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About Alan Furst
Alan Furst has lived for long periods in France, especially in Paris, and has travelled as a journalist in Eastern Europe and Russia. He has written extensively for Esquire and the International Herald Tribune.
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Titles By Alan Furst
the European world of 1934–45: the struggle between Nazi Germany and Soviet Russia for Eastern Europe, the last desperate gaiety of the beau monde in 1937 Paris, and guerrilla operations with the French underground in 1944. Night Soldiers is a scrupulously researched panoramic novel, a work on a grand scale.
Occupied Paris, 1942. Just before he dies, a man being chased by the Gestapo hands off a strange-looking document to the unsuspecting novelist Paul Ricard. It looks like a blueprint of a part for a military weapon, one that might have important information for the Allied forces. Ricard realizes he must try to get the diagram into the hands of members of the resistance network.
As Ricard finds himself drawn deeper and deeper into anti-Nazi efforts and increasingly dangerous espionage assignments, he travels to Germany and along the escape routes of underground resistance safe houses to spy on Nazi maneuvers. When he meets the mysterious and beautiful Leila, a professional spy, they begin to work together to get crucial information out of France and into the hands of the Allied forces in London.
Autumn 1941: In a shabby hotel off the place Clichy, the course of the war is about to change. German tanks are rolling toward Moscow. Stalin has issued a decree: All partisan operatives are to strike behind enemy lines—from Kiev to Brittany. Set in the back streets of Paris and deep in occupied France, Red Gold moves with quiet menace as predators from the dark edge of war—arms dealers, lawyers, spies, and assassins—emerge from the shadows of the Parisian underworld. In their midst is Jean Casson, once a well-to-do film producer, now a target of the Gestapo living on a few francs a day. As the occupation tightens, Casson is drawn into an ill-fated mission: running guns to combat units of the French Communist Party. Reprisals are brutal. At last the real resistance has begun. Red Gold masterfully re-creates the shadow world of French resistance in the darkest days of World War II.
Paris, 1940. The civilized, upper-class life of film producer Jean Casson is derailed by the German occupation of Paris, but Casson learns that with enough money, compromise, and connections, one need not deny oneself the pleasures of Parisian life. Somewhere inside Casson, though, is a stubborn romantic streak. When he’s offered the chance to take part in an operation of the British secret service, this idealism gives him the courage to say yes. A simple mission, but it goes wrong, and Casson realizes he must gamble everything—his career, the woman he loves, life itself. Here is a brilliant re-creation of France—its spirit in the moment of defeat, its valor in the moment of rebirth.
Praise for The World at Night
“[The World at Night] earns a comparison with the serious entertainments of Graham Greene and John le Carré. . . . Gripping, beautifully detailed . . . an absorbing glimpse into the moral maze of espionage.”—Richard Eder, Los Angeles Times
“[The World at Night] is the world of Eric Ambler, the pioneering British author of classic World War II espionage fiction. . . . The novel is full of keen dialogue and witty commentary . . . . Thrilling.”—Herbert Mitgang, Chicago Tribune
“With the authority of solid research and a true fascination for his material, Mr. Furst makes idealism, heroism, and sacrifice believable and real.”—David Walton, The Dallas Morning News
Paris, 1938. As Europe edges toward war, Nicholas Morath, an urbane former cavalry officer, spends his days working at the small advertising agency he owns and his nights in the bohemian circles of his Argentine mistress. But Morath has been recruited by his uncle, Count Janos Polanyi, a diplomat in the Hungarian legation, for operations against Hitler’s Germany. It is Morath who does Polanyi’s clandestine work, moving between the beach cafés of Juan-les-Pins and the forests of Ruthenia, from Czech fortresses in the Sudetenland to the private gardens of the déclassé royalty in Budapest. The web Polanyi spins for Morath is deep and complex and pits him against German intelligence officers, NKVD renegades, and Croat assassins in a shadow war of treachery and uncertain loyalties, a war that Hungary cannot afford to lose. Alan Furst is frequently compared with Eric Ambler, Graham Greene, and John le Carré, but Kingdom of Shadows is distinctive and entirely original. It is Furst at his very best.
Praise for Kingdom of Shadows
“Kingdom of Shadows offers a realm of glamour and peril that are seamlessly intertwined and seem to arise effortlessly from the author’s consciousness.”—Janet Maslin, The New York Times
“Subtly spun, sensitive to nuances, generous with contemporary detail and information discreetly conveyed. . . . It’s hard to overestimate Kingdom of Shadows.”—Eugen Weber, Los Angeles Times
“A triumph: evocative, heartfelt, knowing and witty.”—Robert J. Hughes, The Wall Street Journal
“Imagine discovering an unscreened espionage thriller from the late 1930s, a classic black- and- white movie that captures the murky allegiances and moral ambiguity of Europe on the brink of war. . . . Nothing can be like watching Casablanca for the first time, but Furst comes closer than anyone has in years.”—Walter Shapiro, Time
By 1938, hundreds of Italian intellectuals, lawyers and journalists, university professors and scientists had escaped Mussolini’s fascist government and taken refuge in Paris. There, amid the struggles of émigré life, they founded an Italian resistance, with an underground press that smuggled news and encouragement back to Italy. Fighting fascism with typewriters, they produced 512 clandestine newspapers. The Foreign Correspondent is their story.
Paris, a winter night in 1938: a murder/suicide at a discreet lovers’ hotel. But this is no romantic traged–it is the work of the OVRA, Mussolini’s fascist secret police, and is meant to eliminate the editor of Liberazione, a clandestine émigré newspaper. Carlo Weisz, who has fled from Trieste and secured a job as a foreign correspondent with the Reuters bureau, becomes the new editor.
Weisz is, at that moment, in Spain, reporting on the last campaign of the Spanish civil war. But as soon as he returns to Paris, he is pursued by the French Sûreté, by agents of the OVRA, and by officers of the British Secret Intelligence Service. In the desperate politics of Europe on the edge of war, a foreign correspondent is a pawn, worth surveillance, or blackmail, or murder.
The Foreign Correspondent is the story of Carlo Weisz and a handful of antifascists: the army officer known as “Colonel Ferrara,” who fights for a lost cause in Spain; Arturo Salamone, the shrewd leader of a resistance group in Paris; and Christa von Schirren, the woman who becomes the love of Weisz’s life, herself involved in a doomed resistance underground in Berlin.
The Foreign Correspondent is Alan Furst at his absolute best–taut and powerful, enigmatic and romantic, with sharp, seductive writing that takes the reader through darkness and intrigue to a spectacular denouement.
May 1941. At four in the morning, a rust-streaked tramp freighter steams up the Tagus River to dock at the port of Lisbon. She is the Santa Rosa, she flies the flag of neutral Spain and is in Lisbon to load cork oak, tinned sardines, and drums of cooking oil bound for the Baltic port of Malmö.
But she is not the Santa Rosa. She is the Noordendam, a Dutch freighter. Under the command of Captain Eric DeHaan, she sails for the Intelligence Division of the British Royal Navy, and she will load detection equipment for a clandestine operation on the Swedish coast–a secret mission, a dark voyage.
A desperate voyage. One more battle in the spy wars that rage through the back alleys of the ports, from elegant hotels to abandoned piers, in lonely desert outposts, and in the souks and cafés of North Africa. A battle for survival, as the merchant ships die at sea and Britain–the last opposition to Nazi German–slowly begins to starve.
A voyage of flight, a voyage of fugitives–for every soul aboard the Noordendam. The Polish engineer, the Greek stowaway, the Jewish medical officer, the British spy, the Spaniards who fought Franco, the Germans who fought Hitler, the Dutch crew itself. There is no place for them in occupied France; they cannot go home.
From Alan Furst–whom The New York Times calls America’s preeminent spy novelist–here is an epic tale of war and espionage, of spies and fugitives, of love in secret hotel rooms, of courage in the face of impossible odds. Dark Voyage is taut with suspense and pounding with battle scenes; it is authentic, powerful, and brilliant.
In the autumn of 1940, Russian émigré journalist I. A. Serebin is recruited in Istanbul by an agent of the British secret services for a clandestine operation to stop German importation of Romanian oil—a last desperate attempt to block Hitler’s conquest of Europe. Serebin’s race against time begins in Bucharest and leads him to Paris, the Black Sea, Beirut, and, finally, Belgrade; his task is to attack the oil barges that fuel German tanks and airplanes. Blood of Victory is a novel with the heart-pounding suspense, extraordinary historical accuracy, and narrative immediacy we have come to expect from Alan Furst.
Praise for Blood of Victory
“Densely atmospheric and genuinely romantic, the novel is most reminiscent of the Hollywood films of the forties, when moral choices were rendered not in black-and-white but in smoky shades of gray.”—The New Yorker
“Furst’s achievement is a moral one, producing a powerful testament to fiction’s ability to re-create the experience of others, and why it is so deeply important to do so.” —Neil Gordon, The New York Times Book Review
“Richly atmospheric and satisfying.” —Deirdre Donahue, USA Today
“Page after page is dazzling.”—James Patterson
NEW YORK TIMES BESTSELLER
Late summer, 1938. Hollywood film star Fredric Stahl is on his way to Paris to make a movie. The Nazis know he’s coming—a secret bureau within the Reich has been waging political warfare against France, and for their purposes, Fredric Stahl is a perfect agent of influence. What they don’t know is that Stahl, horrified by the Nazi war on Jews and intellectuals, has become part of an informal spy service run out of the American embassy. Mission to Paris is filled with heart-stopping tension, beautifully drawn scenes of romance, and extraordinarily alive characters: foreign assassins; a glamorous Russian actress-turned-spy; and the women in Stahl’s life. At the center of the novel is the city of Paris—its bistros, hotels grand and anonymous, and the Parisians, living every night as though it were their last. Alan Furst brings to life both a dark time in history and the passion of the human hearts that fought to survive it.
BONUS: This edition includes an excerpt from Alan Furst's Midnight in Europe.
Praise for Mission to Paris
“The most talented espionage novelist of our generation.”—Vince Flynn
“Vividly re-creates the excitement and growing gloom of the City of Light in 1938–39 . . . It doesn’t get more action-packed and grippingly atmospheric than this.”—The Boston Globe
“One of [Furst’s] best . . . This is the romantic Paris to make a tourist weep. . . . In Furst’s densely populated books, hundreds of minor characters—clerks, chauffeurs, soldiers, whores—all whirl around his heroes in perfect focus for a page or two, then dot by dot, face by face, they vanish, leaving a heartbreaking sense of the vast Homeric epic that was World War II and the smallness of almost every life that was caught up in it.”—The New York Times Book Review
“A book no reader will put down until the final page . . . Critics compare [Alan] Furst to Graham Greene and John le Carré [as] a master of historical espionage.”—Library Journal (starred review)
“Alan Furst’s writing reminds me of a swim in perfect water on a perfect day, fluid and exquisite. One wants the feeling to go on forever, the book to never end. . . . Furst is one of the finest spy novelists working today.”—Publishers Weekly