The Last Spymaster [Hardcover]

I bought this on a deal from amazon with Forsyth's "The Afghan" as a present for my mother who likes Forsyth. Goodness, "Spymaster" was impossible to put down, with a main character too noble to be true - a rare characteristic these days - and a villain who turns out a hero. This book touches on emotion as well as thrills, and you genuinely care about what happens to the characters.

A recommended book, on my "read twice" list, first time for thrills, second time for extended enjoyment. Doesn't get the fifth star because it won't become an "old friend" like Dick Francis or Tom Clancy's books.

In THE LAST SPYMASTER, Gayle Lynds' riveting suspense embedded with literary finesse eclipses thriller stars John Le Carre and Robert Ludlum at the peak of their form. Unlike Le Carre's exhaustive angst and Ludlum's lengthy detours into topics or causes that fascinated him, Gayle's economy of language makes her political point without wasting a word while engaging the readers' eyes, ears, nose and heart.

Sprinkled throughout are awesome examples of:

ALLITERATION-"Dense forests flowed dark; as the dark night deepened toward dawn; footsteps echoing in the emptiness;"

SIMILES-"She seemed to shrink, grow calcified, as hard as a tombstone;"

METAPHORS-"Bolts of silver lightning speared the distant Alps;"

IMAGERY-"She found a slot in which to wedge the Jag; sunlight filtered down in strawlike rays;"

and POETIC RHYTHMS-"His family. But not his family. A charade, a farce, a travesty of the living and the dead. His eyes felt hollow.

Such literary devices are what writing groups and English professors can use as models of powerful literature, but if readers miss them, it is because they are stitched in seamlessly.

THE LAST SPYMASTER is a classic because no one element or technique stands out over another-the sum of the parts makes it one great read and Gayle's best work. She gives us superb storytelling at supersonic speed and sets the bar, not only for her own future novels but also for every other author in the thriller genre. In character development, for instance, individual idiosyncrasies that distinguish her previous heroines-Asperger's syndrome, cellular memory, conversion disorder and a peacenik aversion to violence-make way for a broader scope. This time she tackles the universal flaws of globalization within today's political framework in her portrayal of power brokers-whether greedy or altruistic-competing in the war on terrorism.

Using her characters' perspectives and personal agendas-we have turncoat Jay Tice, hunter Elaine Cunningham, sleeper Raina Manhardt, arms dealer Martin Ghranditti, Muslim militant Faisal al-Hadi, retired mentor Palmer Westwood, and CIA Deputy Director Lawrence Litchfield-she masterminds a maze of crossover subplots and merges them on the final ramp of "the last spymaster's" odyssey. Also weaving through the maze is a classic love tale, lovers who are sadly doomed yet deeply passionate without being sexually explicit. That's art. And in addition to compelling storytelling, the ultra 'smart' inventions and security technologies Gayle introduces make Orwell's vision of the future seem primitive.

Against such a backdrop of global conspiracy, I looked for cynicism or disillusionment seeping into her writing, because the more we learn the more we see how much our governments lie to us. Instead, with a keen journalist's nose for truth, she relentlessly sniffs out the corruptive realities existing inside the covert catacombs of international intelligence, while keeping her eye on the ultimate sacrifices and dedication of those who serve to protect us.

As Gayle explains in a Question and Answer dialogue with readers, "Holding on to one's ideals while working for a better world is the most difficult personal challenge. Those who succeed against such odds are the stuff of quiet legend, occasionally receiving secret honors and awards, and living out their days without telling tales . . . They pay high prices personally, and they deserve our respect."

THE LAST SPYMASTER chronicles such hope in a 'tour de force' that catapults Gayle Lynds to the top of the thriller genre. As a member of the Association of Former Intelligence Operatives, the Military Writers Society of America and co-founder/co-president of the International Thriller Writers, Inc., she can be proud of the brilliant work she has delivered to represent their high ideals of service.

The book started well with a crisp plot but then descended into bathos or a Keystone Cops finale where the heroes suddenly had kevlar suits, magnetic grips and propane explosives. In fact the last 60 pages were awful. Gayle to me has a sub plot which would be worth anyone looking for in her other novels. Namely women are good and most men are bad. There are three women in this novel and they are all good. The one man was good but had "emotional flaws" that a good woman, babies and the Cook Islands put to rights. Her characterisation way below that of Le Carre, Deighton or Littell - hard stares and knowing looks made up for insight. All this reminded me of a comment by Ken Follett when he was discussing writing with Hanif Kureishi. The upshot was Hanif's comment that "you, Ken, write for your customers, whilst I write for myself. This means you are a rich author and I am a good author. " I suspect Gayle is well on the way to becoming rich.