Category Archives: thriller

Anticipation

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Starting to think seriously about my next vacation—only a few weeks away now—prompted by yet another flight detail change from United. The trip will start in Budapest, then float south along the Danube to Bucharest. On the journey, the boat will slip easily through the Iron Gate, the gorge separating Romania and the Carpathian Mountains on the north from Serbia and the Balkan mountain foothills on the south. Dams constructed over a 20-year period, ending in 1984, have turned what used to be a wild stretch of river into something more like a lake.

But the Iron Gates of my imagination, the ones I hope to see in my mind’s eye, are as they are described in Alan Furst’s thrillers. In his books, set in the late 1930’s and early 1940’s, the Iron Gates were a perilous passage for desperate people—spies, refugees, terrorists, anyone caught up in the tightening net of loyalties and politics of a looming World War II:

“He would have to cross the Russian lines, would have to go through the white water at the Iron Gate, where the Duna [Danube] came crashing down onto the Wallachian plain to form the border between Romania and Bulgaria.” – Night Soldiers

“Europe was lost behind them—after the Iron Gate they were in a different land, a different time, running along the great plain that reached to the edge of the Black Sea.” – Night Soldiers

A few days in Budapest, an infamous spy town, is another something to look forward to:

“On 10 March 1930, the night train from Budapest pulled into the Gare du Nord a little after four in the morning. . . . In the station at Vienna, a brick had been thrown at the window of a first-class compartment, leaving a frosted star in the glass. And later that day there’d been difficulties at the frontiers for some of the passengers, so in the end the train was late getting into Paris.”—Kingdom of Shadows

“Difficulties at the frontiers”—we can imagine exactly what those difficulties were—“for some of the passengers”—and exactly who those terrified passengers were. Laced with foreboding, those lines open Furst’s thriller Kingdom of Shadows.

Other than a literary interest in things Budapestian, I have a family history interest as well. Legend has it that my grandmother (who died when I was a toddler) was a pastry chef in Budapest before immigrating to the United States. The disappointing kernel of the story is that none of her six daughters learned the art. She came from the generation that wanted to put the Old Country behind it. Truthfully, she had to have been quite young—twenty?—when she came over, so “chef” may be a bit of an exaggeration, but it’s a pleasant thought and one that will require eating as much pastry as possible in homage.

Another feature of this trip is a three-day add-on excursion into Transylvania—ancestral home of my grandfather, who came from a tiny village annexed to the marginally larger village of Székelykeresztúr (“Holy Cross” in Hungarian) in 1926. Google maps gives the larger town no more than 12 streets. My grandfather’s home was about eight miles from the medieval walled town of Sighisoara, birthplace of Count Dracula. I have Transylvania roots, for sure.

So, of course I enjoyed reading The Historian, by Elizabeth Kostova, about a woman researching her family’s history who traverses that part of the world and at every step finds connections to Our Vlad.  “Genuinely terrifying,” said the Boston Globe.

Lots to look forward to, and I have my reading for the trip all lined up:

I’ve provided links to amazon.com, in case you want more info about any of these books, but of course would encourage you to make any purchases at your local independent bookstore!

What a Thrill!

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On Main Street in OtR.The International Thriller Writers announced the 2013 Thriller Award Winners last Saturday. More books to add to the my “best of” reading and listening lists (and falling farther and farther behind!).

Best Hardcover Novel – Spilled Blood by Brian Freeman – two Minnesota towns in an epic battle, and there’s only the daughters paying the price . . . one with her life!
She got out of her car and stood like the last girl on earth in the center of the old main street. She studied her stricken Mustang, which was covered with a film of dust. The flabby rubber on the left rear tire looked like melted ice cream. On either side of her, the remains of a half-dozen decaying buildings loomed behind boarded-up doors and No Trespassing signs. The buildings were interspersed with weedy, overgrown lots, like missing teeth in a rotting smile.

Best Paperback Original – Lake Country by Sean Doolittle – a Minnesota architect falls asleep driving, and there’s only the daughters paying the price . . . one with her life!
He opened his door and got out. It was a clean night, scrubbed fresh by the rain. The cloud cover had pulled apart in spots overhead, showing starry black patches here and there, and the moon looked like a puddle of silver on the water.

Best First Novel – The 500 by Matthew Quirk – for a moment I thought the contest winners might have created a Midwestern juggernaut, but The 500 isn’t set in Indianapolis, it’s in the nation’s capital, and the 500 are “the elite men and women who really run Washington—and the world.” Oh-kaaaay. Sounds powerful.

Best e-Book Original Novel – Blind Faith by C. J. Lyons – this book (not her first) debuted at #2 on the NYT bestsellers list, and her own story—from pediatric Emergency Room doc to best-selling author is a good read, too. In the novel, a woman has watched the killer of her husband and son die by lethal injection, but she seeks closure, so returns to their remote Adirondack mountain home and . . . C.J.’s tagline is “thrillers with heart.”

Nominated in the “Best First Novel” category was the much-better-than-average The Expats, by Chris Pavone, which is among a number of thrillers I’ve read and listened to so far this year. You’ll find brief reviews of all of them in Reading . . .

It’s the Chills that Count!

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Two weeks ago, this blog started a discussion of the differences between mysteries and thrillers. As reader David Ludlum pointed out, there can be elements of mystery in thrillers and vice-versa, since both contain suspense. Here are a few items from Carolyn Wheat’s handy list of the differences: mystery is a puzzle, suspense is a nightmare; in a mystery, the detective has skills, and in a thriller, the hero learns skills; mysteries have clues, while thrillers have surprises; and a mystery offers red herrings, whereas a thriller contains “cycles of betrayal.” John le Carré’s Tinker, Tailor, Soldier, Spy comes immediately to mind.

This week, I’m reading a mystery—Maze in Blue, by fellow U. of Michigan alumna Debra Goldstein—and the pages are littered with clues, potential clues, and red herrings. The fun is sorting them out, not to mention the familiarity of the Ann Arbor setting!

Coincidentally, the book mentions a real-life murder I was familiar with, one in a serial killer spree that began shortly after I graduated. A law student was murdered and her body draped over a tombstone in a local cemetery. Reading about the case several months after I moved away, I had a horrible flashback. On a warm spring evening in my senior year, I was pacing my second-floor apartment in a chopped up Victorian house, talking on the phone to a friend. I noticed a man standing across the street looking up into my tall second-floor windows, open to the fresh air. I didn’t pay much attention until he crossed the street, headed toward my house. The back of my neck tingled. “I think he’s coming over to look at my mailbox,” I said, slightly embarrassed to sound so paranoid. My friend and I talked a little longer, and the man recrossed the street, disappearing into the apartment building opposite. As soon as we hung up, my phone rang. “You don’t know me, but . . .” and he gave me his name. Yes, he had read my name on my mailbox, and he asked me out. “I don’t think this is a very good way to meet people,” I said and hung up, shaking, even though in those days such a casual meet-up was common. I called my friend back. “If I’m not in class tomorrow, here’s the name he gave”—the same name written in the calendar of the murdered law student on the day she disappeared. So Goldstein’s book has some resonance with me.

The most recent thriller I’ve read is Alan Furst’s latest, Mission to Paris, and while I don’t have the same kind of personal connection with pre-World War II Europe, Furst’s evocation of the era through his wonderful series of books immediately puts me there. In this one, Hollywood actor Fredric Stahl find himself enmeshed deeper and deeper in the snares of opposing spy machines and Carolyn Wheat’s “cycles of betrayal.”

Another superb read this year in the pre-war thriller mode is Erik Larson’s In the Garden of Beasts, with one big difference: it’s all true.

In their Words: Interviews with Carolyn Wheat, Alan Furst, and Erik Larson on the books mentioned here.

Mystery or Thriller?

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Is this book in my hand a mystery or a thriller? Not until I started writing stories myself did I run up against the startling realization that a lot of the books I liked best—starting with Frederick Forsyth’s Icon—were not mysteries at all. They were “thrillers,” “suspense.” To me, they were just exciting books that kept me turning pages. Think Silence of the Lambs. Think Reamde. Think The Little Drummer Girl.

Oh. So? People who have actually gone to the trouble of analyzing the differences between these two genres can present quite a list of them, along with which go different reader expectations. Looking back, the short stories on my publications list (this website) were all mysteries—puzzles—especially “Evidence” and “Premeditation.” I’ve also written a novel—Witness—and it’s definitely a thriller. In writing it, I fell into thriller mode automatically.

What is the difference? Carolyn Wheat in her excellent How to Write Killer Fiction (a title that tells you these are words to live by) describes “the funhouse of mystery” and “the roller coaster of suspense.” Readers of a classic mystery identify with the detective—from a professional like Harry Bosch to an amateur busybody like Miss Marple—who is attempting to solve someone else’s problems, usually a murder or two. We readers follow “two steps behind,” Wheat says, as our detective gathers and analyzes evidence and tries to figure out who the bad guys are.

In suspense novels, the main problems belong to the main characters. They’re the ones in danger, who must figure out how to save their own lives even as they may be saving others, too, of course. Jason Bourne. Jack Ryan. We know who the bad guys are and what the threat is, because the author has shown them at work. As a result, we typically know more than the hero, and are actually two steps ahead. We’re thinking, “Don’t take that call,” “Take that call!” and “Don’t trust that guy,” and “Don’t go into the British Embassy wearing that electric blue sequined dress and that Tina Turner wig and think you can pass as a legitimate party guest,” we telepathically yell at Whoopi Goldberg in Jumpin’ Jack Flash.

Detectives, like tv’s Inspector Lewis, have legendary ability to see through layers of disinformation and assemble logical pictures from the slimmest clues, clues equally available to us, as readers, but whose significance the author has deftly obscured. The writer’s challenge is to present all those clues without either giving away the game on page 20 or being so obtuse the reader feels unfairly dealt with. In the end, every piece is in place, and the reader’s reward is the intellectual satisfaction of tidied loose ends.

By contrast, suspense heroes, even if they achieve their goals and avert World War III, may not make it out alive. Or not in very good shape, if they do. Daniel Craig’s James Bond needed recovery time at the end of Casino Royale. And his nemesis got away, to plague him yet another day. Still, our hero has prevailed, and the reader’s reward is the emotional satisfaction of that victory, even if it is temporary and we see another battle looming over the sequel horizon.