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Angel of Death
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Editorial Reviews
From Publishers Weekly
The main plot device in Higgins's new thriller has a certain comic-strip blaze to it: a female British motorcyclist in black leather who carries a Beretta pistol and kills only to create chaos. This angel of death is also Britain's greatest actress, Grace Browning, relishing her new role as assassin of political activists of every stripe, be they Arab or Israeli, Catholic or Protestant, CIA or KGB, East End gangster or American senator. Browning belongs to a group that calls itself "January 30," seemingly in honor of Bloody Sunday in Belfast but actually in honor of nothing but the chaos that she and her homosexual superior, an old KGB hand who's now on Prime Minister John Major's staff, hope will usher in a worldwide Communist state. Pitted against January 30 and Browning are Brigadier Charles Ferguson of the PM's elite Group Four and his most devilish agent, returning Higgins hero Sean Dillon (On Dangerous Ground), ex-actor, ex-IRA hit man and master makeup artist. It's assassin vs. assassin, actor against actor, in this shallow and far-fetched yet exciting yarn, which needs all of Higgins's considerable expertise to stay on course as it hurtles from one nervy thrill to the next. BOMC main selection.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Sean Dillon, a former Irish terrorist turned undercover agent, and his boss, Brigadier Charles Ferguson, make their latest appearance (following On Dangerous Ground, Putnam, 1994) in a lively but rather predictable shoot-'em-up set primarily in the United Kingdom. A terrorist group, born from communism, is killing in the name of Irish nationalism. Their real purpose, however, is to foment anarchism and chaos among the major powers. Can Dillon, partner Hannah Bernstein, and Ferguson track down this band and prevent additional murder? Given the author's writing talent, it is disappointing to find the characters barely sketched and the plot clunking from one episode to the next. Unhappily, by attributing his characters' need for mayhem solely to bloody episodes witnessed in their youth, he cheapens the achievements of real people who have managed to survive Bloody Sunday and other violence. Purchase only where Higg
The main plot device in Higgins's new thriller has a certain comic-strip blaze to it: a female British motorcyclist in black leather who carries a Beretta pistol and kills only to create chaos. This angel of death is also Britain's greatest actress, Grace Browning, relishing her new role as assassin of political activists of every stripe, be they Arab or Israeli, Catholic or Protestant, CIA or KGB, East End gangster or American senator. Browning belongs to a group that calls itself "January 30," seemingly in honor of Bloody Sunday in Belfast but actually in honor of nothing but the chaos that she and her homosexual superior, an old KGB hand who's now on Prime Minister John Major's staff, hope will usher in a worldwide Communist state. Pitted against January 30 and Browning are Brigadier Charles Ferguson of the PM's elite Group Four and his most devilish agent, returning Higgins hero Sean Dillon (On Dangerous Ground), ex-actor, ex-IRA hit man and master makeup artist. It's assassin vs. assassin, actor against actor, in this shallow and far-fetched yet exciting yarn, which needs all of Higgins's considerable expertise to stay on course as it hurtles from one nervy thrill to the next. BOMC main selection.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Sean Dillon, a former Irish terrorist turned undercover agent, and his boss, Brigadier Charles Ferguson, make their latest appearance (following On Dangerous Ground, Putnam, 1994) in a lively but rather predictable shoot-'em-up set primarily in the United Kingdom. A terrorist group, born from communism, is killing in the name of Irish nationalism. Their real purpose, however, is to foment anarchism and chaos among the major powers. Can Dillon, partner Hannah Bernstein, and Ferguson track down this band and prevent additional murder? Given the author's writing talent, it is disappointing to find the characters barely sketched and the plot clunking from one episode to the next. Unhappily, by attributing his characters' need for mayhem solely to bloody episodes witnessed in their youth, he cheapens the achievements of real people who have managed to survive Bloody Sunday and other violence. Purchase only where Higg