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Once upon a time there were seven good friends. They were the forgotten little brothers and sisters of the Big Chill generation, born in the turbulent year when the flames of Watts lit the City of Angels and napalm kissed the war-torn skies of Vietnam. They called themselves The Underground. For Justin and Mia, Josh and Caroline, Amy, Seth, and Simon, there was nothing but drugs and music, combined with boundless cynicism and a deep yearning for something that really mattered.

As graduation rolled around, they knew they would drift apart. By Labor Day weekend, there was just enough time to throw one last private party. But where? Creepy old Custis Manor was temporarily uninhabited. So they motored out to the moldering southern plantation, ready to party the night away.

They could not have known that on the other side of the mirrors, something watched: a corrupt, voracious force, neither fully living nor truly dead. It was a soulless spirit of evil that had spent more than two hundred years cultivating its terrible powers.

It was the Great Night. And Custis Manor was its domain.

In one terrifying night their lives were forever shattered. One died. One disappeared. The survivors were scarred both inside and out. For twenty years, they couldn't face the truth of what had really happened.

Until now.

One has gone back, and through the mirror. And now the remaining friends are forced to confront the demons of their own pasts and a greater nightmare beyond their comprehension. Together they must face the Great Night, lay waste to its vicious legacy, and free the thousands of souls still trapped there, as the reunited Underground meets the Underground Railroad of souls.

A truly original metaphysical thriller---gory and intense, satisfying and unique, Underground is a startling vision of the nightmare dimension from one of the true masters of the genre.

• Sales Rank: #2235815 in Books
• Brand: Brand: Tor Books
• Published on: 2005-04-16
• Released on: 2005-03-10
• Original language: English
• Number of items: 1
• Dimensions: 9.60" h x 1.05" w x 6.34" l,
• Binding: Hardcover
• 256 pages

Features

• Used Book in Good Condition

From Publishers Weekly
A festering supernatural scourge provides a group of aging Gen-Xers with one last opportunity to revive the idealism of their youth in Spector's horror redux of The Big Chill. In the 1980s, a band of seven high school rebels who called themselves the Underground accidentally accessed a dimension of evil during a drug-fueled party at leader Josh Custis's ancestral Virginia mansion. The event left one dead, one trapped in the dark realm and the rest forever conscious of the hazards of wayward youth. Twenty years later, Josh persuades the survivors to help save their buddy Justin, who's just forced his way across the dimensional divide, though this will involve neutralizing the Great Night, the evil overmind of the other dimension, and freeing the souls of slaves and other sacrificial victims who have been fed to it by generations of Custis men in exchange for political power. While the two main plots—the otherworldly rescue mission initiated by the Underground, and the Custis family's legacy of supernatural evil—never quite mesh, Spector (To Bury the Dead) writes (and occasionally overwrites) with the brio and energy of his splatterpunk heyday to yank readers in and keep their attention. Agent, Scott Agostoni at William Morris. (Apr. 16)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"In To Bury the Dead, Craig Spector has achieved a mature, hard-won narrative authority that will be deeply gratifying to all, as well as to the many thousands of readers who have enjoyed his earlier work. The novel moves its protagonist from believable heroism into an equally convincing moral darkness terrible to behold, and it carries us with it every step along the way. This is what horror wants to be when it grows up, a vision of tragic inevitability rooted in character, ruthless and inexorably unfolding, yet shot through with the possibility of grace."--Peter Straub

"Craig Spector's solo debut is a riveting marvel: funny, powerful, and wise. Amid aching emotion are insights almost unbearably poignant, truths transcendent. The writing is exquisitely uneasy and holds the reader spellbound in a harrowing opera of loss and hope. This is a complex world where courage is religion and all things burn except faith. Spector has written a stunning novel."--Richard Christian Matheson on To Bury the Dead

"Spector (The Light at the End) is a strong writer who convincingly re-creates the dark, often gruesome world of paramedics and firefighters. Most impressive is his exploration into Paul's character and how ordinary people cope with extraordinary grief and horror. Not for the faint of heart, Spector's latest is for lovers of the best psychological thrillers, along the lines of Ruth Rendell's."--Publishers Weekly

About the Author
Craig Spector is a bestselling author and screenwriter, with millions of copies of his ten books in print, including reprints in seven languages. His previous work includes the psychological thriller To Bury the Dead and the modern vampire classic The Light at the End. Spector's film and television work includes projects for Beacon Pictures, ABC, NBC, Fox Television, Hearst Entertainment, Davis Entertainment Television, and the Wonderful World of Disney. His last feature film project, Repairman Jack, is an adaptation of the bestselling F. Paul Wilson novel The Tomb. Underground is Spector's eleventh book. He lives in Los Angeles, California.

Most helpful customer reviews

3 of 3 people found the following review helpful.
A risky book. A reader's book. A writer's. A streamlined horror epic!
By Rob M. Miller
Rob's Critical Book Review: "Underground," by Craig Spector

Though I'm sure to upset some authors and publishers who, understandably, want five-star reviews, I've my own definition of the five-star system.

*One Star: A crime against God and man.
*Two Stars: Poor, or otherwise not ready for publication.
*Three Stars: A solid work worth the money/read.
*Four Stars: A superior, award-worthy achievement.
*Five Stars: A standard setter, a work to stand the test of time, a work to be studied and read again and again....

(Note to Amazon: Just noticed the "new" way one posts reviews, with you "defining" what stars mean, with three, four, and five stars representing IT'S OKAY, to I LIKE IT, to I LOVE IT. This is bull****. Because a work is not a "Frankenstein" by Shelley, a novel that's certainly five stars and will no doubt still be published another hundred years from now, doesn't mean that a three-star work is merely "OKAY." I stand by my own definition.)

A risky book. A reader's book. A streamlined horror epic!

"Underground," by Craig Spector, a three-star winner! (Which means that I LOVED IT.)

Craig Spector, of course, stands as one of the greats in the horror community's pantheon of writing gods, a pillar, and who--it can be argued--along with John Skipp, fathered the sub-genre of splatterpunk. True or not--and it's more true than it isn't--I can't deny the impact his works have had on me over the years, back-in-the-day, taking me through high school and beyond, and repeatedly knocking my socks off with "The Light at the End," "The Scream," "The Cleanup," "The Bridge," and more.

"Underground" has been no different.

And yet it was!

Here's the book's description:

__________

Once upon a time there were seven good friends. They were the forgotten little brothers and sisters of the Big Chill generation, born in the turbulent year when the flames of Watts lit the City of Angels and napalm kissed the war-torn skies of Vietnam. They called themselves The Underground. For Justin and Mia, Josh and Caroline, Amy, Seth, and Simon, there was nothing but drugs and music, combined with boundless cynicism and a deep yearning for something that really mattered.

As graduation rolled around, they knew they would drift apart. By Labor Day weekend, there was just enough time to throw one last private party. But where? Creepy old Custis Manor was temporarily uninhabited. So they motored out to the moldering southern plantation, ready to party the night away.

They could not have known that on the other side of the mirrors, something watched: a corrupt, voracious force, neither fully living nor truly dead. It was a soulless spirit of evil that had spent more than two hundred years cultivating its terrible powers.

It was the Great Night. And Custis Manor was its domain.

In one terrifying night their lives were forever shattered. One died. One disappeared. The survivors were scarred both inside and out. For twenty years, they couldn't face the truth of what had really happened.

Until now.

One has gone back, and through the mirror. And now the remaining friends are forced to confront the demons of their own pasts and a greater nightmare beyond their comprehension. Together they must face the Great Night, lay waste to its vicious legacy, and free the thousands of souls still trapped there, as the reunited Underground meets the Underground Railroad of souls.

__________

Does the above description do its job?

Tantalize a potential reader to give the work a shot?

I believe it does. It also sounds a tad bit familiar, if not in plot, then in concept. Seems to be part of the natural progression of writers--at least in the spooky fiction realm--to want to pen a tale about youth wasted on the young, of jaded or otherwise damaged adults reuniting to right past wrongs, or otherwise "fix" something done in their--the assembled squad's--collective past.

When this kind of story is done well, there are some real gems to be had. One cannot help but think of Stephen King's "It," Douglas Clegg's "You Come When I Call You," Golden's "The Boys Are Back in Town," or Peter Straub's superb "A Dark Matter."

Does Spector's "Underground" deserve to be mentioned with this kind of company?

YES.

But the book is different (as if that would be a surprise, which, of course--duh--it isn't). What was a surprise--and a welcomed one--was the risk(s) the author took, and the challenge to be overcome.

"What challenge?"

To overcome Craig Spector.

For the author, this might not have been a problem at all. This may just be part of my imagination. But often, for the very successful, for the lofty celebrity, be they a writer, an actor, a singer, a person's previous work can become a speed-bump for future projects. Why? Because once a consumer gets satisfied with a work, once something has been consumed and enjoyed, the consumer often doesn't want something new or different, but, instead, longs to have that previous experience replicated--again and again and again.

In my imagination, this must put a tremendous amount of pressure on an artist to keep doing the same ol' dependable same ol'.

It makes money.

Makes consumers happy (not to mention publishers and agents).

Provides job security.

Of course, it can also produce hacks, can (and does) typecast, and can erode an artist's willingness to ... just do something different.

"Underground" is different. It's different structurally, and with its prose.

The writing, itself, could almost be called literary. Almost. But not quite. The work is too accessible, too easy to read, the pages whizzing by too fast, to be anything quite as pretentious as literary. On the other hand, the prose does sing; despite the work's ease-of-read, this writer can tell that the author labored to put down that just-right-word, just-perfect-line, just-right-paragraph, for page after page after page.

Yes, I know. This should be a given. After all, isn't that a writer's job? It is. But, unfortunately, it isn't a given, and sometimes, even for the greats, one can get a sense of somebody just phoning it in. With "Underground," however, this was certainly not the case.

The book's point of view also stood out as a winner. Why? Because it couldn't have been easy. (Well, it might've been for Spector.) With "Underground," the author chose an omniscient third-person narrator, but one so unobtrusive, that despite the inevitable loss of intimacy offered by first-person or third-person limited, I still felt quite close and connected to the characters.

Another risk?

Yes, the structure. Though the book's not short of dialogue and immediate scenes, overall, the work's got a narrative engine propelling the plot, with plenty of (necessary) back-story provided.

In the hands of anyone but a craftsman, this would not have worked.

Next, the author pulled off writing a chaff-free affair. Unlike ... say ... Straub's "A Dark Matter" (a monster of some 600-pages), Spector, not opting for an inches-thick tome with loads of elbow-room, instead produced a streamlined tale of only a mere 257-pages, and that, stopping on a dime, right where the tale needed to end--and not a word more.

Now that's a feat.

Maximum story in minimum time!

With "Underground," will every reader be happy?

No. Of course not. Such is the case with any work, by any author, but especially with books that are well done. And especially with works that are a stretch, a risk, something outside of the typical play-box.

With "Underground," readers aren't going to get "The Bridge" or "The Scream," or some other vintage-esque Spector-work in competition with his other titles (or anyone else's). Instead, one gets the chance to consume a story written by a mature writer at the top of his game, a work--that due to its quality--was probably produced more out of a labor of love (and if not love, perhaps necessity) than anything as mercenary as simply wanting to make a buck.

For those that love to read, "Underground" does its job.

For those that love to read and love to write, there's a lot to learn here.

All my best,

Rob M. Miller

3 of 3 people found the following review helpful.
Fantasy at its best
By L. Berkowitz
Underground is the second book I've read by Craig Spector, the first having been To Bury the Dead. Underground is quite different from my first read by Spector because it takes place in the realm of fantasy. I think this helps the reader to take a really good look at just how deeply the roots of racism remain in the United States, and how it completely destroys the lives of everyone touched by even the knowledge, let alone the participation in what goes along with it: torture, rape and killing. He describes well the development of personal empires through the use of slavery as well as the lengths to which its overlords will go in order to protect its continuance. Just as with To Bury the Dead, I was on the edge of my seat as I read quickly in order to get to the point of resolution at the end - or was it? I appreciate it when the author leaves a lot of interpretation up to the reader. I finished Underground a few weeks ago, but the characters stayed with me in the back of my mind as I contemplated their various fates. The bonus we are treated to in Underground is Craig Spector's reach back into history, including even a snapshot of the Black Panther Party. At the point that he used their true history of events to portray one of the characters, Louis, he caught both my attention and appreciation. When an author goes to the trouble of thoroughly researching actual events in order to build believable characters, especially within the context of a fantasy thriller, there is a huge hook and lots of added dimension. I recommend this very interesting read.

5 of 6 people found the following review helpful.
fast and furious novel of thrills, chills and ideals
By Will Daniels
Being, in Publisher's Weekly parlance "an aging Gen-Xer", myself, I am greatly impressed on how Spector is able to get the details of my reality so dead on that I trust him implicitly as he moves into compelling historical detail and creates from whole cloth a unique metaphysical evil.

Having been a casual fan of THE BRIDGE and LIGHT AT THE END, I've found his writing to be more intense, thanks to a tighter focus. While many novels I've read lately tend to be bloated and meandering, with little pay-off in terms of ideas, this book packs a wallop thanks to tense, sinewy prose and smart handling of racial politics.

The book also benefits from an experimental way of handling exposition, "setting the scene" before launching into the drama. He also has a much better sense of drive and pacing than either is earlier work or much of his "competition." I can only imagine these improvements are a product of his screenwriting.

Finally, since books should be "about something," it's interesting for a white horror writer to attack the issue of racism and the legacy of slavery in America in such a bold and sophisticated way, while keeping the bulk of the protagonists the white, disaffected males typical of the genre. The "aging Gen-Xers" once made lots of noise about racism and sexism and the like. The '60's radicals have certainly gone the way of the buffalo. Dennis Hopper is a conservative now. As the 35-45 year old set try to reconcile mortgage payments with ideals, it's nice to see a mature yet pulpy book that addresses this tension so eloquently. On a broader note, it's nice to see a writer who's prose or politics have not mellowed, but, instead, have become seemingly more ferocious and passionately felt.

Sign me up for the next one.

See all 9 customer reviews...

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• Sales Rank: #1512326 in Books
• Published on: 2014-07-15
• Original language: English
• Dimensions: 13.25" h x 12.25" w x .25" l, 1.00 pounds
• Binding: Calendar
• 12 pages

Most helpful customer reviews

0 of 1 people found the following review helpful.
Four Stars
By shoshanna preiss
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Marcus, a.k.a "w1n5t0n," is only seventeen years old, but he figures he already knows how the system works–and how to work the system. Smart, fast, and wise to the ways of the networked world, he has no trouble outwitting his high school's intrusive but clumsy surveillance systems.

But his whole world changes when he and his friends find themselves caught in the aftermath of a major terrorist attack on San Francisco. In the wrong place at the wrong time, Marcus and his crew are apprehended by the Department of Homeland Security and whisked away to a secret prison where they're mercilessly interrogated for days.

When the DHS finally releases them, Marcus discovers that his city has become a police state where every citizen is treated like a potential terrorist. He knows that no one will believe his story, which leaves him only one option: to take down the DHS himself.

• Sales Rank: #7482 in Books
• Brand: Tor Teen
• Published on: 2010-04-13
• Released on: 2010-04-13
• Original language: English
• Number of items: 1
• Dimensions: 8.29" h x 1.15" w x 5.44" l, .84 pounds
• Binding: Paperback
• 432 pages

From School Library Journal
Starred Review. Grade 10 Up—When he ditches school one Friday morning, 17-year-old Marcus is hoping to get a head start on the Harajuku Fun Madness clue. But after a terrorist attack in San Francisco, he and his friends are swept up in the extralegal world of the Department of Homeland Security. After questioning that includes physical torture and psychological stress, Marcus is released, a marked man in a much darker San Francisco: a city of constant surveillance and civil-liberty forfeiture. Encouraging hackers from around the city, Marcus fights against the system while falling for one hacker in particular. Doctorow rapidly confronts issues, from civil liberties to cryptology to social justice. While his political bias is obvious, he does try to depict opposing viewpoints fairly. Those who have embraced the legislative developments since 9/11 may be horrified by his harsh take on Homeland Security, Guantánamo Bay, and the PATRIOT Act. Politics aside, Marcus is a wonderfully developed character: hyperaware of his surroundings, trying to redress past wrongs, and rebelling against authority. Teen espionage fans will appreciate the numerous gadgets made from everyday materials. One afterword by a noted cryptologist and another from an infamous hacker further reflect Doctorow's principles, and a bibliography has resources for teens interested in intellectual freedom, information access, and technology enhancements. Curious readers will also be able to visit BoingBoing, an eclectic group blog that Doctorow coedits. Raising pertinent questions and fostering discussion, this techno-thriller is an outstanding first purchase.—Chris Shoemaker, New York Public Library
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Seventeen-year-old techno-geek “w1n5t0n” (aka Marcus) bypasses the school’s gait-recognition system by placing pebbles in his shoes, chats secretly with friends on his IMParanoid messaging program, and routinely evades school security with his laptop, cell, WifFnder, and ingenuity. While skipping school, Markus is caught near the site of a terrorist attack on San Francisco and held by the Department of Homeland Security for six days of intensive interrogation. After his release, he vows to use his skills to fight back against an increasingly frightening system of surveillance. Set in the near future, Doctorow’s novel blurs the lines between current and potential technologies, and readers will delight in the details of how Markus attempts to stage a techno-revolution. Obvious parallels to Orwellian warnings and post-9/11 policies, such as the Patriot Act, will provide opportunity for classroom discussion and raise questions about our enthusiasm for technology, who monitors our school library collections, and how we contribute to our own lack of privacy. An extensive Web and print bibliography will build knowledge and make adults nervous. Buy multiple copies; this book will be h4wt (that’s “hot,” for the nonhackers). Grades 8-12. --Cindy Dobrez

Review
"A rousing tale of techno-geek rebellion." --Scott Westerfeld, author of "Uglies," "Pretties," and "Specials," on "Little Brother
"
"A worthy younger sibling to Orwell's "Nineteen Eighty-Four," Cory Doctorow's "Little Brother" is lively, precocious, and most importantly, a little scary." --Brian K. Vaughan, author of the graphic novel "Y: The Last Man"
"A tale of struggle familiar to any teenager, about those moments when you choose what your life is going to mean." --Steven Gould, author of "Jumper," on "Little Brother
"
"Scarily realistic...Action-packed with tales of courage, technology, and demonstrations of digital disobedience as the technophile's civil protest." --Andrew "bunnie" Huang, author of "Hacking the Xbox," on "Little Brother
"
"The right book at the right time from the right author--and, not entirely coincidentally, Cory Doctorow's best novel yet." --John Scalzi, bestselling author of "Old Man's War," on "Little Brother
"
"I was completely hooked in the first few minutes. Great work." --Mitch Kapor, inventor of Lotus 1-2-3 and co-founder of the EFF, on "Little Brother"
""Little Brother "is a brilliant novel with a bold argument: hackers and gamers might just be our country's best hope for the future." --Jane McGonigal, designer of the alternate-reality game I Love Bees
"I know many science fiction writers engaged in the cyber-world, but Cory Doctorow is a native...We should all hope and trust that our culture has the guts and moxie to follow this guy. He's got a lot to tell us." --Bruce Sterling
"Cory Doctorow doesn't just write about the future--I think he lives there." --Kelly Link, author of "Stranger Things Happen"
"Doctorow throws off cool ideas the way champagne generates bubbles...[he] definitely has the goods." --"San Francisco"" Chronicle"
"Doctorow is one of sci-fi's most exciting young writers." --"Cargo Magazine"

"A wonderful, important book...I'd recommend "Little Brother" over pretty much any book I've read this year, and I'd want to get it into the hands of as many smart thirteen-year-olds, male and female, as I can. Because I think it'll change lives. Because some kids, maybe just a few, won't be the same after they've read it. Maybe they'll change politically, maybe technologically. Maybe it'll just be the first book they loved or that spoke to their inner geek. Maybe they'll want to argue about it and disagree with it. Maybe they'll want to open their computer and see what's in there. I don't know. It made me want to be thirteen again "right now," and reading it for the first time." --Neil Gaiman, author of "Sandman" and "American Gods" on "Little Brother"

"A rousing tale of techno-geek rebellion." --Scott Westerfeld, author of "Uglies," "Pretties," and "Specials," on "Little Brother"
"A worthy younger sibling to Orwell's Nineteen Eighty-Four, Cory Doctorow's "Little Brother" is lively, precocious, and most importantly, a little scary." --Brian K. Vaughan, author of the graphic novel "Y: The Last Man" on "Little Brother"
"A tale of struggle familiar to any teenager, about those moments when you choose what your life is going to mean." --Steven Gould, author of "Jumper," on "Little Brother"

"A believable and frightening tale of a near-future San Francisco ... Filled with sharp dialogue and detailed descriptions... within a tautly crafted fictional framework." -"Publishers Weekly" starred review on Little Brother ("Featured in "PW" Children's e-newsletter)"

"Readers will delight in the details of how Marcus attempts to stage a techno-revolution ... Buy multiple copies; thisbook will be h4wt (that's 'hot, ' for the nonhackers)." -"Booklist" starred review on Little Brother ("Selected as a "Booklist" "Review of the Day")"

"Marcus is a wonderfully developed character: hyperaware of his surroundings, trying to redress past wrongs, and rebelling against authority ... Raising pertinent questions and fostering discussion, this techno-thriller is an outstanding first purchase." -"School Library Journal "starred review on Little Brother

""Little Brother" is generally awesome in the more vernacular sense: It's pretty freaking cool ... a fluid, instantly ingratiating fiction writer ... he's also terrific at finding the human aura shimmering around technology." -"The Los Angeles Times "on Little Brother

"Scarily realistic...Action-packed with tales of courage, technology, and demonstrations of digital disobedience as the technophile's civil protest." --Andrew "bunnie" Huang, author of "Hacking the Xbox," on "Little Brother"
"The right book at the right time from the right author--and, not entirely coincidentally, Cory Doctorow's best novel yet." --John Scalzi, bestselling author of "Old Man's War," on "Little Brother"
"I was completely hooked in the first few minutes. Great work." --Mitch Kapor, inventor of Lotus 1-2-3 and co-founder of the EFF, on "Little Brother""
"
"Little Brother is a brilliant novel with a bold argument: hackers and gamers might just be our country's best hope for the future." --Jane McGonigal, designer of the alternate-reality game I Love Bees on "Little Brother"

""Little Brother" sounds an optimistic warning. It extrapolates from current events to remind us of the ever-growing threats to liberty. But it also notes thatliberty ultimately resides in our individual attitudes and actions. In our increasingly authoritarian world, I especially hope that teenagers and young adults will read it--and then persuade their peers, parents and teachers to follow suit." --Dan Gillmor, technology journalist, author of "We the Media" on "Little Brother"

"It's about growing up in the near future where things have kept going on the way they've been going, and it's about hacking as a habit of mind, but mostly it's about growing up and changing and looking at the world and asking what you can do about that. The teenage voice is pitch-perfect. I couldn't put it down, and I loved it." --Jo Walton, author of "Farthing" on "Little Brother"

"Read this book. You'll learn a great deal about computer security, surveillance and how to counter it, and the risk of trading off freedom for 'security.' And you'll have fun doing it." --Tim O'Reilly, founder and CEO of O'Reilly Media on" Little Brother"

"I know many science fiction writers engaged in the cyber-world, but Cory Doctorow is a native...We should all hope and trust that our culture has the guts and moxie to follow this guy. He's got a lot to tell us." --Bruce Sterling
"Cory Doctorow doesn't just write about the future--I think he lives there." --Kelly Link, author of "Stranger Things Happen"
"Doctorow throws off cool ideas the way champagne generates bubbles...[he] definitely has the goods." --"San Francisco"" Chronicle"
"Doctorow is one of sci-fi's most exciting young writers." --"Cargo Magazine"

Most helpful customer reviews

146 of 162 people found the following review helpful.
Security and Freedom
By Patrick Shepherd
In some ways, this book harks back to the juveniles of fifties as written by some of the great masters of sf, most especially Heinlein. Like those earlier books, it portrays teenagers that are intelligent, resourceful, game-loving, and confrontational, but are still at times prone to making stupid mistakes in the name of peer-group status. In other words, they are real teenagers.

The setting is the near future, when some ill-defined terrorist group decides to blow up the San Francisco Bay Bridge. Marcus, our hero, and several of his friends are picked up in a rather wide sweep by Homeland Security forces as possible suspects. And therein lies the tale, as the actions of the security forces clash violently with Marcus's idea of what is right and proper in the supposed land-of-the-free America. What Marcus decides to do about this situation is an instructional manual to the reader in just how personal freedom and privacy have been restricted and what can be done about it in today's very high-tech world of security cameras, RFIDs, cryptography, computer databases, and the insidious insinuation of propaganda both at our schools and into everything we see and hear on the internet and our TVs and from the mouths of our political leaders.

The story bubbles with suspense, and the actions that Marcus takes are very believable as something a seventeen-year old could actually do. It is very easy to identify with Marcus and become very sympathetic to his cause, while the situation itself is stark enough to frighten the daylights out of the reader as being all too possible. The info-dumps along the way not only impart some very necessary information to the reader, but are handled very much the way Heinlein did it, as things that are necessary for the hero to either know or learn about to accomplish his desires, making them easy to swallow. The techniques and technology presented are real, as some of the afterword material to this book details.

The other characters of this book, while not presented with the detail that Marcus is (almost a given in any first-person narration), are both intriguing and in some cases frightening. Marcus's father is a major case in point, as a man with liberal leanings who nevertheless finds himself driven to support the majority view out of fear for his son, and Marcus's social studies teacher, who is very reminiscent of some of the `mentors' of Heinlein's books, as her willingness to engage her students in free-wheeling debate and attempts to get them to think for themselves leads to a very plausible and ugly fate. It is just such touches that make the whole situation ring with that touch of reality that marks excellent science fiction.

The politics of this book are decidedly left-wing. The Patriot Act and the Department of Homeland Security come in for some merciless beatings, but the reasoning behind such depictions is carefully laid out and form a clarion call to all Americans to look carefully at just what we are giving up in the name of `security'. Perhaps it should be compared and contrasted (as one of those infamous school assignments I don't fondly remember) with something like Tom Clancy's Executive Orders, which presents the right-wing rationale of why and when the government should be allowed to exceed the boundaries of the Constitution and its amendments.

Unlike the YA material of the fifties, this book does not ignore an item of great concern to almost every teenager, namely sex. I found the presentation of this material both appropriate to the characters and handled realistically without being too graphic. However, it might make this book inappropriate for pre-teens.

Teenagers should find this book a riveting read, with characters they can identify with, and like all really good YA books, adults should find this book just as riveting, with concepts and philosophies presented that require thought and contemplation. This is the best book I've read out of the 2008 crop so far, and I'd be very much surprised if it doesn't at least make the 2009 Hugo nomination list, if not take the award itself.

--- Reviewed by Patrick Shepherd (hyperpat)

88 of 96 people found the following review helpful.
Worth reading, but some pretty glaring biases involved
By Chris Gladis
Probably the biggest hurdle to overcome when reading young adult fiction is the fact that I'm not a young adult. As most adults know, things look very different from this part of the timeline, and it's often very difficult to remember not only how you thought when you were younger, but why you thought the way you did. And it's not a matter of just denying the feelings and emotions of youth - it's that we literally cannot reset our minds to that state. We know too much, we've experienced too much. The best we can do is an approximation of how we think we remember how things were when we were still young enough not to know better.

It was with this in mind that I started to read Little Brother, and while I thought the book was a lot of fun to read, it probably wasn't nearly as cool as it would have been if I were fourteen years old.

Young Marcus Yallow, AKA w1n5t0n, AKA m1k3y, is a senior at Cesar Chavez high school in San Francisco, and he's what we used to call a "computer whiz" back when I was a kid. Marcus has an excellent grasp of how systems work, and finds great pleasure and thrill in either strengthening or outwitting those systems. Thus, he is able to fool the various security measures in place in his school building so that he can do the things his teachers don't want him to do - send IMs in class, sneak out whenever he wants, steal library books, that kind of thing. He's a hacker supreme, a trickster, and a very big fish in his little pond. He's so confident and cocky, in fact, that within twenty pages I wanted nothing more than to see him get his comeuppance.

Which is pretty much what happens. A series of bombs go off, destroying the Bay Bridge and killing thousands of people in an attack that dwarfs 9/11. In the chaos that ensues, Marcus and his friends get picked up by Homeland Security, taken to an undisclosed location (which turns out to be Treasure Island) and interrogated within an inch of their lives. They quickly break Marcus' smug self-confidence and assure him that there is no way he can win against them if they decide he's a threat to national security. When he is sufficiently cowed, Marcus is released back into the city, which has become a zone of hyper-security.

In this post-attack San Francisco, the police and Homeland Security have unprecedented powers to search and seize, access to every trace of electronic records of citizens' movements and transactions. In other words, everyone is a suspect until proven otherwise, and DHS is confident that the security they provide is worth the loss of liberty.

Marcus, of course, disagrees. His natural tendency to buck authority meets his desire to get back at DHS for what they did to him and his friends, and comes together in a plan to not only subvert the Department of Homeland Security, but to actively drive them out of his city. To that end, he creates a youth movement, powered by a secret internet known as the XNet and kept safe by means of complex cryptography. The youth of the city come together to cause chaos, to show Homeland Security that they are not all-powerful and that if anyone is terrifying American citizens, it's not al-Qaeda.

In the end, of course, the good guys win, though not without some losses and some disappointment. Freedom triumphs over security, but how long that triumph will last is unknown. All we do know is that the right of the citizens to tell their government what to do - as enumerated in the Declaration of Independence - is maintained. So in that sense, all is well.

It's a fun book to read, and I'll admit, there were times where I could feel anger building and my heart racing as the story moved along. Perhaps that's because, like Marcus, I have a solid distrust of authority. I don't automatically assume that governments act in their citizens' best interests, so in that sense, this book is targeted at people just like me. Or, if it's a younger reader, at creating more people like me. The narration is well done, a believable 17-year-old voice, and it's a pleasure to read. Moreover, it all holds together very well.

In some ways, this book reminded me a lot of Neal Stephenson. Doctorow has clearly done a lot of research on security, both electronic and otherwise, cryptography, politics and history, and found a lot of cool stuff that he's incorporated into the novel. Unlike Stephenson, however, Doctorow makes sure the story is more important than the trivia. All the cool stuff serves to support the plot, rather than having a plot built up around all the cool stuff the author's found, which is what Stephenson seems to do a lot. So there are some asides where Marcus takes a few pages to explain, say, how to fool gait-recognition software or how public and private keys work in electronic cryptography, but he does it in an interesting way and you can be sure that what he's telling you will feed into the story sooner or later.

With a couple of caveats, and a pretty major plot hole, I'd be glad to hand this off to a nearby teenager and say, "Read this." But the caveats are kind of big. So let's get to them.

First, the plot hole, which bugged me from the moment I saw it. And as with all plot holes, I may have missed something, so let me know if I did.

After the bombing of the Bay Bridge, Marcus and his friends are picked up by DHS and given the Full Guantanamo Treatment. While it looks like they were picked up randomly, the Homeland Security agent who puts them through the wringer implies that they were specifically looking for Marcus and his buddies, seeing them as a very real and imminent threat to national security. My question is: Why? It's never explained why DHS picks them up, nor why they treat them as severely as they do. If DHS knew something about Marcus' activities as a hacker, why weren't we told what they knew? It looked like DHS was just picking up random citizens and trying to scare the piss out of them. Which, given the characterization problem that I will discuss later, is entirely possible.

Before that, though - this is a book of its time, and is ultimately less about Marcus than it is about the time in which Marcus lives, i.e. about ten minutes in our future. It was published in 2008, which means it was being written during a period in American history where the debate over privacy versus security hit its peak. After September 11th, after the creation of Homeland Security and the Iraq War, Americans had to answer a lot of questions about how safe they wanted to be. It was possible, they said, to be very safe, but only if we sacrificed some of our freedoms. Thus the no-fly list, warrantless wiretaps, and waterboarding. It's a dilemma that mankind has faced since we started organizing into societies, and it seemed, in the opening years of the 21st century, that America was willing to give up a good deal of its personal liberty in exchange for not having thousands of citizens die.

Doctorow believes this is a very bad exchange to make, and has been publicly vocal in saying so. On Boing Boing, a webzine that is decidedly in favor of intellectual and informational freedom, Doctorow has repeatedly railed against ever-intrusive technology measures by both governments and corporations. He, and the other editors of Boing Boing, champion the personal liberty of people, both as citizens and consumers, and I tend to agree with them.

But that makes Little Brother less a book about the issues that affect young people than a book about what it's like to live in a hyper-security culture. And that's not a bad thing, mind you - like I said, it makes for a very exciting book. I just don't know how long it will last once we stop having the liberty/security argument as vocally as we are now.

Which brings me to my other caveat, and one that bothers me more than the book being period fiction - bad characterization. Marcus is great, as are his close friends and his eventual girlfriend, Ange. They're real, they're complex and they're interesting. In fact, most of the "good guys" in this book are well-drawn. Depending on your definition of "good," of course - after all, Marcus is technically a terrorist, so long as you define "terrorist" as "someone who actively operates to subvert, disturb or otherwise challenge the government by illegal means."

If Marcus and his subversive friends are the good guys, then that makes the Government the bad guys, and this is where Doctorow falls flat on his face. The characters who operate in support of security culture, whether they're agents of Homeland Security or just in favor of the new security measures (Marcus' father being a prime example), are cardboard cut-outs that just have "Insert Bad Guy Here" written on them in crayon. There is no depth to their conviction, no complexity to their decisions. Doctorow makes it clear that anyone who collaborates with DHS is either a willful idiot or outright malevolent, without considering any other options. He gives a little in the case of Marcus' father, but not enough to make me do more than roll my eyes when he came out with the hackneyed, "Innocent people have nothing to fear" line.

Any character who acts against Marcus in this book (and, it is implied, disagrees with Doctorow) is a straw man, a villain or a collaborator straight from central casting with all the depth of a sheet of tinfoil. They are all easy to hate and make Marcus look all the better, even though he's acting as, let's face it, an agent of chaos.

While this may make the story easier to tell (and, from my readings of Boing Boing, turning those who disagree with you into objects of ridicule is a popular method of dealing with criticism - see disemvowleing), it cheapens it. As much as I - and Doctorow - may hate the idea of security infringing on liberty, as much as we hate the reversals in personal freedoms that we've seen over the last eight years, and as much as we may want Marcus to come out on top, it has to be acknowledged that sometimes people who want to restrain liberty aren't doing it out of malice.

There are those whose desire to see a safe, orderly nation is so strong and so honest that they're able to make the decision to curtail those liberties that make order harder to attain. And they're not doing it because they hate young people, or because they're some cinema villain out for power or just to see people suffer. They're doing it because they truly, honestly believe it is the right thing to do. To write them off as "Bad Guys," as this book does, is to ignore the reality of the situation and boil it down to an "Us vs Them" scenario, which is not how the world works.

Now it could be argued that this was a reasonable artistic decision - after all, Marcus is the narrator of this tale, therefore we're seeing things through his eyes and his perceptions. But that doesn't wash. Marcus is obviously an intelligent person who understands complexity, and if Doctorow had given him the opportunity to see shades of gray, he could have been able to handle it. More importantly, though, that argument is a cheat. A book like this is meant to open eyes and minds, and that can't be done by reducing the issue to us versus them. Doctorow does his readers a disservice by not allowing them the opportunity to question their own attitudes towards the issue.

I really think the book would have been better, and had a deeper meaning, if Doctorow had made an honest attempt to show the other side in a more honest light. I still would have rooted for Marcus, and hated the DHS, but his ultimate victory would have been more meaningful if it had been a fairer fight.

Of course, I say this as an adult, who understands things in a different light than a teenager. Perhaps if I had had this book when I was thirteen it would have changed my life. And despite my misgivings about the characters and the universality of the story, I still think it's a great book and well worth reading - probably one of those books that will be a model of early 21st century fiction. Indeed, the core lesson of Little Brother - that citizens have the responsibility to police their government - is a lesson whose time has come. The G20 protests in London this year are a great example - many incidents of police abuse were clearly and unambiguously recorded by citizens armed with cell phones. The ability for information to be quickly and reliably distributed is the modern countermeasure against government abuse, though I doubt it'll end as cleanly as it did in this book. Reading this book in the context of the last ten years or so gave me some hope for the power of the populace.

But it also served to remind me that I'm not that young anymore. The rallying cry of the youth in this book is "Don't trust anyone over 25," and I'm well past that stage in my temporal existence. The rebels of the day are young. They're tech-savvy and unafraid, with nothing to lose but their lives. In this age of rapidly evolving technology, in a time where youth is everything, is there a place in the revolution for people who have advanced in age to their *shudder* mid-thirties?

Other people pull muscles trying to play sports like they did in high school, I have existential dilemmas reading young adult fiction. I never claimed to be normal.

------------------------------------------------------------
"They'd taken everything from me. First my privacy, then my dignity. I'd been ready to sign anything. I would have signed a confession that said I'd assassinated Abraham Lincoln."
- Marcus, Little Brother
------------------------------------------------------------

71 of 79 people found the following review helpful.
I enjoyed it immensely
By R'lyeh
I enjoyed this novel immensely. I want to make that clear from the start. There are many reviews that are going to talk only about how important and topical Little Brother is. They're going to talk about how this novel needed to be written. They're all right, but I think everybody should know how much FUN it is to read (even while you're being outraged by how possible it all is). I started reading it and didn't put it down until I was finished.

Little Brother is the first-person narrative of Marcus, a 17 year-old with a talent for technology. Doctorow gets Marcus' voice just right. He alternates between street-swagger and vulnerability, between naivete and expertise. I found him to be an entirely believable contradiction, which is a pretty good definition of a teenager. At first, I found Marcus' love of explaining technology a little irritating, but I couldn't figure out why. Then I realized that it reminded me of my own poorly restrained tendency to try to explain computers to anyone who would listen (35 years ago). Nothing reaches you quite like seeing your own flaws in the hero.

Marcus finds himself at the wrong place at the wrong time. Without revealing any plot details, suffice it to say that he comes to the attention of a law-enforcement agency with a broad remit and limited oversight. Deceit and mistrust test his family and friendships as he comes face to face with the conflict between personal safety and the responsibilities of a citizen.

Cory Doctorow has managed to create a wonderful fusion of science fiction, action novel, political thriller, and whimsical romp. It's very hard to bring those elements together, but he has succeeded admirably. I haven't seen anyone pull this off since "The Long Run" by Daniel Keys Moran.

Buy it. Read it. Buy copies for your kids. Once they start reading it, they'll finish it.

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~~ Fee Download The Tarot & You: A Simple Guide to Using the Cards for Self-Discovery and Prophecy, by Lindel Barker Revell

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The TAROT & YOU unlocks the mystery of reading the ancient Tarot cards which have been used for centuries to foretell the future and predict fortunes. This entertaining, easy-to-read book includes everything the reader needs to know about Tarot card reading, including a brief history of the Tarot, instructions on laying out the cards and interpreting the symbols on each card, and tips for the best readings. The book's lively, appealing illustrations and clear instructions make it suitable for aspiring fortune-tellers of all ages.

Lindel Barker-Revell is an Australian astrologer, clairvoyant, and writer. She has been working with the mystical Tarot tradition for 22 years. Barker-Revell is the author of The Goddess: Myths and Stories, published by Smithmark in 1999.

• Sales Rank: #2159686 in Books
• Published on: 1999-09
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 7.25" w x .75" l, 1.06 pounds
• Binding: Hardcover
• 112 pages

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6 of 11 people found the following review helpful.
The Tarot & You
By A Customer
The illustrations are beautiful. The text is well written and easy for the beginner or the experienced card reader.

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THE DARK MIRROR is the first book in Juliet Marillier's Bridei Chronicles.

Bridei is a young nobleman, a fosterling of one of the most powerful druids in the land, Briochan. All of Bridei's memories are of this dark and mysterious man who seems to be training him for a special purpose he will not divulge.

But, everything changes when on one bitter MidWinter Eve Bridei discovers a child on their doorstep--a child abandoned by the fairie folk. In order to avoid the bad luck that seems to come with fairie folk, all counsel the babe's death. But, Bridei follows his instinct and, heedless of the danger, fights to save the child. Briochan, though wary, relents.

As Bridei comes to manhood, and the foundling Tuala blossoms into a beautiful young woman, he begins to feel things he didn't know were possible.

Briochan sees this and feels only danger, for Tuala could be a key part in Bridei's future…or could spell his doom.

• Sales Rank: #1077176 in Books
• Brand: Brand: Tor Books
• Published on: 2006-06-13
• Released on: 2006-06-13
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x 1.32" w x 5.00" l, 1.26 pounds
• Binding: Paperback
• 512 pages

Features

• Used Book in Good Condition

From Publishers Weekly
Starred Review. Having given pre-Celtic Scotland a once-over in Wolfskin (2003) and Foxmask (2004), Australian author Marillier returns with a much more in-depth study that draws on what little history is known and surrounds it with the pretty boy-meets-girl story of Bridei, a boy raised by a group of wily councilors determined to mold him into a king who can reunite their divided land, and Tuala, his fey-born adopted sister who runs wild while he studies and is outcast where he is welcome. No one familiar with the current crop of historical fantasy will be in the least surprised by Bridei's extraordinary ability to command both men and magic, or Tuala's struggle to be accepted as a strong-willed and intelligent woman in an alien and prejudiced society. Yet somehow, carefully rounding her characters and paying exquisite attention to detail, Marillier pulls it off so well that you completely forget you've read essentially the same story a hundred times before. Fans of Judith Tarr, in whose footsteps this tale meticulously treads, will be enthralled, and the happy ending—all too rare in first volumes of series, and only slightly overshadowed by the inevitable dark portents—will encourage new readers to seek out both future installments and past publications.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Bridei is only four when he is sent to live with Broichan, one of Fortriu's most powerful druids. Broichan is reserved, but Bridei feels welcome, and the druid's household quickly becomes his entire world. His lessons are engaging, and time passes uneventfully until he discovers a tiny fairy child--a gift, he thinks, from the Shining One herself. Smitten, he names her Tuala. Broichan, however, sees her as a threat and wants to send her away. Intuitively knowing that old magic is at work, Bridei insists Tuala stay. Broichan remains distrustful but reluctantly agrees, and the two children grow up together. When Bridei reaches majority, he is certain that he is to be king in perilous and turbulent times and that, to succeed, Tuala must be his queen. Dark and formidable forces disagree. In this captivating tale based on the elusive history of the Picts, Marillier excels at breathing life into the past. Possessing the charm and sweetness of the very young, Bridei and Tuala keep their golden glow to the last page. Paula Luedtke
Copyright © American Library Association. All rights reserved

Review

“Juliet Marillier is among the most skilled of fantasy writers--she is far better than Marion Zimmer Bradley. The Sevenwaters trilogy is so beautiful, and so magically woven, that it deserves to become a fantasy classic. This trilogy should be a ‘must have' for any fantasy reader.” ―Sara Douglass

“Fans of Judith Tarr, in whose footsteps this tale meticulously treads, will be enthralled.” ―Publishers Weekly (starred review) on The Dark Mirror

“Juliet Marillier just keeps getting better. Some passages here are stunning their beauty, and more often than not you'll be quite wrong if you think you know what comes next. That's the delight of it.” ―Locus on Foxmask

“An engrossing, beautifully written work of historical fiction and a portrait of a man's fierce struggle to find his own truth.” ―Booklist on Wolfskin

Most helpful customer reviews

23 of 24 people found the following review helpful.
Absolutely incredible
By Jessica G.
Juliet Marillier begins what seems to be a promising new series with "The Dark Mirror." For fans of the Sevenwaters trilogy, the only aspect that you might not have liked with those is not going to happen here (can't say for those who haven't read it).

This story was so deftly told, I kept forgetting that this was based on a true story. Marillier weaves fact and fiction so well that she'd make Dan Brown shake in his boots. The description is vivid and lush, and the plot is exciting and moving.

The best feature by far are the two main characters: Tuala and Bridei. Bridei at first may seem one sided, so devoted to his studies as well as stoic in his behavior. But he is well balanced with Tuala, who is more wild and ethereal. I found it perfectly reasonable that this pair were two halves of a whole.

From the popularity of her previous books and the amazing manner this book was written in, I think its safe to assume that this whole series will captivate and entrance readers. But since there's a while til "Blade of Fortrui" will be released, I'll settle with everyone giving this first book a read.

41 of 47 people found the following review helpful.
Not as good as her others, but far, far better than most
By Susan
Marillier, as usual, presents an interesting view of life in the dark ages, ranged side by side with magic tied closely to the earth. Book has alot of ambiance, and her hero is engaging. Somehow, tho, I'm not as riveted as I was in her first several books. I'm a little worried that her talents are becoming diluted with publishing contracts and schedules. Her hero is maybe a little too perfect. Her heroine is a cipher, and THAT I never thought I'd see. There's some meddling by supernatural forces which is downright annoying! The romance in this one is hardly developed at all, and that's very disappointing. In each of her other books, even the ones I don't consider my favorites, you can see love and affection grow between the main protagonists. In this one, it seems only proximity is required. Compared to 99.9% of the books out there, of course, this is a masterpiece. Compared to the author's own works, it's a little weak. Hope she does better on the next.

11 of 12 people found the following review helpful.
The weakest of her novels
By Huldah, the reader
I am devoted fan of Juliet Marillier's book. And because I've loved all her previous books (especially her Sevenwaters Trilogy)I decided to shell out the $28 for THE DARK MIRROR in hardcopy and not wait as I usually do for the paperback. I should have followed my custom and waited for the paperback. The first 200 pages of this book were a real chore to read. It's never taken that long before in any of Marillier's book for any of her stories to take off. This one lacked the subtle craftsmanship I've come to expect of Marillier. I can't help agreeing with the other reviewer who suggest that this book felt like it was motivated more by contract deadline than by a fully developed story line.

All three main characters -- Bridei, fosterling to the king's druid, Broichan, the great druid himself, and Tuala the beautiful orphan girl, a gift from the Fair Folk, -- were cardboard, one dimensional characters that deserved far more depth for all the suffering and angst Marillier put them (and her readers) through. At the heart of Marillier's books is usually a great story about such things as freedom vs. duty, choice vs. fate, the pain of impeded love, love that is tried and tested, characters who grow and mature through immense suffering and harsh fates. THE DARK MIRROR has all of these things, and there are vintage moments when Marillier manages to make the reader ache with her characters. But emotions can not replace a good story. The fine needlework one usually associates with Marillier's work of skillfully developing her characters, crafting a story filled with complex emotions and competing loyalties, and stitching together a tale that leaves the readers as changed as her characters is pretty much lacking in THE DARK MIRROR.

I remain a devoted Marillier fan, but after this disappointment I'll resume my custom of waiting for the paperback when the time comes to purchase her next book.

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~ Free PDF The Quiller Memorandum, by Adam Hall

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You are a secret agent working for the British in Berlin. You are due to go home on leave, but you are being followed-by your own people, or by the enemy. A man meets you in the theater and briefs you on a plot to revive the power of Nazi Germany. You do not believe him, but you remember that one of the suspects mentioned was a senior SS officer you met with in the days when you were working as a spy in Nazi Germany. The next day you make contact with a beautiful girl who may know something. Someone tries to kill both of you.

Your name is Quiller. You are the hero of an extraordinary novel which shows how a spy works, how messages are coded and decoded, how contacts are made, how a man reacts under the influence of truth drugs-and which traces the story of a vastly complex, entertaining, convincing, and sinister plot.

• Sales Rank: #450257 in Books
• Brand: Brand: Forge Books
• Published on: 2004-05-07
• Original language: English
• Number of items: 1
• Dimensions: 8.66" h x .85" w x 5.58" l,
• Binding: Hardcover
• 224 pages

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• Used Book in Good Condition

Review
This book was the 1966 winner of the Edgar Award for Mystery Fiction. --Blackstone Audio Inc.

From the Publisher
7 1-hour cassettes

About the Author
Using the penname Adam Hall, British author Elleston Trevor wrote 18 popular novels chronicling the exploits of his spy, Quiller. The Quiller Memorandum (first published in 1965) earned him an Edgar Award from the Mystery Writers of America. In 1966, the novel became a popular movie starring George Segal. Other Trevor books that have made it to the big or small screen include Flight of the Phoenix (filmed in 1965), Quiller (The Series), and the made-for-TV movie The Penthouse

Most helpful customer reviews

27 of 28 people found the following review helpful.
An Edgar Award winning classic of espionage fiction.
By A Customer
When it was first published as The Berlin Memorandum in 1966, this novel won Elleston Trevor the Edgar Award for mystery fiction. Trevor, whose other literary credits include The Flight of the Phoenix and Bury Him Among Kings, was spurred by his success to write a nineteen-book series about Quiller's further missions under the pseudonym of Adam Hall. Although the books have had a loyal following, especially in Britain, none has received the acclaim which greeted this first novel in the series. A bestseller on both sides of the Atlantic, it was eventually filmed as The Quiller Memorandum with George Segal and Alec Guiness.

Quiller is a "shadow executive" for an officially unavowed British intelligence agency known only as "the Bureau". The novel opens in post-war Berlin where he has been working with the Z police, a German agency devoted to the prosecution of war criminals. War-weary from an undercover assignment at a concentration camp during WW II, Quiller is due to return home. The Bureau convinces him to stay, however, by revealing to him that a forming neo-Nazi movement in Berlin may be headed by Zossen, the commandant of the concentration camp from which Quiller had helped Jews escape. Working alone in a faceless city which presents hidden threats at every turn, Quiller accepts the assigment that has already left one agent dead -- stepping into, as his field director puts it, a gap between two mobilizing armies which cannot see one another in the fog.

Hall's writing is consistently terse and compelling. He is at his best in evoking the tension of working for a manipulative secret beaurocracy whose motivations remain obscure, but whose local culture seems vitally real and believable. Quiller is a soldier at work for an army that he knows only from the ranks, whose generals are shrouded in shadow. It is in evoking this culture that Hall's writing transcends the genre, exploring complex themes of loyalty and disillusionment, and the specifically 20th century Kafka-esque relationship of an individual to the beaurocracies that determine his fate. But the real strength of the novel lies in its pure ability to entertain. Hall manages to maintain a level of tension and suspense worthy of comparison to any of espionage fiction's masterpieces, from The Spy Who Came in from the Cold to The Ipcress File. If some of the writing now seems cliche, that is because to a large extent THE QUILLER MEMORANDUM created the cliches. It has had hundreds of imitators both in print an on the screen since its publication, but anyone going back to the original (even thirty years later) will likely agree with the New York Times Book Review that "no one writes better espionage than Adam Hall."

13 of 14 people found the following review helpful.
Compelling Spy Novel - Among the Best of this Genre
By Beth Fox
Whether of not you've seen and enjoyed the movie version of "The Quiller Memorandum," you are in for a rare treat. The novel is different, but in many ways even better than the film. Adam Hall's Quiller is a cold-eyed realist (colder, more introverted and more introspective than that played by George Segal) working for an unnamed and unacknowledged British agency in Cold War-era Berlin. Ordered to infiltrate and expose a ring of old and neo-Nazis, Quiller attempts methodically to probe the depths of a secret organization that is bent on resuscitating the Third Reich. This work is dangerous, and is made more so by the uncertain allegiances of some of the characters. Although the novel takes place twenty years after the end of World War II, it was still unclear where certain characters, even those in high government positions, stood.

The detailed descriptions of Quiller's reasoning and analyses demonstrate the workings of the mind of a master spy. What makes Quiller so compelling is that while he is brilliant, he is flawed. Quiller makes mistakes, sometimes tragic ones, sometimes avoidable ones. I disagree with the view that the characters lack depth and are one-dimensional. Inga, for example, is as complicated a character as one is likely to see, for biographical and psychological reasons that are well-explained. Rothstein is not quite what he appears to be on the surface, either.

But the true joy of this novel is its detailed descriptions of the "how" of spycraft -- how messages are transmitted; how they are received; how the emergency backup works; how one loses a tail; how one endures interrogation under pressure. The psychological reasons why certain characters behave as they do are also intriguing. Yes, the references to the "id" and the "ego" are a bit dated, but the kindergarten-level Freud-speak does not detract from the real mind games that the characters are playing here. Overall, "The Quiller Memorandum" is an outstanding spy novel that is one of the best of its genre.

0 of 0 people found the following review helpful.
Early Quiller was the start of a great run.
By Peter
Adam Hall is the only (so far) spy writer that I have enjoyed. His work was so strongly written that it just stood out to me in a very crowded field.

What makes him special to me is the sense of stress that he adds to his writing, his character Quiller is under immense pressure so often and he writes it graphically in each book. He was a special writer, admittedly an acquired taste as his style isn't for everyone.

That being said, I actually thought this book was one of his weaker efforts, I think he was very much finding his feet writing Quiller in this debut Quiller novel and it was in no way the standard that some of the later novels were. The feeling of foreboding wasn't there (at least in my opinion, I am very much in the minority it seems)

Quiller is on a mission to find former Nazis who somehow escaped the war and have reestablished themselves in Germany. At the heart of this is a group called Phonix who have plans for resurgence of the Third Reich.

Don't get me wrong, the book is very readable and solid but try some of the later 60's and 70's books that Hall wrote and you will see a true espionage master at work.

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