the same ones shared by humanity the world over but never mind, they were new and pink that night, and slowly and thoroughly explored. (p.125)

From the moment DeHaan takes the Russian journalist Maria Bromen on board (she sleeps in the first mate’s cabin, while the latter doubles up with another officer) he lusts after her. When he says goodbye at Lisbon part of him is torn. So when she returns at Lisbon and is taken back on board, it isn’t long until she asks to borrow a book to read, and they find themselves standing very close together in his tiny cabin.

For a time they stood apart, arms by their sides, then he settled his hands on her hips and she moved towards him, just enough so that he could feel the tips of her breasts beneath the sweater. (p.222)

She asks him to turn off the light. He turns to find her stripped down to her panties. They both jump into bed. Etc. After that there are many scenes with one of them in bed and the other looking soulfully out the porthole at the grey ocean, worrying about the future in these troubled times; exactly as Marie-Galante or Serebin stood at windows looking out over Paris or Istanbul or Bucharest worrying about the troubled future.

This scene, emblematic of wistful regrets, recurs again and again, giving the novels their special mood of sensual nostalgia.

Datestamps, telegraphese and subtitles

Many of the sections start with the date, like a journal entry, sometimes with the exact time, like a ship’s log – a standard thriller procedure. More specific to Furst is the habit of omitting verbs from sentences or clauses, to make them feel more punchy and immediate – a kind of telegraphese. And, where the narrative voice or dialogue is often clipped and elliptical, Furst will often give the interpretive thoughts of one of the characters – generally the main protagonist, in this case Captain DeHaan – in italics. All three habits are exemplified in this clip:

6 June, 0820. Hotel Alhadar.
Hard to find, in an alley off an alley, grim and dirty and cheap. The desk clerk sat behind a wire cage, worry beads in one hand, a cigarette in the other, and beneath his tasseled fez, a mean eye – who the hell are you? (p.173)

Repeats

Furst enjoys repeating the same characters or settings over different novels.

  • The Café Heininger is the setting for a famous shootout in the first book and is mentioned in every one of the succeeding novels. Here DeHaan remembers it as the setting for  his last night in Paris with his beloved Arlette (pp.137-139)
  • When Maria Sambon tells DeHaan some of her backstory, she mentions trying to write short stories, in the manner of Babel, no, more like Serebin (p.224). Ilya Serebin is the fictional hero of the previous novel in the series, Blood of Victory.

The recurrence of some characters in the early, genuinely scary and threatening novels about the KGB and its murderous activities in Eastern Europe (and Civil War Spain) added to the sense of menace, the sense of a web of spies and assassins across Europe who the characters couldn’t escape.

But as the series has become softer and more sensual, with a lot more descriptions of fine food and ladies in stockings, the recurrence of minor characters has begun to have the opposite effect, and made the series seem more cartoony, somehow profoundly unserious. The recurrence of the Café Heininger has become an in-joke, like something in an episode of The Simpsons.


Credit

Dark Voyage by Alan Furst was published in 2004 by Weidenfeld and Nicholson. All quotes and references are to the 2005 Phoenix paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory – Russian émigré writer, Ilya Serebin, gets recruited into a conspiracy to prevent the Nazis getting their hands on Romania’s oil, though it takes a while to realise who’s running the plot – Count Polanyi – and on whose behalf – Britain’s – and what it will consist of – sinking tugs carrying huge turbines at a shallow stretch of the river Danube, thus blocking it to oil traffic. (298 pages)
2004 Dark Voyage – In fact numerous voyages made by the tramp steamer Noordendam and its captain Eric DeHaan, after it is co-opted to carry out covert missions for the Allied cause, covering a period from 30 April to 23 June 1941. Atmospheric and evocative, the best of the last three or four. (309 pages)
2006 The Foreign Correspondent
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

Blood of Victory by Alan Furst (2003)

Just outside the railyards of Trieste, the night frozen and black and starless, it turned 1941. The engineer sounded the train whistle, more lost and melancholy than usual, the way Serebin heard it, and Marie-Galante looked at her watch and kissed him. Then they held on to each other for a long time – for hope, for warmth in a cold world, because at least they weren’t alone, and it would have been bad luck not to. (p.101)

Timeframe

This, the seventh in Furst’s series of historical espionage novels, is set in the period from 24 November 1940 to July 1941. So the Second World has been underway for just over a year (since Germany invaded Poland and Britain and France declared war in September 1939). France has fallen (June 1940) and Paris is occupied by the Nazis.

The novel is mostly set in the Balkans and Turkey, where there is concern and tension about how and when the Nazis will invade Eastern Europe. In particular it focuses on Romania, troubled by fascist politics, street fighting and location of vital oil fields.

To add to the sense of tension and unease generated by the setting and plot, Furst uses the technique of giving a date stamp to every section, sometimes specifying the precise time of day, to convey the speed of events – a common enough technique used in thousands of thrillers and movies.

Boobs and boulevards

Russian émigré writer, Ilya Serebin, is on a Bulgarian freighter chuntering across the Black Sea towards Istanbul. Serebin has seduced the wife of one of the other passengers on the freighter – Marie-Galante Labonniere – and the first page of the novel describes them lying in bed naked, his finger running up and down her back which feels ‘smooth as silk’. This ambience, of warm naked female flesh, drenches the whole book, which continually refers to men’s lovers and mistresses, takes us to brothels and introduces us to sensual prostitutes. In this respect, the novel has the relaxed ambience of a soft porn fantasy.

Serebin was a man who had love affairs, one followed another. It was his fate… (p.4)

Furst’s first three novels are extraordinarily powerful depictions of the violent, claustrophobic and terrifyingly politicised atmosphere of Eastern Europe and Russia in the late 1930s. However, by book number four, a lot of this imaginative charge had disappeared and the novels’ focus seemed to have switched to Paris and to have become more about boulevards and cafés, fine restaurants and bars, exquisite meals and beautiful bare-bosomed women.

So although this seventh novel takes us to other locations (Istanbul, Bucharest), its heart is always in the city of light, where Serebin has his apartment, from which he departs to go on ‘missions’ but to which he always safely returns, to his bed and to the latest sensuously nubile woman. We are never far away, in these later books, from a boulevard or bare breasts.

When I finished jotting the paragraph above, I returned to reading the book and read, in quick succession:

  • On a sign above the door, a naked wench sat cross-legged in the curve of a quarter moon, smiling down on a street of bars and women in doorways. (p.151)
  • Beneath the window, an ancient radiator hissed and banged, warming the room to a point where they could walk around in their underwear. ‘Your best?’ Serebin said. Her bra and panties were ivory silk, snug and expensive-looking, that favoured the warm colour of her skin. (p.152)
  • He moved so that his lips were on her shoulder. She put her hand on the back of his neck and, very gently, began to comb his hair up with her fingers. (p.154)
  • Serebin spent half an hour on deck, then returned to the cabin. Marie-Galante was seated at the dressing table, putting on lipstick. She wore a slip and stockings, a towel wrapped around her hair. (p.158)

Later on, we have barely met Jamie Carr, a British diplomat based in Bucharest, before we are told that he is on Girlfriend Number Three, ‘a tall Polish nightclub dancer with pencilled eyebrows’ (p.198). He’s packing up his diplomatic records before pulling out of the city in expectation of the looming civil war. As he leafs through the documents, the first to come to  hand is his notes about Zizi Lambrino, King Carol’s mistress (p.199).

My point is that, in many of these situations, on first meeting many of these characters, the first thought is almost always about their lovers, mistresses, whores and concubines. About sex.

Blood of Victory sounds like the macho title of one of my son’s hyper-violent computer games and, I presume, refers to the oil which is at the heart of the book’s plot, though we never actually see any. But given the prevalence of half-naked women in hotel rooms, the book should more accurately be titled something like The silk stockings of victory or The wine and women of victory.

The plot

Russian émigré writer Ilya Serebin is old enough to have lived through the Revolution, the Civil War and have escaped the Bolsheviks to Paris. He has a wife, Tamara Petrovna, but years ago she fell victim to tuberculosis and Serebin set her up in a house not far from Istanbul. Visiting her is part of the reason for his current trip, across Europe to the Black Sea and now by ship to Istanbul.

Istanbul

In Istanbul Serebin meets other Russian émigrés at the International Russian Union (IRU) offices and café. They lament the war, the Nazi incursions into the Balkans, the Turks’ fears that they’ll be next to be attacked. The Russians reminisce about the old country and the immense violence of revolution and civil war into which friends and family vanished.

Serebin pays a visit to Serge Kubalsky. He invites him to a party for old Goldbark, a veteran exile. Barely have drinks started flowing and arguments beginning, when a bomb goes off, eviscerating Goldbark and killing several others. It is not clear to this reader why, unless a petty act of revenge by Soviet security agents.

Serebin is interviewed by Turkish police but knows nothing about it. Later, sitting in a cafe, he’s given a hand-written note asking him to meet Kubalsky at a cinema that evening. He goes but K is nowhere to be seen. Instead, a fat man scuffles down the aisle being pursued by two others, who run through the Exit door and there’s the sound of pistols firing. Serebin tentatively follows them but there’s no body, no blood. The book is full of non-sequiturs and puzzles like this. Dead ends. Obliquities.

Serebin is invited to a famous brothel in whose sleazy ambience he meets a man named Bastien, who immediately reveals that his name is Janos Polyani, also known as von Polyani de Nemeszvar.

a) We’ve met Polyani in the previous novel, Kingdom of Shadows where we learned that he is an agent of Hungarian intelligence.
b) He appears to very obliquely recruit Serebin to spy for Britain. Over succeeding chapters we learn that Polyani is trying to drum up ideas for some way of preventing oil from Romania fuelling the Nazi war machine ie being transported to Germany. He has no fixed plan – in fact is open to all suggestions – and asks Serebin if he will undertake to track down a millionaire crook and fixer known as Ivan Kostyka, who is known to have an extensive network of agents in Romania.

Serebin takes the Orient Express back to Paris and his cosy flat. He visits the IRU office in Paris, base for the émigré literary magazine, The Harvest, with its editor Boris Uhlzen. He asks Boris if he knows the whereabouts of the notorious Ivan Kostyka. Switzerland, apparently.

Serebin goes by train to Switzerland and meets squat, 70-year-old crook and fixer Kostyka in the Hotel Helvetia in St Moritz, along with his chunky 40-something mistress. (All the men in these novels move in an ambience of mistresses, lovers, prostitutes and easily available women.) Kostyka agrees to come in on the plan and gives Serebin a list of his contacts – his intelligence apparat – in Romania, over 100 names and descriptions.

So Serebin and his lover Marie-Galante set off for Bucharest, the capital of Romania. Here they make love a lot in their hotel room and, in between times, look up contacts on Kosyka’s list, with varied results. A few agree to help. The best result is a Jewish contact gives them a copy of a comprehensive report on the Romanian oilfields prepared for the British General Staff after the last war.

In a horse-drawn taxi on the way back from a typically stylish restaurant meal in Bucharest, Serebin and Marie-Galante get caught up in some of the street fighting and find themselves being robbed at gunpoint by the thugs of the fascist Iron Guard. Lucky not to have been shot on the spot.

This, like so many other scenes in the novel, is sort of scary but also strangely detached. The whole thing has a strange, dreamlike ambience, as the main characters drifts from city to city, from restaurant to bar to cafe, making love at regular intervals, holding oblique conversations with various strangers – even when fighting breaks out on the snowy streets of Bucharest, it all seems strangely inconsequential.

Serebin and Marie-Galante travel to Constanta in Romania. Then by boat back to Istanbul. There’s an onboard conference with a few other agents, where they share their findings. On this boat trip Polanyi tells him that Marie-Galante’s husband has a new diplomatic posting, and that she must go to be at his side, not least because the husband is also an agent working for Polanyi.

Paris

Back to Paris where Serebin shares after hours food with the chef of the Brasserie Heininger, the ‘legendary’ Paris cafe which features in all of Furst’s novels. Among the small guest list of impoverished exiles is the poet Anya Zak. She invites Serebin back to her tiny garret flat, reads him a poem and makes it plain she is sexually available. Tempted, he has the discipline to say no and go back to his own little apartment.

There are more incidents in Paris. Polanyi and other contacts discuss information about the Danube, the long river up which Romanian oil is transported into Germany. How can they stop it? Could the Danube be blocked? Serebin discusses it with an exiled Romanian riverboat pilot in Marseilles. Experts in Birmingham are consulted. Slowly a plan crystallises and Serebin is finally told about it by a newish arrival in the team, one Mr Stephens, a fair-haired Brit of 35.

Serebin works daily at the offices of the emigre magazine The Harvest. It is here that people know to contact him. Surprisingly he gets a call from Serge – last seen running out a cinema pursued by men with guns. When he meets Serebin he explains that ‘they’ (probably the NKVD) tried to bump him off at the cinema but he escaped and has been on the run round Europe. Serebin wishes him well.

A new character named Jean Marc invites him to a bar in a remote working class arrondissement and, after getting our man thoroughly drunk, leaves while Serebin is in the loo. When Serebin staggers out into the street, he realises he is being tailed by two Arab toughs who he begins to think are going to attack him. Tension – until Serebin comes across a whore in a doorway, makes a bit of a fuss negotiating a price, which brings her pimp into the open and the assassins – if that’s what they are – confronted by too many witnesses, slowly withdraw, grinning. Threat over. For the present…

Out of the blue he gets a phone call from Marie-Galante – she has two days leave in Paris and spends them sleeping with him.

She wriggled briefly beneath the covers and gave him a garter belt… She unhooked her bra, put it on his lap with everything else, then slid her panties off… (p.224)

By now Serebin has been told his role in the project, which Polanyi has christened Operation Medallion. Serebin is to pose as the representative of a Romanian company which has placed an order for four or five enormous metal furnaces. He will accompany these as they are towed by tug down the Danube to the narrowest, shallowest part of the river, where they will ‘accidentally’ sink – thus blocking the supply of Romanian oil.

Only a few days before the departure date for Bucharest, Serebin enters his cheap Paris hotel in the usual way, only for the desk clerk to warn that ‘they’ are upstairs, searching his room. Not entirely sure who ‘they’ are, nonetheless Serebin leaves by a back entrance and goes to the apartment of Anya, the fat poetess who made herself ‘available’ earlier in the story. She makes a few attempts on his virtue, then gives up, and simply lets him stay.

Belgrade

Cut to Belgrade where Serebin meets a couple of happy-go-lucky Serbian officers, who enjoy wine and women and hold a little party for him. Next evening they drive a lorry down to the docks, and surreptitiously unload land mines into each of the five barges which are carrying the huge turbines down the Danube. The Serbs fix one per barge, in a booby-trap so that Serebin only has to open the hatch to any of the tugs, and the mine will go off – then wish him good luck and drive off.

Journey down the Danube

Plenty of atmosphere and Serebin gets on well with the colourful characters of the two barge owners as they cruise down the great river. But they are pulled over by a Romanian river patrol which insists they sail into a side canal off the main river channel. As the tug couple are taken off to be questioned, Serebin realises his cover story won’t stand up to scrutiny and decides to blow up the tugs. There’s an exciting shoot-out during which Serebini blows up at least two of them, shoots out the searchlight of the river patrol (it’s all happening at night), before escaping into the wooded hills above the river.

This section of the novel is genuinely gripping and exciting. Serebin spends several days on the run, pursued through woods and tiny peasant villages, hiding out during the day, sneaking along beside the river at night. Finally, he arrives at the planned rendezvous with his control, Marrano.

He explains the mission has essentially failed, they pile into the getaway car, and drive off along the narrow Széghéni road, carved into the virgin rock face in a torrential downpour, itself quite a hair-raising experience – until they are stopped at a police roadblock. On impulse Marrano decides to ram it, and they get a bit of a head start but are soon being pursued by a police car taking pot shots at them and catching up fast. Marrano deliberately drives over the edge of a cliff, the car dropping to the forest below, crashing through branches of dense pine forest, before crashing to a halt on the ground beneath.

Well, they’ve certainly given themselves time, as the police car up on the road stops and flashes torches down into the forest. But they are both injured. Serebini pulls Marrano free of the wreckage, drags him down to the river and somehow gets them onto one of the many logs piled up against the shore. He has just enough energy to kick the log free of the jam and out into the river flow, and so that it slowly floats along with the current, downriver in the dark, leaving the soldier search party far behind them.

Happy ending

Cut to a hotel room in Belgrade. Serebin and Marrano were found and rescued and smuggled back into Serbia. After being patched up, Serebin returns to the hotel room which he left just a few short days before, to find the two larky Serbian officers in the middle of an orgy with three beautiful girls.

The air was thick with black tobacco and White Gardenia, the bed occupied by three young women, one very young, all of them striking in different ways. Mysterious, Milkmaid and Ballerina, he named them… ‘Hello,’ she said, rather formally, and, in an afterthought, pulled the sheet up over her bare breasts. (p.282)

In Furst, you are never far from lovely young breasts.

Three months later. July 1941. Kostanyi is being celebrated at a dinner in London for his anti-Nazi efforts. And Serebin has made it safely to Istanbul and then onto the remote house he bought for his wife (who has conveniently died) and where he has now installed himself with his lover, Marie-Galante.

Back to bed

The novel ends with the writer staring thoughtfully out over the Bosphorus at dusk, then climbing into bed next to the naked form of the fragrant Marie-Galante, deliberately mirroring the scene on the first page.

And what should have been a tragedy, in terms of mission failure (the Germans continue to transport as much Romanian oil as they want up the Danube) with upsetting collateral damage (what happened to the poor Danube barge couple?) and the German invasion of Yugoslavia, which will sweep away all his brave Serbian friends — has turned into what feels like an undergraduate jaunt with a happy ending, then onto sensual sex with a gorgeous babe, smoochily pushing her bare bottom back against him, ‘her skin silky and cool, even on a hot summer night’ (p.289). Hooray.


Repeats

Furst enjoys repeating the same characters or settings in different novels.

  • We first met Janos Polanyi, the chief instigator of the plot, in the previous novel, The Kingdom of Shadows.
  • Lady Angela Hope is mentioned, an Englishwoman we’ve meet in earlier novels, who recruits for MI6, sometimes sleeping with the more attractive prospects to persuade them to join the Allied cause.
  • The Zebra Girls are a troupe of women entertainers who we’ve met in previous novels, who perform in nightclubs, wearing only zebra masks and shoes, the rest utterly naked. In this novel they perform at the Tic Tac club in Bucharest.
  • The Café Heininger is the setting for a famous shootout in the first book, and appears in every single one of Furst’s 14 novels.

The recurrence of some characters in the early, genuinely scary and threatening novels about the KGB and its murderous activities in Eastern Europe (and Civil War Spain) added to the sense of menace, the sense of a web of spies and assassins across Europe who the characters couldn’t escape, which made those novels so dark and haunting.

But as the series has gone on the novels have become softer and more sensual, with a lot more descriptions of fine food and ladies in stockings – the recurrence of minor characters has begun to have the opposite effect, and made the series seem more cartoony, somehow less and less serious. The recurrence of the Café Heininger has become an in-joke, like something in an episode of The Simpsons.


Credit

Blood of Victory by Alan Furst was published in 2002 by Weidenfeld and Nicholson. All quotes and references are to the 2003 Phoenix paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory – Russian émigré writer, Ilya Serebin, gets recruited into a conspiracy to prevent the Nazis getting their hands on Romania’s oil, though it takes a while to realise who’s running the plot – Count Polanyi – and on whose behalf – Britain’s – and what it will consist of – sinking tugs carrying huge turbines at a shallow stretch of the river Danube, thus blocking it to oil traffic.
2004 Dark Voyage
2006 The Foreign Correspondent
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

Kingdom of Shadows by Alan Furst (2000)

Furst’s sixth novel follows the adventures of Nicholas Morath, an aristocratic Hungarian who has secured a French passport and lives in Furst’s favourite city, Paris, where he has a half share in an advertising company, the Agence Courtmain. His uncle, Count Janos Polanyi de Nemeszvar, also lives a very comfortable life in Paris.

In the first few pages we see Nicholas arriving, after a trip abroad, at the apartment of his South American lover, Cara, who has been wondering whether to masturbate in his absence and then asks him which role he’d like to play with her – wicked old uncle, slavemaster, ‘perhaps something from de Sade’.

Not to be outdone, on page seven the Count receives in his office the famous chanteuse Mimi Moux, at her usual hour, who strips to her underwear then kneels before him, undoes his fly and performs oral sex. Later, there is dinner – chicken soup with dumplings and cream, and a bottle of 1924 Echézeaux. Mmmm yummy.

Furst is touted as an author of spy novels, but I find his descriptions of sophisticated sex, often with role-playing and numerous positions, along with the descriptions of delicious-sounding European meals and fine wines, and the many sequences of sauntering around beautiful Paris in the sun or the rain or the snow, all go to make up a unified, sensual and imaginative whole, a sex fantasy Paris which no amount of cloak and dagger incidents in Eastern Europe can really dent.

Tourist Furst outweighs spy Furst. Thus it comes as no surprise to learn that there are several magazine articles devoted to helping tourists find the real-life settings of Furst’s Paris locations.

The Munich Crisis

The novel opens on 10 March 1938 and focuses on the gathering international crisis over the Sudetenland ie the strip of Czechoslovakia bordering Germany and Austria which had a large ethnic German population and was given to Czechoslovakia after the Great War. Once Hitler was in power (1933) he began making speeches calling, among other things, for the Sudetenland to be handed back to Germany. After he annexed Austria in March 1938, Hitler’s calls became more strident and threatening. Since both France and Britain had guaranteed Czechoslovakia’s borders, all Europe held its breath expecting war to break out at any minute.

Half way through the novel come British Prime Minister Neville Chamberlain’s humiliating trips to Germany to meet Chancellor Hitler and try and find a way out of the impasse. On the third trip, to Munich, on 30 September 1938, Chamberlain caves in to all Hitler’s demands, namely the handing over of the entire Sudetenland to Germany, and persuades the French to acquiesce also.

It is against this backdrop that Nicholas carries out various undercover missions to Eastern Europe, which are both tense in themselves and also give the characters opportunities to comment on the international situation, what it means for them and their countries – always a fascinating aspect of Furst’s fiction. In fact, Furst’s ability to imagine himself back into the minds of educated people at the time of these events who have absolutely no idea what is going to happen next and who speculate about the changing scenarios as the situation evolves – will Hitler end up ruling all of Europe? will Britain make a separate peace with him? – is, for me, the most rewarding, the most thought-provoking aspect. of Furst’s novels.

Morath’s missions

  • A trip to Antwerp, ostensibly to see a client for the agency, where he also touches base with a dressmaker who has information about German industrial output.
  • A long elaborate trip to Ruthenia, an area on the borders of Hungary and Romania, to collect a thuggish villain named Pavlo and smuggle him under a false passport over the border into Hungary. After he has shot an innocent taxi driver, had a small shootout with border guards and swum the river to freedom, Morath gets him on the train to Paris where he promptly vanishes leaving the reader no idea why Morath has gone to all this effort.
  • Another long journey to Czechoslovakia and into the Sudetenland, where he is shown the extensive defences the Czechs have built into the mountains to hold up the Germans attack long enough for France and Britain to come to their aid. During this trip he and his guide, Novotny, and a small village of Czechs come under prolonged attack from ethnic German (Volksdeutsch) militia, who burn down the police station and kill various Czechs. Nicholas is only able to escape when the attack withdraws the next day. He is carrying detailed sketches of the mountain defences with a view to publicising them back in the West.
  • On a journey to Hungary to ask his mother to flee the country with him (she refuses) he is also tasked with collecting money from rich donors (what for is never clearly explained) but after picking up a briefcase of cash from Prince Hrubal in a castle, Nicholas is ambushed by the Siguranza, the Romanian secret police, who beat him up and throw him in a cell. After interrogation, he is being moved to another station when there is an armed attack on the railway station where he’s standing with his captors, most of whom are shot dead, as Nicholas is spirited away in a fast car, has his handcuffs cut off and is transported safely back across the border.

During these adventures, we learn a lot of background information about all sorts of aspects of East Europe, from the food, the landscape to, of course, the political issues: about the Croatian fascists – the Ustache – about the chequered attempts of the Hungarian leader Admiral Horthy to bend to the Nazi wind without completely capitulating to them, about the all-pervasive anti-semitism of Eastern Europe.

But no matter how fraught these trips, the reader can have confidence that Nicholas will always return to the warm willing body of Cara or – after her father, Señor Dionello, appears and insists she leave Paris and return to South America with him – of the next pretty girl Nicholas effortlessly seduces.

He kissed her, reached over and undid her bra, she shrugged her shoulders, he tossed it on a chair. Some time later, he hooked a finger in the waistband of her panties and slid them down her legs, slow and easy, until she pointed her feet so he could get them off. (p.44)

In the latter parts of the novel various strands come together in quite puzzling ways. The French authorities start calling Morath in for questioning about the incident in Romania. The Count suspects this is the work of his colleague in the Hungarian Legation, Sombol, and one fine day goes to his office, asks him to stop interfering and then shoots him in the head. Unbelievably, he persuades the French police that this was suicide, but nonetheless disappears shortly afterwards, missing, presumed dead.

Certainly dead enough for Nicholas to inherit his estate and wealth, to the accompaniment of various celebratory parties – a posh one among the Hungarian émigré community in Paris, and a small one for Nicholas and his new squeeze, Mary Day, a senior figure at his advertising agency, who he finds himself seducing/falling in love with, who buys him a special cream cake to celebrate his inheritance and then allows him to lick the cream off her nipples.

Not that Morath doesn’t still have various missions to undertake: one to Antwerp to a family firm of diamond traders, to convert the money he collected in the Hungary sequence form various donors: this will be converted to diamonds and smuggled to America as funds to be saved against the very rainy days which are coming.

Early in the novel Nicholas had been tasked with finding a safe apartment for a senior German officer supposedly to have romantic rendezvous in; about half way through the book the Count told him the officer is somehow linked to the Wehrmacht’s attempts to get rid of Hitler.

As we all know, these didn’t work, which might explain why Morath is called from his warm bed one night to help the landlord dispose of the body of a senior German officer – not the man it was rented for – who has apparently shot himself in the apartment.

In a later vignette, Morath reads that the man he helped smuggle out of Ruthenia in the opening scenes of the book was in fact an assassin and terrorist, involved in numerous outrages – including the assassination of an anti-German journalist in the Luxembourg Gardens – but was later arrested in Romania and found hanged in his cell.

In the final sequence, a well-known Hungarian Jewish émigré, a musician who’s made it big in Hollywood, Kolovitzky, is at one of the parties Morath attends. Next thing Morath hears, Kolovitzky has travelled to Vienna under the impression that he’s inherited several properties there. Big mistake. It’s a scam. He is arrested by the SS who demand a ransom from his family.

Kolovitsky’s family approach Morath to beg his help and so he undertakes a mission with various helpers who we have been introduced through the novel: the Russian barman Boris Balki, the Jewish fixer Rashkow, and the middlemen, Wolfi Szubl, who found the German officer his apartment.

This motley crew are involved in a Mission Impossible-style rescue of Kolovitzky from the hotel in Vienna where he’s being kept under guard (along with other Jewish hostages), which Morath manages by starting a massive fire and panicking the SS guards.

After more episodes involving fake identities and rendezvous with diplomatic cars, Kolovitzky is finally smuggled across the border into Hungary, from where he and Morath catch a train back to Paris and then – at last – Morath can get back into bed and snuggle up next to Mary Day’s lovely bottom.

Paris

Paris is a major character in the novel, in fact in most of Furst’s novels – arguably far more real and present than most of the second-string human characters.

The rain slackened, that afternoon, Paris a little triste in its afternoon drizzle but accustomed to weather in the spring season and looking forward to the adventures of the evening. (p.7)

They walked in the Palais Royal gardens after lunch. A dark afternoon, perpetual dusk, Polanyi and Morath like two ghosts in overcoats, moving slowly past the grey branches of the winter parterre. (p.14)

Morath had been eighteen years in Paris and the émigré life, with its appetising privacy, and immersion in the city, all passion, pleasure and bad philosophy, had changed the way he looked. It meant that women liked him more… (p.19)

Paris that September was tense and brooding, on the edge of war, darker than Morath had ever known it. The retour, the return to daily life after the August vacation, was usually a sweet moment in Parisian life, but not that autumn. (p.139)

Morath had always liked the Novembers of Paris. It rained, but the bistros were warm, the Seine dark, the lamps gold, the season’s love affairs still new. (p.176)

‘Monsieur Morath – Nicholas, if you don’t mind – this is Paris. If you want to fuck a camel, all it takes is a small bribe to the zookeeper. Whatever you want to do, any hole you can think of and some you can’t, it’s up in Pigalle, out in Clichy. For money, anything.’ (p.75)

This fetishising of a city, this making it into the theatre of all your darker fantasies, into a bottomless pit of depravity and corruption, reminds me of the way Len Deighton writes about Berlin in his nine Bernard Samson novels.

It would be interesting to compare and contrast the way the two writers make use of a major city – as a location and backdrop, as a place to be physically criss-crossed in the course of the hero’s adventures, and so as a kind of grid or matrix for the narrative to be woven onto, as well as a psychological fantasy world where all our – the readers’ – naughtiest thoughts can be acted out and vicariously satisfied.

For me, living in boring, workaday London, Furst’s Paris and Deighton’s Berlin sound amazing – the settings of non-stop parties, orgies, cabarets and endless intrigue and adventure. It would be interesting to know what people who actually live in those cities make of their fictional portraits. I wonder if any German critics ever reviewed Deighton’s Berlin novels, or what French critics make of Furst’s Paris.


Credit

Kingdom of Shadows by Alan Furst was published in 2000 by Victor Gollancz. All quotes and references are to the 2001 Phoenix paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows – Hungarian exile in Paris, Nicholas Morath, undertakes various undercover missions to Eastern Europe at the bidding of his uncle, Count Janos Polanyi, a kind of freelance espionage controller in the Hungarian Legation. Once more there is championship sex, fine restaurants and dinner parties in the civilised West, set against shootouts in forests, beatings by the Romanian police, and fire-fights with Sudeten Germans, in the murky East.
2003 Blood of Victory
2004 Dark Voyage
2006 The Foreign Correspondent
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

Red Gold by Alan Furst (1999)

The fifth of Alan Furst’s Night Soldiers series of historical espionage novels, and sequel to The World At Night, Red Gold picks up the career of French movie producer Jean Casson, and follows his further adventures in occupied Paris from 18 September 1941 until 5 April 1942. Once again the book is divided into ten or so ‘chapters’, each sub-divided into short sections headed by a datestamp – so there is a strong sense of the passage of time and the specificity of time.

Jean Marin

The 42-year-old is now hiding out in a poor neighbourhood under a false name – Jean Marin – and down to his last few francs, when he gets chatting to a crook in a low dive. He is recruited into joining a gang which is pulling ‘a job’ in a railway yard, where the gang break in, cosh a guard, and steal sacks of sugar. Flush with his share of the take, Casson goes to a low-life club, picks up a whore and is staggering towards a hotel when he is badly beaten and robbed by some toughs, before stumbling back to his flat.

He has barely awoken from a semi-conscious sleep when there’s a knock at the door and the police arrest him. Oh well. Only a matter of time. He is driven to an out-of-the-way police station where, to his surprise, the arresting officer offers him a job with the Resistance. He is driven to another office where he meets the French officer, Degrave, under whom he served, briefly, as an Army film director up at Sedan, during the German invasion of June 1940. In the same haphazard way as in the previous book, he finds himself being recruited into the Underground and tasked with contacting the communists, who have their own separate clandestine organisation.

In this book we are introduced to rather more characters, with independent storylines. Weiss is a communist agent. He instructs Renan, an old working class activist, to steal machine guns from the Schneider factory. Renan knows it is doomed, makes the attempt, is shot dead after the Germans are tipped off. Similarly, Weiss gets some old pistols and a hand grenade to a group of four students who make an amateurish assault on a German bullion lorry in the village of Aubervilliers, managing to get killed in the process.

In a later episode a young amateur patriot, Slevin, tries to assassinate a Luftwaffe pilot on a flight of stairs down to a Métro station but fails miserably. None of these incidents directly affect Casson. They are there, presumably, to create an atmosphere, to indicate the growing number of attacks made on Germans as the occupation enters its second year.

Casson contacts Kovar, a screenwriter and novelist he met before the war, very left-wing. An interesting character, Kovar marched with the communists but is more of an anarchist. He fills Casson in on the situation in Russia ie the Germans are at the gates of Moscow. Kovar agrees to see if he can put Casson in touch with the FTP, the communist Francs-Tireurs et Partisans. Sure enough, a few days later Casson is taken blindfolded to a safe house and interrogated by a 50-something woman, Lila Brasova, political commissar. Apparently satisfied, she says he and his people must put their money where their mouth is -ie give the FTP guns.

Later we see Brasova meeting with an NKVD officer named Juron, Weiss, who has been commissioning these ill-fated resistance efforts, and a senior NKVD executive, Colonel Vassily Antipov. (Those with good memories will remember Antipov as the mystery man who arrived in a Bulgarian village and recruited Khristo Stoianev right at the start of the first novel in the series, Night Soldiers.) They have a power conversation in which they try to assess whether Casson’s approach to them is genuine or a trap: Antipin tells Weiss the Centre (Moscow) thinks it’s a scam and wants Kovar and Casson liquidated. Give me a month to see if it’s a genuine approach, asks Weiss. OK.

In the event, at further meetings of this group, a deal is done whereby Casson gets to live but Kovar will be ‘sacrificed’. In a later scene we see Casson and Kovar meet one last time and the latter tell Casson he’s going to be making an exit. Towards the end of the novel Kovar evades an attempt by two FTP assassins to kill him, probably on a tip-off from the sympathetic Weiss.

Two strands dominate the second half of the novel:

Hélène

In The World At Night Casson had been desperately in love with the movie actress Citrine. In fact, he jumped off the boat taking him to freedom in England in order to swim back to France and try to be reunited with her. This novel starts a few months later when Casson has been unable to contact Citrine who was located at a hotel in the non-Occupied Zone. Half way through this book, Casson reads that Citrine has married a fellow movie director that he knows. Tant pis.

Luckily it doesn’t matter so much because Casson acquires a new ‘squeeze’, Hélène, the Jewish friend of Degrave’s mistress. She is being bullied by her superior at work, Victorine, who knows she is Jewish and progresses from bullying to extorting money from her. Throughout the novel there is a growing sense of concern about Hélène’s plight, as Casson and other characters read reports in the newspapers about Jews being rounded up, disappearing, and so on. He tries several avenues before speaking to a man, de la Barre, who arranges Hélène’s passage to the Non-Occupied Zone and onto a boat, the San Lorenzo, bound for freedom.

Smuggling guns

At the centre of the novel is a long mission undertaken by Casson and Degrave to collect guns from a tramp steamer arriving at Marseilles. This is told in meticulous detail, starting with a trip to Amsterdam (!) to see a lawyer who takes Casson on to visit a convict with a long political history, currently in gaol, one Visari. It is this venerable crook who, at their request, arranges the transport of French army machine guns from the Middle East to Marseilles.

Then Degrave and Casson drive a lorry down into the Non-Occupied Zone, on false papers. There’s a delay at the port where corrupt officials ask for more money. Finally, the crates of guns are loaded and surrounded by innocuous-looking sardine crates for cover. There follows a long, minutely described journey in a beaten-up old truck north through France. The map of the journey carries great conviction, as do the sights and sounds of central France in winter (it is December).

Unfortunately, they are pulled over by a carload of cocky young milice, ie right wing militia and there is a firefight in which the three youngsters are killed – Casson executing their wounded leader, before running their car over a cliff – but Degrave is mortally wounded and dies later in the cab. Casson takes his body to the priest’s house in a little village, who agrees to bury him, then on to the rendezvous at the Quai Gambetta in Chalon. Here he meets sympathisers who load the crates of machine guns onto a barge, burying them deep in gravel. Gravel which the contact, Henri, points out, is being taken north to Normandy. A lot of building going on along the coast, defences against an invasion.

Luna Park

With Hélène safely despatched on her trip to freedom, and the big gun-running job concluded, Casson is at a loose end and beginning to suffer, once again, from lack of funds. He moves into the cheapest possible hotel, counting the francs, before getting a job at the amusement park, Luna Park. All this time he has been using the identity Jean Marin, and lives in fear that he’ll be arrested and identified as the same man who broke out of Gestapo custody in the first novel.

Casson reads a newspaper and is horrified to see that the ship Hélène was due to leave France on, the San Lorenzo, was blown up in the harbour – probably Resistance sabotage. He is distraught at the thought that he might have been involved in bringing in the munitions which killed her, until he gets a message that Hélène is alive, a little shaken, but basically alright, and heading back to Paris.

In the final scenes Casson is beginning to go hungry and can’t resist getting back in touch with his ex-wife, Marie-Claire, in her luxury apartment in the 16th arrondissement. Here she not only gives him a bath and new set of clothes and jewellery to pawn but also has sex with him. Several times.

Marie-Claire had crept into the bed, then her bare bottom began looking for him. (p.238)

This is the turning point in the plotlines because Marie-Claire, with her impeccable connections among Paris’s élite, knows a senior figure in de Gaulle’s network. To Casson’s horror it is a short, fat, smug man he met a few times and took an instant dislike to, Gueze. Nonetheless, he agrees to meet him at the Bar Heininger (Furst fans know that the Bar Heininger features in every one of his novels, like a running gag). Gueze

  • gives some interesting analysis of the political situation among all the competing resistance groups, some right-wing, some communist, some backed by Army officers, some controlled by de Gaulle from London
  • arranges for a lecherous German records clerk, Otto Albers, to be blackmailed into ‘losing’ Casson’s records at the local Gestapo
  • knows the owner of the high class travel agency where Hélène works, and has a word, suggesting it would be lovely ‘favour’ if she could be despatched to the Lisbon bureau

Happy ending?

In the last ten or so pages there is a rather rushed sequence of events as Casson works with Weiss and a number of other agents in attempts to blow up barges carrying gasoline across France to the Mediterranean ports, where it will be shipped to North Africa to fuel Rommel’s war effort. Casson escapes arrest by a few minutes and two of Weiss’s operatives blow up a dam.

Back in Paris he gets two postcards, one apparently from Kovars indicating he made safely it to Mexico; one from Hélène safely ensconced in Lisbon. With these loose ends neatly tied up, Casson can settle to whatever undercover work his various managers, Weiss, Gueze or others, require. The novel ends on a cliffhanger as he hears footsteps approaching his room in a cheap hotel, and then a knock at the door.

Goodies? Baddies? We are not told.


Comment

Emotionless

Furst’s prose style is pared back, clipped, often skipping verbs to convey urgency. The characters register almost no emotion except fear. This makes for quick, exciting and often very evocative reading.

The Seine, south of Paris. A hard, bright dawn, the sun on frost-whitened trees. Factories and docks and sheds, half-sunk rowing boats, workers’ garden plots – stakes pulled over by bare vines. The Michelin factory, one end of it charred, windows broken out, old glass and burnt boards piled in a yard. Bombed, and bombed again. (p.194)

However, it can sometimes appear rather superficial – in the literal sense that you feel like you are fleeting over the surface of events. As with so many thrillers, any emotions the characters are experiencing are left so much to your imagination that, after a while, you get used to the characters actually having no emotions at all, and settle into reading the narrative as a simple succession of one damn thing after another, with no pauses or analysis.

For example, if I was Casson I think I’d be upset at some level by watching my colleague Degrave bleed to death, but Casson doesn’t break down at any point, he continues driving the lorry on to the rendezvous and then accompanies the barge to Paris and then resumes his ‘normal’ life, going straight into ‘meeting with lover’ mode. At some level this is not good for the reader who, I think, would welcome some occasional concession to human feeling.

In-depth knowledge of France and Paris

That said, there is no denying the depth of Furst’s knowledge of the French, of the customs and dishes of the parts of France his characters travel through and, above all, of Paris. At various moment his prose seems to echo the limpid simplicity of much mid-century prose, like Albert Camus’s.

Historical background

Similarly, this novel like its predecessors, is rich in historical background. The characters routinely read newspapers, listen to BBC broadcasts, or discuss the latest rumours, so that the reader is fully informed of the various developments of the Second World War, mainly the ongoing German attack on Russia which is the backdrop to the novel. In addition, at various points characters have conversations which bring out the attitudes and responses of the different political parties, the different elements of the Resistance and even of characters themselves to each new development.

It was particularly interesting to see how the characters reacted to the Japanese attack on Pearl Harbour ie some are distraught that the Americans are ‘defeated’; others delighted that previously isolationist America has now been forced into the war, which will cut it significantly shorter.

Sex as anti-suspense

But for some reason the novel never really gripped me. There are tense moments, and plenty of well-written scenes. Furst’s first two novels gripped you by the throat with their all-pervasive air of treachery and paranoia; they terrified me.

By contrast, a lot of the imaginative power of these latter novels is carried by the succession of sex scenes – by Furst’s sensual descriptions of one woman after another standing in her slip, undoing her skirt, pulling off her jumper, undoing her bra and generally stripping off for Casson’s (and the reader’s) delectation, in hotels and apartments across Paris. Sure, barges get blown up and a few people get shot (not that many, actually, for wartime) but the reader can be confident that within a few pages Casson will be feeling another old flame or current lover or temporary mistress stroking his thigh or pressing her bottom into his loins etc.

think the juxtaposition of tender, sensuous love-making with nerve-wracking secret meetings or sudden violent action, is meant to intensify both, make you feel this is life really on the edge. But, for me, the certainty that another lissom 20-year-old with a willing bottom will be along in just a few pages undermined all the action scenes.

The soft porn quality of Casson’s seemingly endless progress through a succession of willing women gave the whole book a rather unreal sense of fantasy, and this, for me, spilled over into the undercover, espionage and action sequences, making them also feel like harmless fantasy. Furst’s first two novels felt genuinely tense because you felt the characters could die at any moment; you and they are entirely focused on the fraught political environment they were operating in.

By contrast, the way Casson escapes the Gestapo, survives the milice shootout, is selected for survival by the NKVD, is released by friendly police officers (twice), and gets out of a meeting room just a few minutes before the Germans arrive, is of a piece with the unspoken confidence that he’ll open his hotel door and find yet another gorgeous woman waiting in his bed, wearing nothing but a smile. All this sex is a relaxant, nice and soft and easy-going but, for me, ruining any sense of fear and tension.

Métro as character

A great deal of effort goes into describing the characters’ journeys across Paris, generally by Métro. The Métro map, the arrangement of lines and their junctions, is described more fully, and more repeatedly, than many of the actual characters.


Credit

Red Gold by Alan Furst was published in 1999 by HarperCollins. All quotes and references are to the 1999 HarperCollins paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe. (390 pages)
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo. (304 pages)
1999 Red Gold – Sequel to the World At Night, continuing the adventures of ex-film producer Jean Casson in the underworld of occupied Paris and in various Resistance missions across France. (284 pages)
2000 Kingdom of Shadows
2003 Blood of Victory
2004 Dark Voyage
2006 The Foreign Correspondent
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

The World at Night by Alan Furst (1996)

In a dark corner, the piano player was hard at work: ‘Mood Indigo’, ‘Body and Soul’, ‘Time On My Hands’. Cocktail hour in Paris – heavy drapes drawn over the windows so the world outside didn’t exist. The bar filled up, the hum of conversation getting louder as the drinks arrived. The expensive whore at the next table was joined by a well-dressed man, Casson had seen him around Passy for years, who wore the gold seal ring that meant nobility. He was just out of the barber’s chair, Casson could smell the talcum powder. The woman was stunning in a grey Chanel suit. (p.115)

This is the fourth of Alan Furst’s historical espionage novels. It’s shorter than the others, at 303 pages in the paperback edition, and divided into more sections than previously, making them feel a bit more like conventional chapters.

The World At Night covers the period from the day the Germans invaded France – 10 May 1940 – until 25 June 1941. It closely follows the experiences of one man, French film producer Jean Casson as he finds himself abruptly called up to fight, then acquiescing in the German victory over France and then very slowly drawn into the underground Resistance to the German occupation.

The 16th Arrondissement

Jean’s day starts in the bed he shares with a lissom Italian girl, progressing through a day in the office, calls from America, a set designer borrowing money to flee the Germans, an apéritif in a cafe with his Jewish screenwriter Fischfang, then a classy dinner in the evening, at which a childhood friend, Bibi, makes it clear she wants to come back to his apartment and have 69-style sex. The extreme opposite of the inarticulate peasant opening in rural Bulgaria of Night Soldiers or the claustrophobic Stalin-purge atmosphere of Dark Star.

A Country At War

Casson is called up, appointed corporal in a propaganda film unit accompanying an armoured division, shuffles forward with them to Sedan where he watches the start of the Wehrmacht assault across the river, with Frenchmen abandoning their posts, in small groups and then droves. His truck and film equipment is destroyed by a Stuka so he’s decommissioned and makes his way back to Paris.

The Jade Pagoda

20 August 1940. The novel is strongly diarised, most sections starting with a precise date. He is back in a Paris abandoned by its population, has to surrender his nice sports car, is running out of money and wondering what to do. Fortunately he has lots of sex. In a café he is propositioned by a whore (always ‘whores’ in these novels, the very word ‘whore’ makes you feel grown up, like a man of the world). Then buys beans off a young woman in the market who comes back to his place to show him how to cook them and then, oops, her dress falls off and they are having sex. Although of rough peasant stock, she wants to learn ‘all those fancy tricks’ and is a quick learner. Lucky Jean. Later there is a woman who walks into a café and crosses her legs in a certain way, so she ends up in his bed as they cuddle through the freezing nights. His eyes meet those of a woman on the street, a 16 year-old, and another woman in a cafe. Maybe Paris is like this, middle-aged men can have sex with an unending stream of strangers. Or maybe it really was like this in 1940. Or maybe it is just the kind of novel in which a male hero beds a succession of nubile young women, with no complications or questions asked.

A German producer phones him, takes him for a gourmand meal in the country and asks him to work with the German production company on some ‘safe’ subjects. Well, you have to live. He signs up.

Hotel Dorado

Casson visits his ever-reliable scritpwriter, Fischfang, tucked away in a crowded garret, and notices he’s got a gun at hand. He’s been betrayed to the authorities for not registering as a Jew. Casson goes to the same nightclub where naked young women run around in zebra masks, whinnying and shaking their bottoms at customers (now Germans) which featured in The Polish Officer. He’s there to contact the actress and chanteuse Citrine who he wants for the new movie project he’s planning as a co-production with his German colleague. They trudge through the freezing streets and huddle in their freezing apartment. They don’t have sex, although Casson desperately wants to. Not to mind. He’s still sleeping with Albertine the enthusiastic farmer’s daughter.

He’s telephoned by an Englishman he knew before the war, Templeton, who tells him to see Erno Simic the Hungarian moneyman. At a Paris nightclub, surrounded by glittering whores and eating Parisian treats, Simic very forthrightly asks him if he wants to work for British Intelligence. Reluctantly Casson agrees. A day later he receives a message to go to a certain place and pick up a bag which turns out to be full of Spanish pesetas. It is part of a far-fetched plot to overthrow General Franco and replace him with a Spanish monarch who will be sympathetic to the British, in particular securing the safety of Gibraltar, gateway to the Mediterranean. Casson is irritated because he was in the middle of stripping off a nice little blonde number in his bedroom, but luckily she is waiting for him when he gets back to his place, having conveniently removed her skirt and panties.

Later Casson is in bed with Citrine (his main lover, it gets a little hard to keep track) when they hear something and go to the pipes in the kitchen. Via them they can hear the extremely aloof baroness in the apartment below being caned by her Wehrmacht lover, making an impressive squeal after every stroke. Aha. That explains why the heating is back on. Allow the Wehrmacht to cane you; your apartment block gets coal!

By this stage, half way through the novel, the reader has got the message that Casson is a typical (?) Parisian man, drenched in sex and sensuality, with several mistresses on the go, knowledgeable about food and wine and champagne and liqueurs, who very slowly gets pulled into the underworld of espionage where he is completely out of his depth.

A Citizen of the Evening

His instructions are to take the money to Spain. He nervously gets an exit permit from the German authorities in Paris, then catches a train to Madrid. In the ninth sentence in this section he remembers making love to Citrine on a train. Basically, there is  sex, or thinking about sex, or remembering sex, or speculating about sex, or eyeing up women who might be available for sex, on almost every page of this novel.

On the train south he meets a gorgeous red-head, Marie-Noëlle. The novel well conveys the sense of anxiety as Casson along with all the other passengers has to disembark as the train crosses into the Non-Occupied Zone, then later crosses the border into France, then finally steams into Barcelona. There is some farce as he discovers the baggage he cleverly sent under a separate name on the same train has not been unloaded and so he has to chase the train in a taxi back north to its first stop, where it has been unloaded. It contains the 300,000 incriminating pesetas. At his hotel he is contacted and told to go to a cafe; at the cafe is a note telling him to go to a quay in the docks. Here he is guided to an unlit, rusting yacht and finally hands over the briefcase of money to Carabel. Who says it will be passed to a General Arado. He walks away from the yacht a happy and relieved man, having fulfilled his mission.

Back in the hotel he is drifting off to sleep imagining what it would be like to make love to the red-head, imagining precisely what shape her mouth wold make as he entered her, when the phone rings and it is Simic in the lobby, suggesting a meeting. What? He quickly brushes up and goes to the bar but no Simic, then he’s surprised by the appearance of the red-head, Marie-Noëlle. With no further ado she tells him she works for British Intelligence, that Simic is a con-man, that he and Carabel have conned the British out of this money and disappeared and she wants to know whether Casson was in on the scam. Is he a crook? Of course not, he says. Well, that’s what he’d say anyway. Go back to Paris, Mr Casson, and keep your nose out of matters you don’t understand.

New Friends

Casson goes to see a colleague directing a pirate movie. He writes to Citrine at her hotel in Lyons but the letter is returned and then her hotelier comes all the way to Paris to say she accidentally came across Citrine in the bath, weeping, with a razor blade by her side. He must see her! Meanwhile, his one-time secretary Gabriella turns up back from Italy and, well, they have to go to bed together.

The Night Visitor

A boy André smuggles him across a small river which forms the boundary between German-occupied and Vichy France. From there he makes his way to the hotel in Lyons – but instead of a suicidal Citrine, he finds her leading the revels at a drunken wedding. Later that night, both completely plastered, they go to bed and make love. Then wake up in the morning and make love again, followed by five paradise days of walking during the day, then drinking and making love every night. Eventually she sees him off at the train station.

Back in Paris various people have been looking for him including the German co-producer, Altmann. He invites Casson to a meal at the Bar Heininger (which has now featured in all four of these novels). Casson goes out to Montrouge to the factory of his friend Langlade, which he thought was an eccentric little thing making lightbulbs but turns out to be a big industrial complex producing a wide range of precision goods for the Germans. For the German war-machine. Urbane and smiling, he stops smiling when Casson tells him he told Citrine to send postcards to Langlade’s office address as a formal method of communication. He suspects his own mail is intercepted. Postcards can have brief meaningless messages, it’s not the message, it’s the mere fact that they’ve been sent… Anyway, Langlade asks him not to compromise him with the authorities…

Dinner at the Bar Heininger quickly turns into a tete-a-tete with a certain Franz Millau, who works for the Sicherheitsdienst, the SD. He quickly reveals that they know about Casson’s trip to Madrid, in fact they eavesdropped on his conversation with Marie-Noëlle, who they have arrested. The blood drains from Casson’s face. I think this is the aim of the novel: to take a fairly interesting, educated Frenchman – l’homme moyen sensual – to describe his job eg his working on the script for the next movie, the office chores, sorting out bills, socialising with his friends, sleeping with several different women… and then draw him slowly into the Underground, into doing small favours to people who ask or pressurise him, fondly imagining his old life can continue, and then – BOOM! Theses eruptions of pure fear as the little favours and trips he’s done suddenly expose him to arrest or worse by the authorities.

Millau asks Casson a) did Marie-Noëlle recruit him? No, Casson insists, nervously. b) Will Casson work for Millau; the resistance are planning bomb outrages – it is Casson’s patriotic duty to prevent them. Well, what can he say?

The Secret Agent

After two hundred pages of wine and women, the novel suddenly picks up pace on the espionage front – Millau continues Casson’s recruitment, taking him to a villa outside Paris where he hands him the identity papers of one George Bourdon, who is to play a part in a Resistance mission. Back in Paris Casson phones Véronique, the woman who had put him in touch with the people who helped smuggle him across the border into the Non-Occupied Zone. She arranges a meeting with a third party in a church, one Mathieu, an Englishman who speaks perfect French and is himself nervous. Casson briefs him about his situation. Mathieu says he’ll ask London and get back to him. Later, the message comes: ‘Go along with their plan.’

So Casson finds himself ordered to take a train to the countryside north of Paris where he poses as Georges Bourdon to a bunch of farm lads who take him to a field. There they light flares and a small British plane lands, unloads crates with guns and money and a slightly injured intelligence officer. Casson and one of the men and the injured Brit and the bags of guns, explosive and money, load into a car and drive the backstreets back to Paris, with one very tense moment when the car is stopped by a joint German-French patrol which lets them through.

He sees the Reistance man and injured Brit to a safe house, then gets a call from the German Millau and has to go see him. Here he is debriefed, and tells the Germans a completely accurate account of the men he met and the plane landing and dropping the bags etc, but gives the men codenames instead of their real names and then, when he gets to the Paris bit, makes up the address where he claims they are hiding. Good, Millau smiles: now they would like him to go to the SD offices in Strasbourg to make his report. Strasbourg? Why? Casson is now playing a very dangerous game.

The Escape

Casson reports to Mathieu, especially about the pending trip to Strasbourg. Back at his apartment he gets a distraught phone call from his friends. Langlade, one of their close circle and the man he went to visit at his big factory in Montrouge, is dead. Under cover of an RAF air raid, a huge explosion blew up the factory, killing Langlade among others. Casson goes to the wake/funeral party with a heavy heart. He knows his friend was killed with the explosives he smuggled into Paris.

He puts in a blank day at the office, feeling empty and returns to his apartment at nightfall, convinced the walls are closing in, convinced he has only days to live. Imagine his amazement when he opens to door to find Citrine there, waiting. they fall into each other’s arms, a dam of frustration and anxiety exploding in their caresses. Against the silhouette of the night sky she starts to do a strip-tease for him, slipping off her skirt, it is going to be another one of those evenings…

Except it isn’t. The phone rings and Mathieu at the other end garbles a frantic warning before the line is cut off. Galvanised, Casson and Citrine grab what they can and hurtle out the flat, down the stairs. Out the window in the hall he can see the German cars pulling up so he makes a split-second decision and bangs on the door of the aloof baroness downstairs. She draws herself up to her full height and of course agrees to hide Citrine. Casson could have gone with her but then they’d have searched the building from top to bottom. So he doesn’t; this way she will be safe.

Casson rushes out the front door and nearly makes it but they chase, catch and beat him up. They take him to Gestapo headquarters at the Rue des Saussaies. These last fifteen pages of the novel pass ins a blur of activity as Casson is hauled out of the cell where he’d been dumped, to be interrogated by Obersturmbannführer Guske, the rather kindly German official who had issued Casson his pass to go to Spain in what seems like another life and now, very angry, slaps him brutally round the face.

Casson asks to use the toilet and to his and our surprise Guske says yes and the guard who takes him waits politely outside. This gives Casson time to see there is a window in the toilet, which he quickly prises open and climbs out onto the guttering. It is a stormy rainy night and the guard, Singer sticks his head out, and then, madly, follows Casson out onto the guttering, leaning against the sloping tiled roof, his feet only supported by the guttering. Casson has found a hand grip at head height, clings on then pounds the guttering with all his strength and the German falls six floors to his death in the courtyard. Whistles blow, lights go on, guards run about down there, as Casson edges his way round to where a kind of parapet begins, gets onto it and runs the width of the building and round the other side where he sees someone behind a window and knocks. It is a French caretaker who takes him in to a part of the building not used by the Germans and hurries him down to the basement. Other colleagues cleverly leave windows and the front door open as if Casson has escaped that way.

Very quickly the novel hurtles to its conclusion. The people at the institute hide him, then when the German search has calmed down, equip him with new clothes and money. Casson crosses Paris to the café he knows Véronique frequents and, after she’s got over the shock of his sudden appearance and then of his story, she tells him to go to a certain house, ask for a certain person etc. In this way he is gathered into an escape route, given false papers and hidden until taken to a houseboat which trundles north along canals, until picked up by a truck and taken to the port of Honfleur, and then in a secret compartment, along with several other stowaways out to sea, where they will rendezvous with a British fishing boat.

When the boat has passed through the last of the German checks and is well under way, the fishermen allow the stowaways up on deck. Casson stares at the French coastline and reviews his life and his likely life in England, a land of strangers. All that matters to him, all that gives his life any meaning is his love for Citrine. Did the baroness protect her? Did she escape from the Gestapo? Where is she now?

Without any doubts, he jumps overboard and starts swimming back towards the French shore. Madness!

Commentary

The three previous novels have started in East Europe, featured East European heroes (Bulgarian, Polish-Russian, Polish) and a large and diverse cast of characters and, although all three of them gravitated towards Paris as one setting for their characters’ travels, a city Furst lived in for some time and obviously knows very well, there were countless other settings particularly in Eastern Europe, which gave them their special atmosphere.

This novel represents a kind of retreat from the East European settings and background which made the first three novels feel so new and exciting. It is an American writing about Paris, as have thousands of Americans. And a film producer hero, like the umpteen novels and films about film producers, directors or stars, whose life is a round of classy dinner parties and leisurely lunches in smart restaurants. Who starts the novel in bed with a leggy young Italian woman, lovely long hair, soap suds on her firm young breasts, just like Emanuele or Bilitis. This character, this setting, this milieu – not so new or exciting…


Credit

The World at Night by Alan Furst was published in 1996 by HarperCollins. All quotes and references are to the 1998 HarperCollins paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe.
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night – A year in the life of French movie producer Jean Casson, commencing on the day the Germans invade in June 1940, following his ineffectual mobilisation into a film unit which almost immediately falls back from the front line, his flight, and return to normality in occupied Paris where he finds himself unwittingly caught between the conflicting claims of the Resistance, British Intelligence and the Gestapo.
1999 Red Gold
2000 Kingdom of Shadows
2003 Blood of Victory
2004 Dark Voyage
2006 The Foreign Correspondent
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

The Polish Officer by Alan Furst (1995)

Poland, September 1939, a nation being carved in two by the German Wehrmacht invading from the West and Stalin’s Red Army invading from the East. This, Alan Furst’s third novel, follows the adventures of Alexander de Milja (pronounced Mil-ya, p.24), a captain in Polish Military Intelligence, who is among the many Poles who vow to fight back against both invaders.

The novel is divided into five long sections.

1. The Pilava Local

The Germans have reached Warsaw. They are fighting their way through the streets. De Milja is summoned from his defence of the Warsaw telephone exchange to meet Colonel Anton Vyborg. (We met Vyborg towards the end of the previous novel, Dark Star, when he and the journalist hero Szara fled before the invading forces at the start of the invasion ie the scenes involving him here take place only a few days after is scenes in Dark Star. Characters are interlinked. History is interlinked.)

De Milja is tasked with finding a train to carry Poland’s entire national gold reserve south to Romania. This he does, his men concealing it under the floor of ordinary carriages, and then filling up with refugees at Warsaw station before a long journey south, punctuated by an attack by a German fighter plane, which leaves numerous dead and injured, and later, a holdup by violent Ukrainian bandits, which leaves more dead. Eventually they make it to the Romanian border and both refugees and the gold are allowed in.

2. Room 9

October 1939, Poland has fallen. From the safety of Romania de Milja returns into Poland, first to make sure his mentally ill wife is alright, at her asylum, then to set up a network in occupied Poland. The underground is to be called ZWZ, Zwiazek Walki Zbrojnej – the Union for Armed struggle, answerable to the Polish government in exile in London. De Milja is recruited into the intelligence directorate run by Colonel Josef Broza, one-time military attaché to Brussels. The recruitment takes place in room 9 in the basement of the Saint Stanislaus Hospital.

The leaflets They pay a printer to print thousands of leaflets, then steal a plane from a small flying club, and circle high over Warsaw, dropping them. They tell the civilian population they are dropped by RAF planes and soon bombers will return to drive the Germans out. Not true. A little while later the printer is rounded up by the Gestapo. De Milja and colleagues realise someone has snitched. It is the tough detective they’d involved in the plot, who says the printer was only a snivelling Jew anyway. They execute him in a dirty alley under a railway bridge.

Madame Kuester De Milja moves around, never staying in the same safe apartment too long. In one apartment he has an affair with the stodgy Madame Kuester, a stocky, disapproving middle-aged woman who turns out to have a need to be passionately taken doggy fashion every afternoon at 2.35 precisely.

Network information An old lady buying rags outside a Wehrmacht barracks, sells them on to a rag dealer who passes them to a chemist who analyses the type of oil. A commodity analyst in Warsaw writes a report about wool. De Milja manages this information which indicates a) the Germans aren’t deploying the kind of low-temperature oil they would need in Russia, nor are they buying up wool. Conclusion: they will not invade Russia this year (1940). So it will be France.

Rumbled On 28 March the Gestapo come to the apartment block where he’s hiding. The other inhabitants, who knew about him, make it downstairs and escape. De Milja climbs to the roof, evades the armed guard there, but slips and falls badly against the fire escape of the neighbouring building, concussing himself. He is helped to safety, hidden, then shipped out of the city to a safe farmhouse where he is patched up and slowly recovers.

Coal steamer to Stockholm Here he is told the Saint Stanislaus Hospital cell has been betrayed and captured, though some managed to take cyanide. He is now ordered to evacuate to Paris. There is fascinating detail on the Polish underground and its ability to match the German obsession for paperwork. De Milja is smuggled north to the port of Gdinya, then into the hold of a steamer carrying coal to Stockholm. It takes 70 hours and de Milja becomes poisoned by the carbon monoxide and dioxide fumes, hallucinates, loses consciousness and, by the time the hold is opened in Stockholm, the strong implication is he’s dead.

3. Lezhev’s Last Day

Cut to a completely new character, Boris Lezhev, a depressed Russian poet who has fled before various persecuting authorities right across Europe. We are just getting to know his depressive personality when he actually does die (by suicide? it’s not clear) bequeathing his works to his muse, Genya Beilis, who is, of course, an agent.

Like Dark Star many of the short sections are dated with a timestamp. On 9 June 1940 de Milja (so he didn’t die in the coal hold of the steamer) is meeting a French army officer, Major Kercheval, at a headquarters at Les Invalides. They are very clearly pulling out, burning their files etc. He meets with Vyborg who tells him the French government has fled to Orléans, and de Milja is to remain behind in Paris till the last moment. There is some mockery of the stupidity of the French in building a defensive line against Germany which stopped at the Belgian border. And wonder at the way an entire nation just gave up.

In the middle of the night French security come calling at his safe house, but he is able to bribe the officers, then pack and slip away. He finds somewhere to hide in the shabby area around the Gare Saint-Lazare.

De Milja adopts the cover of the dead poet Boris Lezhev and commences a steamy sexual affair with Genya. In his cover as a bohemian poet he is often found at the notorious drinking hole of artists, the Bar Heiningen (well known to Furst readers for its appearance in his first two novels). He spends a lot of effort cultivating a German officer, Freddi Schoen, who thinks he is an artist.

Along with a colleague, Fedin, de Milja is ordered to scout the forthcoming invasion of Britain, buys a black market delivery van and delivers produce all along the north coast, Dunkirk and so on, logging the numbers of barges on the canals, the names of Wehrmacht units etc, all despatched to a 17-year-old girl who radios it in code to London. She is tracked down by a German radio expert, arrested, crunches a cyanide pill in the Gestapo car. When the obese German radio expert begins to unscrew the captured English radio it explodes killing him. Genya Beilis had been making the drops and notices they’re not being collected, suspects the agent has been rounded up, is given instructions for a new contact procedure.

De Milja passes on information given to him by a French patriot who works in the northern docks about a practice invasion exercise. This results in the British bombing the port of Nieuwpoort, which the narrative describes at first hand. And then Calais. The narrative stops to introduce us to a public school Englishman who flies a Swordfish biplane with a torpedo into Calais harbour just as De Milja achieves a piece of James Bond heroism by making his way right across the armed and secure harbour to find a ship he knows, from the dockyard papers their agent gave them, is loaded with burning naphtha. As the British planes approach de Milja lights up its night lights so they can attack it creating a wonderful explosion by which the rest can bomb the moored German troop ships and barges at will.

De Milja has romantic lover sex with Genya in an isolated hotel by the coast. Then she leaves forever to Switzerland and he burns the Lezher identity.

4. Paris Nights

De Milja is exfiltrated to Spain, debriefed by agents. Vyborg tells him his wife has died of TB. He is returned to Paris with a new identity, as Anton Stein. For the first time in these three Furst novels, I felt a section or plot development was de trop. I found it hard to believe that a man who had led quite a high-profile life as a Russian poet, would be returned to the same city a month later, looking the same but with a quite different identity, for the first thing Stein does is buy a big coal business, and use it as a cover a) for being a rich businessman in Paris b) for finding information about German troop and resources movements.

I bet myself that having lost his wife and his championship sex lover wouldn’t prevent him tumbling into bed with the next woman he meets, and had to wait precisely 10 pages before a dreamboat redhead – Madame Roubier – arrives to decorate the nice villa he’s bought in the Paris suburbs before he is exploring her ‘soft, creamy body’ and listening to her cry ‘oh, oh’.

He hobnobs with rich Parisians and Germans. It is spring 1941 and the British are bombing. He is called suddenly to a church in the east end where he finds Fedin, his fellow agent, has been mortally injured in an air raid.

A contact of Fedin’s at a place called Vannes gets in touch with the network and gives them priceless information that the pilots of the German Pathfinder planes which guide German bombers to their targets all arrive at the airfield in one coach. If they could ambush that coach and massacre the pilots… When this intelligence is passed to London, they reply by parachuting in a cache of arms, explosives and French agents, all co-ordinated on the ground by de Milja.

But at this moment de Milja is recalled to London. He says goodbye to sexy Madame Roubier, his other colleagues, travels to the Spanish border, is collected by a rubber dinghy from a submarine, arrives in cold wartime London, eats the horrible food, and is set to do depressing bureaucratic tasks. Then the opportunity arises to volunteer for service in the East, in expectation of Hitler’s attack on Russia…

The Forest

October 1941, four months into Operation Barbarossa, Hitler’s campaign to invade and conquer Russia. De Milja is parachuted into occupied Poland, near the river Bug, with arms, ammunition, explosive, money, to join a partisan group led by Razakavia, backed by Kotior and Frantek. Bronstein the ex-science teacher uses the explosive to blow up rail lines, derailing troop trains which they then decimate with grenades and machine gun fire. He learns of the Banderovsty, Ukrainian nationalists under Bandera, working for the SS. ‘They do what the SS won’t.’ They encounter communist partisans in a struggle over requisitioning grain from peasants. In other words, the bloodlands are full of roving bands of killers.

When he meets with his control, Major Olenik, he is ordered to organise a squad to break into Rovno prison and liberate a certain sergeant Krewinski, who escaped the Katyn massacre, and was sent to Moscow for indoctrination. ZWZ wants to know the procedures, what he learned.

In a very tense sequence de Milja leads his men on a successful break-in to the prison, they liberate Krewinski and others, and drive in a lorry to a safe farmhouse out in the country. Which is attacked by a mass of partisans, following a tip-off, in the early hours. Everyone de Milja knows is killed in the fighting and he just manages to escape with the badly wounded Krewinski, and with a Jewish woman. She asks him to shoot her and stands undefended – they both know what the partisans to do Jewish women – and he raises his pistol to her forehead but can’t do it.

Under a hail of bullets they make it to the lorry and then there are four or five pages of struggling to drive it through the dense Polish forest in the depths of winter, until they come to a river and find it easier to drive on the thick ice, until the river narrows and the ice becomes so slippery it will no longer advance. De Milja and the woman huddle under all the blankets they can find, expecting to falls asleep and never wake up, killed by the bitter sub-zero temperatures.

But he awakens some hours later to realise it is fractionally less freezing, realising it is snowing. the lorry will have traction. they get it started again and drive past burning villages and bridges clogged with Germans too busy to worry about a peasant lorry, until they can scramble it back onto a proper road and climb a hill to look down on the town of Biala as dawn is breaking. They will head down into the town once the curfew is lifted, contact the local ZWZ, be given somewhere to hide and food. They will fight on. They will endure.


Comments

This is shorter and less epic ie with a smaller range of characters, than the previous two novels. It is more ‘domestic’, focusing much more on the one character of de Milja, filling in his family background, his cold northern professor father, his hot-blooded southern mother with the outrageous drunken uncles, the backstory of how his sensitive wife became mentally ill and was sent to an asylum.

This is reflected in the prose style which his more relaxed and informal than previously, with lots of ‘you knows’ and ‘whatevers’ — ‘.. or whatever it meant’, ‘… or whatever description they had’… ‘and God only knew what else..’.

The prose of this third novel is deliberately more casual than the crisper, more documentary factual style of the first two. We are more inside de Milja’s head, skipping verbs, cramming short perceptions together, thrust into just this one character’s feelings – very different from the panoramic overview of the first two.

The escape-route safe house in Torun was run by a girl of no more than seventeen, snub-nosed with cornsilk hair. De Milja felt tenderness and desire all mixed up together. Tough as a stick, this one. Made sure he had a place to sleep, a threadbare blanket, and a glass of beer. Christ, his heart ached for her, for them all because they wouldn’t last the year. (p.107)

The previous novels saw things from a variety of viewpoints, and the characters were interesting and varied and – crucially – the situations were highly political. This novel is much more about the one personality, the Polish officer, and there is still a lot politics, a lot of background information, but somehow the book feels less political.

Whereas the protagonists of the first two were Russian and therefore lived in permanent anxiety about being arrested or betrayed by their own side, in this book the situation is more straightforward – he is an undercover agent in occupied Paris and scared of being caught by the Nazis; it’s much more like lots of other ‘hiding from the Nazis’ novels.

Sensuality

I am getting used to the episodes of frolicsome sex in Furst’s novels. In section two he visits his mentally disturbed wife and they make love on a coat in the asylum grounds. Later there is a very erotic encounter with his stodgy, middle-aged landlady, Madame Kuester, all starched blouses and decorum, who turns out to be reading pornographic novels in the afternoon, and waits for de Milja in her bedroom, skirt hitched up, loins on a pillow so her bum is raised and accessible. The paragraph which describes de Milja’s astonishment at this turn of events, possibly also sums up the effect Furst is aiming for by deploying scenes of very sensual love-making in among the deaths, destruction and corrosive cynicism which the novels describe.

It was the sheer contrast of the moment that struck his heart. The dying, ice-bound city, heavy with fear and misery and the exhaustion of daily life, set against these brittle pages of print, where gold passementerie was untied and heavy drapes flowed together, where pale skin flushed rose with excitement, where silk rustled to the floors of moonlit chambers. (p.84)

It feels like de Milja has a different woman in each of the five sections, each with lovely bottoms, and given to role-playing, saying rude words, lots of sex play and frolic. Maybe undercover agents in occupied Poland and Paris did have lots of sex with smooth-skinned beauties, but there’s more than a dollop of James Bond-style fantasy about much of this.

Recurring characters

  • Not only Vyborg recurs at the start of the novel, but the conductor on the gold train south is the same conductor, with his droopy big moustache, who’d been on the passenger train dive-bombed by a Stuka towards the end of Dark Star.
  • The Bar Heininger recurs for the third time, having become notorious for the assassination of the head waiter Omaraeff in Night Soldiers and then the place where, according to a newspaper scoop last year, Lady Angela Hope recruited the Soviet agent known as CURATE (who, we know from Dark Star, was that novel’s hero, André Szara).
  • In a tiny detail, the Parthenon Press, a little publisher of poetry in the area of Paris where de Milja hides out, includes on its list of poetry by Russians, a volume by Vainshtok. Would this be the same Vainshtok, the sarcastic and unpleasant journalist colleague of Szara who, in Dark Star, in an inexplicable gesture, as he is being arrested and taken back to Moscow for probable execution, palms Szara his pistol, the pistol Szara uses a few minutes later to shoot dead the NKVD officer arresting him, Maltsaev.

The exotic

Too many times to count, the reader finds themself in the company of exotic and strange characters, as if in a movie. Maybe all novels are escapist in that they tell a complete rounded story, unlike our own messy lives. And that people’s motives are comprehensible, unlike the impenetrable inexplicability of so many of the people we meet in real life. And that fictional characters’ lives really matter, their experiences are made up of important decisions and dramatic confrontations etc, unlike most people who spend their lives going to work and worrying about money.

And maybe espionage novels turn up the volume on all of these aspects because the undercover agent can be arrested at any moment, which gives every sight of the blue sky, every smell of fresh coffee, every caress of a lover’s body, an extra force and significance.

But one especial pleasure of this kind of novel is the sheer exoticism of the situations which amount to a mental holiday – abroad, with strange collocations of foreigners, thrown into intense and unusual plights. Hence, de Milja has barely checked into a provincial hotel before the British fighter bombers come swooping in to attack the docks.

On the top floor of the dockside Hotel Vlaanderen, de Milja and a whore wearing a slip and a Turkish seaman wearing underpants watched the fight together through a cracked window. (p.193)

There is something touchingly naive in the ubiquitousness of whores and prostitutes in these novels, as in many other adventure novels. Whereas in ordinary life none of us ever sees a prostitute, in the Paris de Milja walks around every doorway shelters a hooker who whistles, whispers and propositions him, hotels are full of them, you can barely move for them. On the night Fedin dies, de Milja has just arranged for two courtesans to give Count Riau the experience of his life in a private room at a classy restaurant, and when he returns to his drinking buddies they drink a toast to The Pleasures of Excess.

Written by a male novelist for (I’m guessing) a predominantly male audience, these stories fulfil the most primitive male readerly fantasies, which are a) that the hero beds a new, utterly willing, sexually adventurous woman in every chapter and b) that the streets are overflowing with sexually available women.

History

These are historical novels, set in a specific historical period, overflowing with period detail and dense with historical fact. There is a certain kind of pleasure to be derived from rereading once again the horrible chronology of the 1930s, the Stalin purges, the Hitler invasions and then the war itself.

The characters, as spies acting for governments with vested interests in political events, play a part in them, shed light on them, discuss them and analyse them. What is maybe most illuminating about these novels focusing on characters from Russia and Eastern Europe, is the way they shed light on what is, in the West, mostly an unfamiliar and untold history. In doing so they bring out a wealth of new and fascinating perspectives on what we thought was a well known period of history.

Thus the early two sections vividly convey not just the shock and horror of the German assault on Poland, but the wild opinions the Poles held at the time – the British are coming, the Americans will intervene, we will be saved. For 9 months from September 1939 until June 1940, many Poles clung on to the hope that the French and British will intervene to save them somehow. But then, in June 1940, France fell to Hitler, almost without a fight. And it is at that point that there was a wave of suicides across Poland as people lost hope, and couldn’t face a life of tyranny. Not something I knew or had thought about.

Again, in the final sections de Milja meets his control in the occupied city of Rosnov and they discuss the possible scenarios: the Germans defeat the Russians and permanently occupy Poland – then, permanent sabotage and resistance; the Russians defeat the Germans and push them back to the Rhine – then permanent resistance to the Russians; the Russians defeat the Germans but, at the moment they are poised to enter Poland, declaration of independence and a Great Uprising.

We know what happened. It’s witnessing intelligent people working out the options, discussing and speculating, that gives the novels a terrible pathos, but also makes them intellectually interesting.

These novels bristle with history as seen by non-Brits and non-Americans; as seen by the long-suffering nations of the East. We knew their twentieth century was horrible, but Furst’s novels brilliantly dramatise the day-to-day opinions and hopes and arguments of people living through these horrors, and that’s what brings them so powerfully alive in the reader’s imagination.


Credit

The Polish Officer by Alan Furst was published in 1995 by HarperCollins. All quotes and references are to the 2001 Ottakars/HarperCollins paperback edition.

 Related links

The Night Soldiers novels

1988 Night Soldiers –  An epic narrative which starts with a cohort of recruits to the NKVD spy school of 1934 and then follows their fortunes across Europe, to the Spain of the Civil War, to Paris, to Prague and Switzerland, to the gulags of Siberia and the horrors of the Warsaw ghetto, in a Europe beset by espionage, conspiracy, treachery and murder.
1991 Dark Star – The story of Russian Jew André Szara, foreign correspondent for Pravda, who finds himself recruited into the NKVD and entering a maze of conspiracies, based in Paris but taking him to Prague, Berlin and onto Poland – in the early parts of which he struggles to survive in the shark-infested world of espionage, to conduct a love affair with a young German woman, and to help organise a network smuggling German Jews to Palestine; then later, as Poland is invaded by Nazi Germany, finds himself on the run across Europe.
1995 The Polish Officer – A long, exhausting chronicle of the many adventures of Captain Alexander de Milja, Polish intelligence officer who carries out assignments in Nazi-occupied Poland and then Nazi-occupied Paris and then, finally, in freezing wintertime Poland during the German attack on Russia.
1996 The World at Night
1999 Red Gold
2000 Kingdom of Shadows
2003 Blood of Victory
2004 Dark Voyage
2006 The Foreign Correspondent
2008 The Spies of Warsaw
2010 Spies of the Balkans
2012 Mission to Paris
2014 Midnight in Europe
2016 A Hero in France

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