Midnight in Europe, by Alan Furst

This 2014 novel is a fast read, and a highly polished and professional work of espionage. But it has little depth, No, for example, moral issues. Or psychological issues. And no real danger confronts its hero, Christian Ferrar, a Spanish exile who is a lawyer at a distinguished French law firm in Paris.

What this novel does achieve is an effective portrait of pre-war Europe. This is a strong point of most of Furst’s novels, and here he focuses on the Spanish Republic’s efforts to obtain anti-tank canon and artillery shells for use against the more powerful armaments employed by the forces of Francisco Franco in the Spanish Civil War.

Ferrar’s two assignments are finding the canon and the specific shells that fit the Republic’s older weapons, and then arranging their delivery to the Republican forces in Spain. Which involves fast-moving but routine events, requiring Ferrar and his colleagues to ferret out the armaments from Eastern and Central Europe. Which also means he must deal with idealists and gangsters, and with arms traders and aristocrats, plus Max de Lyon, a mysterious arms merchant. Encounters with them also capture the 1930’s atmosphere, as they range from shady Paris nightclubs to the city’s plush apartments, as well as from a brothel in Istanbul to a dockyard in Poland,

But one of the novel’s problems is that there is little linkage among these events; they simply present hurdles to be overcome. That is, there is no building of suspense, no solving of one problem that leads to the next. Nor are there serious villains who offer threats to Ferrar’s two missions. The only problems are getting control of the armaments and making the delivery.

But, of course, such missions turn out to be not that simple. In one case, the team loses control of the cannon shipment and must take over a train in Poland to deliver it. In another, the shells are found in Russia, but Stalin’s policy refuses to sell the shells to his supposed allies, the leftists in Spain. And so, after the shells are found, they must be stolen, hidden on an ancient steamer, and then transported across the Black Sea and the Mediterranean. This sequence builds high drama as the novel draws to a close.

There are personal detours, of course, to flesh out Ferrar’s character and pique our interest. For example, he is a ladies man, and has at least three affairs during the course of his undercover work. He also has other responsibilities at his French law firm that fill out his life as a lawyer, but do not impact the search for armaments. At other intervals, Furst captures the atmosphere of European life, where people know that war is approaching but are not sure when and where. Still further atmosphere is created on a Paris-Berlin express train at night, on hectic car rides in Paris and Poland, and the climactic voyage through a storm and outrunning a patrol boat.

When in mood for a fast-paced thriller, another tale by Furst would be welcome. But despite the atmosphere, these works are not literature, and they lack the psychological probing and moral complexity that is a trademark of the best espionage novels. (July, 2019)

There Your Heart Lies, by Mary Gordon

The heart of Marian Taylor, this novel’s heroine, lies in Spain. And that is what drew me to this 2017 novel. Because my heart lies there as well. But also being a fan of author Mary Gordon, I was doubly drawn to this novel.

This is the story of a 19-year old girl who flees her Irish Catholic family in 1937 to become a volunteer nurse for the Republican forces. While there, she falls in love and has a son, but is never accepted by her husband’s family after he tragically dies. And, as in much of Gordon’s work, there is a parallel story, the story of her granddaughter Amelia in the first decade of the 21st century. Marian is now dying, and Amelia wants to understand her Nene better, especially what she never talks about, those years in Spain.

And so, this novel, this tender novel, moves back and forth between Marion’s life in Spain of the 1930s and Amelia’s conversations with her grandmother in Rhode Island in 2009. Until, Amelia decides herself to go to Spain to resolve Nene’s differences with the son she had left behind.

As a girl, Marian rebelled against the faith of her deeply conservative Catholic family. She loved especially her brother Johnny, but was distraught when he was exposed as a homosexual and committed by his shamed Catholic parents to a hospital— whereupon, rather than suffer shock treatments, he kills himself. Still more distraught, Marian wants nothing to do with her family, and flees to Spain. With Johnny’s lover, Russell, a doctor. It is a fake marriage, but their relationship gives the novel its interesting start.

Their story takes off when Marian and Russell arrive in Spain in 1937. Gordon has done her research, and we truly feel we are there. We sense the tension among fatalist Republicans unsure of victory, more tension between anarchists and communists, still more among the hospital staff, and finally tension that prompts Russell to flee the hypocrisy around him.

When Russell returns to the States, Marian is assigned to a new hospital near Valencia, and the novel comes into its own. For Marian falls in love with a local doctor, Ramon Ortiz, and becomes pregnant. However, he contracts sepsis while operating and dies. She is then taken in by his unsympathetic family, whose purpose is to assume control of her son and then indoctrinate him in their own conservative beliefs.

Meanwhile, the novel is shifting between 1937 and 2009. In 2009, concerned about her dying grandmother, Amelia gets Marian to talk about her early family life. For the first time, we see what motivated her to run away to Spain. We get inside her. We see the family conflict that we have heard about, but we now experience it.

The novel alternates between Marion’s memories of growing up and the years in Spain, when she has the baby and Ortiz’ mother, Pilar, turns the town against her. The young mother was miserable—for seven years. Until, in an ironic stroke of luck, she falls and breaks her leg. For she then meets her half-Irish saviors, a woman doctor and her brother, a priest.

Now Gordon returns to the Spain of 1946, when Marian is recovering from her broken leg. The doctor, Isabel, and the brother, Tomas, help to restore Marian’s belief in humanity after her cruel treatment by the Ortiz family. And then, luckily, Marian falls in love again, with Theo, a visiting American artist who will help her escape back to the States.

The priest, Thomas, plays an interesting role in this novel. He is a sympathetic priest. Yes, he has committed one outrageous act of self-mutilization, but this only makes him more human. What is interesting is that Marian takes to him, even if she has lost her faith. Moreover, this novel, permeated by “bad” Catholics, from Marian’s parents to Franco’s followers, portrays him as a good person. It is Gordon, I think, acknowledging that Catholics can be bad or good depending on their sense of humanity rather than how they practice their faith. This sensitivity also foreshadows a later discussion about whether heaven exists, and whether Marian and Amelia will one day meet again. The Catholic perspective remains in Gordon’s purview.

But to return toTheo. He represents the one weakness in this book. We get to know him only briefly. And we learn even less about Naomi, his and Marian’s child and the mother of Amelia. Why? Because, I presume, this is the story of Marian and her granddaughter. But it does leave a hole in this family story. A full generation wide.

Just as the final chapter also leaves a gap. For Amelia returns to Spain, intent on bringing Marian and her Spanish child back together. Thus, creating a full circle. It is a marvelous, atmospheric passage, blending a modern impression and a distant past. But the outcome changes the entire atmosphere of this passage. And changes Amelia as well. Too much and too quickly. As Gordon makes this moment the key to Amelia’s future life.

Yes, there will be a final tender meeting between the dying Marian and the new Amelia, which is right for a novel that begins with the focus on Marian and ends with the focus on Amelia. But Amelia’s new view of life has not been given space to breathe. She now understands herself, she says. She can say yes and no to others. But will she, as she faces new challenges? We hear her declaration, but we do not see her in action. Is she now too hard-hearted? No, you say. For she believes in the afterlife. Well, yes…the possibility.

At least this novel is not hard-hearted. Yes, its story is pervaded by the hard-heartedness of the Catholic faith. But its main characters, minus Pilar, think and act according to the laws of charity. They balance the evils of humanity with the good. They seek to understand and to love other human beings. And these are precepts that Jesus taught, precepts that the Catholic Church still preaches. That Gordon has not forgotten.

And yet I am curious. Why does she otherwise offer such a negative view of the Catholic Church? Only because it fits her story? No, I shouldn’t say that, because Gordon’s novels often consider how the Church’s values conflict with our humanity. It is more, I think, that Gordon likes to develop her stories through contrast. Another type of contrast she uses, as here, is to create a relationship between two characters, such as Marian and Amelia, in order to dramatize the human condition. And again it works. (June, 2018)