Frederic Stahl, born of Viennese intelligentsia, ran away to sea at the age of seventeen. Embarking in America, his matinee idol looks and Old-World charm took him to Hollywood, and a life of movies and women. But by autumn 1939, the unease in Europe has spread even to Stahl's glamorous enclave. War has been declared, and though bullets and bombs are yet to fly, his decision to shoot a film in Paris seems ill-advised. The Parisians know this is their last spring, and a time to be passionate. Soon after his arrival, Stahl is drawn into a clandestine world of foreign correspondents, exiled Spanish republicans, and of course, spies of every sort. For as a celebrity from neutral America - who can travel across the continent freely - Stahl could be very useful indeed...Returning to the Brasserie Heiniger, and some of the colourful cast from The World at Night, this is a headily atmospheric portrait of a continent in the grip of The Phony War. About the Author Alan Furst has lived for long periods in France, especially in Paris, and has travelled as a journalist in Eastern Europe and Russia. He is the author of eleven novels, including The Polish Officer, The Foreign Correspondent and Spies of the Balkans.
Guest Reviewer: Justin Cronin on Mission to Paris by Alan Furst Justin Cronin is the New York Times
bestselling author of The Passage, Mary and O’Neil
(which won the PEN/Hemingway Award and the Stephen Crane Prize), and The Summer Guest.
Other honors for his writing include a fellowship from the National Endowment for the Arts and a Whiting Writers’ Award. A Distinguished Faculty Fellow at Rice University, he divides his time between Houston, Texas, and Cape Code, Massachusetts. Fans of Alan Furst are a passionate lot, and I count myself among them. Put a group of Furst’s readers in a room, and before long they will be ardently advocating for their favorites (I always come out swinging for The World at Night), only to change their minds, and change them again, as they are reminded of an especially harrowing episode in The Polish Officer, or a perfect turn of phrase in Blood of Victory, or a sumptuous love scene in The Spies of Warsaw.
So which of Furst’s novels is his best? In my opinion, it’s an eleven-way tie.
Now, make that twelve.
Furst’s elegant thrillers of World War II Europe are often grouped with the works Graham Greene and John le Carre for the literary quality of his prose. The comparison is apt, but Furst is really one of a kind: a novelist whose body of work has recast his genre, elevating it to the level of literature. He has a way of getting everything right, putting every sentence to flawless use with a compact, suggestive style. In just a few brush strokes, Furst can capture the essence of a character—man or woman, friend or foe, Gestapo officer or society doyenne—and his ability to evoke a setting makes me weep with envy. Furst’s foggy Paris streets and glittering salons aren’t just places we see; we actually seem to visit them, bathing in their rich atmospheres. When a Furst character steps into a café in the 16th Arrondissment, you can practically smell the Gauloises smoke wafting from the pages.
But what truly sets Furst apart is his characters’ alignment with their circumstances. Like every great novelist, he understands that history is an overlay of private lives and public events, and therein lies the richest, most morally edifying human drama. Furst’s protagonists aren’t professional spies. Dashing, yes. Romantic, to be sure. Capable of the bon mot, without doubt. But in their hearts, they are men and women like the rest of us, adrift in the currents of their lives. It’s the exigencies of war, with all its political murk and unlikely gunpoint bedfellows, that ignite them to personal heroism. You can hear them saying, with existential fatalism, “Well, it’s been a marvelous life—wonderful food, sumptuous parties, and surprising nights of love—but I guess it’s over now. I’ll have to become something more. Count me in.”
Mission to Paris is trademark Furst, a book not merely to read but to luxuriate in. Vienna-born Fredric Stahl, nee Franz Stalka, is a Hollywood actor of modest renown sent to Paris to star in a French movie named, ironically, “Apres la Guerre” (“After the War”). The year is 1938; Hitler has just taken Czechoslovakia and set his sights on Poland. With his American connections, high profile, and Germanic ancestry, Stahl attracts the interest of the political arm of the Reich’s Foreign Ministry; their goal is to manipulate him into making a public declaration against French rearmament. Initially, all Stahl wants to do is enjoy his time in Paris, where fond memories and sensual adventures await, and finish his film, for which he has high hopes. But he can’t stay on the sidelines for long; the next thing he knows, he’s flying to Berlin to judge a film festival of nakedly propagandist “mountain movies,” with stacks of Swiss francs stuffed inside his suit to purchase Nazi secrets. The night he meets his contact—the glamorous Russian actress Olga Orlova, who proves surprisingly adept with a silencer—Stahl awakens to the smell of smoke and the sound of shattering glass: beyond the windows of his hotel room, Kristallnacht is in full swing.
What happens then? Please. I’ve said too much as it is.
Suffice to say that for Furst’s legion of the obsessed, the novel is everything we crave and more. And for newcomers—why there should still be any, I simply don’t know—it’s certain to send them back into his rich body of work, hungry for more.
