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First a disclosure. I'm a Steinhauer completist. I love Olen Steinhauer. For many reasons. First, he is one of the few, modern spy novelists that seems interested in writing quality espionage fiction, during a period when spy fiction is evolving as the business of espionage shifts. Second, Steinhauer is pushing, incrementally, towards the long shadow of le Carré. With some novels Steinhauer seems almost a breath away from le Carré. He isn't there yet, but he is close with 'All the Old Knives', and he is far closer than most of his peers.
Spy fiction if it is unserious deals with violence, mystery, sex and an almost pornographic, hyper-nationalism. Great spy fiction deals with history, memory, loss, ambiguity, mistakes, regret, and deception. Steinhauer has written what can best be explained as a locked room spy mystery. It is at heart an interrogation that is highlighted with various forms of flashback. It is the intersection of two lives, two loves, and one dark, shared past, finally unlocked in a Carmel-by-the-Sea restaurant.
This is a short book, but one that moves with a measured precision. This isn't a beach read. It is a book to read while you are waiting in a hospital to see if the lump is benign. A book to read while you wait for your spouse to return from a dangerous drive. It is a book that makes no easy heroes and leaves the final curtain cracked just a bit.
35 of 37 people found this review helpful
I usually enjoy anything Steinhauer does and I assume this was a sort of concept novel. While it was an interesting way to build the story, one table, two people and dual-dueling narrators didn't get there for me.
6 of 6 people found this review helpful